2017 May TEMPO

The Official Magazine of the New Jersey Music Educators Association M AY 2 0 1 7

Jeffrey Santoro President 2017-2019 Patrick O’Keefe President-Elect 2019-2021

William McDevitt Past-President 2015-2017

In This Issue: 2017-2018 NJMEA Calendar All-State Band & Orchestra Solo Lists NJMEA Salutes NJ’s Outstanding All-State Musicians

The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education

…

WHY

“The clinic experience was by far the best part of our festival experience.

The hands-on approach really sticks with my students rather than just a bunch of written comments. They get instant feedback and can apply that feedback right then and there instead of waiting until we get back home at our next rehearsal.”

— Doug Sydow, Washington High School

“I like the fact that there are three judges and you have the comments from different people. There can always be a variety of opinions but if three people state the same thing then it brings more validity to a matter. You also always have judges who are respected and accomplished in their field.”

— Delia Montenegro, Briarcliff High School

“The staff is great, the venues are outstanding and the performances are well organized. I have done many festivals with various companies over the years. I find the online registration, adjusting features, and financial features very good. It makes my job much easier compared to some other festivals I have attended.”

—Timothy Keane, Terryville High School

WHERE…

PERFORMANCE DATES ARE AVAILABLE ONLINE AT festivalsofmusic.com | 800.305.7565 | info@festivalsofmusic.com

Volume 71, No. 4

http://www.njmea.org

FEATURES 24

Using A Differentiated Rhythmic And Melodic Notation System For Special Learners In All Musical Settings, Brian Wagner

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Mindsets, Motivation, And Performance: 12 Tips For The Music Educator, Marjorie LoPresti

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The Power Of A Guitar, Thomas Amoriello

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New Work For Clarinet And Wind Ensemble Burns Brightly, Joseph D’Auguste

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Recap Of NJMEA Elementary Music Webinars From The 2016-2017 School Year, Amy Burns

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The Student Teacher In The Guitar Classroom, Thomas Amoriello & Michael Newman

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Your Front Ensemble: Mic’ing, Mixing, & Modern Sounds: Marcus Neudigate

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NJMEA 2017-2018 Calendar

MAY 2017 DEPARTMENTS AND NJMEA BUSINESS Advertisers Index & Web Addresses ......71 Board of Directors ................................68 Division Chair News......................... 6-20 Editor’s Message ......................................4 Editorial Policy & Advertising Rates .....70 In Memoriam ................................. 66-67 Past-Presidents ......................................70 President’s Message ............................. 2-3 Resource Personnel ...............................69 Round the Regions ......................... 64-65

FORMS AND APPLICATIONS See NJMEA.ORG

“Forms and Documents” for downloadable copies of all forms & applications

NJMEA Salutes New Jersey’s Outstanding All-State Musicians All-State HS Orchestra Scales ...............58 All-State Int. Orchestra Scales ...............59 All-State Orchestra Solo List .................60 All-State Band Solo List ........................61 Marching Band Festival Application .....50 Opera Festival Application ....................62 NAfME Membership ............................88 ATTENTION MEMBERS: Please go to nafme.org to record email and address changes.

TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7194 e-mail: tmosher@njmea.org Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 kpc@kutztownpbl.com

The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization.

TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association.

The subscription rate for non-members is $20.00 per year.

The subscription for members is included in the annual dues.

A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer.

Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor.

Volume 71, No. 4, MAY 2017 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191

NAfME In-Service Conference November 12-15, 2017 Dallas, TX NJMEA In-Service Conference February 22-24, 2018 East Brunswick, NJ

president’s message WILLIAM McDEVITT 856-794-6800 x2539 billnjmea@aol.com Website: http://www.njmea.org

Y

ou will, I am sure, agree with me that . . . if page 534 only finds us in the second chapter, the length of the first one must have been really intolerable.

Arthur Conan Doyle

would like to thank Joe Jacobs who most recently assumed that role. Joe has always been an excellent proofreader and has an amazing memory.

I am so glad to have had him around to check my important emails and articles before I send them.

Some would consider a second chance a rarity, some a necessity. I on the other hand have found it to be an opportunity. There are only a few of us who have had the opportunity to hold this office twice and represent the music educators in the State of New Jersey. There are only a few of us who have had the opportunity to host an Eastern Division Conference. There are only a few of us who have had the opportunity to work so closely with an amazing group of individuals who want the best possible music education for the students in the State of New Jersey. I consider myself lucky and truly thankful for having been given that opportunity twice.

Six years ago, I thanked Debbie Sfraga for her organizational memory. There are few people that know the amount of work that Debbie has done to keep our organization legally safe and solvent. While the office of President changes every two years, she has been there for decades making sure that the daily business of the organization does not change so the music teachers in the state can have their needs met. Not only do I thank you for these things, I also thank you for saying “No” when it had to be said. There aren’t a lot of people that take the risks that you have taken to maintain cohesion in our organization.

As I end my term, I have many people that I would like to thank for their contribution to our organization and the students in the state.

I could not have done this without those that have gone before me and given me advice over the years. I TEMPO

I would like to thank my Board of Directors and their committees that have run every aspect of our organization. From the most visible All-State Ensembles to our Festivals, Conferences, and affiliate groups, you have all made me very proud of what we have accomplished. While I 2

know that you are not thanked very often, I thank you and appreciate the time that you have volunteered for the students and teachers in our State.

I would finally like to thank you – the members of NJMEA – for what you do in the classroom every day for the students of New Jersey. We are in a much better place than we were six years ago, but I know that you are all still fighting to maintain what you have built. Don’t give up that fight. Your students are counting on you!

At the time of this writing, we are eagerly anticipating the Eastern Division Conference in Atlantic City. It is a project that has been four years in the making. I remember sitting at a table in the Sports Bar at the Hilton in East Brunswick and discussing the possibility with a few people. That discussion grew into a beast! There are a few individuals that need to be thanked for bringing this project together: Keith Hodgson – You made the pitch to the Eastern Division Board and took over as BOCJ Chair.

MAY 2017

Marie Malara – You took over the planning of the conference sessions/concerts/meetings that make up an Eastern Division Conference.

Debbie Sfraga – You took on the monumental task of managing the conference. This included executing all contracts, registering all participants, and all the fiduciary responsibilities.

I am extremely indebted to these individuals for their time and expertise in making this conference a success. I also thank the many individuals who had any role in the planning or implementation of this event. It truly consumed many aspects of our organization for the past year. It has brought about anxiety, frustration, and tension. I am also hoping that it will finish in happiness, satisfac-

tion, and relief. I hope that those who come to Atlantic City from other states will leave revitalized and pleased over the success of the Conference.

Once again, I will state that two years go by very quickly. The big plans that started as ideas four years ago have morphed into manageable tasks – some of which were fulfilled and some of which were not. Your vote of confidence four years ago reopened a world of opportunities for me. I have traveled throughout the Northeast representing New Jersey.

I have visited Washington, DC and spoken with Congressional Representatives and Staff about the value of music education in school curriculum. I have met some amazing, talented, committed, and consumed individuals with a passion for their

art that I could never match. I have received (and appreciated) ideas and comments (positive and negative) from teachers and parents who truly care about their students and children.

I thank you all for the opportunity and look forward to watching the progress of our profession over the coming years.

Come Spend The Summer With Us! BAND LITERATURE FOR THE MUSIC EDUCATOR (MUED 579) July 10 – Aug 3, TWR, 4 – 7:10 pm TEACHING WORLD MUSIC (MUED 560) August 7 – August 24, TWR 4 – 8:10 pm

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Earn 15 graduate credits in 15 months or less. No required admission tests.

Credits may apply to an MA in Music Education if desired.

Learn more: montclair.edu/music MAY 2017

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Editor’s Message Thomas A. Mosher 732-367-7194 tmosher@njmea.org Website: http://www.njmea.org

I

Thank You!

would like to take this opportunity to thank the members of the NJMEA Board of Directors (listed on page 68 of this issue) for all of their contributions to TEMPO magazine during the year. Almost every member contributes to the Division Chair section every issue in which they try to keep the membership informed of what their division is accomplishing for NJMEA, our members, and our students.

In addition to their contributions as board members and those indicated above: Joseph Akinskas (Summer Workshop X is coming), Thomas Amoriello, Amy Burns, Maureen Butler, Marjorie LoPresti, and Nicholas Santoro take additional time to write informative articles for the magazine concerning their specialized activities.

The NJMEA membership has also been contributing articles of interest for many years, and each year the list gets longer. Contributors to the magazine who are NJMEA members this year are: Mathhew S. Ablan, Scott-Lee Atchison, Billy Baker, Daniel Beal, William L. Berz, Kira Campo, Abby Connors, Joseph D’Auguste, Sarah Donatelli, Kevin Eubanks, Dan Halpern, Joseph Higgins, Ronald E. Kearns, Andrew Lesser, Thomas McCauley, Bob Morrison, Marcus Neudigate, Michael Newman, Joseph Pergola, Raymond Reimer Uy, Jr., Joyce Richardson-Melech, Mari Schay, Colleen Q. Sears, Missy Strong, Brian Wagner, and Kristin Wenger. I thank you for your efforts on behalf of our membership.

Articles are generally due by the 15th of August, November, January, and March. All articles should be submitted as a Word file electronically to tmosher@njmea. org. If sending a Word file with pictures embedded in the file, please also send high quality tiff or jpg files of each picture used. Articles also may be printed out and mailed to Thomas A. Mosher, TEMPO Editor, 80 Jumping Brook Drive, Lakewood, NJ 08701. This printed copy enables me to see how you expect the article to look when printed. DO NOT SEND PDF FILES OF YOUR ARTICLES! Please include your name, where you work, & email below the title of your article. Also, send a high resolution photo yourself (head shots preferred).

The following are suggestions for submitting materials for publication: • Articles should be 823 words or less for one page with a header and 1800 words or less for a continuation to two pages. Remember that lists and examples take up room and decrease the number of words allowed.

Articles which run several pages should be edited by the writer and submitted in installments (part 1, part 2) for publication in successive issues.

• Informative material, such as announcements of events, will be shorter and placed accordingly.

• Submissions should be of interest to either all music teachers or select groups such as high school band directors, elementary classroom, intermediate orchestra, etc.

I am looking forward to your submissions!

Additional authors are needed each year to supplement those who currently write for us. Don’t be afraid to submit an article(s) to TEMPO for publication. We proof every article and fix any grammatical or spelling errors. Our job is to make you look good!

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MASON GROSS EXTENSION DIVISION SUMMER CAMPS AND INTENSIVES 2017

MUSIC DANCE FILMMAKING VISUAL ARTS THEATER Explore, create, and perform under the guidance of New Jersey’s most distinguished teaching artists at the state’s premier arts conservatory, Mason Gross School of the Arts, Rutgers University.

MUSIC

VISUAL ARTS

Jazz Institute Symphonic Wind Band & Chamber Music Camp ASTA/NJ Chamber Music Institute

Design Intensive Media Art Intensive Drawing & Painting Intensive

DANCE

THEATER

Rutgers Summer Dance Conservatory

Rutgers Summer Acting Conservatory

DIGITAL FILMMAKING

CHILDREN’S ART DAY CAMP

Rutgers Digital Filmmaking Camp AVID Media Intensive

Kids Create

85 George Street, Rehearsal Hall 101, New Brunswick 848-932-8618 | summercamp@mgsarutgers.edu www.masongross.rutgers.edu/extension/summer-programs MAY 2017

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Administration Ronald P. Dolce 732-574-0846 rdolce561@aol.com

It seems like a few short months ago we were reading the October issue of TEMPO. Here is the May issue with another school year almost coming to an end. We are now into May and in the middle of our spring music concerts or putting our students on buses or planes for the spring trip or competition. We are happy to say that we have had many members in attendance at our meetings this year. It has been a busy year for the NJMAA Executive Board and Board of Directors providing informative workshops for the membership.

Our first workshop in October, “Nuts and Bolts-Advice on How to Be Successful as an Arts Supervisor” was presented by Perter Griffin, Supervisor of Performing Arts for the Hopewell Valley School District. The presentation offered ideas to the members about practical methods used in supervising programs and staff.

Our second workshop in December, “Making the Case for Dance and Theater” presented by Louis Quagliato, Supervisor of Music from the West Orange Public Schools with assistance from teachers from the West Orange School District and the Rahway Public Schools. This presentation discussed the importance of dance and theater programs in schools and the process used to bring these programs to reality.

Our February workshop, “Arts and Special Education” facilitated by Joe Akinskas, from Rowan University and Cumberland County College and presented by Maureen Butler, NJMEA Board on Special Learners gave the members an insight and resources for teachers to aid in their teaching of special learners in the music classroom.

Our March workshop was, “Transitioning from General Music Class to Performing Arts Class”, presented by Patricia Rowe, Supervisor from the Moorestown School District. This workshop showed ways that teachers can interest potential performing arts students from classroom activities to the performing activities in the school ensemble program.

This year, our members actively presented and participated in the NAfME Eastern Division Conference held in Atlantic City. Several of our members presented workshops at the conference. Joe Akinskas from Rowan University and Cumberland County College, presented the “Collegiate Forum” and “Open Forum on Instruction.” Bob Pispecky, supervisor from the Edison Public Schools, presented, “Transitioning from Music Student to Music Teacher” and Peter Griffin from the Hopewell Valley School District presented, “Music Student to Music Teacher: Nail Down that Job.” Our Last workshop in June will be held at the Kimmel Center in Philadelphia. Members will have the opportunity to tour the Kimmel Center and hear about the educational opportunities offered by the staff.

As previously mentioned, we continue to have a very good member turn out at our workshops. The success of the New Jersey Music Administrators Association depends on its members. This year we had an outstanding number of veteran administrators as well as many new faces attend the meeting/workshops. The NJMAA serves as a valuable resource for music administrators and those administrators without a music background to help them work more effectively with their staff and work more efficiently as they support the needs of the music program.

Find out more about the NJMAA. Check us out at njmaa.org; become a member.

continued on page 8

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2016–2017 AUDITION DATES Saturday, November 12 Saturday, December 10 Sunday, January 22 Sunday, February 19 Sunday, March 19

rowan.edu

Department of

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Band Performance Al Bazzel 856-358-2054 fenwayfollwer5@comcast.net

The All-State Band Procedures Committee would like to congratulate all of the the 2017 NJMEA All-State Band members and sponsoring directors for a wonderful concert! We would also like to recognize our managers for the 2017 All-State Bands - Darrel Hendricks, Nick Mossa, John Scozzaro and Joe Spina. Special thanks to our equipment managers, Deb Knisely and Brian Toth for all their hard work in ensuring all the equipment was in place for our rehearsals and concerts.

Congratulations to Kristen Park from Kinnelon High School and Michael Wang from John P. Stevens High School for being selected as the 2017 NJ Governor’s Award Recipients for All-State Band. They will be honored at a ceremony in May.

2017 NJ ASB Governor’s Award Recipients Michael Wang & Kristen Park

2017 ASB Four Year Members Kelly Yu, Michael Wang, Ehtan Kang, Joseph Giguere, Kristen Park & Dominick Scalia

The 2017-2018 solo list is included in this issue. The committee has reviewed all recommendations for solo changes and there are several new additions to the list. A reminder that the battery audition will include snare drum rudiments, solo and sight reading, the traps studies, found on the website, and a mallet etude, found on the solo list. All audition information and requirements are on the website. Continue to check www.njmea.org throughout the summer for updates, conference information, and important links.

I would like to thank the region representatives of the All-State Band Committee. If you have any questions or concerns, please contact your specific region representatives: Region I- Darrell Hendricks, Lewis Kelly, Gregory Mulford; Region II- Brian Toth, Chris Vitale, John Zazzali; Region III- Nichole Delnero, Thomas Rafter, and Phil Senseney. Special thanks to the following Procedures Committee appointed members: Donna Cardaneo, All-State Band and Treble Chorus coordinator; Deb Knisely, auditions chair; Bruce Yurko, solo chair; Mindy Scheierman, NJBA Liason; David Britton, percussion coordinator, and Paul Oster, historian.

Thank you all for another great year! On behalf of the committee, I hope you have a wonderful summer!

continued on page 10

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Choral Festivals

Donna Marie Berchtold 609-476-6241 x1013 berchtoldd@hamiltonschools.org

NJMEA sponsors two Middle School Choral Festivals. The first event was held at Rowan University on March 1, 2017. The festival scheduled for Rutgers University will be held on May 24, 2017. Each event features middle school – junior high choral groups ranging from grade 5 – 9.

The choirs that participated at Rowan University were from the following schools: Orchard Valley Middle School from Sewell, Buena Regional Middle from Buena; William Davies Middle School from Mays Landing; West Deptford Middle School; Glassboro Intermediate School; and the 9th grade ensemble from Moorestown High School.

The adjudicators for that event were: Chris Thomas, Director of Choral Activities and Assistant Professor of Music at Rowan University in Glassboro, NJ, and Lois Miller, Retired Faculty, Glassboro State College. Host was Rick Dammers, Dean of the College of Performing Arts At the time of this writing, the program for the NJMEA Choral Festival at Rutgers is still in the process of completion. There will be two adjudicators at the Rutgers Festival: Judith Nicosia, Associate Professors of Music at the Mason Gross School of the Arts is our first adjudicator. Judith Nicosia serves as Host for the event. We are waiting on confirmation from our second adjudicator.

The Coordinators for both Festival events were: Donna Marie Berchtold, NJMEA Choral Festivals Chairperson from Wm. Davies Middle School, Mays Landing; and Karen Blumenthal, Von E. Mauger Middle School, Middlesex.

At the Festivals, each participating choral group received written and aural evaluations by the adjudicators, along with a plaque from NJMEA which recognizes the commitment and involvement by the school, its chorus, and the director(s).

Any schools interested in participating in the Middle School – Jr. High Choral Festival(s) next year, should be sure to complete the application form in the January issue of TEMPO magazine, or online at www.njmea.org.

No dates have been scheduled yet for the Spring Choral Festivals of 2018. For more information, contact Donna Marie at: berchtoldd@hamiltonschools.org, 609-226-7751 or Karen Blumenthal, Von E. Mauger Middle School at: blumenthalk@middlesex.k12.nj.us , 908.581.5053

Choral Performance Kathleen Spadafino 908-208-5980 kspadEB@aol.com

OK, you can make it! You’re still in the middle of final concerts, graduation prep and senior awards. Summer and relaxation await you, and it’s not long now. I would like to take this opportunity to thank the many people who have helped with All-State Chorus this spring.

Our 2017 auditions are done, and the Mixed Chorus for 2017 and the Treble Chorus for 2018 have been chosen. The first rehearsal for the Mixed Chorus will be Saturday, June 10 from 2:00 – 5:30 pm. We have moved the time due to ACT exams. All directors and accepted students will be notified of all rehearsals, and all announcements will also be on the NJMEA website. Our Mixed Chorus conductor this year is Patrick Hachey from Roxbury HS. Our conductor selection committee listened to applications for the Treble Chorus conductor in April, and they will contact the person selected. continued on page 12 TEMPO

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Creativity Scholarship Artistry

Make music...

Make a difference

The College of New Jersey • Department of Music The Department of Music is an accredited institutional member of the National Association of Schools of Music as well as a collegiate member of NAfME, the National Association for Music Education. Kiplinger’s ranks TCNJ as the #1 Best Value Public College in New Jersey in 2016 and U.S. News & World Report ranks TCNJ as the Best Public College in the “Regional Universities-North” category for 2015-16.

MAY 2017

Audition Dates November 16, 2016 (Early Decision & Transfer) January 13, 2017 (Early Decision) January 28, 2017 February 1, 2017 February 15, 2017 February 25, 2017

ACADEMIC AND PERFORMANCE SCHOLARSHIPS AVAILABLE

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Programs of Study B.A. in Music B.M. in Music Performance B.M. in Music Education Music Minor For more information visit

MUSIC.TCNJ.EDU

The College of New Jersey 2000 Pennington Road Ewing, NJ 08628

TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Our auditions worked very well, and we will be sharing all information directly with directors and students, thanks to Rick Retzko’s online registration process. I also want to thank Christie Scott, our new member of the auditions team, for her incredible work ethic as she became familiar with the many twists and turns of the audition process. Cheryl Breitzman kept us organized on the audition days thanks to the rest of our choral procedures committee: Steven Bell, Tom Voorhis, Jamie Bunce, Hillary Colton, Wayne Mallette, Matthew Lee, Helen Stanley, Barbara Retzko and Mike Doheny who all worked behind the scenes to collect, organize, check math, and enter all the scores on both days. I have been so fortunate to work with this amazing group of dedicated people as they keep All-State Chorus working for ALL directors and students.

As we go into the new school year, I will be passing on the chair of this committee to Wayne Mallette. Wayne will do a fabulous job leading the choral procedures committee! He is organized, tech savvy, and kind. The perfect combination! I had said back in September that I was going to leave the committee in June because it’s time for me to be a grandma, and now we are expecting two grandchildren in August and October! (And I didn’t even pester them!) I’m sure I will be around at some activities, and I will be working with Wayne as well. So please know that I truly love all the directors and students that I have met over the years, and I love sharing the incredible power of music in our lives.

Early Childhood Education Amy Burns 973-493-5797 aburns@fhcds.org

This year, NJMEA provided five online webinars for NJ elementary music educators for PD hours. In this month’s TEMPO, you can read a brief overview of each webinar. If you would like to view the webinars from this year, please feel free to email me at aburns@fhcds.org with your NJMEA/NAfME membership number and expiration date. In addition, if you would like to earn 1 PD hour for each webinar, and have not already done so this year, please provide me with a summary of each webinar along with answering the question of how you would use one item from the webinar in your classroom next year.

Guitar Education Thomas Amoriello tom@tomamoriello.com 908-342-7795

The following guitarists were selected to participate in the 2017 New Jersey Music Education Association Honors Guitar Ensemble. We appreciate the time and dedication in preparing your audition. The judges were Raul Huaman, Vincent Downes, Keith Calmes, and Loren C. Fortna. Students were scored on scales, sight reading, solo piece and an ensemble excerpt. Thank you to all who auditioned. continued on page 14

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Caroline L. Guarini Department of

Music, Dance and Theatre

The Caroline L. Guarini Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of The National Association for Music Education (NAfME).

Degree Programs GRADUATE

UNDERGRADUATE • • • • •

B.A. in Music B.A. in Music Business B.A. in Music Education B.A. in Music Theatre B.M. in Performance (Classical and Jazz)

• M.A. in Music Education • M.M. in Performance (Classical, Jazz and Multiple Woodwinds) • M.M. in Composition

Contact Min Kim, D.M.A. Chair

The Caroline L. Guarini Department of Music, Dance and Theatre Phone: (201) 200-2025 • Email: mkim@njcu.edu

Visit us online at njcu.edu/mdt Visit us at njcu.edu/mdt

MAY 2017

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs 2017 NJMEA Honors Guitar Ensemble Aidan George Jessica Leek Nahria Cooper Matthew Agresta Nathan Gonzalez

Tatiana Maxwell Ebony Payne Miccah Pobre Andres Ramirez Elise Smith

Louis Testa Nourel deen Ragab Sara Morgan William Hsieh Brandon Leus

Juston Munoz John Ferrante Srikanth Raguraman Benedykt Skwarek Bryan Levi

Congratulations to these students! The top four scores were awarded to Bryan Levi, William Hsieh, Ebony Payton and Benedykt Skwarek. They will be featured in a special quartet piece during the festival.

It is important to please spread the word to the teachers who you know in NJ and mark your calendars for May 6, 2017 as this will be the 4th annual NJMEA Guitar Festival at The College of New Jersey in Ewing, NJ which will feature the chosen students conducted by Loren C. Fortna as well as a featured guest artist recital from classical guitarist Candice Mowbray. http://www.candicemowbray.com/ Performance May 6, 2017 @ TCNJ (no snow date) Ensemble Performance 12:00 pm Student Showcase 12:30 pm Guest Artist 1:00 pm Personnel: Loren C. Fortna, conductor NJMEA Guitar Festival Director: Thomas Amoriello & Keith Calmes

Orchestra Performance Susan Meuse 732-613-6890 susanmeuse@gmail.com

Congratulations to all of the students selected to participate in the 2017 All-State Orchestras! The March auditions were very successful again this year. The Procedures Committee would like to thank Auditions Chair, Phil Senseney and his hard working committee. Thank you to everyone involved to help make the auditions run smoothly.

The procedures committee has selected the solo list and scales for the auditions next year. Once again, students will be required to play a specific edition for each piece. In addition, the high school scales will be different next year than the ones for this year (and last year). Please email me or talk to anyone on the procedures committee if you have any questions about audition requirements.

Right now, the All-State Intermediate Orchestra is working hard to prepare for their concert on Saturday, May 13. The conductor, Brian McGowan, has been working very well with them to perform a great program. The Honors Chamber Orchestra is currently rehearsing to perform on the same concert. Jim Millar is working with these high school students to prepare a great program as well.

The All-State Orchestra will begin rehearsing this June. The conductor bio and program will be in the next TEMPO! As always, if you are interested in getting involved with the All-State Orchestras, please feel free to email me or stop by a rehearsal.

