2018 October TEMPO

OCTOBER 2018 The All-State Chorus, Orchestra & Jazz Ensembles Will Perform In Atlantic City & NJPAC (see pages 60-61)

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

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BOOK 1

Volume 73, No. 1

http://www.njmea.org

OCTOBER 2018

FEATURES

DEPARTMENTS AND NJMEA BUSINESS

24 How Do You Score With Special Needs? A Quiz For The New School Year!, Maureen Butler

Advertisers Index & Web Addresses.......79

28 Words For Musicians To Live By, John Pursell, D.M.A.

Board of Directors.................................76

30 New Concert Band Music From Carl Fischer, James Bast 32 Guitar Program Spotlight 4, Thomas Amoriello

Division Chair News.......................... 6-23 Editor’s Message.......................................4 Editorial Policy & Advertising Rates......78

40 Five Ways To Use Seesaw In The Early Childhood And Elementary Music Classroom, Amy Burns

In Memoriam.................................. 74-75

46 Making Sound Decisions For Music Tech, Marjorie LoPresti

President’s Message..................................2

51 NJMEA Young Composers Competition 2018-2019, Robert Frampton

Resource Personnel................................77

52 What Is Arts Integration,? Shawna Longo

Round the Regions.......................... 70-73

Past-Presidents.......................................78

54 The Importance Of Fort Building In Music Education, Colleen Sears 58 Four Ideas To Improve String Intonation Problems, Mark Przybylowski 60 All-State Chorus, Orchestra, and Jazz Programs for AC & NJPAC 62 NJEA Convention Music Meeting Schedule

FORMS AND APPLICATIONS See NJMEA.ORG

Click on the Desired Activity for downloadable copies of all their forms & applications

NJMEA Guitar Auditions.................63-66 ATTENTION MEMBERS: Please go to nafme.org to record email and address changes.

Region Jazz Ensemble Requirements.. 67-69 NAfME Membership............................. 80

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 73, No. 1, OCTOBER 2018 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

NJMEA In-Service Conference February 21-23, 2019 East Brunswick, NJ

president’s

message JEFFREY SANTORO

jsantoro@njmea.org Website: http://www.njmea.org

A

s I sit and write this message, summer is coming to a close and the school year is right around the corner. The summer always goes by fast, but I hope it was restful and rejuvenating for you and that you have had a great start to the year. I’d like to use this article to fill you in on some of the behind-the-scenes events and work being done by your NJMEA leadership.

Sfraga joined me to serve as the New Jersey delegation.

On Thursday, June 28 we were joined by NAfME Eastern Division President Elect Keith Hodgson, NAfME Council for Guitar Education Chair Tom Amoriello, and our New Jersey NAfME Collegiate representatives Samantha Adams, Megan Anderson, Evan Diffenbach, and Melannie Martinez as we visited Capitol Hill to speak with our elected officials about music education. Over the course of the day we visited the offices of every New Jersey member of Congress and had very supportive and productive conversations

Strategic Plan In the time since my last message in May, our strategic planning process has been in full swing and on October 9 the final plan will be presented to the NJMEA Board of Directors for approval. Over the course of the summer, members of our strategic planning committee have been working hard on creating action plans relating to our 3 strategic directions; Communication, Organizational Vitality, and Diversity and Inclusion. As soon as the plan is approved it will be shared with the membership, so be on the lookout for this information.

Hill Day & National Assembly As President of NJMEA, it’s my job to focus on the membership benefits provided by our organization for you, our members. However, I also have the benefit of seeing firsthand the resources and work being done by NAfME on behalf of all music educators.

One of the most powerful examples of the work done

by NAfME is our yearly trip to Washington D.C. for “Hill Day” and National Assembly. This year, NJMEA Past President Bill McDevitt, President Elect Patrick O’Keefe and Executive Treasurer/Secretary Debbie TEMPO

with their knowledgeable staffers about issues relating to music education. Specifically, this year we were advocating for full funding of Title IA, IIA, IVA and F in the “Every Student Succeeds Act” (ESSA) federal education legislation. These funds can be used on music programs in our schools. We were also asking house 2

OCTOBER 2018

members to co-sponsor recently introduced legislation (The GAAME Act) that would add language to ESSA providing additional guidance on how federal money can be used to support music education. At that time, Congressman Payne, Jr., Congressman Pallone, and Congressman MacArthur were all co-sponsors on the bill. At the same time, delegations from every other state were making the same visits to their congressional offices. It’s pretty awe-inspiring to know that music educators from all over the country were on Capitol Hill en masse advocating for our profession.

The following two days were the NAfME National

sessions inform our day-to-day organizational decisions.

Lastly, Saturday morning was our Eastern Division meeting where we shared reports with our division colleagues and used the time to support one another, ask questions, and offer solutions in an effort to help us all improve as organizations. We also continued the planning for the Eastern Division conference which will take place in Pittsburgh on April 4-7, 2019. It’s shaping up to be an outstanding conference and I encourage everyone to attend!

Social Media My final update is on social media. We now have a social media coordinator and over the course of this year you should notice an increased presence on Facebook, Instagram, and Twitter.

Facebook now has a page (search @NewJerseyMEA), which will be used for announcements and event notification, and our long-existing group (search NJMEA) which will continue to be a community for our members to post job openings, ask questions and interact with each other.