This past March was the third NJMEA Middle School Orchestra Festival. Thank you so much to Kim Williams and Joe Simon for hosting at Bridgewater-Raritan Middle School. All of the ensembles that performed did a fantastic job. Thank you also to our adjudicator/ clinician, Michael Berry. It was a great experience for all of the students involved.

continued on page 16

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CALI SCHOOL OF MUSIC

Educating the creative leaders of tomorrow

composition education performance therapy in

through

an exceptional artistic and academic education 

mentorship by internationally acclaimed artists, educators and scholars 

inspiration and preparation to serve the community and enrich society using the transformative power of music 

developing musicianship and professional skills in ensembles, masterclasses with world-renowned artists, clinical experiences, internships, teaching  experiencing the cultural riches of New York City nearby 

Degrees: Bachelor of Music, Bachelor of Arts Master of Arts, Artist’s Diploma Music Education, Performance, Jazz Studies Music Therapy, Theory/Composition Graduate String Quartet-in-Residence Program

montclair.edu/music

Celebrating the 10th Anniversary of the John J. Cali School of Music Montclair State University, Montclair, NJ Contact us: 973-655-7610; musauditions@montclair.edu

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Retired Music Educators Kathleen Spadafino 908-208-5980 kspadEB@aol.com

We missed seeing everyone at the NJMEA conference in February – because there wasn’t one! We did see many of you, as well as colleagues from other eastern states, at the Eastern NAfME Conference in Atlantic City in April. We all had a wonderful time!

We do have a general membership meeting this year as well, on Wednesday, May 10th at 10:15 a.m. The place has not been determined yet, but if you are interested in attending, please contact me either by email or phone and I will get you details.

We would like to plan some activities to get together and share some fun and reminiscing. Please check your spring newsletter and let me know if you are interested! We would love to see you!

Special Learners Maureen Butler 973-299-0166 mbutler@mlschools.org

As the school year draws to a close, it’s a good time to look back and consider how we’ve met the needs of our special learners. If you are looking for more information about how to include them in your music class, the annual Summer Session at TCNJ on August 1st is a good place to start. This year’s presenters, including Lucia Marone, Brian Wagner (see his wonderful article in this issue) and myself, will focus on the following topics: Behavior Management for Special Learners, Teaching Music to Students with Autism Spectrum Disorder, Multi-sensory Learning Approach: Reaching All Learners in K – 5th grades, and Making Connections: Using Repertoire to Enhance the Social-Emotional Needs of Students with Special Needs. Our presenters have had considerable experience teaching students with disabilities, and you may find answers to many of your questions, as well as good ideas to bring back to school in September.

As always, if you have questions or concerns about the students you teach, or topics you want to see addressed in TEMPO please contact me at the above email address.

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TEMPO

THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs Summer Workshop Joe Akinskas akinskas@rowan.edu Summer Workshop Coordinator

Summer Workshop X-Session Update To the membership: I am excited to present the updated session roster available to you on August 1, at the College of New Jersey. Take a minute to register for the workshop now, at the Conferences link on the NJMEA homepage, and we will send you an event reminder as the date draws closer.

The workshop committee is pleased to host another enjoyable and productive event. See you in August !!

NJMEA Summer Workshop X Tuesday, August 1, 2017 The College of New Jersey 8:00 – 5:30 p.m.

Workshop Sessions

CLASSROOM MUSIC: Guitar class for the Non-Guitarist Integrating Ukelele in the Elementary Music Classroom General Music and the Cycle Class Schedule A Toolbox for Danielson-applying the framework The ‘New’ New Jersey Music Standards Update Engaging Students Through Composition On Recorder Singing/Playing/ Living For Joy! Connecting Your General Music Program to Your Choral Repertoire Multicultural Themes for General Music The ABC’s of Navigating Music On A Cart The World is Your Oyster! Building Cross-Curricular Connections through Folk Music and Movement Round and Round-More Than Just Rowing Your Boat

INSTRUMENTAL MUSIC: ‘Teaching Beginning Sound Production’ for the non-stringistbrassist-woodwind-ist- percussion-istchoral-ist….every-ist! Hands on!!

Uke Can !

Chamber Music as Literature for String Orchestras Adding Winds to String Orchestra Technology For String Instruction-Brainstorming and Problem Solving Caring for Heavy Metal Musicians (Low Brass Recruiting and Retention) Exploring Performance Literature for Elementary and Middle School Band.

I Need a Break…or…Conquering the Clarinet Bridge Challenge Been There, Done That! Maybe I Can Help You?

CHORAL MUSIC Elementary-Middle-High School Reading Sessions Rap? In My Classroom?

Teambuilding For Your Choir Music History Through Choral Singing Choral basics for the Non-Choral Teacher Teaching Chorus Improve Rhythm (performance and literacy) Through Beat boxing Warm-ups, Games and Ear-training

TECHNOLOGY: Technology Sandbox…Play All Day! Plickers, Kahoot, and More: Tools For Engagement and Assessment Flipped, Blended, Hybrid, and Virtual: Trends and Tricks For Music Teachers Google Classroom: Best Practices

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THE NEW JERSEY MUSIC EDUCATORS ASSOCIATION a federated state association of NATIONAL ASSOCIATION for MUSIC EDUCATION

News From Our Division Chairs SPECIAL EDUCATION Multi-sensory learning approach reaching all learners in Grades K-5 Making Connections: Using Repertoire to Enhance the SocialEmotional Needs of Students with Special Needs Music for Students with Autism Spectrum Disorder Behavior Management for Special Learners

SPECIAL TOPICS: Interactive Focus Sessions for Classroom Music, Choral Music, Instrumental Music, Special Ed, Technology, Recruitment and Retention. Bring your questions, concerns, techniques to share.

Mindsets, Motivation, and Performance.

Tips For Music Educators Instrument Repair: What Not To Do! “Just The Music Teacher” It’s Not Me, It’s My Brain!

A Full day of Collegial Networking and Camaraderie in summer garb! See you there…register now !

Technology

Marjorie LoPresti 732-613-6969 marjorielopresti@gmail.com

Summer is a great time to explore free tech resources and get some hands-on training. Here are a few ways to get started: • Explore the wealth of resources put together by Rachel Michel and Shawna Longo with help from Amy Burns. Visit www.njmea.org/ classroom/technology to spend some time in the virtual music tech sandbox!

• Attend the NJMEA Summer Workshop • Sign up for free tech resources and updates at http://midnightmusic.com.au/ • Join and explore the I Teach Music Technology group on “Facebook.” Even if you don’t teach music tech full time, this forum provides a place to keep on top of what’s new and to get your questions answered fast. Group members share excellent web resources and updates on new products and software.

• Explore ti-me.org and consider becoming a member. HUNDREDS of classroom-tested lesson plans, ideas, and advice on technology for the music education, plus free subscriptions Electronic Musician and other publications.

• Take an online or week-long seminar. Check out www.musicedtech.com, www.midiworkshop.com, Central Connecticut State (http:// web.ccsu.edu/smi/courses.asp) or University of the Arts (http://cs.uarts.edu/sms/courses) for course listings.

Do you teach with technology? Please share your expertise by volunteering to lead a session at the NJMEA Summer Workshop! You don’t have to know everything about a topic to present a session. Share what you do in your classes--lessons and projects that work with your students. The Summer Workshop has a really relaxed, supportive environment for presenters as well as attendees. This is also a great time to start thinking ahead about proposing a session for NJMEA 2018!

Plans are in place for the 7th annual NJ Student Music Technology Expo! The event will be held on Friday, May 12th at Rowan and on Monday, May 15th at Rutgers. Registration is closed, but if you can get a PD day and would like to come check it out, please email njmeatechexpo@gmail.com. We would love to have you join us for this unique event so that you can participate with your students in the future.

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Using A Differentiated Rhythmic And Melodic Notation System For Special Learners In All Musical Settings Brian Wagner NYC Department of Education bwagner921@gmail.com

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ne of the challenges that music teachers encounter is that many students do not automatically connect with traditional music literacy. While music contains many different types of symbols, images, shapes, letters, and languages this can be a problem for some students. Many types of learners, including special and typical learners, might have a hard time connecting with the new language of symbols.

Music literacy is a crucial and important part of the music curriculum. This includes: general/core music, instrumental, and choral settings. Moreover, reading music connects to skills that are developed in ELA, such as: reading, writing, discrimination, analyzing, and tracing.

Special learners can consist of students who: receive special education services, are classified as gifted and talented, are labeled at-risk, or receive ENL (English as a new language) services. Additionally, many students might enter the classroom with an IEP (Individualized Education Plan) or a 504 plan.

(Fig. 1)

Basic Strategies For Special Learners Many students learn through incorporating different types of modalities. The four types of learning modalities include: auditory (listening), visual (looking), kinesthetic (moving), and tactile (touching). While auditory and visual modalities are already common in the music classroom, incorporating kinesthetic activities and tactile materials might help build stronger foundations. Additionally, having students using tactile materials to feel a specific concept (ex: soft, rough, short, long), will help build a stronger foundation as well.

Lastly, incorporating various types of entry points for all students is important. All types of learners experience the world and sensory information in different ways. “Adapt the goals or outcome expectations for the student, while using the same materials for all students. Success for one student might be playing on the beat, while success for other students might be to master a more difficult syncopated rhythm.” (Adamer, 2001).

There are three important words that need to be mentioned when discussing special learners. These three words are: adaptation, modification, and differentiation. Adaptation refers to, “instructional tools and materials used to accommodate children based on their learning needs.” Modification refer to, “adaptations used with different curricular goals in mind in order for the child to achieve at the highest possible level.” Lastly, differentiation refers to, “considering the variant needs of students.” (Hammel and Hourigan, 2011).

For some students, less information is more. Some students need time to process information that might be given to them. A solution would be to incorporate task analysis. Task analysis refers to a “system for breaking down a task hierarchically into basic skills and sub-skills.” (Woolfolk, 2004). By taking chunks out of the music, students are allowed the opportunity to process less information.

“Since making music is a form of sensory input, it is important to understand your student and what causes him or her to struggle with sensory issues.” (Hourigan and Hourigan, 2009). One resource that can be utilized is using a Pocket Chart with flashcards. Different types of rhythmic/melodic flashcards can be created and placed within the Pocket Chart. For students who need less information, the cards can be taken out so they have less to process. (Fig. 1) shows an example of a Pocket Chart with rhythmic flash cards.

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Wagner Approach To Rhythmic Literacy As mentioned above, not all students will immediately connect with the icons and symbols that represent traditional music notation. These icons and symbols, such as: notes, rests, articulations, 24

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etc. – might not have any recognizable connection in the students’ world. Nevertheless, through several of the strategies listed above, all students can have an entry point at which to be able to read music.

A four-leveled system of rhythmic notation is possible to allow all students to be successful rhythmic readers.

Before notation is even shown, the first musical skill that should be introduced is steady beat. Steady beat can be learned and internalized through various ways, such as: playing on non-pitched percussion instruments, movement games, and body percussion. Nevertheless, steady beat can be the primary introduction to introducing musical notation. While students are showcasing steady beat in a variety of ways, two icons can be introduced to represent this.

A green Go sign, and a red Stop sign are the perfect representations to begin rhythmic notation. Go and Stop are two icons that are cross-cultural, are represented in students’ day-to-day life, and can easily be related to from real-life experiences. Moreover, Go can represent a sound of something, while Stop can represent a sound of nothing. Music can be written just utilizing a Go and Stop sign. For example: students will clap one time on each Go sign, and say “shh” or make a quiet hand gesture, when they see the Stop sign. This is Level One of Rhythmic Notation.

Afterwards, teachers can replace the Go sign with iconic images.

These images can represent specific actions the students should be able to do. For example: a clap sign means clap one time; a stomp sign means stomp one time; a hand drum sign means tap the drum one time. Similar to using Go and Stop, students are now using iconic images to communicate when to make a sound, while still utilizing the Stop sign when there is a sound of silence. By incorporating more iconic images, more words or actions are being incorporated into the musical vocabulary. This is Level Two of Rhythmic Notation.

Once students have mastered this, the quarter note and quarter rest can be introduced. Nevertheless, the quarter note can be colored green, while the quarter rest is colored red. By doing this, the original colors from Go and Stop are immediately connected into the notation values. Music can now be written using green quarter notes, and red quarter rests. As mentioned earlier, utilizing flashcards in a Pocket Chart is a simple, yet non-overstimulating, way of introducing this. This is Level Three of Rhythmic Notation.

Lastly, once students have mastered this, traditional black-andwhite notation can be introduced. This would represent Level Four of Rhythmic Notation. Through this four-leveled system, students are able to begin with a basic foundation (Go and Stop), and work up through scaffolded levels to traditional notation. Nevertheless, for many special learners, color-coded notation might be the strategy where they can find the most success. In this case, different rhythmic values can be introduced using new colors. For example: eighth notes can be blue, sixteenth notes can be purple, half notes can be orange, etc.

By using this differentiated system, all students are allowed to have an opportunity for success. Some students might plateau at Level Two, while some students might reach Level Four. By providing entry points into each level, students are allowed the opportunity to be successful. As mentioned earlier, some students might only be able to speak the rhythms, while other students can play the rhythms. Each of these entry points allows an opportunity for stuMAY 2017

dent success. (Fig. 2) shows an example of the Four-Leveled Rhythmic Notation System.

(Fig. 2)

Wagner Approach To Melodic Literacy Similar to rhythmic notation, some students might find it challenging to read melodic notation. Melodic notation takes the note values found in rhythmic notation; however, now different pitches are applied. Students need to apply previous knowledge in order to be able to read, sing, and play melodic notation. Moreover, students are expected to understand the concept of melodic contour, such as recognizing when melodies go high and low. “With a corresponding association, letters are to syllables as dots are to musical notes. Prereading skills of following the rhythmic pulse of words in a song can be combined with ear training for steps and skills in a scale as well as for numerical drills.” (Sobol, 2008).

Nevertheless, there are basic strategies that can be incorporated to help make melodic notation easier to connect with. As mentioned earlier, movement can be utilized to help students locate where the high and low sounds are found. Students can incorporate dancing scarves, or ribbon wands, to trace the melodic contour found in music. By using kinesthetic movement, students will incorporate muscle memory of the music, which will eventually translate to notation. In addition, students can use color-coding as well. While colors might be the foundational tool in Rhythmic Notation, they can be developed additionally in Melodic Notation. A four-leveled system of Melodic Notation can be incorporated to allow students to be successful.

In a traditional major melodic scale, there are eight pitches (from low do to high do). Moreover, we can connect the colors of the rainbow to go along with the different pitches. For example: do can always be red, mi can always be yellow, sol can always be blue. In addition, incorporating solfege syllables and Curwen hand signs can reinforce each pitch and its location around one-another.

For students who are at the emergent level, just utilizing colors can allow students to make music. Melodic notation can simply be written using colored circles, with the solfege syllable written inside.

In this example, students simply have to match the color to the pitch found on their instrument. Moreover, matching colors or objects might be a skill that is listed on the students’ IEP. Music is now being utilized as another way for a student to work on their basic skills.

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Conclusion Special learners are a valued member of every learning environment. Special learners include: students who receive special education services; students who are gifted and talented, students who are classified as at-risk; or ENL. Moreover, all types of learners are found in the music classroom, including: general/core music, instrumental, and choral settings.

As teaching students to read music is a large aspect of all musical settings, new strategies need to be approached in order to allow all types of learners to be successful. Differentiation, adaptation, and modification are three words that can allow all types of learners to have the chance to read music. Through incorporating multiple modalities (visual, auditory, kinesthetic, tactile), new ways to approach music literacy can be found. “This step-by-step, audio-visual-tactilekinesthetic approach to learning musical notation establishes a relationship between musical sound discrimination and the tonality of speech in song and literacy.” (Sobol, 2008) Two such examples are the Four-Leveled Rhythmic Notation System, and the Four-Leveled Melodic Notation System. In both examples, a variety of ways can be introduced to allow student success when reading music. Through incorporating color-coding, iconic images, and visual connections, all students can find an entry point into music notation, which will allow them to leave the music room with higher success than beforehand.

When matching pitches, students can use: Boom Whackers®, resonator bells, and ChromaNote Handbells™. Additionally, colored circles can be taped over keyboards, pianos, or Orff xylophones. This would represent Level One of Melodic Notation.

For students who are able to read rhythmic notation, a combined approach can be introduced for students who are ready for Level Two of Melodic Notation. A simple melody can be written using the rainbow schemed approach, with the solfege syllables written below. Moreover, the outside of each rhythmic value can still incorporate the original Rhythmic Notation colors, to help students discriminate between each rhythmic value.

Once students have an understanding where the different pitches are located on the staff and their instrument, Level Three would simply take the colors away. In this example, students would be reading black and white melodic notation with the solfege syllables written below. Lastly, Level Four would be to take the solfege syllables away. In this example, students are now reading traditional melodic notation.

As with Rhythmic Notation, this is a differentiated system in which students first apply a foundational baseline, which is where students are connecting colors with pitches. Gradually, students will take skills learned from Rhythmic Notation and apply it to Melodic Notation, through the use of color-coding and solfege syllables.

Gradually, as students move up the levels, they will take some aspect away to allow more independence. As mentioned earlier, some students might only plateau at a certain level. Nevertheless, through differentiation and adaptation, you are allowing each student to be able to be successful. (Fig. 3) shows an example of the Four-Leveled Melodic Notation System.

References Adamer, M. S. (January, 2001) “Meeting Special Needs in Music Class,” in Music Educators Journal, 87, 26.

Hammel, A. J. & Hourigan, R. M. (2011). Teaching Music to Students with Special Needs: A Label Free Approach. New York, NY: Oxford University Press, 79, 127 & 171.

(Fig. 3)

Hourigan, R. & Hourigan, A. (September, 2009) “Teaching Music to Children with Autism: Understandings and Perspectives,” in Music Educators Journal, 96, 44.

Sobol, E.S. (2008). An Attitude and Approach for Teaching Music to Special Learners, 2nd Edition. Lanham, MD: Rowan; Littlefield Education in partnership with the National Association of Music Education, 35 & 41.

Woolfolk, A. (2004). Educational Psychology, 9th Edition. Boston, MA: Pearson Education, Inc., 212.

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Mindsets, Motivation, And Performance: 12 Tips For The Music Educator Marjorie LoPresti 732-613-6969 marjorielopresti@gmail.com

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otivation. Practice. Stress.

Performance anxiety. These are topics well known to musicians--students, teachers, and professionals alike. The effects on our students can impact individual learning, performance, and the progress of whole classes and ensembles. Some recent topics of discussion among neuroscientists, psychologists, and educators can show us ways to help our students--and ourselves--to cope better, learn more, and perform at a higher level. The tips in this article are distilled from numerous books, professional conferences, and collegial discussions, and may help in your everyday work with students.

Growth vs. Fixed Mindsets Fostering a growth mindset in students is a hot topic in some schools. Do you (and your students) view challenges as opportunities to flex and improve your musical, intellectual, and emotional muscles? Or does dealing with something new, different, or harder present a threat that could make you look bad? In her readable book Mindset: The New Psychology of Success, Carol S. Dweck’s tells of Nadja Salerno-Sonnenberg’s journey.

This true story of a violin prodigy who got stuck while making the jump to world-class musician is instructive for everyone, not just music teachers. Salerno-Sonnenberg had a fixed image of herself, and had to protect against anyone seeing or hearing her go through the messy process of learning and growing.

Tip 1: Create a judgementfree space for students to learn and improve. By actually welcoming mistakes to diagnose and correct problems, we encourage students to let go of the fixed idea of who they are, TEMPO

and imagine who they may grow to become. Reinforce the idea that notes on a page, the sounds coming out of an instrument, and (harder to handle) the notes being sung do not define any individual. Praise risk-taking when it comes to trying new techniques and musical challenges.

Reading Mindset will be well worth your time. In addition to providing a wealth of real-world stories, Dweck clearly explains the research and science of mindsets in conversational language, and provides relatable examples from all walks of life. Throughout, she encourages the reader to explore his or her own thinking, catch a fixed mindset in action, and consider use of language carefully in how we program our own thinking and relate to others. As educators, we all know that those who put in the work get results. That’s the growth mindset in action.

Often, however, we fall into the trap of talking about talent or innate ability. Those are fixed mindset qualities.

Tip 2: Compliment students based on effort and specific action steps. This inspires more hard work and leads to real growth. Other students will hear the praise of the work, reinforcing that process gets results.

Promotion vs. Prevention Mindsets How do you motivate or encourage your students when giving instructions? So many of us only think about the growth mindset student. Typically, they are the students who want to know what to do to earn an “A” or get a top rating. Growth-minded students can also be seen as having a promotion mindset, though the two do not correlate all of the time. Prevention mindset 28

students try to avoid looking bad or having bad things happen. Many high achieving students have a prevention mindset based on a fear of getting any grade below an “A.” No person is ever wholly promotion or prevention minded in all situations. Even a growth-minded person might fear a poor performance at an audition, and get stressed out practicing one particular etude. Mindsets may vary from day to day, depending on prior events or expectations of an upcoming situation. In their book Focus, Heidi Grant Halvorson and Toby Higgins outline ways of identifying which mindset is in action at any given time, and ways to meet the needs of people with both mindsets.

Tip 3: Phrase instructions and expectations in two ways, since we cannot know the mindsets of every student every day. The promotionminded student is more likely to be a self-starter and will take cues from your instructions, so phrase directions this way: To earn an A on your performance assignment, practice effectively, keep a consistent tempo, play in tune, and follow all expression markings.

For the prevention minded student, use greater specificity while acknowledging the fear of failure: To avoid a poor grade on your performance assignment, don’t miss even one day of practice, check your tempo with a metronome, refer to your tuner, and be sure to notice and perform all tempo, dynamics, articulation and other markings correctly.

Using different angles to reach different students is an easy way to tweak verbal instructions, since every educator repeats instructions multiple times. When providing written instructions, use both encouraging language for the promotion-minded MAY 2017

student, and include a scoring rubric and specific recommendations for success for the prevention-minded student.

The Power Of A Caring Adult As A Motivator In his numerous works, Robert Brooks has researched and written about mindsets and student engagement. At a conference held at Columbia University, he spoke with passion about how one teacher can make the difference. In her interview for Tempo this past fall, NJ Teacher of the Year Argine Safari made the same point. By taking an interest in each student, then modeling a growth mindset for them, caring and compassion can make all of the difference. Perhaps you too experienced the power of one or more caring adults when you were a student!

Tip 4: Take a genuine interest in every student. Do your best to learn his or her interests, goals, areas of strength, and worries. It’s human nature to try harder for people who care. Reinforce your belief that the student can grow toward his or her goal by encouraging the student to develop a plan and to put in the work to make it happen.

Powering Through: Passion, Perseverance, And Internal Motivation Almost every musician has struggled with finding the motivation to practice at some point. How do we inspire our students to find the internal motivation to stay on course and power through when the going gets tough? Many educators are familiar with Angela Duckworth’s Grit. Duckworth talks about developing perseverance through observing and enjoying the nuances and details in deliberate practice.

Tip 5: Notice and compliment the smallest of improvements, with great attention to detail--like a bow hold, consistent tone, or steady intonation. This technique is helpful with students of any age or experience level. Examples include encouraging students to find one particular area of focus for any given practice session, like creating a smooth line in a scale, then shifting focus to using rhythmic grouping to improve speed the next MAY 2017

time. Many of us learned to focus solely on rhythm while ignoring wrong notes temporarily, then practicing at a slower tempo to correct pitches and fingering.

Finding ways to help students focus on and enjoy small nuances helps develop internal resilience as well as independent practice strategies.

Another powerful work on the subject of motivation is Daniel Pink’s Drive. Pink details research on internal locus of control, versus external factors. Students spend so much time being told what to do and how to do it. Yet, psychology and neuroscience research shows that it is human nature to work harder when the individual is calling the shots. One example is the 20% time movement, or “passion project.” This is standard practice at Google; all employees spend the equivalent of one workday per week on an individual project. Some of these have turned into Google innovations, experiments, and animated games. We can heighten motivation and engagement by finding ways to let students choose and have control over goals and processes.

Tip 6: Allow student choice and self-evaluation whenever possible.

When feasible, solicit student input into repertoire, rehearsal order, and practice strategies. Encourage students to work on solo as well as ensemble music. Follow up with honest, collaborative, rubric-based evaluations of how much progress is made and how well the students performed.

Ask for their insight into how things might be improved. You may even be surprised that they will suggest that more individual practice is needed in specific areas. If you keep an open and encouraging outlook, students will be able to take more responsibility for their learning and progress.

Stress And Anxiety Almost everyone has “butterflies in the stomach”--mild excitement and nausea from the adrenaline of anticipation anxiety. But have you ever experienced a weird, detached feeling before or during a performance? This feeling is the result of your brain shutting down from stress. Mountains of recent neuroscience findings including functional MRI studies show what happens 29

when we are under stress: cortisol levels rise and blood flows to the brain’s pain center.

Executive processing in the frontal lobe of the brain (the control center) shuts down.

These responses are identical to what happens if we are physically threatened, and can happen any time we feel belittled, shamed, or frightened. Even the anticipation of a threatening event can cause this very real physical response.

At worst, these anxiety responses can lead to crippling performance anxiety. In everyday situations, lower levels of these responses can cause students to disengage, lose motivation, and stop learning. In a very real sense, stress and anxiety can make students feel ill and not want to participate.

Tip 7: Use constructive language at all times. When mistakes happen, talk about what’s going on in the music. Keep it about what went wrong at a given moment in time, and avoid any implication that any student is a failure. Make concrete, process-based corrections for performances and improvements in creative activities.

Caveat: Sometimes musical problems really do happen because one or more individual students didn’t do their part. Try to allow students safe emotional space to accept that reality, and encourage them to explain how they plan to make it right. Guard against making any personal comments about students, or bringing up any history with particular students in front of others.

Sian Beilock has researched, written and spoken about teacher anxiety and transference of anxiety to students. While her research has focused on math teachers, the underlying principles apply to music instruction. Any time a teacher seems unsure about the content or reveals any genuine lack of confidence in himself or herself, some students may develop their own anxiety with the subject matter. Just ask any teacher about getting students to sightread. We have all seen this fear, and many of us picked it up by osmosis from our own teachers.

Tip 8: Set and maintain an atmosphere for growth, where mistakes are just road signs on the way while learning and improving. As long as goals are clear and the focus is always on improvement, everyones TEMPO

stress level will be reduced. This is especially when sight-reading!

Tip 9: Prepare, prepare, prepare!

If you are comfortable with the musical content, your students will sense that you’ve got their back, be more willing to take risks, and learn more efficiently.

If you are not comfortable with the music or musical subject matter, they will sense it. You may inadvertently transfer stress to some students. And when you can’t be 100% prepared, be honest with the students that everyone is working together on something new, and that mistakes may be a normal part of the process.

How can we help students prepare for performances, auditions and other anxietyinducing situations? Though targeted toward students facing written exams, Ben Bernstein’s Test Success presents specific strategies that can work for musicians.

Bernstein was somewhat of a child piano prodigy, and his musician’s mindset is clear in his work. Teaching these strategies to students well before a big event can decrease anxiety, and even may improve learning and performance during regular learning and rehearsal situations.

Tip 10: Journaling. Before a big event, audition, competition, or performance, encourage students to write out what they expect, fear, and hope. Ask students to include information about how they have prepared. These reflections can be completely confidential, or you might offer students the option to share them with you. “Getting the nerves on paper” gives students the opportunity to work through their fears and stressors. Often, these reflective statements end with a list of things students already have done to prepare, and a realization that things will probably go just fine.

Tip 11: Mental rehearsal/ visualization. Encourage students to do this alone, or even talk through the music or event together. When working on a specific piece of music, insist that the student take several seconds to focus, then “play through” the music in his or her mind in real TEMPO

time. Students who have recurrent mistakes while playing tend to rush while visualizing, thus ending sooner than the teacher would. Real-time visualization provides an opportunity to help students to learn to relax into the music and plan ahead for tricky passages, while being fully aware and present in their actual performance.

Tip 12: Postural exercises, breathing, and sensory awareness.

When under stress, it is common to lock one or more joints, take shallow breaths, and withdraw from our surroundings--real physical responses documented in many research studies.

These tendencies further disable cognitive function by starving the brain of blood flow and oxygen. Build new habits by getting students to try these countermeasures before rehearsal run-throughs, and encourage students to use them any time they feel stressed: Check body posture and spine alignment, feeling your bottom connect to the chair, with both feet connected to the floor.

If standing, keep knees loose, weight centered evenly over the feet, and feel energy flowing up from the feet. Move your head around, keeping the neck as relaxed and tall as possible.

Breathe deeply and let all of the air out; do this at least three times. Breathe in confidence, remembering your work preparing for this moment. Breathe out doubt and fear.

Before starting to play or sing, look around briefly and see the shapes and colors, smell the air, feel the instrument or music in your hands, and hear the silence before starting the performance.

What about you, the teacher? How do you handle the million things coming at you every day? Teaching is usually listed in the top 10 of stressful professions. While this article directly addresses strategies to help students, some may work for you as well.

If you are looking for more ways to keep yourself calm and focused, check out David Rock’s Your Brain at Work. This compilation of neuroscience and proven strategies uses real world scenarios to show you ways to be more productive and less stressed-out, even when school and life seem to drain all of your energy.

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Looking For In-Person Training?

“Learning And The Brain” is an organization dedicated to connecting educators with the latest research and its implications for classroom application.

Visit https://www.learningandthebrain. com/ for resources, conferences, seminars, and summer institutes.

References And Further Reading: Aronson, J., & Juarez, L. (2012). Growth mindsets in the laboratory and the real world. In R. Subotnik & L. Miller (Eds.), Malleable minds: Translating insights from psychology and neuroscience to gifted education. Washington, DC: Department of Education. https://nyuscholars.nyu.edu/en/publications/ growth-mindsets-in-the-laboratory-and-thereal-world Beilock, S. (2011). Dealing with academic stress: Simple psychological interventions can reduce stress and improve academic performance. Psychological Science Agenda, 25(9).

Bernstein, B. (2012). Test success: How to be calm, confident and focused on any test.

Oakland, CA: Spark Avenue. www.TheWorkbookForTestSuccess.com Brooks, R., Brooks, S., & Goldstein, S. (2012).

The Power of mindsets: nurturing student engagement, motivation, and resilience in students. In S. L. Christenson, A. L. Reschly, & C. Wylie (Eds.), Handbook of research on student engagement (pp. 541562). New York, NY: Springer.

Dubner, S. (Producer). (2016, May 4). How to get more grit in your life. Freakonomics radio. Podcast retrieved from http:// freakonomics.com/podcast/grit/ Interview with Angela Duckworth. Listen starting at 16:30 for discussion specific to deliberate practice.

Duckworth, A. (2016). Grit: The power and passion of perseverance. New York, NY: Scribner.

Dweck, Carol S. (2016, 2001) Mindset: The new psychology of success. New York, NY: Ballantine.

Halvorson, H. G., & Higgins, E. T. (2013).

Focus: Use different ways of seeing the world for success and influence. New York, NY: Hudson Street Press.

Pink, D. (2009). Drive: The surprising truth about what motivates us. New York, NY: Riverhead Books.

Rock, D. (2009). Your brain at work: Strategies for overcoming distraction, regaining focus, and working smarter all day long. New York, NY: HarperCollins.

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The Power Of A Guitar Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

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e often read interviews in which the featured musical artist mentions how music saved them in many ways, often citing the trials of adolescence, criminal activity, or simply not having any direction in life. Today we will spotlight an organization that exists to make a difference using the power of the guitar. The Guitar Over Guns Organization (GOGO) is not about students mastering musical skills such as note reading, scale virtuosity, or developing an encyclopedic knowledge of chord harmony; it is so much more than that! Founding mentor and site director Andrew DeMuro has provided us with some valuable insight regarding GOGO.

Andrea launched into the melody of the first chorus when, suddenly, all I could hear was the band backing her up. This was particularly strange to me, since Andrea’s mouth was still moving. I could see her eyes start to widen as she realized her microphone had just decided to stop working - her vocals almost completely drowned out in the ambient gym. Slowly, student spectators began to turn to one another and chatter, and the band took notice. From the back of the gym, I watched as Andrea’s gears turned. The window of opportunity to win the audience back was small, but open. She never once stopped singing. She did, however, stop playing briefly to raise her hand in the air, to invite the crowd to join in. Before the end of the second chorus, an entire gymnasium full of students was singing, loudly and proudly, ‘I wanna wish you a Merry Christmas!’

It couldn’t have gone over more seamlessly if we had planned it.

Within seconds, our students showed their collective strength and capacity to problem-solve. Most importantly, they showed an unparalleled belief in each other; an experience which can be monumental for group culture. We were sure to celebrate the effort and lightning-fast thinking of the band in our next rehearsal.

I bring up this anecdote because of the impact I know it had on our students’ self-concept as musicians. Since that moment on stage in December 2015, students in our program have performed upwards of a dozen times in and out of school, and been spotlighted for their work on multiple Chicago news platforms. They’ve visited and laid tracks in a professional recording studio, and created a music video documenting the experience. They’ve taken a private tour of Chicago’s House of Blues, and marveled at the names of renowned entertainers etched onto its storied green room walls.

In class, we created our own practice protocols and a set of values we want to live by; we challenged ourselves to try new things, take risks, and learn new songs in record-time; we identified section leaders and engaged in peer-to-peer practice; we tackled the songwriting process, performed and taught one another original music; we set goals, shattered some with ease, came up short and learned from others; we emphasized the habits that make better musicians and better people, and it showed, as 88% of our students cited that time spent playing music in a community had helped them become more self-aware and stronger decision-makers. According to one student: “Being part of the Guitars Over Guns program has helped me realize how talented my friends are, and it’s helped me appreciate my own talents. I always look forward to coming after school.”

More than anything else, we became vulnerable and willing to grow. I’m convinced that experience in the Evergreen Academy gym was a catalyst for that.

Please Tell Us About The Origins Of The Organization “Guitar Over Guns.”

Guitars Over Guns Organization (GOGO) is an arts-based youth development program focused on providing healthy after-school music & mentorship programming to students in challenging environments.

Through the transformative power of music & the arts, it is our mission to facilitate the leadership & holistic development of young people, while providing a stable and safe environment with a caring adult that may be lacking at home or in school.

The idea for Guitars Over Guns was borne out of a trip to a juvenile detention facility where musicians were able to use their craft to connect with young people who had otherwise been dismissed from public schools and written off by society. The organization began in one classroom with a single guitar mentor at a middle school in North Miami in 2008, fueled by a strong desire to connect with students before getting to the point of interaction with the criminal justice system. This year, GOGO is partnered with over a dozen schools and community centers between Miami and Chicago, building a team of nearly 50 dedicated mentors, and reaching over 600 deserving students annually through guitars, keyboards, drums, bass, vocals, rap, poetry, music production & more. In the past year alone, GOGO has been recognized for its work by the Steve Harvey Show, Eyewitness News, People Magazine, and several regional and local news outlets.

What Are Some Success Stories That You Know About From The Various Communities?

As a young organization in Chicago, we are only beginning to see the fruits of our labor; however, in order to paint a picture of what success can look like in our program, I’ll take you back to December of 2015, when the entire student body at Evergreen Academy Middle School packed into the gym to listen to the dozen students in our afterschool program during their first-ever public performance. Our young and inexperienced band labored through assorted Christmas and pop songs until it reached the finale: ‘Feliz Navidad’. Then, 7th grader Andrea was playing guitar and singing lead vocals, a goal she had been working toward since October.

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What Type Of Lessons/Instruction Is Given?

Our approach to instruction offers a unique balance between National Arts & Social-Emotional Learning standards that we believe is critical to positive youth development. We apply skill-based instruction across many settings depending on the needs our unique partner sites.

In Chicago alone, we’ve built large after-school ensembles at two public schools; we serve as the primary music instructors at an alternative school; and we operate a faith-based community center and recording studio open to all youth. While the set-up at each site may look different, the desired outcome is the same: to create a generation of young people who use music as a weapon for self-determination, leadership and empathy.

Because exposure is a great teacher, we also offer our students a variety of music-related experiences to broaden their horizons; for example, each school site engages in an annual music video project focused on an issue that matters to them, a live session day in a professional recording studio, tours of famous venues, and multiple live performance opportunities. No matter the setting, a common thread in the fabric of our approach involves teaching how music affects our environment: from self-concept, to interpersonal and community relations. This empowers students to translate musical skills learned in our classrooms to the other stages of their lives.

What Is The Typical Background Of The Instructors?

Our mentors typically identify as musicians first; many of them play professionally in their resident cities and have accumulated notable opportunities to appear on television; tour with some of the biggest names in music; and publicly release their own artistic material. We also have a group of mentors who identify as educators first, coming from careers in teaching, counseling, and social services, who have a desire to use music as an avenue for reaching young people. We’ve seen incredibly positive results when these two camps of people work together in service of our students.

Given my experience as a classroom teacher and a musician, I’m fortunate enough to be on a mentor team with another member of my own band here in Chicago, The Shades. Over the past year and a half, we’ve shared unique experiences and offered an additional layer of chemistry to our students that in turn, makes US better musicians and bandmates. With our debut EP due to release in the Spring of 2017, we’re excited to share in the moment with our kids, and hope to put together a music video project in the coming months that features them.

What Is Your Position Within GOGO And Background As A Musician?

I’ve long balanced a ‘double life’ between careers in music and education. I earned a degree in Secondary Education from the University of Miami, which placed me in different field experiences working with local students and teachers, particularly in Miami’s low-income schools and communities. No matter the constraints of my school schedule,

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music always had a way of finding me. I was the first ever freshman nonmajor to be selected for UM’s top Jazz Vocal Ensemble, where I sang for three years. During my senior year, I was honored to sing live on stage with Billy Joel during a Q&A session he hosted on our campus.

After graduation, I moved to Chicago to join Teach For America, and was employed at an all-boys charter high school on the city’s west side. While teaching special education, I founded and directed our charter network’s first sustained extracurricular choir, UPliftment, which twice earned superior ratings at the Illinois ‘Trills & Thrills’ Music Festival at “Six Flags: Great America.”

In an effort to better combine my two passions, I joined the Guitars Over Guns Organization in the fall of 2015 as a founding mentor and site director at Evergreen Academy on Chicago’s Southside. During this time, I wrote and played music extensively with my acoustic trio, The Shades (@WeTheShades), and was honored with an opportunity to represent ‘Team Adam’ on Season 11 of NBC’s The Voice.

Following my time on The Voice, I returned to Chicago to take on the role of founding regional director for the Chicago branch of Guitars Over Guns. In this role, I am responsible for managing the experiences of nearly 350 students, a dozen mentors, and four local school partners.

Through my work with GOGO, I hope to continue striking the balance between my two passions.

Do You Have A Personal Philosophy Or Mission Statement On Music Education?

Whether it’s meant putting myself in position to seize opportunities, or following the direction of adults and peers who have believed in me, keeping music at the forefront of my life has always been about finding a way.

In elementary school, my music teacher, Mrs. Whitcomb, nearly had to bribe me to join the choir she was starting for 4th and 5th graders. She found a way.

In college, I didn’t let my decision to pursue a degree in education prevent me from being active in my school’s music program. I surrounded myself with the best musicians and sang in multiple top-tier vocal ensembles. I found a way.

As an educator, I used music as a tool to connect with my students by founding and directing an after-school choir, and found time for music in my own life by helping to form The Shades, who as of this spring will be professional recording artists on all digital platforms. I found a way.

After leaving the classroom, I took advantage of an opportunity to appear on The Voice, and continue to use the platform given to me as an amplifier for the good word work of Guitars Over Guns. When it comes to the molding of young musicians and citizens, I have a responsibility to help young people build an identity to which music is so critical, that there is no other option but to find a way.

Here Is Your Chance To Invite Musicians To Be Involved With Guitar Over Guns: There are so many ways to invest in the work that we do, but in my opinion, no way is more valuable than making a genuine, face-to-face impact on our young people. To anyone who is considering becoming a mentor for Guitars Over Guns, please understand: we need you; you are valued and supported in doing this incredibly important work, and it will change your life. Please contact Andrew at andrew@guitarsoverguns.org to learn more about our programs and how to get involved.

Thank you to Andrew DeMuro for providing insight to this music education journal.

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New Work For Clarinet And Wind Ensemble Burns Brightly Joseph D’Auguste New Jersey City University Carline L. Guarini Dept. of Music, Dance, and Theatre jdauguste@njcu.edu

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ommissioning, composing, publishing and performing a new work for clarinet and band is an arduous task. Putting together press releases, sending emails, making calls, and creating social media buzz are all integral parts of the process; every last detail must be addressed before the composition of a piece even begins. Not many people can handle the heat of composing a piece at the highest artistic level, especially when combined with meeting strict deadlines and dealing with supporters, doubters, and everyone in between. Patrick J. Burns, however, did not freeze under the pressure.

Instead, he produced a wonderful new work that shows both the tenderness and virtuosity of the clarinet and supporting ensemble.

Composer Patrick J. Burns (b. 1969) drew a total of twenty-five commissioning ensembles from every corner of the United States to jointly support his new work, Rhapsody for Clarinet and Wind Ensemble.

The participating ensembles were told only that the new work would be between eight and ten minutes in length and would be completed in the fall of 2015. As to be expected from the renowned composer, conductor, publishing company owner, and professor (New Jersey City University and Montclair State University), the fire has been burning brightly as the project has come full circle.

Joseph d’Auguste: Having composed and arranged pieces for virtually every ensemble, why did you pick clarinet solo with wind ensemble for this commissioning project?

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you’re told that you should avoid writing for your own instrument since you know it best and you should explore other instruments and media. So, I intentionally avoided writing for clarinet since it is my primary instrument. Naturally I wrote for it within the context of other ensembles (woodwind quintet, various chamber ensembles, band, etc.), but never as a solo instrument until the RHAPSODY. I had a fine career as a young clarinetist and that career was developing nicely when a nerve problem in my right hand cut my playing career short. Having now established myself as a composer, I wanted to write a piece that I would love to have played, if I still had the ability. Also, there seemed to be a great interest in generating a new work for clarinet and band, as indicated by the number of participating ensembles in the consortium headed by NJCU, so it just seemed like the perfect time to write the piece.

JD: Rhapsody for Band was premiered with you directing the wind ensemble at NJCU. What is it like to conduct your own music?

PJB: I’m more or less indifferent toward my own music when I’m conducting it. I spend the great majority of time working on other composers’ music, and I actually prefer that to conducting my own work. But I don’t dislike directing my own pieces, either. I regard each piece of music as its own separate entity - much in the same way that each individual person is unique and different from any other. So when I conduct, I give my music neither more nor less attention in the preparation process, apart from the normal consideration one must give to a particular piece which may require more rehearsal time to 34

polish for performance. If mine is the one which requires more, then so be it. But in general, as a conductor, I regard my music as valid as anyone else’s but not more so, by any means.

JD: Are there any composers that influenced your compositional style?

PJB: Oh yes, very many. I’m hesitant to mention them here because I know I will leave many out and I also may invite others to hear influences which may or may not be there. I will say that musical form is more important than harmonic vocabulary and overall style in relating a piece to an audience. If the form makes sense - that is to say, if the music unfolds in a way that allows the listener to follow all of the intricacies of a piece as they happen one after another - then the music will resonate with the listener. There are many great composers whose formal structures invite and lead the listener through pieces, but a few who impress me greatly are Ravel, Walton, Respighi and Rachmaninoff. Within the scope of the wind band, the elegance and beauty of Alfred Reed’s music has been a great influence.

Reed was particularly good at giving life to the inner voices in a musical texture, a style trait of his that I first became aware of in high school. I’m sure that this technique alone has had a great effect on my writing.

JD: One vein that runs through your compositions is a great sense of color and emotion, as well as mechanical rhythmic gestures. Why do you think that is?

PJB: I don’t write music which can easily be broken, as I like to say. In other words, I want musicians who play my MAY 2017

work to really dig in and get to the core of each musical idea. I want my music to be inviting to the listener, of course, but I want the same thing for the performing musician and for the conductor who prepares my music in rehearsal. In order to do this, I have to keep people interested in the music at all times; at least that what I strive for. All composers want the same thing in this regard. And the best way for me to accomplish this is by highlighting great contrasts between intricate and precise rhythmic writing with beautiful and flowing lyricism. If things are too much the same for too long a period, everyone will get bored and tune out; even me!

JD: In Rhapsody for Clarinet and Wind Ensemble, each movement shows off either the extreme range, technical facility, or lyric quality of the clarinet. Was it your intention to touch on each of these qualities of the clarinet, or did the piece naturally evolve that way?

PJB: Yes, I wanted to get as much out of the instrument as I could in that 10-minute time frame. Having played many sonatas, concertos, and three-part works in general, I have noticed that very often the first movement of a solo piece is the most intricate and thoughtful of the three. Then, typically, you have a lyric second movement followed by a less intricate but highly entertaining finale. With Rhapsody, I decided to lead with the music which was least intricate up front, followed by the standard lyric second movement.

The third movement is, by far, the most complex music in the whole piece, and it takes up about half the duration of the score. I think writing in this way gives the performer, and the audience, time to settle in and get ready for the real “work” which happens later in the piece rather than sooner. Again, thinking as a performer, I’d want to be warm and ready for the heavy lifting .

JD: What composition projects do you have coming up?

PJB: I’m taking a little break from writing now because, unlike many of my contemporaries, I do not feel that writing all the time is a good thing. Incidentally, MAY 2017

Ravel believed himself a less-than-great composer, not so much because he was modest, but rather that he felt he did not write enough to be considered among the greats. (He wrote only 85 pieces in his entire life). But I think Ravel was great largely because he didn’t write that much in comparison with many other well-known composers. The same is true of the composers I mentioned earlier, by the way. But when they did write, they had a great deal to say.

So anyway, I’m finishing a small work for the Bloomfield Youth Band, a wonderful group I founded in 1986 and still conduct today. It’s our 30th anniversary season and I’m writing a little something for them. I love to orchestrate music from other media for band, so I may do something of Rachmaninoff or Germaine Tailleferre for band. Then after that I’ll have a bigger work for the fabulous Ridgewood Concert Band, one of the finest adult bands in the country. They and their terrific director, Chris Wilhjelm, have been such great supporters of my music over the years and have played much of what I’ve written. I wrote Soundtrack for them a few years back, and another work called Perfect Trip in 2003. I have another work in mind that they will premiere in the 2016-2017 season, which I know they will bring off beautifully - whatever it is! I’ll also be doing a piano reduction for the second movement of the Rhapsody, which should work quite nicely. I may do one for the whole piece, but I’m just not sure yet.

JD: Having had a prolific career as a composer, professor, conductor and clarinetist, do you have advice for composers who want to take on the task of writing a new work for clarinet?

PJB:: I may be showing my bias toward the clarinet here, but I believe that this instrument is, by far, the most versatile of all the woodwind instruments. There is basically nothing that it cannot accomplish in the hands of a master player. I could list all the reasons why, but no one has time for that.

Suffice it to say that the clarinet offers the composer a massive palette from which to work in terms of range, dynamics, timbres (plural, as the registers are very different, one from another), idiomatic writing, etc.

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JD: Rhapsody for Clarinet and Wind Ensemble will have upcoming performances all over the United States. It must be incredibly exciting to see your work recognized in this way. Do you think this work will become a staple in the repertoire for clarinet and band?

PJB: Of course I would love that if it comes to pass, but I couldn’t say. That will be up to clarinetists and directors to decide. It’s literally out of my hands now!

JD: Are there any places online where listeners can hear your works?

PJB: Why yes! I have a YouTube channel (Patrick Burns) which is very active.

There, people can find all of my recorded music, regardless of where it may be published. Also, Bandworks Publications, the outfit I founded in 2010, has a very active Facebook page and website (www.bandworkspublications.com). My personal page on Facebook has lots of music that I post there, too.

Editors note: Patrick Burns has been a professor of composition at Montclair State University for many years and has been adjudicating the New Jersey Young Composers Contest for over five years and is one of the people responisble for starting this event with Robert Frampton and Andrew Lesser.

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Recap of NJMEA Elementary Music Webinars From The 2016-2017 School Year

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t has been another wonderful year for our elementary music webinars.

Back in 2014, I started asking elementary music educators to record webinars about relevant topics for our NJMEA members. My goal was for elementary music educators to be able to earn a professional development hour at a time that was most convenient to them. I am so pleased that we have had amazing educators such as Missy Strong and Musicplay author, Denise Gagne. This year, we have had five webinars. They focused on technology integration, assessment, and approaches in the elementary general music curriculum. I am hoping to have more webinars for the 20172018 school year.

Amy Burns Far Hills Country Day School aburns@fhcds.org their classrooms by scanning a QR code or using a text code sent to their email/Google accounts. Parents can access their child’s journal through notifications that are received on their smart devices. Seesaw is an internal network so the items that are being posted can only be seen by the teacher and the parents of the students tagged in each post. For example, if my daughter Sarah is singing a duet with another kindergartner, and the music teacher wants to post it on her Seesaw journal and the teacher tags Sarah and the other kindergartner, then only I and the other kindergartner’s parent can listen to the song. Seesaw has three versions: free, Seesaw Plus for $120 a year, and Seesaw for Schools, which is priced per student.

To recap our 2016-2017 webinars, here are highlights from each of them. If you would like to view them, please email Amy at aburns@fhcds.org. If you complete a summary and answer a question about the webinar, you can earn 1 PD hour for each webinar.

1. Seesaw for Elementary Music Educators: Amy M. Burns, elementary general music educator and an ambassador for Seesaw (web.seesaw.me), demonstrates how to use Seesaw in the elementary music classroom. Seesaw is a student digital learning journal. She highlights how students can showcase their musical creations, assessments, concert selections, performances, recordings of their singing assessments, and so much more. Students can add their work via directly taking pictures with the app, recording directly into the app (audio and video), sharing links from websites, uploading files, and app smashing with numerous apps from GarageBand to Book Creator.

Seesaw works across multiple devices from iOS to Chromebooks. Students can log into TEMPO

2. An Introduction of Conversational Solfege: Missy Strong, an elementary music educator for the Mount Laurel Township Schools, gives an introduction to John Feierabend’s Conversational Solfege (CS) approach in the music classroom. She explains how to introduce 36

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5. Using Technology for Assessment in the Elementary Music Classroom: This is the most recent webinar posted for NJMEA’s elementary music educators. Amy shows the various technological tools that one can use to assess elementary music students, especially when one is trying to show how a student reaches the SLO/SGO for the class. These tools can vary from one device in the classroom to a 1:1 classroom. It also covers multiple devices from iOS to Chromebooks.

This has been a wonderful year for webinars and I hope to provide some more next year. Have a peaceful and relaxing summer!

this approach when your students are already tuneful, beatful, and artful. CS is similar to a conversational language program. She discusses how CS is not a comprehensive curriculum as it is only one of three parts of every general music lesson. In addition, she explains how the main focus of CS is building a rock solid “ear foundation” before moving to reading/writing notation. Missy’s webinar goes through the eight steps and shows amazing student examples.