Assembly, where state MEA Leaders from all over the country gather for professional development and leadership training. NAfME uses input from state leaders to plan the specific sessions and the choices were abundant. Below is a sampling of sessions attended by your NJMEA delegation: • Finding and Nurturing Leaders • Legal Issues • Association Technology • Diversity and Inclusion in Music Education • Governance for Elected and State Leaders • ESSA and Federal Funding • Fostering Diversity in MEA Leadership • Recruiting and Retaining Music Teachers

We will also be using Twitter (@NJMEA) and Instagram (@njmeaofficial) to further connect with members and make everyone aware of NJMEA information and events.

I wish you all a great school year and thank you for all that you do for music education in New Jersey!

Time was also given for delegations to take what they’ve learned and plan how to use it to improve their state organizations. We were taking notes on how these topics relate to our strategic plan and aspects of these OCTOBER 2018

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TEMPO

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

NJMEA To Improve February Conference!

T

he NJMEA Board of Directors is working diligently to make the February music conference better. By updating the application and selection process, more first-time clinicians have applied and been chosen, resulting in fresh ideas and perspectives for the conference. Additionally, we have moved to a new registration system and are working with the Hilton to ensure the technology difficulties experienced last year will never happen again.

We have also worked to tweak the timeline of the whole conference process in an effort to communication information earlier than in years past. We recognize that this will be a major help to teachers when planning to

attend. Specifically, we opened the application process early, and closed it in time to notify presenters and performers in September. Registration is already open (see page 23 of this issue, or visit our website for information), and the conference schedule should be posted near the time of this publication’s release.

If you are planning to attend this year’s conference, we’re looking forward to seeing you. If you haven’t attended in a while, we encourage you to make time for this valuable professional development experience. It’s out goal to create an outstanding conference for all music educators in New Jersey.

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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 Past President William McDevitt billnjmea@aol.com

Random Thoughts The official retirement begins!

But let’s back up a little bit. While I know that my comments below are particular to my situation, I guarantee some of these things will happen (or have happened) to you when you reach your milestone.

Before July 1st, there was a lot that happened. I thought that I was managing my time well. Three months before the end of the school year, I had started boxing items in my office. I started packing things that I knew that I wouldn’t need again. One month before, it got serious – I cleaned out the desk! It’s really difficult to decide what to take, what to leave, and what to trash. You’ve purchased lots of materials over the years, but how many pens are you really going to need? I started an area in my room where my colleagues and students could look at what I was discarding and decide if they could use any of it themselves. I trashed much of it. Somewhere around 30 years ago I decided that I was going to need boxes of markers (now dried and useless) and those single folders left over from a new box or the few sheets of colored paper that were left over from full reams. Nobody wanted those. Senior pictures that students gave me – keeping them! Alumni lists – left them for the future. Thirty years of candid pictures – leaving them for the future.

There was a lot to leave behind. I don’t think that I’m a stocker, but years ago, when times were better, I ordered the things that I thought that I would need in the future because I knew that the hard times were coming. The future inhabitants of my office are benefitting!

One of the reasons that it took three months was because of the number of storage rooms, cabinets, files, and closets that needed to be cleaned and categorized.

There were some fun parts. I organized past concert programs that I had just been placing in a drawer for 30 years because that’s what had already been started for me. It was really enjoyable to look at how far we had come and remember where we were over those years. It gave me an idea. For months I was trying to plan the final Spring Concert. These programs helped guide me. For my entire career I tried to keep my home life and school life separate. I realized that over that time very few people really understood what motivated me to do what I did. This was my opportunity to put it all out there. I chose selections that had a connection to me or my career and wove them into a narration that tied it all together. I also invited alumni back to join us on the stage for the final three selections. It was quite a spectacle!

The old programs gave me the idea of building a database of all the students that had been in my Symphonic/Marching Band over the 30 years. I printed out the list and hung it in the lobby. I also listed all the selections that had been performed on spring concerts over 30 years. It was a nice way to pull it all together.

Then came the retirement banquets and dinners. Our local union holds a Gala Awards Banquet each year. It was a nice opportunity to be recognized locally. Our county association did the same thing. The ones that were nicer were the personal ones - my department, a group of close friends, and my family. The dinners and tributes were nice, but reminiscing with friends and family and celebrating closure were even better. continued on page 8 TEMPO

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OCTOBER 2018

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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

Then there are the people that saw you every day and asked (every day), “How many days left?” as you passed them in the hall. Luckily I was prepared and had a number to give them. It was sometimes annoying, but then I realized that it was almost like I was living their dream.

There were tears at times and a few times that I was able to hold back and save it for a private moment. The thing that I found most difficult was closing the door for the last time. As usual, I was almost the last person to leave on the last day. It was easy to pull up the car and load the boxes. I turned in my keys and ID badge. I went to my room and closed all the doors and turned out the lights – then sat there. It was putting a period at the end of a run-on sentence that closed out much quicker than I expected. The exclamation point came when I pulled in front of my house and Frank Sinatra started singing “My Way” on the radio. It was what I used as an encore on my Spring Concerts. That was when I knew that it was all going to be fine.

I tell everyone that it is much more difficult if you decide too late that you are going to retire. You need time to not just clear out your “things”, but also to clear out your mind. I believe it was the smartest decision that I made in the entire process.

Next time I’ll try to not talk about retirement.

By the way – if you are questioning your decision – your first monthly “gift” arrives on August 1st!

Administration & Advocacy Dennis Argul Jazz House Kids dennisargul@gmail.com

Administration The New Jersey Administrators Association would like to welcome you all back to the 2018-2019 academic year and hope this one will be memorable!