3. A Great Day with Denise Gagne: This webinar featured highlights from the October NJSMA workshop that showcased the famous Denise Gagne, author of numerous materials such as Musicplay and Learn and Play Recorder. The highlights feature songs, dances, and activities from a variety of Denise’s series. In addition, there were excellent performances from the 6th grade Copeland Orff Ensemble directed by Ardith Collins and from The Two Ukes (Jody Adessa and Casey Goryeb).

4. Using Technology with the Feierabend Approach: Earlier in the season, Missy Strong and Amy M. Burns ventured to the Texas Music Educators Association in coordination with the Technology for Music Education (TI:ME) to present “Using Technology with the Feierabend Approach.” It was a highly attended session that showed Missy’s journey to using Feierabend’s First Steps and Conversational Solfege in her classroom as well as how Amy uses technology to enhance the concepts taught using the Feierabend Approach. Special thanks to SC music educator and elementary tech expert, Cherie Herring, for taking the video of the session.

Amy M. Burns (aburns@fhcds.org) has taught PreK-grade 4 general music for 20 years at Far Hills Country Day School. She has authored 3 books on how to integrate tech into the elementary music classroom. She has presented many sessions on the topic, including 2 keynote addresses in TX and AU. She is the recipient of the TI:ME Teacher of the Year, NJ Master Music Teacher and Governor’s Leader in Arts Education Awards.

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Learn about ARTS merit scholarships in music at: bucknell.edu/ArtsMeritScholarships

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The Student Teacher In The Guitar Classroom Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

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uring the 2016-17 school year I (Tom Amoriello) was approached by The College of New Jersey to be the co-operating teacher for two music education majors who both specialized in the classical guitar as their applied instrument of study. Normally public school music education positions are held by those with concentrations in voice, piano, band and strings. I was excited by this undertaking as I began the school year. It was important to me to share lesson plans, articles, lesson coaching and more with these future guitar educators as one of my missions as the NJMEA Guitar Education Chairperson is to expand instruction throughout the state. This was my first time as a cooperative teacher. It was interesting to watch somebody at first mimic my teaching style then develop their own. Also note that TCNJ is a guitar friendly institution that has hosted the last two NJMEA Honors Guitar Ensemble Recitals at the Mayo Recital Hall.

Christopher King and Nicholas Brown are both studying the guitar with me (Michael Newman) at TCNJ. The guitar plays an integral role in training our future teachers of music. Prized as one of the region’s leading colleges for training music teachers in a rigorous learning environment, TCNJ has included guitar instruction in their curriculum for over 40 years. A sure way to engage students is through guitar music of all genres. Because the guitar is the most popular instrument in America, having a great command of the guitar and how to teach guitar playing to students are important tools for our music educators to possess.

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Michael Newman The College of New Jersey newmanm@tcnj.edu

At TCNJ, all music education majors participate actively in a class that spends a full semester reviewing numerous guitar methods and approaches to learning basic technique and musicianship on the instrument. These music education majors present informal and formal concerts, demonstrating their ability to play the guitar, just as they will teach guitar playing to numerous young folks for generations to come. The enthusiasm of the music education majors embracing the guitar is a great inspiration.

Because they enjoy learning, they will impart that joy to their own students. In addition to guitar-related student teaching opportunities at public schools throughout New Jersey, I bring the music ed majors to do demonstrations at high schools, sharing their excitement about learning AND teaching the guitar. I also arrange for them to do pop-up demos around campus, including at the Starbucks and Barnes & Noble Cafe, art gallery, and on the lawn. The music education majors with guitar concentrations with whom I work are uniquely qualified to bring their skills to the classroom, where many school districts throughout the country are offering opportunities for music teachers to develop advanced programs in guitar playing, encouraging students to learn ensembles skills through the guitar, just as they would in orchestra and band participation. Now is an exciting time for young guitar enthusiasts to refine their skills and gain the training to pursue a meaningful career teaching music through the guitar.

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Please Tell Us About Your Music Education Before You Started At TCNJ. Christopher King: Music education is an aspect of my life that has been relevant for as long as I can remember. I was lucky to have a musical family growing up. With a mother who is currently an elementary music teacher and previously taught privately out of the comfort of our own home, I was exposed to music at a young age. I began playing piano before I started playing any wind instruments like recorder or saxophone, so I had a “head start” to reading music. Although the piano never progressed in my life to become a main instrument, I still gained a lot from learning how to read the staff at a young age. During my middle school years I was in the wind band and I did that until my senior year in high school.

I began my guitar studies when I was 11 at a local music store that my two uncles own, and from there the guitar became a lifelong passion. I went through many teachers as a young teenager and benefited from all of them in different ways, but my guitar studies were never really too “formal” compared to learning how to play an instrument in a public school setting. My music education was informative before going to college, but getting to college made my aptitude for music education much higher.

Nic Brown: My music education started off in a similar fashion to most of my peers. I went through Franklin Township Public Schools in Somerset County from kindergarten to twelfth grade. I had regular general music classes from preschool MAY 2017

through sixth grade (although I don’t remember ever learning the recorder, which I would later find out was practically ubiquitous throughout most other general music classrooms). I also had brief stints singing in choir and playing flute in band when I was in third grade and fifth grade, respectively. Neither of those experiences ended well. By the time I reached middle school, I didn’t participate in music studies beyond what was required by the district. In seventh grade, I had a marking period of keyboard, but it didn’t really stick with me. Then, at the end of that school year, I saw there was a semester-long guitar course being offered for the eighth-graders.

By that point, I had spent several years listening obsessively to the catalogs of classic rock outfits like Queen, The Beatles, and especially Led Zeppelin, so I was enthused by the prospect of learning the instrument that was so essential to the songwriting and sounds of those bands. I signed up for the class as soon as I could get a pen.

I think when I began learning guitar is when my music education became somewhat more unorthodox than that of the average public school music teacher, most of whom learn on instruments meant to be played in traditional large ensembles. Although that guitar class wasn’t a pleasant time—some middle schoolers can be quite mean— it allowed me the opportunity to explore the instrument every day.

Taking guitar in a school setting also meant that I learned right from the start how to read music on it, which is a rarity for guitarists since most learn how to play through tablature and chord diagrams, both of which I think are incredibly important tools to learn, but useless when you’re trying to communicate with other musicians. After that class, I began taking weekly private lessons outside of school and I learned that my high school offered several levels of guitar classes to students. In fact, it was one of the most robust guitar programs in the state. For all four years of high school, I took guitar classes every day with Roger Spinella and continued with private lessons.

As a sophomore, I joined Franklin High School’s Guitar Ensemble, which met once a week after school and shared concerts with the school’s string orchestra, which was directed by Roger’s wife, Maryann. By my senior year, I knew that I wanted to study music, so I took Guitar V, AP Music Theory, a keyboard skills class, and a voice class. After I graduated high school in 2012, I decided to utilize the NJ STARS scholarship program, which allowed students to attend their local community college tuition-free for up to five semesters if they were in the top fifteen percent of their graduating class. Since I was still trying to figure out what I specifically wanted to do with the guitar, I enrolled at Raritan Valley Community College in its Associate of Fine Arts in Music degree program and began taking classes in Fall 2012. I think that community colleges often receive a bad reputation as a place for people that can’t make it anywhere else, but I think that my time at RVCC was a very formative experience on my path to becoming a better musician and teacher. The music education that was offered was very informative and did a remarkable job of getting my peers and me prepared to transfer to four-year music programs. My time in community college also allowed me the chance to discover what exactly it was I wanted to do with music and continue learning topics musical and non-musical without spending even half as much money as I would have at a four-year university. In my first semester at RVCC, I chose to study jazz guitar because I had spent most of my time on the instrument up to that point focusing on plectrum technique rather than classical fingerstyle technique.

However, I quickly realized that I did not enjoy improvising and I MAY 2017

much preferred the classical approach of learning a piece that had been written out in its entirety in some form of notation. Once this occurred to me, I switched over to classical guitar and began to explore as much of the repertoire and techniques as I could so I would be prepared to transfer to another program. Fortunately, I found a teacher who was very passionate about classical guitar and he taught me an incredible amount in the year and a half that I studied with him. Every lesson I had with him had me practicing sight-reading and learning new techniques and discovering new repertoire. I don’t think I could have asked for a better introduction to the classical guitar. In 2014, I completed my auditions at a couple of four-year institutions, graduated with my associate degree, and transferred to The College of New Jersey to begin work on my Bachelor of Music in Music Education.

Chris: What Are Your Guitar Studies At TCNJ Like?

CK: My guitar studies studies at TCNJ are currently and always have been phenomenal! I have been blessed with two great guitar instructors in the four years I have spent at the school. My studio teacher has been Michael Newman, of the Newman-Oltman guitar duo, for the past 3 years. My first year at TCNJ I was taught by James Day who is now the Dean of the School of Arts and Communication. Not only are my teachers guitar instructors to me, they care more personally about my well being as a student and professional than any other professor/teacher I have met. Although my lessons only span one hour and studio one hour and a half once a week, my guitar instructors have influenced me in many ways. I look at the world differently every time I leave a lesson and my teachers have influenced my way of living life as well as my habits as a musician. I have learned how to set precious time aside to meticulously study the instrument of my amusement! It is truly an amazing area to study for guitar has always been a passion of mine, but music and education can be a particularly taxing combination. This being said, I can confidently say that my guitar teachers have always encouraged me to do my best and to continue on the path that best fits my interests. Aside from my teachers, I have been able to cooperate with many other guitarists throughout my years at TCNJ. I was fortunate enough to perform and practice in a few different guitar quartets, quintets, and trios coached by Michael Newman. Participating in a guitar ensemble is and has been a fantastic experience; it has increased my musicality, aptitude, gratitude, and capability to participate and coach ensembles. I have participated in numerous masterclasses and performed several times with the guitar ensemble and each time has been a significant experience. I will look back on my college career after I graduate, and will always think of the guitar ensemble as the most significant and most fun thing I participated in. My time with the ensemble has definitely influenced who I am today for the better, and I would encourage any readers and future students to join an ensemble as well.

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Nic: You Are Enrolled As A Music Education Major At TCNJ. Please Tell Us About Your Goals/Intentions After Graduation?

NB: I’m absolutely intent on becoming a music educator because I want to share my knowledge and passion for music with as many people as I can, but I’m still trying to determine what teaching setting my personality and pedagogical style would be most appropriate in. My passions and aptitudes seem to indicate that I would probably be best-suited as a guitar and music theory teacher. I also believe that I would be a more effective educator if I continued to expand my content knowledge of both music and pedagogical techniques, which I think would allow me to more clearly model for and communicate information to my students. Having taken these factors into consideration, I plan on applying to graduate programs for guitar performance and music theory pedagogy in the near future, although I’ll definitely be taking a year off from full-time coursework so I can prepare for auditions and hopefully find some part-time work as a teacher. I think I would eventually like to obtain my doctorate in guitar performance or perhaps even music theory, but I’ll see if I can get through a master’s degree first. As a music educator, you’re often called on to lead things you may not have much experienced with, so I also want to spend a lot of time addressing some of the areas in which I believe I have deficits, particularly ensemble conducting, ear-training skills, and sight-reading on the piano.

is time management; this is extremely important when teaching time sensitive lessons. The teacher must know when to give ample time and when to move on. Not every lesson will be timed perfectly with your lesson plan, but it is important to know your students and be able to accommodate for their needs. Time management can make or break a lesson especially with younger students. They need the right amount of time to complete a task without having too much ample time to distract them, and this can be applied to all levels of students. This is something that did not come overnight for me, but overtime I was able to increase my ability to accommodate for my students and this ability is still being built upon every time I teach.

Nic: What Advice Do You Have For Future Student Teachers Before They Begin Their Placement?

NB: Be aware that you’re probably more critical of yourself than anyone else is. It’s okay to be critical of yourself, in fact, that’s how you grow, but you also need to give yourself credit when you improve upon something or do something right. In order to be a good teacher, you need to be confident in your abilities or else the students won’t trust the information you’re giving them.

Chris: Please Tell Us About Your Observations/Evaluations And Any Strategies That You Used To Prepare?

CK: I tried to remain calm at all times, stick to my lesson plan (but always allow for slight improvisations since all classes are different from each other), and be myself. My evaluators were my professors in college and they wanted to see that we can handle being in front of students. With that in mind I did my best to feel comfortable around my students and create a friendly atmosphere in which my professors and my students could enjoy. Teaching is very much like putting on a show, and when I was observed it was like putting on an important show in which I was getting graded.

This thought is obviously nerve-wracking, but in order for me to cope with this I would do my best to acknowledge the existence of my supervisor in the room and teach just like I normally would.

By putting my students needs first and being myself I was more so able to calm my nerves. Of course my grade mattered to me, but I couldn’t have stopped caring about the reason I was teaching in the first place: to make meaningful connections with all of my students.

When keeping that in mind, it was hard to have a bad observed lesson; the students knew this was important to me after I explained what it was about, and I knew that their education is important to them and their parents. Consideration of others is key to success when trying to create good relationships.

Chris: What Are Some Key Aspects You Learned During Your Time As A Student Teacher In A Guitar Classroom?

CK: Don’t be afraid to be yourself! Authenticity is key for creating an authentic learning atmosphere. I remember the first day I stepped into the classroom with 20-25 sixth-graders with guitars in their hands. To say the least, I was scared. I never experienced this type of setting in a public school system before, and the first few weeks was sort of a culture shock experience for me. All of what I learned in college applied to teaching in this school, but the unpredictability of the students behaviors and their attitude towards me was what scared me the most. I was urged to just be myself, in which I responded, “I feel like I am myself, but I still don’t know how to ‘be myself ’ in front of the kids.” I will always discover a new way to “be myself ” in front of my students and every day I evolve as a growing human being. The important part is to always stay true to yourself and to not be afraid to expose your inner persona. Moreover I learned that having goals and objectives for your students is extremely important. Sometimes students might ask the question, “Why are we learning this?” or, “How does this apply to my life?”

These questions can be asked by students at unpredictable times and it is important that the teacher anticipates these questions and has a viable answer to their students. The difficult part is that the answer varies based on student to student, and once a teacher is able to understand how one student ticks compared to the other - this question will be asked less often. Another key aspect that I have picked up on TEMPO

Nic: What Was Your Favorite Part Of The Student Teaching Experience?

NB: I found the entire experience to be very positive, so I don’t think I could definitively say that any one part of it was my favorite.

I loved being able to share my passion for music and the guitar with the students every day. I loved the natural curiosity that the students had for the things I was teaching them about. If I really had to pick just one thing as my favorite, it would have to be when the students actively asked me questions about the things they were learning because they wanted to better understand the concepts. Not only did these questions give me the opportunity to talk more about music and the guitar (which I love doing), but it also showed me that they interested in what I was talking about.

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Chris: What Are Some Ways You Used The Guitar During Your Chorus Practice?

CK: I did not use my guitar during choir practice, but I use my guitar in my first placement in a general music setting for kindergarten to third grade. The students loved the guitar and loved to sing along while I strummed simple chords. Ways that I could have used my guitar in choir could have been during warm-ups. The only thing that held me back about using my guitar with a choir was the very quiet nature of the guitar. On on hand I thought that it might make the students listen more closely, but on the other I was afraid that the students would not be able to hear the pitch as well as a piano. I think the guitar can be very useful as an accompaniment instrument, but maybe not practical for a full choir.

this to be particularly challenging because I am generally a pretty low-energy individual, so I was often concerned that there would be too long of a transition from one activity to another and the students would disengage. I also found differentiation to be a particular challenge due to the wide variety of learning styles and levels of the students. There were often students that I had to sit down with and individually address certain concepts with, but there were also students who would be way ahead of their peers, so I would have to find more challenging repertoire and skills for them to work on.

What Surprised You Both The Most About Your Experience?

CK: When I first began my college career at eighteen years old, I decided I was going to become a music teacher. At first, the idea of myself talking in front of a group of people for more than 5 minutes frightened me. Now I feel much more comfortable being in front of a group of people and being the center of attention for as long as needed. This confidence did not come overnight, and the most surprising thing about my experience was that by the time I had been in front of students for over a week, the thought did not even phase me at all. All throughout college I dreaded teaching a 10-15 minute mock lesson because it seemed like such a long time to be teaching.

Now I feel as if I cannot get anything done in less than 45 minutes!

Overall my boosted confidence in presenting and teaching surprised me the most.

NB: When I arrived, I wasn’t exactly sure how enthusiastic the students would be about music or how receptive they would be to me as a teacher; but I quickly learned that almost all of them were interested and willing to lend me their ears if I could prove to them that what I was teaching was worth being passionate about.

Nic: Please Share A Little Info About Your Best Lesson Plan During Class Instruction?

NB: Toward the end of my student teaching placement at RFIS, I did a group songwriting project with the sixth grade classes I was teaching, where the students had to come up with lyrics and chord progressions to play together. I liked the idea of this project because it allowed them to be creative and make practical use of the skills they had been learning during the marking period (i.e. guitar chords). I began the lesson by showing the students two songs I had written, one a setting of “Captain Hook” by Shel Silverstein meant for young children, and the other a song with lyrics and a style that took influence from punk music. I used these songs as examples of the ways a songwriter could make music in different ways depending on what they were trying to express. I felt that it was necessary to emphasize to the students that I was not expecting them to come up with completed songs in the two lessons that we would be working on the project because many of them felt uncomfortable sharing their ideas. I really just wanted the groups to share what they had come up with as a way of showing each other even more ways that songs could be written. In retrospect, I think that the project would have benefited from having a few more restrictions than what I gave them, because many of the students felt overwhelmed by the sheer possibilities. The next time I try a similar lesson, I’ll probably try to give the students more structure to start off with.

Thomas Amoriello is the Guitar Education Chairperson for the New Jersey Music Education Association and also serves on the NAfME Council for Guitar Education as the Eastern Division Representative. He teaches guitar for the Flemington Raritan School District and Hunterdon Academy of the Arts. Tom graduated from the Shenandoah Conservatory of Shenandoah University with a Master of Music Degree in Classical Guitar Performance. He is the author of the children’s picture book A Journey to Guitarland with Maestro Armadillo, available from barnesandnoble.com.

Michael Newman has directed Guitar Studies and Ensembles at The College of New Jersey since 2014. During the 1970s, Michael Newman gained international recognition as one of the outstanding concert guitarists of his generation. Soloist with the Atlanta, Seattle, and Honolulu Symphonies; and featured in national media: People Magazine, Larry King Show, New York Times, Guitar Player Magazine. A graduate of Mannes College of Music and the Aspen Music School and Academia Musicale Chigiana, he has served on the guitar and chamber music faculty of Mannes College the New School for Music in New York City since 1979.

What Aspect Of Being In Front Of Children Was The Most Challenging For You Both?

CK: The most challenging aspect for me was staying on topic; many times I would discuss a side thought or the students would ask a question that would get me off topic. Sometimes this helps the lesson in a good way, and other times it turns the lesson ugly. By trying to stay on topic I would write down key objectives of the lesson and keep them handy whenever I felt as if the lesson was going off topic. I did not start doing that until the second half of my second placement and it helped me immensely. For anyone who thinks they really know how to stay on topic in front of kids without a simple reminder might want to think twice; kids are very elusive but this can be used to a teacher advantage! Turn their curiosity into enthusiasm regarding your class and lessons.

NB: I almost always felt very comfortable in front of the students. I have a very silly, dorky sense of humor which seemed to be pretty compatible with that of a 6th grader. However, children that are this young can lose focus pretty easily, so it’s imperative you make sure they remain engaged in some way for the entire class. I found MAY 2017

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Your Front Ensemble: Mic’ing, Mixing, & Modern Sounds Marcus Neudigate Reprinted from Missouri School Music

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reating a well-produced live sound is a delicate balance between microphones, mixing, speakers, and a variety of other factors in-between. We’ll work through the process all the way from choosing the right microphones to mixing your full sound. Your Front Ensemble is about to get dialed-in.

Microphones: For our purposes, we’ll consider the two types of microphones you might use for mic’ing your front ensemble: Dynamic microphones and Condenser microphones. In a nutshell: • Dynamic Microphones: Close range (6-8”from source), sturdy, relatively inexpensive, no power needed • Condenser Microphones: wider frequency response, more range, requires phantom power, more delicate than dynamic mics • Condenser microphones are ideal for the keyboard instruments, picking up clarity in both attack and resonance: this is especially noticeable when varying mallet selections throughout your show.

Dynamic microphones can be used for acoustic keyboards, but lack the clarity achieved with condenser mics. Marimbas often need 2 microphones to pickup the entire range of the instrument, while vibraphones only require 1.

Microphones are not often used for xylophone or glockenspiel, but rare cases where they are needed, 1 microphone should do the trick.

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Microphone Recommendations: • Highest Recommendation - Audio Technica AT2035 • Budget-ShureSM57 • Extreme Budget - Shure PGA57 • Runners up - Shure PGA98H, Audio Technica PR037 • The Audio Technica AT2035 is a large diaphragm condenser microphone that includes a shock mount with purchase. The quality and price of the AT2035 makes it a top choice for many top ensembles in the activity, from high school to DCI and WGI. Mounting: Properly attaching microphones to keyboard instruments will give you the best pickup pattern, while simultaneously reducing unwanted noises (frame noise, pedal noise, etc.). Mounting microphones under the keyboard is the best option for balancing attack and resonance, while maintaining a clean cabling system.

Mounting Options: • Highest Recommendation - Keyboard’s manufacturer clamp + desk stand • Runner up - Manufacturer clamp + gooseneck • Budget - Bungee ball tie + Velcro cable ties • ***For Clip-on Mics - Metal L-bracket The manufacturer clamps for your keyboards (Adams clamps for Adams keyboards, Yamaha clamps for Yamaha 42

keyboards, etc.) are designed to attach to the keyboard frame to mount accessories. The company OnStage sells a telescoping microphone desk stand that is perfect to use for attaching AT2035’S and supplied shock mount to your keyboard. The desk stand is stable and not likely to move during keyboard. **Yamaha vibraphones require the OnStage Posi-Lock Side Mount Boom to attach below keyboard.

The keyboard’s manufacturer clamp can be combined with a gooseneck mic attachment and a microphone-specific clip to attach the Shure SM57, Shure PGA57, and Audio Technica PR037.

For clip-on microphones, you can tape or zip-tie a small metal L-bracket on the underside of your frame. For the most budget friendly option, loop Velcro cable ties around your microphone while attaching bungee ball ties. Use a series of bungee ball ties to hang the microphone from keyboard rails, which will allow the microphone to dangle freely under the keyboard.

This also acts as a shock mount, but can be very inconsistent after travel - ***not recommended for the AT2035.

Placing microphones in the correct position is just as important as choosing the microphone. The right microphone in the wrong position will not produce MAY 2017

the desired results. Here are some good starting points: • Vertical Placement should be approximately 18”-28”for condenser microphones or slightly closer for dynamic microphones • Horizontal placement depends on the playing areas for each performer; vibraphone mics can go in the center. For marimbas, you can divide the instrument into thirds and place a microphone on each dividing point.

Cabling: Cable maintenance is an important part of effective sound reinforcement and is often over-looked. Keeping a clean and organized space allows for faster setup/tear down, quicker troubleshooting, longer cable life, and will help maintain a safe environment for your performers.

Daisy Chaining: This is a method where keyboards plug in to one another until reaching the desired plug-in point (usually, a snake) and is often used in setups where keyboards are relatively close to each other. It requires a bit more extensive preparation and initial setup as well as requiring many cables to be zip-tied to each keyboard, but is the cleanest and fastest on-the-field setup. Troubleshooting can be difficult at times; but if done correctly, can greatly extend the life of your cables. Another option is to run a cable from each microphone to the desired plugin point -this can get very messy very quickly. This is a much more budget friendly route, but may end up costing more in the long run as you replace broken cables and risk the safety of your performers.

Synthesizers: Modern synthesizers come with a myriad of built-in sounds that can help create depth of sound for your program.

If your marching band music is preMAY 2017

made, then chances are it comes with some kind of synthesizer staff that should fit most programs, but sometimes does not. When those sounds don’t seem to work for your show, adaptability is key.

To give your program a feeling of being “larger than life”, you can use the synths to reinforce the low end of the frequency spectrum. Strings, choirs, and synth pads are great options to enhance your low end. You can also use the synths to reinforce mid-range sounds that may be getting lost because of drill. For instance, a mellophone counter-melody coming from far backfield may be doubled by a synth voice. Again, strings and choirs are helpful sounds here; however, it’s important to keep articulation and style in mind. The right sound should blend attack and decay with the sound it is reinforcing.

Strings and choir sounds are popular choices for reinforcing wind sounds, but don’t forget how guitar, harp, or even 80’s sawtooth sounds can enhance percussion-only moments. Most modern synthesizers have the ability to stack sounds on top of one another and split the keyboard in half. For instance, it’s possible to program the synth where every note below Middle C produces a Bass Guitar sound while every note above produces a Harp sound.

To most effectively utilize your synth performers, make sure to use both a Sustain pedal and an Expression pedal. The Expression pedal will allow the synth performer to control their dynamics hands-free. When your front ensemble is rushing onto the field, it’s also important to consider boot-up time.

Quick-Tip: you can start up your synth off the field with a UPS battery pack, then plug in when you get to the field.

Recommended Synthesizers: • Yamaha MOTIF series (XF7, XF8) • Yamaha Montage series (Montage 6, Montage 7, Montage 8) • Korg M3 • Roland Juno-G

More Modern Sounds - Sampling: Many groups are relying heavily on sound samples, which range from voice narration to bass drops and electronic sound effects. Whether you’ve hired someone to create these sounds for you or are doing them on your own, one thing is for certain: you’re going to need a device to trigger them. Many programs rely on the Yamaha DTX MULTI12 which features 12 trigger pads on one machine with 64 megabytes of WAVE memory to add samples. Since the method of playing these pads is usually striking with a drum stick - this is very friendly for front ensemble members. Another popular choice is the Roland SP-404SX which features 12 touch pads and up to 32 gigabytes of expandable memory. The method of triggering on the SP-404SX is by finger buttons, which is friendly for synth players. Recommended Sampling machines: • Yamaha DTX MULTI12 (Drum pad triggers, easy to use, limited memory) • Roland SP-404SX (Finger button triggers, more complicated, expandable memory) Mixing: Most of the competitive programs in the activity have switched to Digital mixers from their Analog predecessors. Digital mixers allow for advanced grouping options, enhanced processing power, remote iPad mixing, and so much more. Since most people are using digital mixers, let’s focus on a few of the more frequently used features of digital mixers.

Scenes: With many digital mixers, you have ability to set levels for a certain portion of your production, then save those levels as a “scene.” Many mixers will have available space for up to 100 scenes; this makes it much easier to create consiscontinued on next page

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tency of live sound for your production.

You could program one scene for each half of your show, one for each movement, or several for each movement.

For shows where the soundscape is constantly exchanging between soloists and ensemble moments, I usually program more than 30 scenes. Flipping through scenes can be easy as a press of a button on the mixer, but can be a nuisance while trying to remote mix; because of this, I recommend dedicating a person to scene changing at the mixer.

Dialing In Your Sound: With the processing power of a digital mixer, it’s easy to utilize EQ and Gate functions to filter out unwanted sounds. You should EQ microphones based on desired sound (ex.Top end mics on marimbas should be EQ’d differently than bottom end mics). Gates can be used to stop all sound below a certain decibel level from producing sound through the speakers. This is great for reducing wind noise and extra noise when keyboards are not playing.

Remote Mixing: Required: Wireless Router. Many programs are interested in remote mixing with an iPad or other tablet. With the Yamaha TF series, and the Behringer X32, it’s as simple as creating a network with a wireless router, plugging that router into your X32 or TF series mixer, and downloading the correct app for your iPad/tablet. Your tablet should connect to the mixer and you’re ready to mix. Remember that wireless routers have a range limit and are subject to interference at larger venues. It’s possible to do remote mixing with a mixer that does not have iPad/ tablet integration, but still allows communication with a computer. For instance, the Yamaha 01 v96 does not have integrated iPad connectivity, but can be worked around by connecting a dedicated laptop to the mixer, then establishing remote connectivity to the laptop.

Recommended digital mixers: • Yamaha TF series (iPad compatibility, touch screen, user friendly)

• Behringer X32 (iPad compatibility, user friendly) • Yamaha 01v96 (slightly more complicated, fade times - allows fade time between scenes, which can be used to program dynamics).

Marcus is an active educator and designer in the Kansas City area. He serves as the Drumline Coordinator as well as an Adjunct Instructor at the University of Central Missouri.

In addition to his work at UCM, Marcus has worked with many schools in the Midwest as an arranger, educator, and electronic designer.

Marcus has a B.M. in Percussion Performance from the University of Central Missouri, as well as an M.A.T. in Education. Marcus was a member of the Phantom Regiment Front Ensemble (2011,2012) and became the section leader in 2012. He received the Zildjian player of the year award in 2011 and was also nominated for the Mark Glasscoe member of the year award. Marcus served on the Sacramen to Mandarins percussion staff (2014-2016), the Carolina Crown Percussion staff (2015-2017), and is the Front Ensemble Coordinator and Electronic Designer for Gateway Percussion. &

When MUSIC CAN BRING A

nation

TO ITS FEET it’s worth advocating for R E G I S T E R T O D AY

June 27-July 1 #NAfMEHD17 Collegiate

hillday.nafme.org

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KICK-START YOUR CAREER WITH

A NAfME MEMBERSHIP Congratulations! NAfME Collegiate members are eligible to receive up to a 50% DISCOUNT on dues when you become a full active member. This offer is only valid for one year after you graduate. Act now.

Become a member and we’ll do everything in our power to make sure you get the career you want. For as long as you want it. From professional development to networking opportunities, advocacy tools to lesson plans and webinars.

And when you join NAfME, you also become a member of your state’s music education association with even more resources at the local level.

Deadline: Offer extends from June 30 of your graduation year until June 30 of the following year.

Visit: bit.ly/NAfMEcollegiate MAY 2017

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2017– 2018 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events DATE

EVENT

TIME

JUNE 6/29/17 6/30/17

NAfME Hill Day NAfME National Assembly

JULY 7/1/17 7/25/17 7/25/17

NAfME National Assembly NJMEA Executive Board Meeting NJMEA Full Board Meeting

9:00 - 12:00 PM 12:00 - 2:00 PM

AUGUST 8/1/17 NJMEA Summer Workshop 8/14/17 SJCDA Board of Directors Meeting

8:00 - 5:30 PM 7:00 PM

SEPTEMBER 9/8/17 NJMAA Executive Board Meeting 9/10/17 All-State Orchestra Full Rehearsal 9/10/17 All-State Orchestra String Seating Auditions 9/11/17 NJSMA Executive Board Meeting 9/11/17 SJCDA Board of Directors Meeting 9/12/17 NJMEA Executive Board Meeting 9/16/17 All-State Mixed Chorus Rehearsal 9/16/17 All-State Treble Chorus Rehearsal 9/18/17 SJCDA General Membership Meeting and Social 9/21/17 Rosh Hashanah 9/24/17 All-State Orchestra Full Rehearsal 9/24/17 All-State Orchestra Sectionals (everyone) 9/26/17 All-State Jazz Ens. & Honors Jazz Choir Rehearsal 9/30/17 Yom Kippur OCTOBER 10/2/17 NJSMA Executive Board Meeting 10/2/17 SJCDA Board of Directors Meeting 10/6/17 NJMAA General Membership Meeting 10/9/17 NJAJE Board of Directors Meeting 10/9/17 NJSMA Elementary PD Workshop 10/10/17 NJMEA Executive Board Meeting 10/10/17 NJMEA Full Board Meeting 10/11/17 SJBODA Fall Membership Meeting 10/14/17 All-State Mixed Chorus Rehearsal 10/14/17 All-State Treble Chorus Rehearsal 10/14/17 NJSMA Marching Band Festival 10/21/17 Eastern Division Meeting 10/21/17 NJMEA Marching Band Festival 10/21/17 State Marching Band Ratings Festival 10/22/17 Eastern Division Meeting 10/24/17 All-State Jazz Ens. & Honors Jazz Choir Rehearsal 10/25/17 NJRMEA Exec. Board Meeting 10/27/17 Opera Festival Auditions 10/28/17 All-State Mixed Chorus Rehearsal 10/28/17 All-State Treble Chorus Rehearsal NOVEMBER 11/3/17 NJMAA Executive Board Meeting 11/6/17 NJSMA Executive Board Meeting

TEMPO

9:00 - 11:00 AM 1:00 - 5:30 PM 10:00 - 12:00 PM 5:30 - 9:00 PM 7:00 PM 5:00 - 8:00 PM 8:30 - 12:00 PM 8:30 - 12:00 PM 7:00 PM 1:00 - 5:30 PM 10:00 - 12:00 PM 4:00 - 8:00 PM

5:30 - 9:00 PM 7:00 PM 9:00 - 11:00 AM 5:00 - 9:00 PM TBD - TBD 6:30 - 8:00 PM 5:00 - 6:30 PM 9:00 - 11:00 AM 8:30 - 12:00 PM 8:30 - 12:00 PM TBD - TBD

5:30 - 11:00 PM 4:00 - 8:00 PM 10:15 AM 5:00 PM 8:30 - 12:00 PM 8:30 - 12:00 PM

9:00 - 11:00 AM 5:30 - 9:00 PM

DATE 11/6/17 11/7/17 11/8/17 11/8/17 11/9/17 11/9/17 11/9/17 11/9/17 11/10/17 11/10/17 11/10/17 11/17/17 11/17/17 11/18/17 11/19/17 11/19/17 11/23/17

EVENT

TIME

SJCDA Board of Directors Meeting 7:00 PM All-State Jazz Ens. & Honors Jazz Choir Rehearsal 5:00 - 10:00 PM All-State Jazz Ens. & Honors Jazz Choir Rehearsal All-State Mixed Chorus & Orchestra Arrives in Atlantic City 5:00 PM All-State Band Procedures Committee Meeting 9:00 - 11:00 AM All-State Chorus Procedures Open Meeting 12:00 - 2:00 PM All-State Jazz Band & Honors Jazz Choir Concert 7:30 PM NJEA Convention 9:00 - 4:00 PM All-State Orchestra and Mixed Chorus Concert 8:30 PM NJEA Convention 9:00 - 4:00 PM NJMEA Executive Board Meeting All-State Jazz Band & Honors Choir Concert 7:00 PM NJAJE Jazz Conference 9:00 - 2:00 PM SJCDA Jr/Sr High Auditions 8:00 AM All-State Orchestra & Mixed Chorus Concert 3:00 PM All-State Orchestra & Mixed Chorus Rehearsal 10:00 AM Thanksgiving

DECEMBER 12/1/17 NJMAA General Membership Meeting 12/4/17 NJSMA Executive Board Meeting 12/5/17 NJSMA High School Choral Festival 12/6/17 NJSMA High School Choral Festival 12/7/17 NJSMA High School Choral Festival 12/9/17 CJMEA High School B/O/P/C Auditions 12/9/17 SJBODA Wind/String/Percussion Auditions 12/9/17 SJCDA Board of Directors Meeting 12/9/17 SJCDA Jr/Sr Chorus Rehearsal 12/12/17 NJMEA Executive Board Meeting 12/13/17 Hanukah Begins at Sunset 12/16/17 CJMEA High School Band Reading Rehearsal 12/16/17 CJMEA High School B/O/P/C Auditions (Snow Date) 12/16/17 CJMEA High School Orchestra Reading Rehearsal 12/16/17 CJMEA High School Percussion Ens. Reading Rehearsal 12/16/17 SJBODA First Rehearsal 12/16/17 SJBODA Wind/String/Percussion Auditions (Snow Date) 12/16/17 SJCDA Jr/Sr Chorus Rehearsal Snow Date 12/25/17 Christmas JANUARY 1/5/18 CJMEA High School Honor Band Rehearsal 1/5/18 CJMEA High School Orchestra Rehearsal 1/5/18 CJMEA High School Percussion Ens. Rehearsal 1/5/18 NJMAA Executive Board Meeting 1/5/18 SJBODA Senior High and Jr. High Orchestra Rehearsal 1/6/18 CJMEA High School Honor Band Rehearsal 1/6/18 CJMEA High School Orchestra Rehearsal 1/6/18 CJMEA High School Percussion Ens. Rehearsal 1/6/18 NJSMA High School Band Choral Orchestra Auditions 1/6/18 SJBODA Senior High and Jr. High Orchestra Rehearsal 1/6/18 SJCDA Jr/Sr Chorus Rehearsal 1/7/18 CJMEA High School Orch. & Percussion Ens. Concert 1/7/18 CJMEA High School Orchestra Rehearsal 1/7/18 NJSMA High School BOC Auditions (Snow Date)

46

9:00 - 11:00 AM 5:30 - 9:00 PM

8:00 - 5:00 PM 9:00 - 1:00 PM 2:00 PM 1:30 - 5:30 PM 5:00 - 8:00 PM 9:00 - 4:00 PM 8:00 - 5:00 PM 9:00 - 4:00 PM 9:00 - 1:30 PM 9:00 - 3:00 PM 9:00 - 1:00 PM 9:00 - 1:00 PM

6:00 - 9:00 PM 8:30 - 5:00 PM 5:00 - 9:15 PM 9:00 - 11:00 AM 9:00 - 5:00 PM 9:00 - 1:00 PM 8:30 - 5:00 PM 9:00 - 5:00 PM 8:00 - 5:00 PM 9:00 - 4:00 PM 9:00 - 1:00 PM 3:00 - 5:00 PM 10:00 - 1:00 PM 8:00 - 5:00 PM

MAY 2017

2017– 2018 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events DATE 1/7/18 1/8/18 1/8/18 1/9/18 1/9/18 1/11/18 1/11/18 1/12/18 1/12/18 1/12/18 1/12/18 1/13/18 1/13/18 1/13/18 1/14/18 1/14/18 1/15/18 1/15/18 1/17/18 1/17/18 1/18/18 1/19/18 1/19/18 1/19/18 1/20/18 1/20/18 1/20/18 1/21/18 1/21/18 1/24/18 1/24/18 1/24/18 1/25/18 1/25/18 1/26/18 1/26/18 1/26/18 1/27/18 1/27/18 1/27/18 1/27/18 1/27/18 1/27/18 1/28/18 1/28/18 1/28/18 1/29/18 1/31/18 TBA

EVENT

TIME

SJBODA Senior High and Jr. High Orchestra Concert 3:00 - 5:00 PM NJSMA Executive Board Meeting 5:30 - 9:00 PM SJCDA Board of Directors Meeting 7:00 PM NJMEA Executive Board Meeting 6:30 - 8:00 PM NJMEA Full Board Meeting 5:00 - 6:30 PM NJSMA HS Choral Rehearsal 4:00 - 9:00 PM SJCDA Jr/Sr Chorus Rehearsal 9:00 - 1:30 PM CJMEA High School Band Rehearsal 9:00 - 5:00 PM CJMEA High School Honor Band Rehearsal 6:00 - 9:00 PM SJBODA Wind Ens. and Symphonic Band Rehearsal 9:00 - 5:00 PM SJBODA Winter Membership Meeting 10:00 - 11:00 AM CJMEA High School Band Rehearsal 9:00 - 5:00 PM SJBODA Wind Ens. and Symphonic Band Rehearsal 9:00 - 4:00 PM SJCDA Jr/Sr Chorus Rehearsal Snow Date 9:00 - 1:30 PM CJMEA High School Band Concert 3:00 - 5:00 PM SJBODA Wind Ens. and Symphonic Band Concert 3:00 - 5:00 PM Martin Luther King Jr. Day NJAJE Board of Directors Meeting 8:00 AM NJSMA HS Band Rehearsal 4:00 - 9:00 PM SJBODA Chamber Ens. Rehearsal 6:00 - 8:30 PM NJSMA HS Choral Rehearsal 4:00 - 9:00 PM CJMEA High School Chorus Rehearsal 9:00 - 5:00 PM CJMEA High School Honor Band Rehearsal 6:00 - 9:00 PM SJCDA Jr/Sr Chorus Rehearsal 5:30 - 9:30 PM All-State Band Auditions 9:00 - 1:00 PM CJMEA High School Chorus Rehearsal 9:00 - 1:00 PM CJMEA High School Honor Band Concert 8:00 - 9:00 PM All-State Band Audition (Snow Date) 9:00 - 1:00 PM CJMEA High School Chorus Rehearsal (Snow Date) 9:00 - 1:00 PM NJSMA HS Band Rehearsal (Snow Date) 4:00 - 9:00 PM NJSMA HS Choral Rehearsal (Snow Date) 4:00 - 9:00 PM SJBODA Chamber Ens. Rehearsal (Snow Date) 6:00 - 8:30 PM CJMEA High School Honor Band Concert (Snow Date) 8:00 - 9:00 PM NJSMA HS Choral Rehearsal 9:00 - 4:00 PM CJMEA High School Chorus Rehearsal 4:30 - 9:30 PM NJSMA HS Band Rehearsal 4:00 - 9:00 PM SJCDA Jr/Sr Chorus Rehearsal 6:00 - 9:30 PM CJMEA High School Chorus Rehearsal 9:00 - 1:00 PM CJMEA Int. Band, Choir, Orchestra & Perc. Ens. Auditions 9:00 - 5:00 PM NJSMA Choral Concert 10:00 - 6:00 PM NJSMA HS Band Rehearsal 10:00 - 6:00 PM SJBODA Jr. High Band Auditions 9:00 - 1:00 PM SJCDA 59th Annual Jr/Sr High Chorus Festival 8:00 PM CJMEA High School Chorus Concert 9:00 - 3:30 PM NJSMA HS Band Concert 3:00 - 4:30 PM SJCDA 59th Annual Jr/Sr High Chorus Festival 4:00 PM SJCDA Jr/Sr High Chorus Festival (Snow Date) NJSMA HS Orchestra Rehearsal (Strings Only) 4:00 - 9:00 PM NJMEA Middle School/Jr. HS Orchestra Festival

FEBRUARY 2/1/18 All-State Band Rehearsal 2/2/18 NJMAA General Membership Meeting 2/3/18 CJMEA HS Chorus Concert (Snow Make Up Reh.)

MAY 2017

5:00 - 9:00 PM 9:00 - 11:00 AM 9:00 - 3:30 PM

DATE

EVENT

TIME

2/3/18 2/3/18 2/3/18 2/3/18 2/4/18 2/4/18 2/5/18 2/6/18 2/6/18 2/6/18 2/7/18 2/8/18 2/8/18 2/8/18 2/10/18 2/12/18 2/12/18 2/13/18 2/13/18 2/14/18 2/15/18 2/16/18 2/16/18 2/16/18 2/16/18 2/17/18 2/17/18 2/17/18 2/17/18 2/18/18 2/20/18 2/21/18 2/22/18 2/22/18 2/22/18 2/22/18 2/22/18 2/23/18 2/23/18 2/23/18 2/23/18 2/23/18 2/23/18 2/24/18 2/24/18 2/27/18 2/28/18 TBA

CJMEA Int. BOC and Perc. Ens. Auditions (Snow Date) 9:00 - 5:00 PM CJMEA Int. Band, Orch., Perc. Ens Reading Rehearsal 9:00 - 1:00 PM NJSMA JHS Band Choral and Orchestra Auditions 8:00 - 5:00 PM SJBODA Jr. High Band Auditions (Snow Date) 9:00 - 1:00 PM All-State Treble Chorus Rehearsal 1:00 - 5:00 PM NJSMA JHS Band/Choral and Orch. Aud. (Snow Date) 8:00 - 5:00 PM NJSMA Executive Board Meeting 5:30 - 9:00 PM NJSMA HS Orchestra Rehearsal (re-seat) 4:00 - 9:00 PM SJBODA Chamber Ens. Rehearsal 6:00 - 8:30 PM SJBODA Jr. High Band Rehearsal 4:00 - 7:00 PM SJBODA Chamber Ens. Concert 7:30 - 9:30 PM All-State Band Rehearsal (Snow Date) 5:00 - 9:00 PM NJSMA JHS Orchestra Rehearsal 4:00 - 9:00 PM SJBODA Chamber Ens. Concert (Snow Date) 7:30 - 9:30 PM CJMEA Int. Band, Orch. Reading Rehearsal (Snow Date) 9:00 - 1:00 PM NJSMA JHS Orchestra Rehearsal (Strings Only) 4:00 - 8:00 PM SJCDA Board of Directors Meeting 7:00 PM NJSMA HS Orchestra Rehearsal 4:00 - 9:00 PM SJBODA Jr. High Band Rehearsal 4:00 - 7:00 PM NJSMA JHS Band Rehearsal 4:00 - 8:00 PM NJSMA HS Orchestra Rehearsal (Snow Date) 4:00 - 9:00 PM CJMEA Int. Band Rehearsal 5:00 - 9:00 PM CJMEA Int. Chorus Rehearsal 5:00 - 9:00 PM CJMEA Int. Orchestra Rehearsal 5:00 - 9:00 PM NJSMA HS Orchestra Rehearsal (all day) 10:00 - 4:00 PM CJMEA Int. Band Rehearsal 9:00 - 1:00 PM CJMEA Int. Chorus Rehearsal 9:00 - 1:00 PM CJMEA Int. Orchestra Rehearsal 9:00 - 1:00 PM NJSMA HS Orchestra Rehearsal 8:00 - 12:00 PM NJSMA HS Orchestra Concert 3:00 - 4:30 PM SJBODA Jr. High Band Rehearsal 4:00 - 7:00 PM NJSMA JHS Band Rehearsal 4:00 - 8:00 PM All-State Band Rehearsal 12:00 - 10:00 PM All-State Treble Chorus Arrives In East Brunswick 6:00 PM NJMEA Conference NJMEA Executive Board Meeting 12:00 - 2:00 PM NJMEA Full Board Dinner 5:30 PM All-State Band Procedures Committee Meeting 5:45 - 6:45 PM All-State Band Rehearsal All-State Choral Procedures Committee Open Meeting 2:30 PM NJMEA Conference NJRMEA General Membership Meeting 10:15 AM NJSMA Membership Meeting 1:00 - 2:00 PM All-State Band and Treble Chorus Concert 3:00 PM NJMEA Conference SJBODA Jr. High Band Rehearsal (Snow Date) 4:00 - 7:00 PM NJSMA JHS Band Rehearsal (Snow Date) 4:00 - 8:00 PM NJMEA High School Orchestra Festival

MARCH 3/1/18 3/2/18 3/2/18 3/2/18

NJSMA JHS Choral Rehearsal CJMEA Int. Band Rehearsal CJMEA Int. Chorus Rehearsal CJMEA Int. Orchestra Rehearsal

47

4:00 - 9:00 PM 5:00 - 9:00 PM 5:00 - 9:00 PM 5:00 - 9:00 PM

TEMPO

2017– 2018 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events DATE 3/2/18 3/2/18 3/2/18 3/2/18 3/3/18 3/3/18 3/3/18 3/3/18 3/3/18 3/3/18 3/3/18 3/3/18 3/3/18 3/4/18 3/4/18 3/4/18 3/4/18 3/5/18 3/5/18 3/6/18 3/6/18 3/6/18 3/7/18 3/7/18 3/7/18 3/8/18 3/8/18 3/9/18 3/9/18 3/9/18 3/10/18 3/10/18 3/10/18 3/11/18 3/11/18 3/11/18 3/11/18 3/12/18 3/12/18 3/13/18 3/13/18 3/15/18 3/16/18 3/17/18 3/17/18 3/18/18 3/19/18 3/19/18 3/20/18 3/20/18 3/21/18 3/21/18 3/21/18 3/22/18

EVENT CJMEA Int. Percussion Ens. Rehearsal NJMAA Executive Board Meeting NJSMA JHS Band Rehearsal SJBODA Jr. High Band Rehearsal CJMEA Int. Band Rehearsal CJMEA Int. Chorus Rehearsal CJMEA Int. Orchestra Concert CJMEA Int. Orchestra Rehearsal CJMEA Int. Percussion Ens. Rehearsal NJSMA JHS Band Rehearsal (All Day) SJBODA Jr. High Band Rehearsal SJCDA Elementary Chorus Concert SJCDA Elementary Chorus Rehearsal CJMEA Int. Band Concert NJSMA JHS Band Concert SJBODA Jr. High Band Concert SJCDA Elementary Festival (Snow Date) NJAJE State Festival Preliminaries NJSMA Executive Board Meeting NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal SJBODA Concert Band Festival NJAJE State Festival Preliminaries NJSMA JHS Choral Rehearsal SJBODA Concert Band Festival NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal (Snow Date) CJMEA Int. Percussion Ens. Rehearsal NJAJE State Festival Preliminaries NJSMA JHS Orchestra Rehearsal (All Day) CJMEA Int. Chorus Rehearsal CJMEA Int. Percussion Ens. Rehearsal NJSMA JHS Orchestra Rehearsal CJMEA Int. Band Concert (Snow Date) CJMEA Int. Chorus & Percussion Ens. Concert CJMEA Int. Percussion Ens. Rehearsal (Snow Date) NJSMA JHS Orchestra Concert NJAJE Region I, II, III Jazz Band Auditions SJCDA Board of Directors Meeting NJMEA Executive Board Meeting NJSMA JHS Region Choral Rehearsal NJSMA JHS Region Choral Rehearsal (Snow Date) NJSMA JHS Choral Rehearsal ASO/ASIO auditions NJSMA JHS Choral Rehearsal NJSMA JHS Choral Concert CJMEA High School Concert Band Festival NJAJE Region I, II, III Jazz Band/Choir Rehearsal CJMEA High School Concert Band Festival NJSMA HS Band Festival CJMEA High School Concert Band Festival NJRMEA Exec. Board Meeting NJSMA HS Band Festival CJMEA High School Concert Band Festival

TEMPO

TIME 9:00 - 1:00 PM 9:00 - 11:00 AM 4:00 - 8:00 PM 4:00 - 7:00 PM 9:00 - 1:00 PM 9:00 - 1:00 PM 3:00 - 5:00 PM 9:00 - 1:00 PM 5:00 - 9:00 PM 12:00 - 6:00 PM 9:00 - 1:00 PM 4:00 PM 9:30 AM 3:00 - 5:00 PM 3:00 - 4:30 PM 3:00 - 5:00 PM 5:00 - 10:00 PM 5:30 - 9:00 PM 5:00 - 10:00 PM 4:00 - 8:00 PM 9:00 - 3:00 PM 5:00 - 10:00 PM 4:00 - 8:00 PM 9:00 - 3:00 PM 5:00 - 10:00 PM 4:00 - 8:00 PM 9:00 - 1:00 PM 5:00 - 10:00 PM 10:00 - 4:00 PM 9:00 - 1:00 PM 5:00 - 9:00 PM 9:00 - 1:00 PM 7:00 - 9:00 PM 3:00 - 5:00 PM 9:00 - 1:00 PM 3:00 - 4:30 PM 4:30 PM 7:00 PM 5:00 - 8:00 PM 4:00 - 8:00 PM 4:00 - 8:00 PM 4:00 - 8:00 PM 8:00 - 4:00 PM 10:00 - 3:00 PM 3:00 - 4:30 PM 6:00 - 10:00 PM 4:00 - 8:00 PM 6:00 - 10:00 PM 6:00 - 10:00 PM 10:15 AM