The NJMAA Executive Board has developed meeting topics that will be both relevant and informative for all our members. The general meeting topics for 2018-2019 are as follows: • October 5th - Observing the Arts: What to Look For - Jonathan Harris • November 30th - Roundtable Discussion: Making Time for the Arts- Scheduling Ideas for Elementary and Middle School - Matthew Lorenzetti • February 1st - “You’re Taking 100 Students to Where?”- Low Stress, High Reward Strategies for Traveling -Tom Weber • April 5th - Addressing the New Creative Standards: Incorporating Jazz? - Dennis Argul • June 7th - Getting STEAM-rolled! How to get the A in STEAM - Joe Akinskas As always, in addition to the information presented during our sessions, the NJMAA provides unique opportunities for networking, collaboration, and the sharing of ideas with other arts administrators. continued on page 10

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OCTOBER 2018

2018–2019 AUDITION DATES November 10 December 8 January 27 February 17 March 10

18-321

rowan.edu

OCTOBER 2018

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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

Whether you are new or a veteran, participation in NJMAA can help you adapt to, and effectively meet, the everchanging challenges of music and arts education.

Meetings begin at 9:00 am. Our meeting location is: Rutgers Club Livingston Dining Commons 85 Avenue E Piscataway, NJ 08854 The club is on the second floor.

For more information, please visit www.njmaa.org. Please share this with your district administrators!

The NJMAA is looking forward to seeing you at our first general membership meeting on October 5th!

Advocacy It was the spring of 2014 and as I was leaving the auditorium feeling elated by the performance of ‘Bring it On’ I had just witnessed, I saw her in the hallway, crying her eyes out. It looked as if she had just been told the worst news anyone could ever have to endure. As I ran to her, I found her cast mates, friends and family trying to console her.

Tears streamed down her cheeks. She was unable to speak…gasping between sobs.

Someone finally got her to take a sip of water. A few deep breaths…more sudden gasps. A sob. Finally she spoke… ”I don’t want it to end. I don’t want it to end. What will I do now?”

The student, who will go nameless, was a graduating senior and this was March of her senior year. She had realized that this production, her last, was over and she literally did not know what she would be doing now that it was over. You see…she comes from a broken family…a very broken family. She was afraid of the options that laid out in her future.

Her theater teacher then found her, put her arms around the student, and off they walked. The teacher consoled her back to normal breathing and wiped away her tears. After a few minutes the student was able to return to her friends and family, and even muster a bit of a smile while they applauded her performance on stage as one of the leads in the show.

The next day when I returned to the school I met with the theater teacher and inquired about the student. I got the rundown on the history of the student. Gang violence had been a part of her reality. The girl’s options in life, beyond the safety of the theater and chorus classes were bleak. Her attendance was not good in many other classes; her attitude, perhaps even worse. But when she was in theater and choir, she shined like a super nova. Before those classes, the barely saw the student in school. Those classes brought her to school. Kept her in school.

I left that discussion more focused on the fact that our craft saves lives. That is a data point that is often difficult, if not impossible, to measure. We save lives.

Folks…we need to continue to advocate for those reasons, along with many others. Share these stories. We all have them. There are variations on this theme, but in every band, orchestra, chorus, music technology, etc. class there are kids who feel safe and appreciated where they do not on every other aspect of their lives. Advocate. Be their voice. They deserve it. They need it. We owe it to them.

By the way…the young lady…well, she is now going into her senior year at a local university. She is going to be a music teacher. continued on page 12 TEMPO 10

OCTOBER 2018

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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/Opera Festival Donna Marie Berchtold firesongwed@gmail.com

The 66th Annual NJMEA Middle School – Junior High Choral Festival Dates are scheduled for the spring of 2019. Donna Marie F. Berchtold, chairperson, retired choral/instrumental director at the William Davies Middle School, Mays Landing, along with Karen Blumenthal, choral director at Von E. Mauger Middle School, Middlesex, NJ will co-coordinate and host the Middle School Choral Festivals again for this year.

The Festivals are currently scheduled to be held at two separate locations.

The first event (South Site) will take place at Rowan University on Wed. March 20, 2019. The deadline for applications is February 6, 2019. (Event time: 9:15 – 1:30 pm) A SNOWDATE has been scheduled for Wed. April 3, 2019.

The second event (North Site) will be held at Rutgers University on May 29, 2018. The deadline for applications is April 10, 2019. (Event time: 9:15 – 1:30 pm) The application forms will be on the NJMEA web site, however, they can also be found in the January edition of TEMPO Magazine.

A maximum of ten (10) registrations will be accepted at each site. The Registration Fee per school group will be $150.00 for either site.

Each participating choral group will receive 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 either of these events next year, should be sure to complete the application form in the January issue of TEMPO magazine, or online at www.njmea.org.

Anyone with questions or concerns may contact Donna Marie at: firesongwed@gmail.com, or 609-226-7751 (cell)

continued on page 14

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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 Performance Wayne Mallette wayne.mallette1@gmail.com

Welcome back and Happy New School Year! As you look forward to the 2018-2019 school year, I hope you had a chance to relax and recharge this summer. While we know the work we do is important, we must also remember that our families and our own personal health must remain at the top of our priority list. Take the time to think back on the conferences you attended this summer and the time you spent with your family. Let this motivate you as you shape your vision for the upcoming school year. Please keep your memberships current in both ACDA and NAfME for the most up to date information for you and your students.

Our All-State Choruses (Mixed and Treble) are already rehearsing. Chris Thomas of Rowan University started rehearsing with our Mixed Chorus students, and they are having an amazing experience as they prepare for their November concerts. Our Treble Chorus began rehearsing in September with their conductor Lynnel Jenkins of Princeton Girlchoir. Their performance will take place as part of the NJMEA convention in February 2019. Please attend the rehearsals and/or performances, you will not be disappointed!

While your students are getting a fabulous choral experience from you and your program, everyone will benefit more when you participate in your County, Region and All-State Choral groups. I have found that my students came back with more passion and a deeper appreciation for music due to their participation in the Honor Choir Experience.

Your students will share a quality musical experience with other singers, make new friends, and come back to your choir with Choir Fire!

Here is some basic information for the 2018-2019 school year: please continue to check the NJMEA website for updates, www.njmea.org. Mark your calendar for deadlines – they are 5-8 weeks BEFORE the actual audition.

High School Region Choruses: New Jersey has 3 regions: I (North), II (Central) III (South). Students in grades 9-12 are eligible to audition. Each region has a link on the njmea website.

Audition Dates: Region I (NJSMA) - Saturday, January 5, 2019

Region II (CJMEA) - Saturday, December 8, 2018

Region III (SJCDA) - Saturday, November 17, 2018 New Jersey All-State Chorus: Students in grades 9-11 are eligible to audition. Note: Students do NOT have to be accepted into their appropriate Region chorus to be eligible for All-State Chorus, unlike band and orchestra. There are 2 audition dates to choose from, and many schools split their students between the two dates/sites. All choral directors must help out at one of the audition sites each year, and MUST serve as a final room judge (both dates) once every four years. The All-State Chorus Audition Bulletin will be available online at www.njmea.org by the end of January.

Please read all sections carefully – all the information you need is there, but there is a lot to read! The audition dates for 2018 are Saturday April 6, 2018 (South) and Saturday April 13, 2018 (North). Mark your calendars now! continued on page 16

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OCTOBER 2018

jazz improvisation for all ages Presenter: Doug Goodkin Fri, Nov 2 @ 9AM–4PM Drawing from the Orff approach to music, this program makes improvisation more accessible.

This workshop will offer models of the many media available in improvisation—speech, body percussion, gesture, movement, drama, song, Orff instruments, band instruments—as well as various games, structures and exercises.

$75 per person Credit Hours: 6 Course includes a Professional Development Certificate, printed materials, catered breakfast and lunch.

Learn more about NJPAC’s SchoolTime performances, Assemblies and In-School Residencies.

Visit njpac.org/education

Sign up today! Call 973.353.8055 or email kconner@njpac.org

OCTOBER 2018

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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

ACDA - ACDA will hold its Jubilee 60th Anniversary National Conference in Kansas City, Missouri, February 27- March 2, 2019. This is sure to be an amazing conference!

NAfME will have its National Inservice Conference in Dallas Texas on November 11-14, 2017. The 2019 Eastern Division NAfME Conference will take place in Pittsburgh, Pennsylvania on April 4th -7th.

I hope to see you at these events, and please introduce yourself to me. We are always looking for help in the choral procedures world. Best of luck as you embark on this new school year. When you feel like you need that inspiration or find yourself stuck in the silo of your classroom don’t forget there is a state full of choral conductors like yourself... don’t be afraid to reach out.

Early Childhood Education Amy Burns aburns@fhcds.org

Welcome back! I hope that everyone had a chance to relax this summer or at least had the opportunity to attend some amazing professional development webinars or the summer NJMEA conference to rejuvenate. Professional development takes on a more personal meaning when you can set goals and choose PD sessions that will help you meet those goals.

For those NJ early childhood and elementary music educators who cannot travel to a PD workshop, there are numerous workshops available to you for PD credits. You can find them at amymburns.com/webinars. They range from “ice breakers” in your classroom to how to utilize Chromebooks effectively and musically. The best part is that they are free! Feel free to check them out at any time. To receive PD hours, watch the webinar, write up a summary along with answering the question at the end, and send it to me along with your NJMEA #, to aburns@fhcds.org or amywillisburns@gmail.com. It is a wonderful way to earn PD at your home.

continued on page 18

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OCTOBER 2018

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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 Guitar Education Thomas Amoriello tom@tomamoriello.com

2018 NJMEA Honors Guitar Ensemble Thomas Amoriello NAfME Council for Guitar Education Chair

Congratulations to these students for being chosen as 2018 NJMEA Honors Guitar Ensemble participants. The festival performance took place May 5, 2018 at TCNJ led by conductor Vin Downes. Performing were: Siddhant Mane, Shravan Venkatesan, Bryan Levi, Sol Velasquez, Pablo Ramires, Bela Khanna, James Ferry, Nathan Gonzalez, Aidan George, Steven Gonzalez, John Ferrante, Himani Chavda, Harshita Jain, Sara Morgan, Nour Ragab, and Vincent Lam. The top four scores were awarded to Nour Ragab, Bryan Levi, Steven Gonzalez and Bela Khanna. They were featured in a special quartet piece during the festival.