DATE

EVENT

TIME

3/22/18 3/24/18 3/28/18

NJSMA HS Band Festival ASO/ASIO auditions Snow Date NJSMA JHS Band Festival

APRIL 4/1/18 4/9/18 4/10/18 4/11/18 4/12/18 4/13/18 4/14/18 4/14/18 4/16/18 4/16/18 4/17/18 4/20/18 4/21/18 4/21/18 4/21/18 4/21/18 4/22/18 4/27/18 4/28/18 4/28/18 4/28/18 4/28/18

Easter NJSMA Executive Board Meeting Passover CJMEA Elementary and Jr. High Band/Orchestra Festival CJMEA Elementary and Jr. High Band/Orchestra Festival NJMAA General Membership Meeting All-State Chorus Auditions-North CJMEA Elementary & Middle School Honors Orchestra NJAJE Region I, II, III Jazz Band/Choir Rehearsal SJCDA Board of Directors Meeting NJMEA Executive Board Meeting NJAJE Region I, II, III Jazz Band/Choir Rehearsal All-State Chorus Auditions-South All-State Int. Orchestra Rehearsal CJMEA Middle School Honors Band Day NJAJE Region I, II, III Jazz Band/Choir Rehearsal NJAJE Region I, II, III Jazz Band Concert SJCDA General Membership Meeting & Seminar All-State Int. Orchestra Seating Auditions/Rehearsal CJMEA Elementary Honors Band Festival NJAJE State Festival Finals SJBODA Elementary Honors Band Festival

MAY 5/4/18 5/5/18 5/5/18 5/5/18 5/5/18 5/7/18 5/7/18 5/8/18 5/8/18 5/9/18 5/10/18 5/11/18 5/11/18 5/12/18 5/12/18 5/12/18 5/12/18 5/14/18 5/18/18 5/21/18 5/22/18 5/24/18 5/28/18 5/30/18

NJMAA Executive Board Meeting 9:00 - 11:00 AM All-State Int. Orchestra Rehearsal 12:30 - 5:30 PM CJMEA Elementary Treble Choir Festival 9:00 - 4:00 PM NJSMA Elementary Honors Band Festival SJBODA Elementary Honors String Festival 9:00 - 3:30 PM All-State Jazz Ens. Auditions 4:30 PM NJSMA Exec. Board Meeting and Gen. Membership Mtg. 5:00 - 8:00 PM NJMEA Executive Board Meeting 6:30 - 8:00 PM NJMEA Full Board Meeting 5:00 - 6:30 PM NJRMEA General Membership Meeting 10:15 AM CJMEA Elementary and Jr. High Band/Orchestra Festival 9:00 - 1:30 PM CJMEA Elementary and Jr. High Band/Orchestra Festival 9:00 - 1:30 PM NJSMA JHS Choral Festival All-State Int. Orchestra Concert 3:00 PM All-State Int. Orchestra Rehearsal 10:30 AM NJAJE Festival Gala 1:00 - 5:00 PM NJSMA Elementary Honors Orchestra Festival SJCDA Board of Directors Meeting 7:00 PM NJSMA JHS and HS Orchestra Festival Music Tech Expo North 9:30 - 2:00 PM NJSMA Elementary Choral Celebration Music Tech Expo South 9:30 - 2:00 PM Memorial Day SJBODA Spring Membership Meeting 9:00 - 11:00 AM

8:00 - 4:00 PM

5:30 - 9:00 PM 9:00 - 1:30 PM 9:00 - 1:30 PM 9:00 - 11:00 AM 9:00 - 4:00 PM 4:00 - 8:00 PM 7:00 PM 5:00 - 8:00 PM 9:00 - 3:00 PM 12:30 - 5:30 PM 9:00 - 3:00 PM 9:00 - 3:00 PM 3:00 PM 9:00 AM 12:30 - 5:30 PM 9:00 - 3:00 PM 5:00 - 10:00 PM 9:00 - 3:30 PM

6:00 - 10:00 PM

48

MAY 2017

2017– 2018 Calendar

Please See Calendar Updates at NJMEA.Org Upcoming Events/More Events DATE JUNE 6/1/18 6/2/18 6/4/18 6/9/18 6/11/18 6/11/18 6/12/18 6/30/18

EVENT NJMAA General Membership Meeting All-State Orchestra-Full Rehearsal NJSMA Executive Board Meeting All-State Mixed Chorus First Rehearsal NJAJE Board of Directors Meeting SJCDA Board of Directors Meeting NJMEA Executive Board Meeting NJSMA Executive Board Meeting (Summer Meeting)

TIME

DATE

EVENT

9:00 - 11:00 AM 2:00 PM 5:30 - 9:00 PM 2:00 - 5:30 PM 5:00 - 9:00 PM 7:00 PM 5:00 - 8:00 PM 8:00 - 5:00 PM

TIME

&

Temple University now offers the M.M. MUED online with reduced tuition rate.

The Boyer College of Music and Dance at Temple University in Philadelphia, PA has opened its virtual doors to music educators from across the globe with the online MM in Music Education. Retaining the same curriculum as the face-to-face degree program, the online MM in Music Education allows students to work from home, connects world-class faculty with motivated learners, lets participants establish a unique and personal pace of learning and accomplishment, helps to cultivate professional relationships both near and far, and emphasizes a personalized, flexible curriculum.

For more information and to apply, visit

bitly.com/BoyerMMUED

MAY 2017

49

TEMPO

New Jersey Music Educator’s Association Proudly Announces:

“The 2017 State Marching Band Ratings Festival” 16th Annual A unique opportunity for your Marching Band to perform in a Festival (rating only) setting.

Quality Evaluation!

Local Bands!

Enthusiastic Audiences!

State Sponsored!

Non-Competitive!

One time commitment!

State Marching Band “Ratings” Festival Saturday, October 21, 2017, 5:30 pm. Wayne Hills High School Contact: Matthew J. Paterno 973-317-2060 (mpaterno@wayneschools.com) Don’t miss out on this interesting addition to your present Marching Band activities!

Sign- ups begin MARCH 1, 2017!

Limit of 18 bands and there has traditionally been a waiting list!

TEMPO

50

MAY 2017

NJMEA SALUTES NEW JERSEY’S OUTSTANDING ALL-STATE MUSICIANS The New Jersey Music Educators Association is proud of the hundreds of NJMEA members who sponsor the many thousands of students who audition for Region and All-State ensembles during the year. Listed below are the outstanding musicians who were accepted into the 2016-2017 New Jersey All-State Performing Ensembles. Many hours of practice and preparation have been spent by the students and the teachers who have helped these students attain this noteworthy goal. We congratulate everyone who has been a part of these activities.

First Violin Cassandra Jin Tienne Yu Eileen Liang Karen Fung Daniel Kwon Joshua Baw Mia Huang Gene Park Isabelle Neville Julia Woodward Kristen Chung Amy Xiao Andrew Huang Dave Ki Catherine Cai Michael Sun Rebecca Kim Phoebe Chen Lakshay Patel Joyce Lee Tyler Wu Emma Regovich Belinda Zhang Kevin Li

John Witherspoon MS Marlboro MS Marlboro Mem MS William Annin MS Rosa International MS Voorhees MS Princeton Day School Cresskill MS Rosa International MS Highland Park MS Fort Lee HS Edison Int school Community MS Warren MS Warren MS Highland Park MS Rosa International MS Marlboro Mem MS Community MS Howell Twp MS No Green Brook MS William Allen MS Churchill JR HS William Annin MS

Second Violin Samantha Liu Raymond Jin Dorian Ho Priscilla Tam Meredith Lou Elizabeth Kim

MAY 2017

William Annin MS WW-P Community MS New Providence MS Brooklawn MS William Annin MS Cresskill Jr./Sr. School

Carol Sun Angelina Xu Sophia Teng Neha Narayan Sydney Yan Kristin Tsay Lauren Szeto Anni Yi Garvin Kim Isabelle Weng Jasmine Zhang Laura Liao Christina Dai Lawrence Yu Serena Li Priscilla Peters Alexander Chen Claire Li

Thomas Grover MS William Annin MS Cranbury School Community MS Oak Hill Academy Reverend Brown School Seven Home Education Community MS West Brook MS John Witherspoon MS William Annin MS Community MS Voorhees MS CENTRAL MS William Annin MS Randolph MS Warren MS William Annin MS

Viola Alyssa Wu Jeffrey Cheng Kyle Huang Kelvin Zheng Hannah Su Andrew Chung Sahana Narayan Alaka Rajesh Valerie Wang Sriya Bapatla Jiyoon Ha Phoebe Ro Meghan Holman Edward Wang

Hammarskjold MS Bridgewater-Raritan MS Princeton Day School Churchill Junior HS Montgomery Upper MS Woodrow Wilson MS New Providence MS Bridgewater Raritan MS Warren MS Community MS Thomas Grover MS Elisabeth Morrow School Glassboro Int School Churchill JR HS

51

Cello David Kim Marlboro MS Sunny Liang Marlboro Mem MS Joshua Kim Marlboro Mem MS Noel Cho John H. Walker MS Soomin Kim East Brook MS Sean Liu Montgomery Upper MS Charles Ma Montgomery Upper MS Jeremy Lin Pingry School Serena Wang Thomas Grover MS Deepti Narayanan Crossroads North MS David Kim Upper Elem School at Moorestown Andrew Xu Thomas R. Grover MS Andrew Yuen Lawrence MS Angela He John Witherspoon MS Edwin Chao Hammarskjold MS Jooahn Yoo Herbert Hoover MS

Bass Patricia Dzwill Marlton MS Melissa Logan WW-P Community MS Gabriel Gaw Fernwood MS Praneel Chakraborty Thomas Grover MS Joseph McFarlane Community MS Shreyas Menon William Annin MS Sruti Bapatla Community MS Alexander Degoey Toms River Int So Arabella Yabut Roy W. Brown Varun Mehrotra Hammarskjold MS

&

TEMPO

First Violin

Kingston Ho Union Co Acad/Allied Health Sci Rebecca Slater Newark Acad Joanna Kuo Cherry Hill West Dahmin Lim Churchill Junior Lillian Usadi Ridge Kathryn Song Montgomery Christopher Yeh John P. Stevens Winston Chen Biotechnology Jemmie Tsai Franklin Jay Kuo Bridgewater-Raritan Reg Chaeyoung Oh East Brunswick Sharon Liu Homeschool Julia Wu W Windsor-Plainsboro So Emily Li Wang Ridge Trisha Kaundinya Bridgewater-Raritan Reg Courtney Zeng John P. Stevens Ezra James Capiral Bergenfield Gagin Lee Randolph Elizabeth Castellano Egg Harbor Twp Angela Huang W Windsor-Plainsboro No Michelle Zhu Ridge Julia Xie Montgomery

Second Violin

Caleb Shi Jenna Kim Jessica Ling Clara Bouch Timothy Dai Louise Choi Irene Qiao Soon Woo Kwon Angelo Guo Kelly Chen Jimmy Yu Yasmin Yaman Momoko Uchida Sophia Motai Adam Guo Margie He Raymond Jia Rebecca Lin Amanda Chen Gabrielle Lee Christopher Pyo Andrew Pai

Viola

Bergen County Acad Moorestown Churchill Junior Homeschool W Windsor-Plainsboro No Ridge Bridgewater-Raritan Reg Cherry Hill East W Windsor-Plainsboro So John P. Stevens Ridge Kent Place School Tenafly Tenafly Leonia Montgomery W Windsor Plainsboro So The Pingry School Parsippany W Windsor-Plainsboro No Newark Acad Lenape

Ji Won Lee W Windsor-Plainsboro No Annie Wu Union Co Acad/Allied Health Sci Thaniel Tong W Windsor Plainsboro So Yooha Kim The Hun School of Princeton Danyoung Kim Bergen County Acad Mimi Laws Summit Celina Zhou East Brunswick Arthur Liaw W Windsor-Plainsboro No Ribhav Bose W Windsor Plainsboro No Michael Hu W Windsor-Plainsboro So Lauren Chun Paramus Sarah Hwang Bergen County Acad Grace Kim Ridgefield Memorial Hyun Cheong No Valley Reg at Demarest Daniel Woo Ridge Justin Ryu Cresskill

TEMPO

Cello

French Horn

Robin Park W Windsor-Plainsboro No Ashley Kang Montgomery Daniel Kim Cherry Hill East Alexander Kim Hopewell Valley Central Jamie Lim Ridgewood Daniel Wey Ridge Charles Dai W Windsor Plainsboro No Peter Park Bergen County Acad Richard Yuan W Windsor-Plainsboro No Katherine Van Varick Homeschool Ethan Chung The Pingry School Brian Kong Parsippany Hills Ryan Jin Bridgewater-Raritan Reg Nicholas Jin Princeton

Julian Stiles Kristin Andlauer Steffen Kulp David Kong Kenny Sun Zachary Tong Julia Terry

Bass

Trombone

Trumpet

Devon Ulrich Dale Beyert Bryan Cook Zachary Kibel David Tian

Justin Cao W Windsor-Plainsboro So Antonis Christou Moorestown William Tso Mahwah Andrew Bryant W Windsor-Plainsboro So Thomas Lynch East Brunswick Michael Knox W Windsor Plainsboro No Christina Gangi Summit Yun-Oh Park W Windsor Plainsboro So Yogini Borgaonkar W Windsor Plainsboro So Daniel Panus Lenape

Justin Bi Ricky Roehm Adam Selph David Casazza Rebecca Klane Brian Chu

Piccolo

Rudy Kreutzer William Lu

Selia Myers

Morristown

Flute

Rachel Zi Catherine Wang Divya Narayanan Alyssa Chen

John P. Stevens Piscataway Union County Pingry School

Oboe

Daniel Shin Kelsey Lee Priscilla Huh Jeremy Cui

Holmdel Summit Acad of the Holy Watchung Hills Reg

Bassoon

Ethan Melamed Kyle Yang Madeline Wong

Pascack Valley Roxbury Millburn Bridgewater-Raritan Reg Churchill Junior John P. Stevens Millville Cresskill Westfield Bridgewater-Raritan Reg John P. Stevens John P. Stevens W Windsor Mainland Reg Bridgewater-Raritan Reg Matawan Reg Ridgewood Homdel

Tuba

Ethan Marmolejos

Watchung Hills Reg

Timpani

Absegami Mahwah

Mallet Percussion Monique Legaspi

Monroe Twp

Battery Percussion Austin Bartola Zachary Boettcher Varun Das

Harp

Anju Felix

West Orange Mount Olive John P. Stevens Hunterdon Central Reg

John P. Stevens Millburn Ridge

Clarinet

Ethan Kang Dominick Scalia Minsung Cho Alexander Ling

East Brunswick Freehold Twp Bergen County East Brunswick

52

&

MAY 2017

Soprano I Lindsay Abbott Millville Senior Maclaine Barrã©-Quick New Providence Brooke Beckett Summit Rebecca Beswick North Hunterdon Sarah Burn Millburn Brielle Burns North Hunterdon Sarah Candido West Essex Laura Cardona Wayne Valley Brianna Coppolino Tenafly Christie Gahm Bergen Co Academies Alyssa Granito Freehold Twp Bridget Guziewicz Newton Ila Kaul Millburn Brianna Lapreta Allentown Rebecca Letts Hillsborough Emily Liao Montville Twp Cate Marcelli Cherry Hill East Molly Mccarthy Madison Emily Mccarthy Ridgewood Olivia Mcelheny Westfield Senior Siobhan Mcguinness Pemberton Twp Kelly Mcmahon Cranford Jaaee Nadkarni John P Stevens Nicole Player Westfield Senior Natalia Rodriguez Tenafly Taryn Roffina Chatham Sophia Salvatore Audubon Jr/Sr Laura Salway Cranford Yati Sanghvi John P Stevens Isabelle Schelbaum Montgomery Twp Sd Jillian Speight Highland Reg Weronika Wasniowska Wallkill Valley Reg

Soprano II Susannah Abrams Leena Baloch Aileen Bergin Amanda Bradshaw Nadia Cameron Zoe Chang Yuna Chung Kayla Debevoise Angelina Difelice Sydney Dydensborg Margaret Glazar Casey Gorab Lauren Katz Julia Langmuir Kira Leinwand Rachel Lim Hanxi Ma

MAY 2017

Tenafly Hillsborough Madison Columbia Morris Hills North Hunterdon Bergen Co Academies Matawan Reg Cherry Hill West Mountain Lakes Bernards Wayne Valley Newark Academy Cherry Hill East Watchung Hills Reg Hackettstown Hillsborough

Sheikh Mahmud Egg Harbor Twp Jade Navarro New Providence Melissa Oberstaedt Cherry Hill East Katie Pfaff Ridgefield Mem Kaylynn Pierce Sparta Carly Piniaha Sparta Leon Pintel Cherry Hill East Camryn Puccio Chatham Shreya Rudrapatna Ridge Zoe Shteyn West Morris Mendham Klaudia Stanislawski John F Kennedy Mem Kaeleigh Sturgeon Robbinsville Brianna Tang John P Stevens Rachna Thiruthuvadoss Cherokee Amalia Tobias Summit Lauren Ventriglia No Plainfield Mackenzie Volpert Highland Park Aria Walker Haddon Twp Victoria White Red Bank Reg Shirley Ying East Brunswick

Alto I Samantha Baty Kajol Bhat Madeleine Casey Jillian Cetrulo Danielle D’achino Jessica Dolch Gianna Douglas Ruthie Douglass Sabrina Dunn Elizabeth Finn Amanda Fiore Christina Freeman Heather Giudice Aariyana Gould Vanessa Hu Gabriella Jimenez Christine Kang Zoe Karpman Lindsey Kazar Sophia Kim Jordan Kosylo Deepti Kumar Caitlyn Manning Alexandra Manziano Victoria Marchlewski Rose Michetti Laura Necsoi Alexis Pizzani Sofia Pramagioulis Madelyn Sellers

High Point Reg East Brunswick Ridge Wayne Valley Randolph Howell Cherry Hill East Eastern Reg Middletown North Gateway Reg John F Kennedy Mem West Morris Mendham Montville Twp Salem Livingston Monroe Twp East Brunswick Roxbury Somerville Rutherford Bishop Eustace Prep Hillsborough Holmdel Mahwah Paramus Cranford Wayne Hills Audubon Jr/Sr Nutley Kittatinny Reg

53

Tyana Smith Emily Soper Sarah Steinberg Shruti Sundaresh Jessica Thompson Blanche Totman Abigail Valerio Kezia Van Lare Janel Weeks Rebecca Williams Abby Woodcock

Teaneck Howell Westwood Reg Jr/Sr John P Stevens Kittatinny Reg Summit Robbinsville Piscataway Washington Twp Audubon Jr/Sr Cherokee

Alto II Deborah Afotey East Orange Campus Taylor Andresen Westwood Reg Jr/Sr Alexa Aulicino Cinnaminson Emma Britez Bernards Raquel Carrero-Schmidt Toms River North Sophie Chorlian Fair Lawn Lauren Cowart East Orange Campus Vicky Fleisch Howell Christina Gentile Cinnaminson Samantha Gerbrick Gateway Reg Emma Gunther Woodstown Madelaine Haeringer Chatham Catherine Harkins Ridgewood Emily Jackson Collingswood Seongjin Kim Ridgefield Mem Rebecca Knighten No Burlington Co Reg Darla Mabeyi Overbrook Senior Nina Mallalieu Paramus Caitlin Maurer Hamilton West Karina Mendez Leonia Elizabeth Monkemeier Madison Elizabeth Moshkevich Chatham Caroline Mui River Dell Reg Aubrey Mullaney Kinnelon Yulin Ni Highland Park Grace Paulicelli Hunterdon Central Reg Jacquelyn Perez Cherry Hill West Kathryn Quay Cherry Hill East Sydney Reynolds Newton Nidhi Ngh John P Stevens Sandy Smith Audubon Jr/Sr Kelly Vanfossen West Deptford Swathi Vasudevan North Brunswick Twp Chandler Wikander Overbrook Senior Isabella Williamson-Vonstenz Cherry Hill W. Sruti Yanamandra Hillsborough Arianne Zeigerman Leonia

TEMPO

Soprano 1

Jocelyn Alam W Morris Mendham Briana Alvarez John F. Kennedy Mem Emma Ball Audubon Jr/Sr Valery Berenshtein Pascack Valley Sammie Boyer Woodstown Lauren Brinkman Roxbury Eloise Burn Millburn Katelyn Chance Overbrook Sr Katherine Cotter Cherry Hill East Liza Mae Divinagracia Holmdel Molly Flynn Shawnee Jade Glab Red Bank Reg Carlie Goldfarb Howell Ula Goldstein Leonia Emily Griggs Pope John XXIII Reg Holly Haines Columbia Emma Hodges Haddonfield Mem Evelyn Holmberg Paramus Allison Horvath Watchung Hills Reg Ananya Iyengar Parsippany Hills Sarah Kelly Watchung Hills Reg Anna Kosachevich Parsippany Virginia Lafean Ridge Emmalee Lafean Ridge Divya Menon Tenafly Veronica Mu Watchung Hills Reg Ashley Murphy Woodstown Kaylee Nam Rutherford Laura Nolan Randolph Disha Panchal John P. Stevens Amelia Paulson Cherry Hill West Kiki Porter Montclair Kimberley Acad Sarah Robbins Camden Catholic Juliette Shore North Hunterdon Mary Sisler Montgomery Twp School Dist Emily Smith-Feldman Fair Lawn Paige Smyth Ridge Eleftheria Stavridis Ridgefield Mem Francesca Tangreti North Hunterdon Alexandra Tasev Rutherford Deidre Thompson West Morris Mendham Giuliana Trinchieri Moorestown Sydney Vollmar Ridge Ashleigh Wolf Red Bank Reg

Soprano 2

Theresa Abou-Daoud Amanda Ackerman Devanshi Banerjee Erin Bender Rebecca Blanchard Hannah Chan Audrey Chu Madison Coleman Jillian Cuzzolino Julia Dabrowska Madison Dautle Lila Dunn Sara Fisher Aniyha Gaddis Kristina Gaffney Samantha Goldberg

TEMPO

Westwood Reg Jr./sr.