The following NJ guitar educators have made contributions to activities surrounding the NJMEA Honors event from sectional rehearsals, program and flyer design, adjudicating,picking up the concert artist from the train stations, etc.: Michael Lemma (Bergen Academy), Michael Neumann (TCNJ), Patrick Callahan (Franklin High School), Andrew Jaworski(Edision High School), Raul Huaman (JP Stevens High School), Steve Sabet (Elizabeth/Thomas Jefferson), Thomas Amoriello (Flemington Raritan School District), Loren Fortna (Newark Public Schools), Jayson Martinez (Newark Public Schools), James Day (TCNJ), and Keith Calmes (Wall High School).

continued on page 20

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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 NJ Association for Jazz Educators Mike Anzuini manzuini.njaje@gmail.com

The NJAJE Board of Directors is excited for the upcoming school year. As you are reading this, the All State Jazz Ensemble and Honors Jazz Choir are hard at work preparing for their concert series in November. We are pleased to have Pete McGuiness, of William Patterson University, and Lisa DeSpain, composer/arranger, directing these ensembles. A special thanks to ensemble managers Peter Certo and Steven Bishop in their help behind the scenes as the ensembles prepare for performance. It should be a wonderful set of concerts, beginning at the Claridge Hotel Theater in Atlantic City on November 8th and concluding a week later at the NJPAC on November 16th. I encourage all of you to make an effort to hear these ensembles, you will not be disappointed!

Our Vice President Jeff Haas is hard at work finalizing the details of the 14th Annual Jazz Conference on November 16th at the Lucent Center of NJPAC. NJAJE will also be honoring our Jazz Educator of the Year, Julius Tolentino of Newark Academy, as part of the Conference. Attendance is included with membership!

In addition to our annual High School Big Band Festival and Vocal Jazz Festival, this year we will be introducing a Middle School Jazz Band Festival. A non-ratings festival, the MSJF will offer an opportunity for a stage performance, written and audio recorded comments and several special awards. The portion of the festival that is unique for this new endeavor is that each ensemble will receive a critique with one of the adjudicators immediately after their performance!

Please visit our website for more information.

Membership has its privileges! Included with your membership is attendance for our Annual Conference, a subscription to Downbeat Magazine, and entrance to any all Jazz activities sponsored by NJAJE. Sign up today at www.njaje.org.

Orchestra Performance Susan Meuse susanmeuse@gmail.com

Here we are back to a new school year. I hope it is starting well for everyone! The All State Orchestra is currently preparing for the upcoming concerts in November. The conductor, Timothy Dixon has picked an exciting program that the students are working on with help from the rehearsal conductor, Jim Millar. The students are sounding great so far with only a few rehearsals. It should be a great concert, so we hope to see you in Atlantic City or NJPAC! Since the last issue of TEMPO, the All State Intermediate Orchestra performed a great concert at Rahway High School. Conductor Michael Ludwig did a fantastic job working with these talented students to perform a challenging TEMPO 20

OCTOBER 2018

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

News From Our Division Chairs

program. I must also include a big thank you to Penny Martin for managing the group and Sergei Panov and Sofya Kitenberg for hosting.

Orchestra festivals – be on the lookout for more information soon. I am hoping that there will be both another middle school and high school festival again this year. If you think you may be interested in participating and/or helping out, please send me an email!

Retired Music Educators Frank Hughes bugle11@yahoo.com

Well, the summer has gone by - seemingly so quickly this year. I hope that you had a great summer – maybe some travel, some time with the family, some time for your favorite recreational activities – golf, tennis, pickle ball, the beach – whatever helps you relax and enjoy! If you’re like me, even 9 years retired, I still get those thoughts about preparing for Band Camp or the first set of lesson plans…and then happily put those thoughts out of my head.

As we head into the fall, it’s time for some reflection on things in general. My social media has been active with political comments on various topics. It seems that a lot of people have complaints or support for subjects on the home and international fronts. However, complaining, while getting things off our collective chests, does little to affect change. Now is the time, if you feel strongly about your opinions and beliefs, to become active. Midterm elections offer us the opportunity to show our support or lack thereof of the local and national candidates. Work within the system that’s in place to change the things you don’t like or support strongly the things that you do. Apathy gets us nowhere and keeps “the system” in place.

Please remember that we will have two general meetings - one in February at the Conference and one in May and we welcome your attendance and participation. Should you have any ideas for topics of discussion or speakers for our meetings, please feel free to contact me at flh4hof@gmail.com.

One last thing – please consider being active in our mentoring program. With so many young teachers now in our school systems, the value of our experiences is strong. Don’t just wait for someone to contact you. If you know of a new teacher, reach out to them – even if it’s just to chat and say “Hello.”

I hope to see you in February.

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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 Summer Workshop Joe Akinskas akinskas@rowan.edu Summer Workshop Coordinator

Summer Workshop XI Wrap-up The Eleventh annual summer workshop was again held on the delightful campus of The College of New Jersey in Ewing, in the Arts and Instructional Media building.

Our workshop addressed six Music Education content areas, based around an unprecedented round of new online session submissions and presenters, that included: Choral Music, Instrumental Music, Technology Applications, Classroom Music Techniques and Strategies, Special Education implications in Music Instruction, Urban Music, well attended choral and instrumental reading sessions, and domain forums.

Additionally, a roster of Special Topic presentations included: hands-on instrument repair techniques by our resident repair specialist Dave Kaplan; AEANJ represented by Kira Campo; Emily Mason highlighted the proposal prospects of Donors.org; a Danielson Update by NJMEA President Jeff Santoro; Urban Music Insights coordinated

by Dennis Argul; splendid lunch entertainment by the RockNRoll Chorus; an insightful speech on Inclusion in Music Education by Colleen Sears from TCNJ; and the day ending with our grand wrapup coffee and dessert reception, with the always phenomenal Rachel’s Raffle.

The workshop participants included 80+ music educators from across the State, along with a highly skilled roster of clinicians, namely: Warren Gramm, Carol Swinchoski, Richard Grennor, Sergei Panov, Melissa Clark, Larisa Skinner, Betsy Maliszewski, Keith Hodgson, Brian Hunter, Brian Yatauro, Barb Santoro, Nick Santoro, Rick Dammers, Shawna Longo, Kurt Zimmerman, Brandon Frumolt, September Daniels, Beth Moore, Kahlil Gunther, Holly Williams, Craig Knapp, Joe Cantaffa, Otto Gross, John Pursell, Emily Mason, Tom Maliszewski, Jeff Santoro, Marie Fosket, Kira Campo, Linda Grossman, Jessica Renshaw, Rachel Gibson, Andrew Pfaff, Sara Dreher, Ardith Collins, Maureen Butler, Lucia Marone, Glennis Patterson, Brian Wagner, and Dave Kaplan.

Commendations and thanks are in order for the members of the summer workshop committee, who for all eleven years, have shared the workshop vision and commitment to the benefit of their statewide colleagues. The committee members include: Maureen Butler, Joe Cantaffa, Rick Dammers, Rachel Klott, Shawna Longo, Betsy Maliszewski, Susan Mark, and Nick Santoro.

Likewise, I must publicly thank several members of the TCNJ Music Department, and Event staff, who were wonderful hosts. They include: Alanna Gutchigian , Richard Kroth, and Kyle LoPinto. Their patience and hospitality is truly appreciated.

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OCTOBER 2018

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

News From Our Division Chairs

The entire workshop program, along with pictures from this year’s event, can be found on the conference-workshop link at NJMEA.org.

Workshop Twelve is tentatively scheduled for August 6, 2019. Additional information will be posted in the January edition of TEMPO. Reserve the date now!

Technology

Marjorie LoPresti

marjorielopresti@gmail.com

If you teach with technology, and your students compose, arrange or make cool projects, plan to attend the NJMEA Student Music Tech Expo. This student-centered event features exhibits of adjudicated student works, as well as hands-on workshops and performances. Teachers are needed to help make this event possible, so please email me if you are willing to join the Expo committee and can spare an hour of time here and there. Mark your calendar now: Expo South will be held on Tuesday, May 21, 2019 at Rowan, and Expo North will be held on Monday, May 20, 2019 at Rutgers. Registration details will be announced in November. If you have attended in the past, you will receive an email with registration information and important dates. Need more information? Email njmeatechexpo@gmail.com.

Do you use technology in your classroom? Got a great unit or lesson idea? Please share your expertise! Contact me about authoring an article for TEMPO. I’ll be happy to help if you are nervous about putting your ideas into print.

Plan now to attend the NJMEA conference February 21-23, 2019. Session proposals for that conference are closed, but great sessions are always needed for the NJMEA Summer Workshop held in August. Fresh ideas and faces are always welcome at this low-key gathering. Start planning your session proposals now for the Summer Workshop and for the 2020 NJMEA In-Service Conference.

NJMEA February State Conference February 21-23, 2019 Hilton East Brunswick Cost $170 for members, $50 for collegiate and retired. $350 for non-members.

Please check njmea.org and TEMPO Express for more information SOON!

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How Do You Score With Special Needs?

A Quiz For The New School Year!

Maureen Butler Mountain Lakes School District mbutler@mlschools.org

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ravo! You’ve made it through the first weeks of school - adjusting to the new schedule, beginning rehearsals, handing out instruments, implementing new lesson plans, and all of the other myriad activities that each September brings. You’ve had a month to meet all your students, you’ve become aware of the challenges facing some of your students, and you hopefully have an idea how to modify and accommodate for them. Music teachers are fortunate in that we see mostly the same students from year to year, so we already know many of our special learners and how best to teach them. However, if you’re a new teacher, that task is one of many new challenges you’re facing, and it may be overwhelming. So now it’s time to see how you’re faring with your special learners. For both new and experienced teachers, here’s a quiz to get you thinking: 1. Have I read through all the IEP’s and 504 reports for my students? a. I’ve skimmed through them and signed them; I don’t have time to do more than that. b. I took notes on pertinent information so that I can better understand and remember what each child needs, and why.

Although reading through these reports can seem to be an overwhelming task, the knowledge we gain from them is valuable. That’s where we find specific diagnoses as well as descriptions of speech, motor and psychological factors that help us understand children’s behaviors and learning styles.

get more insight, and do some online research as well.

Don’t panic if you don’t understand everything, and don’t try to take on everything at once; resolve to research one disability at a time. Also, recognize the power of networking: Reach out to your building’s special services department, physical and occupational therapists and talk with the other special subject teachers to share information.

2. Do I understand all the information in the reports? a. I’m confused by some of the information but don’t have time to do any research; I’ll just try to implement the strategies that are listed in the reports. b. I’m confused by some of the information but I’ll reach out to other staff members to

4. Am I communicating effectively with all students? a. I have a loud voice and everyone can hear me, even the teachers down the hall. b. I’m aware of the difference in communication needs of my students, and I work to be sure that all students hear and understand what I’m saying.