Hackettstown Millburn Mountain Lakes Ridge John P. Stevens Howell Audubon Jr/Sr Hillsborough New Providence Cherry Hill East West Morris Mendham Haddon Heights Jr/sr North Plainfield Cherokee Moorestown

Bridget Gooley Allentown Aria Greendyk No Jersey Home Schoolers Assn Jacqueline Johnson Ridgewood Sanjeevani Joshi John P. Stevens Hannah Kennedy Roxbury Claire Kwon Bergen County Academies Olivia Magaraci No Valley Reg At Old Tappan Kaelin McElduff No Valley Reg At Old Tappan Emma Mistele Bernards Kathleen Morrisroe Kinnelon Lauren Nutt Cherry Hill West Hannah Orr High Point Reg Madison Panno Cranford Brianne Partington Parsippany Hills Theresa Pelosi Randolph Rajat Ramekar John P. Stevens Giulia Reading South Hunterdon Hannah Rosen Tenafly Leah Sandow Howell Evan Schultz Ranney School Mihika Singh Bridgewater-Raritan Xana Smith Central Reg Ava Stefanelli West Morris Mendham Katherine Trauger Cherry Hill East Victoria Twardzik River Dell Reg Kaneesha Vaz Parsippany Hills Sarah Vollenbroek Cranford Danielle Wachter Roxbury Noran Zaher North Plainfield

Alto 1

Nicholle Anastasio Overbrook Senior Cassidy Anderson Camden Catholic Amanda Arodes Ridgefield Mem Molly Barnett Morristown-Beard School Aria Berryman Ridgewood Rachella Carlino Scotch Plains-Fanwood Lindsay Cherin Howell Ana Colagreco Hunterdon Central Reg Dist Eva Della Piazza Summit Meredith Donlin James Caldwell Katherine Evans Chatham Cassidy Gilroy Roxbury Robbinsville Erin Godfrey Elizabeth Hallinan Cherry Hill East Sara Hansson Hunterdon Central Reg Dist Jennifer Jin Bergen County Acad Allyssa Jurgens Allentown Emily Kane Hunterdon Central Reg Dist Sonia Kangaju Cherry Hill West Candice Kleiman Hanover Park Abby Lebel Bernards Brianne Lee W Windsor-Plainsboro South Jessica Lee Academies At Englewood Alexa Liss Washington Twp Mikayla Long Howell Mia Maccarella Parsippany Hills Juliana Marcotrigiano Cranford Madison McGourty North Hunterdon Pria McNeil Cranford Daphne Meng Millburn Catherine Moore Westfield Senior Kate Morandi Bernards

54

Aanandi Murlidharan Wardlaw-Hartridge School Erin Ostrowski Red Bank Reg Soyoung Park River Dell Reg Natalie Riebe Hunterdon Central Reg Dist Ciana Roman Kittatinny Reg Grace San Roman Cedar Grove Madeleine Stout Red Bank Reg Caroline Voyack Moorestown Marti Wynne Highland Reg Madelyn Yerkes Washington Twp Chloe Yu Newark Academy

Alto 2

Saira Alam West Morris Mendham Victoria Borrelli Cherry Hill West Hannah Bush Highland Reg Lydia Cahall Woodstown Jenna Camacho Cherry Hill East Lauren Carter Howell Alexa Chalnick Howell Catherine Cuddihy Cherry Hill East Jade Delos Santos Roxbury Sarah Dolan Scotch Plains-Fanwood Victoria Domiciano Scotch Plains-Fanwood Stephanie Garcia No Burlington County Reg Samantha Georgianna Audubon Jr/Sr Zoe Gilmore Bloomfield Samantha Golub Howell Valesca Gongora Hanover Park Samantha Graham Audubon Jr/Sr Mary Kang Bergen County Acad Emily Klein Moorestown Patricia Kubik West Morris Central Ishani Kulkarni John P. Stevens Georgianna Lee Audubon Jr/Sr Olivia Lewallen Audubon Jr/Sr Katherine Mackenzie Cranford Regina McElroy Randolph Catharine Meade Mount Saint Mary Acad Veronica Mendoza Parsippany Olivia Millard Millville Senior Amulya Mutnuri John P. Stevens Rachel Nichols Paramus Sydney Nigro Mount Saint Mary Acad Emily Nowak West Morris Central Nitya Patlola Hunterdon Central Reg Dist Victoria Prol Sparta Srinidhi Ramakrishna Montgomery Twp School Dist Andrea Reyes Roxbury Abby Rothenberg Westfield Senior Ciera Scire Roxbury Maia Sheinfeld Columbia Yasmeen Simmons Winslow Twp Ryan Smerdon Somerville Shobhana Sridhar John P. Stevens Lianah Sta. Ana Howell Elizabeth Stuart Chatham Taylor Viana Monroe Twp Amanda Watson Washington Twp Eileen Yizzi Cinnaminson

MAY 2017

Tenor 1

Dennis Aponte Cedar Grove Cyrus Barba Audubon Jr/Sr Jacob Bedel-Franklin Roxbury Joshua Berg Bernards James Boss Vernon Twp Noah Bram Westfield Senior Alec Burns Roxbury Ricardo Cantarero Ridgefield Mem Steven Chartoff Ridgefield Mem Pratik Chaudhari John P. Stevens Primo Davis Eastern Reg Liam Driscoll Chatham Carlos Fonseca Ridgefield Mem Jonathan Fu John P. Stevens Jalen Garraway Matawan Reg Peter Hoefler Chatham Sean Kim Ridgefield Mem Michael Krasting West Deptford Austin Kurbansade Roxbury James Ma Montgomery Twp School Dist Gregory Nappa Newton Aditya Nibhanupudi John P. Stevens Isaiah Nitka No Burlington County Reg Isaac Peabody Ridgewood Jacob Ropka Cherry Hill East James Schneebele Audubon Jr/Sr Christopher Scire Roxbury Matt Siroty Westfield Senior Daniel Tineo Ridgefield Mem Matthew Titus Audubon Jr/Sr Michael Trimble Cinnaminson Ashwin Verghese Ramsey Luke Wroblewski Millburn Matthew Young Cherry Hill East

Tenor 2

Rishab Ayyappath Moorestown Matthew Balestriere Saint Augustine College Prep Quinton Barker No Burlington County Reg Jacob Barrett Hunterdon Central Reg Dist Nikhil Bhat Watchung Hills Reg Randy Campo Immaculata Adam Cantor Governor Livingston Richard Cardile Middletown North Kyle Casem John P. Stevens Daryl Castro Leonia John Chiarello Millville Mem Chris Choi Ridgefield Mem Blaze Dalio Sparta John Dreyer Northern Highlands Reg Jason Edelstein Paramus Jordan Edmondson Eastern Reg Conor Flood Scotch Plains-Fanwood Bryan Gonzalez Roxbury Joshua Gonzalez Parsippany Jeffrey Greiner Ridgefield Mem Kyle Griffit Saint Augustine College Prep Joshua Ha Ridgefield Mem Brian Hong Montgomery Twp School Dist Richard Kim John P. Stevens Jesse Kriesel Hawthorne Christian Acad

MAY 2017

Ashwin Mahadevan Cherokee Andrew Malabunga Robbinsville Joseph Maldonado Westfield Senior Amartya Mani Montgomery Twp School Dist Christopher Miller John P. Stevens Timothy Morrow Ridge Jaydeep Mukherjee Newton Daniel O’Sullivan Ridge Joshua Riklan Howell Matthew Spadaccini Allentown Peter Suh Ridgefield Mem Justin Thach Cherokee Charles Thomson Chatham John Valentin Central Reg Samuel Vana Ridgewood Colin Vega Verona Zach Wang Woodstown Max Wasilewski Westfield Senior Justin Witwick Cranford Joshua Zonenashvili Paramus

Bass 1

Thomas Abraham Morris Knolls Sean Barton Pemberton Twp Aaron Benfer Millville Mem Alex Bien Leonia Jake Brancati Holmdel Alexander Brown Highland Reg Adrian Camano St. Peter’s Prep Daniel Celentano Bernards Rafael Cestero Westfield Senior Samuel Chu Cresskill Kyle Collins West Morris Mendham Mark Edelstein River Dell Reg Timothy Estacio Shawnee Zane Fadul Fort Lee Michael Febles Ridgefield Mem Lucas Folan Parsippany Hills Ethan Greenberg Freehold Borough Joseph Grisanzio Howell Anthony Guerra Ridgefield Mem Jihun Ha Ridgefield Mem Malcolm Harrison Summit David Hartway No Burlington County Reg Griffin Hegel Howell Nick Hite Cinnaminson Wes Hopkins Cinnaminson Shant Keshishian Academies At Englewood Luke Kim North Jersey Home Schoolers Assn Devin Langer Northern Burlington County Reg Michael Lazarow Cherry Hill West Matthew Lintern Columbia Kyle Magee Scotch Plains-Fanwood Jason McCarthy Brick Twp Mem Owen McKenna Ridge Keith O’Donnell Highland Park Michael Olsen Howell Taylor Olsen Morris Knolls Trevor Rittman Governor Livingston Richard Rohlfs Roxbury Eugene Sandel Pemberton Twp Andrew Shen W Windsor-Plainsboro South

55

Ben Sheneman Hunterdon Central Reg Dist Jason Skibinski Howell Jason Soto Winslow Twp Sriram Srinivasan John P. Stevens Michael Stile Wayne Valley Peter Toto Monroe Twp Robert Wilson Parsippany Noah Wohlsen Cranford Jonathan Yap Rutherford Billy Yates North Jersey Home Schoolers Assn Max Yeh Holmdel Hongbin Yun Ridgefield Mem

Bass 2

Matt Abrams Cinnaminson Chi Won Ahn Ridgefield Mem Jake Apicella Audubon Jr/Sr Zachary Arencibia No Valley Reg at Old Tappan Jared Borja John P. Stevens William Broder Watchung Hills Reg Jared Camacho Cherry Hill East Jack Cameron Audubon Jr/Sr Peter Canevari Scotch Plains-Fanwood Abraham Chang Parsippany Hills Ryan Chen Immaculata Matthew Corrado No Valley Reg at Old Tappan Andrew Dunne Cherry Hill West Adam Friedman-Brown Columbia Erik Ghizzone Ridgefield Mem Ian Hachey Roxbury Johnathan Kaack Immaculata Agam Kumar John P. Stevens Ivan Largo Roxbury Ryan Leibowitz Roxbury Peter Lu Newark Academy Gabriel Lukijaniuk West Morris Central Sameer Madhukar John P. Stevens Christian Malamug Cranford Kyle Massage Roxbury Sean McBurney Bridgewater-Raritan Rahul Mirchandani Ridge Jason Nixon No Burlington County Reg William Przedpelski Summit Allan Romero Scotch Plains-Fanwood Tanner Rusyniak Morris Knolls Joshua Sabb Winslow Twp Evan Sacks-Wilner Montgomery Twp School Dist Sam Scheibe Moorestown Tyler Seto John P. Stevens Dongho Son Ridgefield Mem Brendan Tang John P. Stevens Andrew Van Dongen Hackettstown

&

TEMPO

Piccolo

Brooke Walden

Flute

Chenhang Zhang Catherine Wang Daniel Wang Amanda Kang

Oboe

Maxxwell Mejia Kelsey Lee

Bassoon

Ethan Melamed Kaylin Ku

Eb Clarinet

Michael Hauge

Bb Clarinet

Dominick Scalia Daniel Kim Xavier Lee Francesca Ferraro Alex Liu Ethan Kang Jelovus Jeevaraj Benjamin Swinchoski Justin Wang Jaehoon Kim

Alto Clarinet

Elias Rosenberg

Bass Clarinet

Justin Huh Jungann Park

Westfield Bridgewater-Raritan Piscataway Parsippany Biotech Mahwah Summit John P Stevens South Westfield Freehold Twp Montgomery John P Stevens Pascack Hills Lawrenceville School East Brunswick John P Stevens Biotechnology High Technology Cherry Hill East Fair Lawn

Contra Clarinet

Vignesh Vishwanathan

John P Stevens

Soprano Saxophone Anna Konrad-Parisi

Alto Saxophone Brian Kachur Andrew Morrison

Pompton Lakes Watchung Hills Reg

Tenor Saxophone Caleb Woo John Yager

Ridge Randolph

Baritone Saxophone Lucas Folan

Bass Saxophone John Yager

Trumpet

Carolyn Douthat Dale Beyert Natalie Tews Ian Hou Mark Walsh Zachary Kibel

Wayne Valley Westfield Somerville East Brunswick Verona John P Stevens

French Horn

Julian Stiles Pascack Valley Kristin Andlauer Roxbury Steffen Kulp Millburn Jiwon Song No Valley Reg at Old Tappan Michael Wang John P Stevens

TEMPO

David Casazza Matawan Reg Justina Kender Mahwah Shreyansh Pradhan W Windsor Plainsboro No Ricky Roehm Mainland Reg

Bass Trombone Sean McCarty

Euphonium

Kathleen Walsh Jake Nicosia

Tuba

David Stein Ethan Marmolejos

String Bass Gabriel Gaw

Battery Percussion Robert Lenau Joshua Persad Jason Kirshner

Timpani

Michael Petillo

Mallets

Monique Legaspi Joanna Kim Sangjun Ko

Harp

AnjuFelix

Chatham Roxbury Clifton Morristown Watchung Hills Reg Home School South Plainfield South Plainfield Bridgewater-Raritan Reg Verona Monroe Twp South Brunswick Wayne Hills Hunterdon Central Reg

John P Stevens Tenafly

Trombone South Plainfield Millburn Deptford Twp Ridge Millburn

Dave Mosko Harrison Tsui Justina Kender James Weiss

Cherokee Princeton Mahwah Cherokee

Rhythm Section

Trumpets Jonathan Gittings Carolyn Douthat Liam Sutcliffe Arjun Raguram Teddy Trent

Parsippany Hills Randolph

Saxophones Lawrence Lenau Albert Kuo David Graham Jeffrey Wang Jonathan Rosen

Verona

Trombone

Caelan Cardello Graham Kozak Max Caine Brian Caine

Princeton Wayne Valley Princeton Princeton Ridgewood

56

Teaneck Monroe Twp Ridgewood Ridgewood

MAY 2017

Piccolo

Selia Myers

Morristown

Flute

Christine Yang Millburn Daphne Tang Ridge Ellen Park Livingston Deborah Jau Paramus Lindsey Shi Watchung Hills Reg Hyungjin Cho Bergen Co Academies Cara Ditmar Southern Reg Kristen Springer Mahwah Frances Wang Bridgewater Raritan Reg Nitya Nadgir John P Stevens Ryan Breslin Brick Memorial Victoria Tian Union Co Acad/Allied Health Sci

Oboe

Sophia Oehlers Amanda Spratt Kenneth Dilks Kristen Park

Bassoon

Kyle Yang Jordan Dreyer Matt Wisotsky Peter Houdalis

Eb Clarinet

Gordon Sherman

Bb Clarinet

Collingswood Eastern Reg Camden Catholic Kinnelon Millburn West Milford Twp West Morris Mendham Matawan Reg Bergen Co Academies

Daniel Luo Montgomery Kelly Yu John P Stevens Jaehyeok Yang Ridgewood Kevin Tang Ridge William Huang Montgomery Young Chan Cho Ridgewood Jenna Lee Paramus Danny Jeong Pascack Hills Hongjin Xia John P Stevens Andrea Lim No Valley Reg at Old Tappan Joshua Choi No Valley Reg at Demarest Esther Moon No Valley Reg at Old Tappan Anita Gosevska Absegami Alan Lin Newark Academy Emily Kwon Whippany Park Jennifer Weiss Montville Twp Jun Choi Shawnee Natalie Emerson West Morris Mendham Nicole Mallari Bergenfield Minsung Cho Bergen Co Academies Erika Zhang W Windsor-Plainsboro So Lawrence Ling John P Stevens Brian Zhu Millburn Victoria Fisher Toms River No

MAY 2017

Alto Clarinet Syna Tsai Shivam Yadav Regina Pagano Divya Anand

John P Stevens John P Stevens Bridgewater Raritan Reg West Orange

Bass Clarinet

Dennis Nguyen Matthew Schiff Lydia Lee Claire Zhu

John P Stevens Westfield Ramsey East Brunswick

Contra Clarinet Hannah Seo

John P Stevens

Alto Saxophone

Andrew Se Christopher Mantell Calvin Cai Jason Luo

Whippany Park Randolph Montgomery John P Stevens

Tenor Saxophone Justin Yuan Ian Briffa

Ridge W Windsor Plainsboro No

Baritone Saxophone Thomas u Zoe Wang

Trumpet

Devon Ulrich Joseph Giguere Benjamin Hambro Dylan Quattro Austin Chen Elise Smith Edward Hu Jonathan Podwin Drew Borek Evan Schreiber Bryan Cook Luis Ozoria Matthew Gallego

French Horn

David Kong Kenny Sun Kyle Cho Joseph Dwyer Yinin Li Anandita Nadkarni Andrew Kelser Angela Fiorentino

John P Stevens John P Stevens

Cresskill Lakeland Reg Egg Harbor Twp Morristown Westfield Wall Ridge Bergenfield Allentown Ramsey Bridgewater Raritan Reg Absegami Freehold Twp Bridgewater Raritan Reg East Brunswick Paramus Howell Eastern Reg Millburn Summit Lacey Twp

Trombone

Justin Bi W Windsor-Plainsboro No Christopher Nadar Hopewell Valley Central Adam Selph Bridgewater Raritan Reg Michael Rooney Bridgewater Raritan Reg Ameya Natarajan W Windsor-Plainsboro No Cristina Sarrico Watchung Hills Reg Sean McBurney Bridgewater Raritan Reg Angel Burgos Clifton Nithish Selvaraj John P Stevens

Bass Trombone James Weiss

Euphonium

Ryan Feng Elizabeth Rutan Max Dichter Nicholas Kataryniak

Tuba

Alex Hofgesang Brandon Bartschat Pranav Krishna Savit Joshi Daniel Snow Kyle Gelatka

Cherokee Bridgewater Raritan Reg Wallkill Valley Reg Millburn Senior Old Bridge Sparta High Point Reg John P Stevens John P Stevens Howell West Morris Mendham

String Bass

Andrea Bacich

Battery Percussion Varun Das Austin Bartola Christopher Shen Zachary Boettcher Max Meyer

Paramus John P Stevens West Orange John P Stevens Mount Olive West Morris Mendham

Timpani

Rudy Kreutzer

Absegami

Mallets

Pamela Ferrali Andre Hance Alan Song Edward Chung

Old Bridge Randolph Bergen Co Academies East Brunswick

Piano

Junlin Liu

Eastern Reg

&

57

TEMPO

All-State Orchestra High School Scales Revised 3/19/16 All scales are to be memorized. Please no vibrato.

Judges/Audition Chair will select which scale(s) is/are to be played.

A metronome tempo will be given before each scale.

Students will not receive extra points for additional octaves or a faster tempo.

Do not repeat tonic within the scale. Repeating highest note is acceptable.

VIOLIN All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm G Major Arpeggio D Major Arpeggio F Major Arpeggio The 3 arpeggios above must be played in the following manner: 3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 80mm D Melodic minor E Melodic minor F# Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm VIOLA-CELLO All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 3 octaves, 8 slurred to a bow as 8th notes, with the quarter note = 120mm C Major Arpeggio E Major Arpeggio Bb Major Arpeggio The 3 arpeggios above must be played in the following manner: 3 octaves slurred as 8th note triplets (3 to a bow) with the quarter note = 80mm G Melodic minor A Melodic minor C# Melodic Minor The 3 minor scales above must be played in the following manner: 3 octaves separate bows as quarter notes with the quarter note = 120mm BASS All 12 major scales (C, G, D, A, E, B, F#, Db, Ab, Eb, Bb, F) 2 octaves*, 4 slurred to a bow as 8th notes with the quarter note = 120mm E Major Arpeggio D Major Arpeggio Ab Major Arpeggio The 3 arpeggios above must be played in the following manner: 2 octaves* slurred as 8th note triplets (3 to a bow) with the quarter note = 72mm G Melodic minor F Melodic minor C# Melodic Minor The 3 minor scales above must be played in the following manner: 2 octaves* separate bows as quarter notes with the quarter note = 120mm *No octave drop.

TEMPO

58

MAY 2017

All-State Intermediate Orchestra Scales Revised 3/19/16 All scales are to be memorized. Please no vibrato.

Judges/Audition Chair will select which scale(s) is/are to be played.

A metronome tempo will be given before each scale.

Students will not receive extra points for additional octaves or a faster tempo.

Do not repeat tonic within the scale. Repeating highest note is acceptable.

VIOLIN 9 Major scales: D, Eb, E, F in 2 octaves G, Ab, A, Bb, C in 3 octaves VIOLA 9 major scales: G, Ab, A, Bb, in 2 octaves C, D, Eb, E, F in 3 octaves CELLO 9 major scales: G, Ab, A, Bb, in 2 octaves C, D, Eb, E, F in 3 octaves Violin, Viola, Cello scales must be played in the following manner: Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.

Slurred Bows: 8 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

BASS 9 major scales: G, E, F, Ab, in 2 octaves* A, Bb, C, D, Eb in 1 octave* *No octave drop.

Bass scales must be played in the following manner: Separate Bows: each note will be played as a quarter note with the quarter note = 104mm.

Slurred Bows: 4 notes slurred to a bow, as 8th notes, with the quarter note = 104mm.

MAY 2017

59

TEMPO

2017-2018 All-State High School Orchestra Solo List Please check the solo list at njmea.org for up-to-date information.

The online list supercedes lists printed in this magazine.

INSTRUMENT

COMPOSER

TITLE

MOVEMENT(S)

EDITION

VIOLIN

Haydn

Concerto #1 in C Major

1st mvt

Peters

VIOLA

Bach

Suite No. 2 in D Minor

Prelude and Gigue

Any

CELLO

Bach

Suite No. 2 in D Minor

Prelude and Gigue

Any

BASS

Scarlatti

Sonata #2 in c minor

1st and 2nd mvts

Schirmer

2017-2018 All-State Intermediate Orchestra Solo List INSTRUMENT

COMPOSER

TITLE

MOVEMENT(S) EDITION

Violin

Nardini

Concerto in e minor

1st mvt

International

Viola

Telemann

Sonata in a minor

3rd and 4th mvts

International

Cello

Squire

Bouree

all

Fischer

Bass

Beethoven

Sonatina all Schirmer (from Solos for the Double Bass Player, Ed. Oscar Zimmerman)

TEMPO

60

MAY 2017

2017-2018 All-State High School Band Solo List

Please check the solo list at njmea.org for up-to-date information.

The online list supercedes lists printed in this magazine.

INSTRUMENT

TITLE

COMPOSER

PUBLISHER/DISTRIBUTOR

Piccolo

Concert in C, F. VI, No. 4

Vivaldi

Flute

Sonata (mvts. 1, 3, and Marsch)

Hindemith

Oboe

Sonata

Poulenc

*Eng.Horn

Divertissement

Bozza

*Eb Clarinet

Concertino (Bb Clarinet version)

von Weber

Bb Clarinet

Solo de Concours (No page 1., Lento 16th note = 63)

Rabaud

Southern 282/HL3773903

*Eb Alto Clarinet

Sonata in a minor (Bass Clarinet edition)

Marcello

Southern 159/HL03773764

Bb Bass Clarinet

Sonata opus 40a (Andante tranquillo and Allegro vivo only)

Kibbe

*Contra Clarinet

Sonata in a minor (Bass Clarinet edition)

Marcello

Bassoon

Sonata in f minor

Telemann

International 2782 European American/Schott STO2522/HL49003799 Chester Music CH62711/HL14025930 Southern 268/HL03773887 Carl Fisher W1893

Shawnee Press Southern 159/HL03773764 International 1151

*Bb Soprano Saxophone Incantation and Ritual

Gate

Eb Alto Saxophone

Sonata

Jacobi

BbTenor Saxophone

Sonatina

Schmidt

Western International AV138

Eb Baritone Saxophone Septieme Solo de Concert

Singelee

Northwestern Publications

Bb Trumpet

Concert Etude

Goedicke

Universal Music Corp.

Horn in F

Morceau de Concert

Saint-Saens

Remick-Alfred T50002

Trombone

Concert Piece

Alary

*Bass Trombone

Sonata for Bass Trombone

Wilder

Margun Music

Euphonium

Rhapsody

Curnow

Rosehill Music

Tuba

A Stylized Suite

Salotti

*Harp

Concerto for Harp(Mvt 1).

Handel

*Piano

Sonata opus 13 (Mvt.1)

Beethoven

Timpani

Adagio-Allegro Carroll (omit measures 6-8, 16-18) - use hard felt mallets from Exercises, Etudes and Solos for the Timpani

Keyboard Percussion Batterey Percussion:

Yellow After The Rain Peters Audition will be Snare rudiments, solo & SR, and Traps studies (found on www.njmea.org) and keyboard etude.

Snare Drum:

Etude No.8 Delecluse from Twelve Studies for the Drum (Douze Etudes)

Keyboard Etude:

Etude No. 9 (from Audition Etudes)

Whaley

To The Fore Publishing Bourne 121009

Cundy/Carl Fisher CU754

Schaffner Music 051222 Schirmer(Lyon and Healey) Henle Verlag HN48 /HL51480048 Batterie Music CF BT 1500

Try Publishing Company 1082

Leduc-AL23410 Meredith Music 600317000

* Instruments Will Be Used As Needed.

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2017 NJMEA ALL-STATE OPERA FESTIVAL

Michael Kallimanis-Festival Chair/Kris Zook-Festival Host, Red Band Reg. HS Solo/Ensemble Auditions (no costumes): Fri., Oct. 27, 2017, 5:00 PM Festival/Concert Date: To be announced, 9:00 AM report time, Concert at 3:00 PM The NJMEA Opera Festival provides a unique opportunity for the most talented students in your chorus to perform opera literature, receive a critique, and attend a clinic and workshop. An aria from any opera is acceptable. To be considered for performance on the Festival day, soloists and ensembles must audition on the separate audition day. The term "ensemble" is used to designate any group other than a solo, e.g., duet, trio, and so on. A student may attend only the clinic and workshop on the day of the Festival and not perform a solo or in an ensemble selection, and therefore does not have to audition. All students are expected to sing in the chorus performances on the Festival day. The audition also serves as a competition for the designation of the highest scoring male and female soloists; highest scoring small and large ensembles; and also to vie for the C. Scripps Beebee Scholarship of $500 and The Governor’s Award in Arts Education for Opera to the overall top scorer. Judging results (scores and written comments) and those accepted to perform on the Festival day will be e-mailed to directors. Teachers, please prepare your students for the three chorus numbers as time is limited on the Festival day. Concert dress is semi-formal or in character costume, your choice.

The audition fee is $20.00 per student. Non-auditioning students, participation fee is $10.00 per student. Each student must fill out an application. Any voicing and any number of students may register. Directors, send all applications with ONE check payable to the NJMEA and enclose a copy of your current NAfME membership card postmarked by Saturday, October 14, 2017 to Michael Kallimanis, All-State Opera Festival Chair, Box 92 Waldwick, NJ 07463. Applications dated after Oct. 14 will not be accepted. Sponsoring directors need not attend the audition but must be present from 10:30 AM until the end of the concert on the Festival day to assist with events. More info, e-mail only MrKOrchAuditions@aol.com. Phone for emergencies on 10/27 or concert date: 201-370-0423.

STUDENT INFORMATION: (Please print neatly, use ballpoint pen or scan and type).

FIRST NAME: __________________________________ LAST NAME: ________________________________________________ ADDRESS___________________________________________ TOWN/STATE/ZIP: _____________________________________ HOME PHONE: ________________________________ E-MAIL _____________________________________________________ GRADE: (circle one)

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CHORUS VOICE PART: ____________________________________

Check all that apply: Solo (audition required) __________ Ensemble: (audition required) __________ Chorus __________ Write the aria/ensemble selection, opera name, composer and your accompanist’s name, on the back of this application.

A professional accompanist is available for $25.00 cash for each day of service, to be given directly to the accompanist. (DO NOT MAIL

THIS FEE with your application - bring it with you in a sealed, labeled envelope with your name).