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3. Does my seating arrangement foster learning? a. Behavior management is my primary focus when setting up my seating plans (for example, keeping talkative students apart). b. My seating plan considers the special needs of my students, so that each child will be in a place where optimal learning can occur.

Where children sit can have a big impact on their ability to stay on task. Take, as an example, the impact of distracting noises – proximity to loud sounds from the hallway or to the incessant buzz of a cooling or heating vent will compete with sounds that students with a hearing loss are trying to discern, and could actually distress students with auditory sensitivities.

Some students will do better in the front of the room (those with certain learning disabilities, for example) and some may do better on the perimeter (a student with sensory disorders may need some breathing space between him and the next student).

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Communicating with our deaf and hard of hearing students may mean wearing a microphone with an FM transmitter so that students with hearing aids or cochlear implants can better discern the teacher’s voice. It also means standing in a position where students can always read our lips as we speak. Restating information in various ways will help students with learning disabilities or communication and language delays make sense of what we’re saying, and will reinforce meaning for all learners.

5. Do I cultivate collaborative relationships among staff members? a. I don’t have a good working relationship with my school’s paraprofessionals and I don’t know who our physical and occupational therapists are. b. I value the insight of our paraprofessionals and seek out the advice of physical and occupational therapists, special education staff, and other staff members as needed.

Individual paraprofessionals, those who work with individual students, can be an amazing source of information and support. If we let our expectations be known early in the year and treat others with respect and appreciation, these staff members can directly affect a student’s progress – or lack of it – in our class. Furthermore, physical and occupational therapists can be great resources for us by helping our students develop the physical skills needed to play instruments, perform dance and creative movements, and the visual-spatial skills needed to decode notes on a staff and follow lyrics of a song.

6. Do I have strategies and techniques that I can use to help my special learners? a. I don’t expect my special learners to grasp everything, so I use general methods to teach everyone, and hope they learn something. b. I modify and differentiate my lessons to accommodate the needs of my special learners so that they can develop musical skills.

If you’re unsure how to do this, take advantage of the presentations offered throughout the year by NJMEA. While some districts offer professional development sessions about disabilities, they don’t often relate to the music classroom. Each year, the OCTOBER 2018

conferences in February and August include several sessions presented by music teachers who have experience teaching special learners. NAfME.org is another excellent place to find information.

7. Do I consciously provide an environment that is accepting of all students, one that all children can emulate? a. I don’t really think about how my own preconceptions of special learners affect how I teach. b. I phrase my comments and corrections in a positive way and encourage good peer relationships among students with and without disabilities.

Most children are very aware of how a teacher feels towards a student, and will consciously or unconsciously adopt the same attitude that we have.

If we’ve had negative experiences in the past, or have insecurities about including special learners, these feelings may color how we treat our current students.

How we handle them are teachable moments for our students, as they see us welcoming and encouraging all students. Make a decision to foster a positive relationship with students built on realistic expectations, kindness, fairness and respect.

How did you do? If you answered “b” for most questions, you’re off to a great start!

Now, one last question to assess your attitude: 8. Do I have a positive attitude towards including special learners in my class? a. I don’t like having some of these students in my chorus/band/general music class, but I’ll just have to accept it. I’m not doing anything overtly to welcome them and I may be even sending signals that they’re not welcome, and other students may be sensing this. b. I’m not sure how to help some of these students but I will talk to the other teachers and see what I can learn, and then do everything I can to increase their chances of success. In the meantime, I will model empathy and compassion.

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Many studies have shown that teacher attitude is a key factor in the success of inclusion. Learning as much as we can about our students and developing sound strategies to teach them will improve our outlook, and providing an accepting environment will help all our students grow in understanding and tolerance.

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Hopefully this quiz helped you assess your ability and your attitudes, and perhaps revealed potential areas for growth in your teaching style. If so, there is plenty of time left in the school year to ensure that you and your special learners can have a successful and rewarding year!

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Bachelor of Arts in Music Bachelor of Arts in Music (combined with a second major) Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to: www.gettysburg.edu/sunderman

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

Visit: bit.ly/NAfMEcollegiate Email memberservices@nafme.org or call 1-800-336-3768

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OCTOBER 2018

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27 TEMPO

Words For Musicians To Live By John Pursell, D.M.A. Senior Ceremonial Trumpeter, United States Air Force Band, Retired johnpursell@msn.com Reprinted from Maryland Music Educator

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all them slogans, adages, mottos or whatever you want. Most people have heard a particular saying that they have taken to heart and may think of on occasion when making a decision of some kind. They find wisdom in the ideas of other people, perhaps from centuries ago. These words of wisdom may come from a philosopher, a scientist, a president or they may come from a simple, common person. The important thing is that, for some reason, the words speak to us and help us understand our lives or our situations a little better. The adages or ideas in this article are those that I’ve learned over the years and I think they have particular application to musicians.

American army in World War II. The above statement sums up his belief: the harder you train, the more successful your performance will be.

But it’s not just a matter of putting in long hours. You must put in productive hours. This means your practice session should always have a plan; you should begin with a clear idea of what you want to accomplish and how you’re going to go about it.

Merely repeating technical studies day after day may offer some small improvement, but real progress only results from a thoughtful, organized session.

“The more you sweat in training, the less you bleed in war.” General George Patton, U.S. Army, World War II Commander of the 3rd Army.

“We will relentlessly pursue perfection, because we will never achieve it. But along the way, we will achieve excellence.” Vince Lombardi, legendary coach of the Green Bay Packers and winning coach of the first two Super Bowls.