Check here if you will need a professional accompanist: ___________________ BE SURE TO BRING YOUR MUSIC! CHORAL DIRECTOR INFORMATION:

FIRST: ______________________________ LAST: __________________________________ NAfME #: _____________________ SCHOOL: ___________________________________________________ E-MAIL: _______________________________________ ADDRESS: _______________________________________ TOWN: __________________________ ZIP: ____________________ SCHOOL PHONE: _____________________ HOME PHONE: ______________________ CELL PHONE: ___________________ CONTRACT ENDORSEMENTS:

I certify that I will accept the decision of the judges as binding and if selected, will memorize my music, (chorus music need not be memorized) and dress appropriately. I am aware that I must attend the entire Festival on the announced date.

STUDENT SIGNATURE: ____________________________________________ DATE: ___________________________________

As parent/guardian, I give permission for my child to apply to the 2017 NJMEA Opera Festival. I understand that the NJMEA does not assume responsibility for illness accident. I further attest that I will assist my child with obligations related to this activity. Further, I grant to the NJMEA the right to take photographs of my child connection with the 2017 NJMEA All-State Opera Festival as well as solo and ensemble audio/video recordings. I authorize the NJMEA, its assigns and transferees, copyright, use and publish the same in print and/or electronically. I agree that the NJMEA may use such photographs of my child and the ensemble recordings with without name and for any lawful purpose, including for example such purposes as publicity, illustration, advertising, and Web content, without compensation.

or in to or

PARENT SIGNATURE: _____________________________________________ DATE: ___________________________________ We endorse this applicant as an outstanding member of our school choral program. The director will attend the entire Festival day or provide an approved substitute who is also a NAfME member.

SCHOOL DIRECTOR: ______________________________________________ DATE: __________________________________ PRINCIPAL’S SIGNATURE: _________________________________________DATE: ___________________________________ TEMPO 62 MAY 2017

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NJSMA

North Jersey School Music Association njsma.com

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his will be my last opportunity to write to you in this capacity as your President. I would like to thank Past President Peter Bauer and President Elect Joe Spina for helping to be my sounding board for the duration of my Presidency. I Could not have done it without both of your expertise. Also, I want to take the time to thank the region board, who I think are some of the best educators, and people with the biggest hearts that I have ever met. Your time and passion is a huge reason for the success of the region.

Finally, I want to thank all of the Music Educators in Region 1. The jobs that you do each day to give our kids the tools to be successful is truely inspirational. In this position, I have had the opportunity to work with many of you and have forged lifelong friendships as a result. I hope I have served all of you in good faith, and I am excited to still contribute as much as I can to support the continued success of Region 1. I would also like to take a moment to remind all of you to attend our general meeting scheduled for May 1st at the Sheraton in Parsippany.

We will elect a new President Elect, as well as listen to the scholarship award winners.

Please take as moment and join us. Thanks again for all that you do each day. It truely has been an honor to serve.

Russ Batsch

TEMPO

Lewis Kelly & Gregory Mulford Band Division

Deama Larsen Choral Division

The North Jersey band division has had an exciting 2016-2017 year. We have had two wonderful All North Jersey concerts featuring 4 fantastic bands from students in grades 7-12. The high school and junior high school concert band festivals continue to be annual celebrations of the education through ensemble performance.

Our sixth Elementary Band Festival will be held on Saturday, May 5, 2017 at South Orange Middle School. 185 sixth grade students will perform in two ensembles conducted by Janell Kallimanis from Sussex Middle School and Dan Halpern from H.B. Whitehorne Middle School.

Forty sponsoring directors will help run the one-day festival concluding with the concert at 2:00 pm.

These successful region events do not happen by themselves. It takes many individuals and school districts working in cooperation to make region events work.

Thank you to all of our conductors, adjudicators, managers, hosts, audition chairs and coordinators who make all these fantastic events happen. Anyone interested in conducting any region ensemble should log on to the region website and complete an application. If you would like to get involved as a host, manager, or assist in any way please contact Lewis Kelly or Gregory Mulford at band@njsma.com. We look forward to working with you again next year!

Forty-Five different schools from around the region participated in the Junior High Region Chorus Concert which took place on March 19, 2017 at Bloomfield High School. Over 800 people attended the concert which featured a Treble Choir under the direction of LIsa Bagley (Westwood Regional Schools) and Mixed Ensemble conducted by Laura Kosmich (Leonia Public Schools).

There were about 240 singers singing in the combined choir for the finale. It was truly a wonderful concert enjoyed by all who ate’d like to thank all of the Region I directors who helped make this concert so successful.

NJSMA Elementary Music Division Lisa Wichman, Chair Carol Richardi, Co-Chair Professional Development opportunity for Preschool - 6th grade music educators and music educations majors Monday, October 9, 2017; 9:30 3:30 pm.

Columbus Day Elementary Workshop featuring leading authority in Elementary Music Education: Artie Almeida! http:// www.artiealmeida.com/ Check our website for details and registration information: http://www.njsma. com/ 64

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South Jersey Band And Orchestra Directors Association sjboda.org

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ongratulations to all who were involved with the 40th Annual All South Jersey Junior High School Band Concert. The performances were outstanding. The conductors this year were Shannon Hughes (Northern Burlington County MS) and Andrew Seigel (William Davies MS). Dominic Scalfaro (Alder Avenue MS) and Scott McCarron (Delsea Regional HS) provided excellent assistance as managers for these ensembles.

This concert would not be possible without the commitment and dedication of our colleagues. Joe Brausam (Lacey Township HS), our Junior High Band Coordinator, was responsible for organizing a wonderful event that our students will cherish for many years.

Special thanks to Derek Rohaly (Mainland Regional HS) and Mark Kadetsky (Fernwood Avenue MS) who offered their facilities and percussion equipment for the rehearsals and the performance.

The 10th Annual Chamber Ensemble Concert was held on February 8th at Cedar Creek HS. The ensemble coaches were Brass: Mike Lynch (Cherokee HS); Percussion: Don Simpson (Crockett MS); Sax: Nick DiSalvio (Westampton MS); Woodwind: Beth Rohaly (R.M. Bacon ES); Clarinet: Joe Midiri (Private MAY 2017

Teacher); Flute: Sam Brooks (Glen Landing MS); and Tuba/Euphonium: Tim Trout (Jackson Township School District). Jon Porco (Absegami HS) coordinated this successful event.

Our 24th Annual High School Concert Band Festival showcased 17 ensembles this year. The performances by these groups are evidence of the many excellent instrumental music programs in South Jersey. Our festival coordinators were Mike Armstrong (Deptford HS) and Jon Porco (Absegami HS).

Rick Dammers (Rowan University) was our host and members of the Rowan Collegiate NAfME assisted in creating a positive experience for all of the participants.

Sue Moore (Mansion Ave. School) and William Trimble (Wenonah ES) did a wonderful job in coordinating our 25th Annual Elementary Honors Band Festival, which was hosted by Patrick O’Keefe at Shawnee High School on Saturday, April 29th. Our conductors this year were Marc Spatz (Atlantic City School District), Ed Cooke (Cinnaminson HS), and Lori Ludlum (Oaklyn Public Schools, retired). The managers for the festival were Dave Seals (Emma C. Attales MS), Christopher Carl (Lumberton MS), and Lori Ludewig (Oaklyn Public Schools).

The 2nd Annual Elementary String Festival will take place on Saturday, May 6th at Fernwood Avenue Rhea Fernandes (Eastern Regional HS) will coordinate this event

and Jocelyn Moore (Egg Harbor Township Schools) will be our host. Our conductors will be Jacob Weber (Johnson ES) and Mitchell Stowman (Cherokee HS). Dave Dunlap (Sandman Consolidated School) and Jayne Weiner (Evesham Township School District) will be our managers.

Our Spring Meeting will be held on Wednesday, May 31st at Seven Star Diner beginning at 9:00 am. Please call 609-457-0590 or email Patrick O’Keefe at patrickaokeefe@ gmail.com if you are able to attend. Please continue to check the website, maintained

by Derek Rohaly (Mainland Regional High School), for the latest SJBODA updates. www. sjboda.org Joseph Jacobs Secretary, SJBODA

SJCDA

agers; as well as Joseph Zachowski, Washington Twp, who served as host of the festival. The Concerto Philadelphia Girls Choir performed as our guest group, which was a great way to show the elementary singers a glimpse of their future as a singer in their later school years. Congratulations to all involved in this fun day!

The membership met for their annual Breakfast meeting on April 28th, at the Crowne Plaza in Cherry Hill. Founder’s Scholarship winner, Wes Hopkins performed, as well as Jenna Camacho, the first recipient of the Richard M. Smith Scholarship for Music Education. We were pleased to offer a reading session to our members, presented by Christopher Thomas, of Rowan University.

The Board congratulates its members on another successful and musical school year. Best wishes for a relaxing summer!

Nancy Dickinson, SJCDA President

South Jersey Choral Directors Association sjcda.net

On March 4th, the South Jersey Elementary Chorus performed, under the direction of conductor, Laura Harmon, of Cherry Hill Schools. A wonderful and educational time was had by all. Special thanks to Patty Allen and Shaun Brauer, co-man-

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• Recommend your students in grades 9, 10, or 11 during the 2016-2017 school year to apply • The All-National Honor Ensembles represent the top performing high school musicians in each state across the country • So much more than a musical ensemble, it is a comprehensive, musical, and educational experience

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• Students will learn under the baton of leading conductors who are sure to inspire • This year’s event will feature one of the nation’s only college music showcases

November 26 - 29, 2017 Apply today: nafme.org/ANHE

MAY 2017

Application deadline: May 12, 2017

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This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey.

terian Church in Dover. In 1956, she moved with her family to Westfield. After studying organ with Wilma Jensen at Westfield’s Methodist Church, she began working at the Congregational Church in Westfield as the choral director and the organist. She was helpful in the purchase of their new pipe organ. During those early years in Westfield, she sang recitals and concerts, and took on operatic roles such as the mother in “Amahl and the Night Visitors,” under the direction of Alfredo Silipini. Maestro Silipini later hired her as chorus master of the New Jersey State Opera. She was also selected for the position of conductor of the Suburban Symphony Chorus of New Jersey in 1963. This group was originally founded by Peter Scozio in 1962. The name was changed when Evelyn became director to The Choral Art Society of New Jersey. Evelyn became the heart and soul of this organization and due to her high standards of excellence and her choices for a variety of great choral masterpieces, she led the group in the great choral works of Bach, Handel, Haydn, Mozart, Beethoven, Mendelssohn, Puccini, Verdi, Vaughan Williams and more to include over 109 master works. Evelyn also became the conductor of the Westfield Glee Club and was very active in the Music Club of Westfield. She accepted her next calling as organist and director of music at The First Baptist Church in Westfield. Evelyn assisted in the transformation of the sanctuary, the addition to the building, and the rebuilding of the organ. Her pioneering spirit compelled her pursuit of growth and self improvement as she attended choral and vocal workshops around the country and studied voice privately. She also took on the post of national treasurer of the American Baptist Convention, attended The American Guild of Organists’ concerts, workshops, and meetings, played organ at Temple Emanuel in Elizabeth, N.J., and earned her master’s in conducting and the equivalent of her doctorate at Trenton State College (College of New Jersey). When her youngest children were developing, she took on yet another role as a devoted teacher of music in the public school system, teaching full time for many years at Deerfield School in Mountainside, N.J.; David Brearley High School in Kenilworth, N.J, where she directed, planned and produced 14 musicals, and then on to Arthur L. Johnson High School in Clark, N.J., where she was again the choral and voice teacher. Evelyn received many awards, including the Governor’s Award and the “Master Teacher of the Year” from the New Jersey Music Educators Association. Evelyn retired from public school teaching in 1983, and took an assignment teaching voice and conducting at Kean University’s Music

Lucille Benedetto (Cantraella) Lucille Benedetto (Cantarella), professional musician and teacher, 88, of Chatham Township, N.J., passed away on March 1, 2017. In addition to being a professional musician, Benedetto was a music teacher at Connecticut Farms Elementary School in Union.

Evelyn M. Comey Bleeke Evelyn M. Comey Bleeke “Brought excellence and seemed always to create magic” in her long career in New Jersey music from classical choral masterworks, opera and liturgical programs to school musicals, she‘touched the lives of thousands’ Evelyn M. Comey Bleeke, 93, a resident of Westfield, N.J., and of Kennebunk, Maine, passed away on Friday, Feb. 24, 2017, in Edison, N.J. Evelyn was born in Reading, Mass., on Sept. 9, 1923. As a young girl, she displayed immense natural musical talent and enthusiasm. By age 10 she was playing piano and pump organ for church services and developing as a singer. After she graduated from high school, she worked at a restaurant and continued her playing and began singing in a close harmony gal group, The Melody Gems, with whom she sang weekly live radio broadcasts from the Copley Plaza Hotel in Boston. She attended Boston University, graduating with honors, including the “Scarlet Key.” Boston University’s Scarlet Key Honor Society was founded in 1938, as an activities honor society, in which new members were voted in, or tapped, annually by existing members. Evelyn spent an extra year at B.U. in a special conducting program under the tutelage of Sam Peck. To help in the war effort, Evelyn offered her conducting abilities at USO dances, where she met her future husband, Donald E. Bleeke, to whom she would be married for nearly 60 years. The couple moved to Arlington, Mass., where she worked at the Congregational Church. From there, they moved their family to Dover, Del., where she directed the “Playtex Manufacturing Plant Community Chorus” and accepted the position of choral director and organist at the 1st PresbyTEMPO

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Conservatory. Wherever she went, Evelyn brought excellence and seemed to always create magic with the musicians she led. She accepted an invitation to be music director at First Presbyterian Church of Cranford and served for many years in what would be her final calling as a full-time church musician. When she retired, she continued to teach voice privately and was active in the musical life in and around Westfield and Kennebunk, Me. She had a special way with people, and could generate love, passion, and excitement for the music with her leadership and conducting.

Evelyn Bleeke touched the lives of thousands of people through the years. She was loved by many. Her excitement, passion, and love of music will live on in the hearts and voices of family and countless friends.

Eleanor Borski King Eleanor (nee Borski) King, 84, of Paramus, formerly of Hasbrouck Heights, passed away on Thursday, March 2, 2017. Eleanor worked for the Hasbrouck Heights Board of Education as a Music Teacher until marrying her husband back in the 60s.

Claire F. Buckley McGurr

Dominick J. Ferrara III Dominick J. Ferrara III, director of music education at Secaucus public schools and founding director of Garden State Concert Band, devoted time to countless organizations in the Bloomfield community Dominick J. Ferrara III “The Chief,” of Bloomfield, N.J., entered into eternal life on Feb. 13, 2017. He was 78. Dominick was the son of the late Dominick J. Ferrara Jr., a World War II veteran, and Grace Tedesco. He was born in Newark, NJ., and was a graduate of Barringer High School. He graduated from both Montclair State University with Bachelor of Arts in Music Education and New York University with a Master of Arts Degree, also in Music Education. He furthered his studies in Educational Administration at Seton Hall University. Dominick began his career in music education as the founder of the public school music program in the Secaucus Public Schools, where he served as the director of music education and taught music for 35 years. Dominick served in the 50th Armored Division Band of the New Jersey Army National Guard for 22 years and was bandmaster for much of that time. He retired from the National Guard in 1978 as a chief warrant officer III. Dominick moved to Bloomfield in 1975, where he had been an active member of the community through countless organizations. He was named the Citizen of the Year by the Township of Bloomfield in 2000; was the conductor of the Bloomfield Civic Band for over 43 years; was the founding director of the Garden State Concert Band in 1979; and served in the following capacities: past president of the Bloomfield Federation of Music and past president of Bloomfield UNICO. He was named 2008 Unican of the Year and served on the Christopher Columbus Day Parade Committee, Oakside Cultural Commission, Arts Council of Essex, and was an Eucharistic minister at St. Thomas the Apostle Catholic Church.

MAY 2017

Claire F. (Buckley) McGurr, a longtime resident of Teaneck, New Jersey, passed away at Cedar Crest Nursing Home in Pompton Plains, New Jersey on March 9, 2017 following a period of declining health. She was 81 years old. Born to Mary (Gannon) and John Buckley, Claire was raised in Teaneck, NJ. She graduated from the University of Rochester with a major in music. She then worked in the Teaneck elementary school system as a music teacher. Through the years Claire remained active in Teaneck participating in Scouting and Little League as well as attending numerous sporting events for her 5 children.

Theodore Melyan Theodore Melyan, 99, of Dunmore, Pennsylvania died Friday in Scranton, Pennsylvania. He was a decorated veteran of World War II, a world famous composer and musician, and for more than 30 years, a music teacher in the Clifton public schools and an inspiration to generations of students and musicians.

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NJMEA 2016-2017 Board of Directors Executive Board Administration Ronald Dolce Retired rdolce561@aol.com 732-574-0846

Corporate/Industry Ron Beaudoin rbeau1959@gmail.com 301-662-2010

Advocacy Nick Santoro Retired n31b13@gmail.com 732-246-7223

Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org 973-493-5797

President-Elect, Jeff Santoro W. Windsor-Plainsboro District jsantoro@njmea.org 609-716-5000 x5262

Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com 973-766-5343

NJ Association For Jazz Ed. Mike Anzuini Steinert High School manzuini.njaje@gmail.com 609-631-4150 x3412

Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com 732-686-1316

Band Performance Albert Bazzel Winslow Twp. Middle School fenwayfollower5@comcast.net 856-358-2054

Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org 732-367-7195

Choral/Opera Festivals Donna Marie Berchtold William Davies Middle School berchtoldd@hamiltonschools.org 609-476-6241 x1013

Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com 732-613-6890

Chorus Performance/NJRMEA Kathy Spadafino, Retired kspadeb@aol.com 908-208-5980

Special Learners Maureen Butler Lake Drive School mbutler@mlschools.org 973-299-0166

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com 732-919-2131

Technology Marjorie LoPresti East Brunswick High School marjorielopresti@gmail.com 732-613-6969

President, William McDevitt Vineland High School billnjmea@aol.com 856-794-6800 x2539

Past-President, Joseph Jacobs

Ventnor Middle School jjacobs@veccnj.org 609-335-6429

Region Executive Members NJSMA President, Russ Batsch Madison High School batschr@madisonpublicschools.org 973-593-3117 ext 7190 CJMEA President, Adam Warshafsky Montgomery Twp. School District awarshafsky@mtsd.us 609-466-7602 x6203 SJCDA President, Nancy Dickinson Bunker Hill Middle School ndickinson@wtps.org 856-881-7007 x5136 SJBODA President, Patrick O’Keefe Smithville School o’keefep@gtps.k12.nj.us 609-748-1250 X4661

TEMPO

Appointed Members

Guitar Tom Amoriello Flemington Raritan Schools tamoriel@frsd.k12.nj.us 908-284-7650

Collegiate/Research/Higher Ed. Rick Dammers Rowan University dammers@rowan.edu 856-256-4557 Conferences Marie Malara Sayreville Middle School malara97@aol.com 732-525-5290 x2370

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NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters .....................................................William McDevitt............................................................billnjmea@aol.com All-State Band Coordinator ...............................................Donna Cardaneo........................................................... dcardaneo@aol.com All-State Chorus, Orchestra, Jazz Coordinator ....................Joseph Cantaffa .................................................. jcantaffahhs@hotmail.com Association Business ........................................................... Deborah Sfraga ............................................................. debnjmea@aol.com Band Procedures Chair ........................................................Matthew Spatz ...............................................matthew.spatz@millburn.org Choral Procedures Chair.................................................. Kathleen Spadafino .............................................................kspadeb@aol.com Composition Contest ........................................................Robert Frampton ...................................................rtframpton@comcast.net Jazz Procedures Chair ........................................................ Michael Anzuini ................................................ manzuini.njaje@gmail.com Marching Band Festival Chair ............................................. Nancy Clasen ...................................................... nancydidi@hotmail.com Membership ....................................................................... Deborah Sfraga ............................................................. debnjmea@aol.com Middle/Junior High Band Festival ....................................James Chwalyk, Jr. ........................................... james.chwalyk.jr@gmail.com Middle/Junior High Choral Festival .............................Donna Marie Berchtold ................................ berchtoldd@hamiltonschools.org NJMEA Historian ................................................................Nick Santoro.............................................................. n31b13@gmail.com NJMEA State Conference Exhibits Chair ............................ Nancy Clasen ...................................................... nancydidi@hotmail.com NJMEA State Conference Committee ................................. Ron Beaudoin ........................................................ rbeau1959@gmail.com NJMEA State Conference Manager ......................................Marie Malara ...............................................................malara97@aol.com NJMEA/ACDA Honors Choir ............................................ Pam Crockett .......................................................... pcrockett@npsdnj.org NJMEA Summer Conference .............................................Joseph Akinskas.................................................... joea_njmea@comcast.net November Convention – NJEA ........................................... Nancy Clasen ...................................................... nancydidi@hotmail.com Opera Festival Chair ........................................................ Michael Kallimanis .......................................... MrKOrchAuditions@aol.com Orchestra Procedures Chair .................................................. Susan Meuse ........................................................ susanmeuse@gmail.com Research ............................................................................. Rick Dammers .........................................................Dammers@rowan.edu Students with Special Needs ............................................... Maureen Butler .......................................................mbutler@mlschools.org Supervisor of Performing Groups ..........................................Joseph Jacobs ............................................................... jjacobs@veccnj.org Tri-M................................................................................William McDevitt............................................................billnjmea@aol.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association ........................... Carol Beadle ............................................... carol.dory.beadle@gmail.com Governor’s Award for Arts Education ....................................Joseph Jacobs ...............................................................jjacobs@veccnj.org NJ Association for Jazz Education...................................... Michael Anzuini ................................................manzuini.njaje@gmail.com NAfME ............................................................................William McDevitt........................................................... billnjmea@aol.com NJ Music Administrators Association .................................Robert Pispecky .................................... Robert.Pispecky@edison.k12.nj.us NJ Retired Music Educators Association .......................... Kathleen Spadafino ............................................................ kspadeb@aol.com NJ TI:ME........................................................................... Rick Dammers ......................................................... dammers@rowan.edu Percussive Arts Society ....................................................... Domenico Zarro ....................................................DEZarro@optonline.net

COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer .............................................. Deborah Sfraga ...................................................... debnjmea1@gmail.com Editor - TEMPO Magazine ............................................. Thomas A. Mosher .........................................................tmosher@njmea.org Web Master (njmea.org) .................................................. Thomas A. Mosher .........................................................tmosher@njmea.org

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GENERAL ADVERTISING RATES Note: additional fees will apply if metal plates are required.

Ads which exceed the specified sizes will be charged at next ad size.

Full Page Two Thirds Page Half Page Vertical Half Page Horizontal One Third Page One Sixth Page One Twelfth Page

All Measurements In Inches (7.5 x 10) (7.125 x 6.66 or 4.625 x 10) (4.625 x 7.5) (7.5 x 5) (2.5 x 10 or 4.625 x 5 or 7.125 x 3.33) (2.25 x 5 or 4.625 x 2.5) (2.25 x 2.5)

1color or black/white $350.00 $290.00 $235.00 $235.00 $175.00 $120.00 $90.00

4 color $800.00 $790.00 $735.00 $735.00 $775.00 $620.00 $590.00

EDITORIAL POLICY Articles may be submitted to the editor of this magazine by anyone who wishes to write about topics related to music or music education. All articles which are selected for publication will be proof read for content, spelling and grammatical errors.

Authors who submit an article to TEMPO Magazine for publication agree to all of the following: 1. the editor may edit all articles for content, spelling and grammar.

2. the printing of the article in TEMPO Magazine, the printing date, and placement are at the discretion of the editor.

3. permission is granted to reprint the same article in any National or State Music Education Association magazine on the condition that the author’s name and TEMPO Magazine are to be mentioned in all reprinted articles.

4. no exceptions will be made regarding items 1 through 3 above.

5. the author of the article may submit his/her article to additional magazines for publication.

NJMEA Past Presidents 1924 1926 1930 1930 1931 1933 1935 1936 1938 1939 1941 1942 1944 1945 1947 1949 -

1926 1930 1931 1933 1935 1936 1938 1939 1941 1942 1944 1945 1947 1949 1951

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Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck

1951 1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 -

1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983

Janet G. Gleason Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince

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1983 1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 -

1985 1987 1989 1991 1993 1995 1997 1999 2001 2003 2005 2007 2009 2011 2013 2015

Anthony Guerere Joan Policastro Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt Keith Hodgson Joseph Jacobs

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MEET STEPHANIE DAVIS YOUR EPN TRAVEL PROFESSIONAL

“I enjoy getting to know my clients. Learning their likes and dislikes, the mustdo’s and must avoids, helps me develop a tour that will be a lifelong memory for the participants while also meeting their educational goals and their budget” AVIS NIE D A H st P STE peciali Tour S

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Stephanie is in her 15th season here at EPN Travel Services. She is a

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over seven years in retail management. Since expanding her horizons here at EPN she has had the opportunity to work one-on-one with many clients. She especially enjoys the personal contact of state

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WHAT IS YOUR FAVORITE STUDENT DESTINATION? Boston is my favorite without a doubt. As one of the oldest and most important historical sites in the country, Boston and neighboring

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She’s listening to the judge’s comments.

Music in the Parks makes it easy.

An Incredible Experience + More Options = Great Satisfaction + We offer festival only packages + You can easily update your numbers and print out a new invoice 24/7 + Audio critique and printable score sheets available online after your performance + We have more dates and locations than anyone else + Our performance schedules are available on-line + We have the most experienced festival staff in the industry + We are open 12 hours a day to answer your questions

Dates, locations and pricing are all on our website. musicintheparks.com | 1-800-323-0974 | info@edprog.com