As musicians, we might translate this as “The more you sweat in the practice room, the less you’ll bleed on the recital stage.” General George Patton was one of the most successful military leaders in American history. He was a strict believer in hard, rigorous training and he drove his troops mercilessly, which resulted in overwhelming victories for the

Lombardi was a legend even during his lifetime. Like Patton, he was obsessed with hard training and discipline, and his methods resulted in victories in the first two Super Bowls.

In his book Instant Replay, Packers All-Pro offensive guard Jerry Kramer wrote, “No other team trains as hard as we do; of course, no other team wins as often, either.” After their

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football days were over, many of his players went on to great success in other fields. They took the lessons of hard work, discipline and teamwork he had instilled in them and applied them to their post-football careers.

This quote is interesting in that it seems to speak to a different approach. In the pursuit of perfection, the emphasis may not always be on the accumulation of higher abilities, but on the elimination of simple errors. Eliminate the errors and we are as close to perfection as we can get.

Talking about professional music, Philadelphia Orchestra trumpeter Seymour Rosenfeld stated, “If you can triple tongue the finale to Steiger’s Carnival of Venice, that’s great.

But if you can’t play a simple quarter note figure exactly the same way a hundred times in a row, we can’t use you.” In other words, the accumulation of a high level of technique is useless if you can’t deliver a simple figure consistently over a long period of time.

“The whole world is a store and you can have anything you can reach on the shelves. But there isn’t a thing in the store that hasn’t a price set on it and whatever you take, you’ve got to pay the price.” Ralph Waldo Emerson, American author.

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There is almost no expounding required for this quote. If you want to be a professional musician, there is no other way but to “pay the price.” The price is long hours in the practice room, an almost non-existent social life, working when other people are off and accepting the very real fact that there are far more musicians than there are openings for them. It means you must understand and accept that in your career, you just might hear “no” more often than you’ll hear “yes.”

“If you don’t like the music you’re playing, playing it poorly won’t help you like it any better.”

Unfortunately, I don’t know who said this first, so I cannot attribute it to any one speaker. But it is very true. In my case, the music I didn’t like was William Walton’s Balshazar’s Feast. The first time I played it in rehearsal, I thought it was the worst thing I’d ever heard and I was tempted to give only minimal effort.

But I didn’t, my sense of professionalism telling me to play it the best I could. And am I glad I did, because this work is now one of my all-time favorites. It just took time for me to hear the genius in it. If I’d played it poorly, I never would have learned just how great a work it is. While it may seem self-evident, always play the music to the best of your abilities. If you still don’t like it, fine, but at least it won’t be because of a lack of effort. Along the way, though, you may find you like it a lot better than you thought you would!

“What we do in life echoes through eternity.” General Maximus Meridias, in the movie “Gladiator.”

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Don’t look for this quote in any reference or history book; it’s actually from a movie starring actor Russell Crowe. It is heard near the beginning of the film when Crowe’s character, General Maximus, is addressing the Roman troops just before a major battle.

We don’t find great wisdom just in the history books; we find it in the fine arts as well, including the cinema. This quote is a wonderfully concise way of summing up our existence on this earth. What have we done with our lives, what have we done with the short amount of time we are given? Did we always try to do the best we could with what we had to work with? Did we always try to do what was right, even if it was unpopular?

Just as nothing exists in a vacuum, nothing we do, good or bad, ever really goes away. What’s done is done. While it may be atoned for, no action can ever be undone. It has an effect on those around us, and yes, on those who come after us. In his Second Congressional Address, a similar idea was offered by President Abraham Lincoln when he said to an uncooperative Congress, “We shall be remembered in spite of ourselves.”

The reader may have noticed a common thread throughout most of these sayings: hard work, discipline and always doing the best you can.

I think that almost no one would disagree that success in any field generally is only achieved by the application of these attributes. Discipline yourself to do the work necessary, to do your best at all times, and instill this attitude in your students.

Do you have your own adages that you live by? Share them with your students and your peers. Post them on a bulletin board or on the top of a website. You never know what will stick in a young student’s mind and the wisdom you give them today could be just the idea they need to inspire them to their own success in the future.

About the Author: John Pursell has been called “the best of the brass” and “a brilliant trumpeter” in the print media. He is retired from his position as the Senior Ceremonial Trumpeter with the United States Air Force Band and today performs as a Yamaha Trumpet Artist & Clinician. His musical activities have taken him to 44 states, 7 foreign countries and dozens of music educator conferences. Pursell holds a Doctor of Musical Arts degree from the University of Maryland; he teaches at Mount Saint Mary’s University in Maryland; and he has published over two dozen articles in national journals.

John Pursell welcomes comments and may be reached at johnpursell@msn.com.

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New Concert Band Music From Carl Fischer James Bast, Wall Twp. Middle School, Retired jbast1@verizon.net

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arl Fischer has issued many new titles for bands of all levels. In order to make it easy to understand the following list of music, I have included the descriptions of each grade level of the music as Carl Fischer describes them on their website. Included are the titles of the new pieces for band, composer/arranger, their grade level and the Carl Fischer level designation. All of the pieces have merit if used in the category they are listed under. It is suggested that you listen to the recordings of the selections in which you are interested at the Carl Fischer web site.

For example: if you direct a good to excellent high school ensemble, the categories to look at would be the Concert and Symphonic Band listings. You can’t go wrong with the Primer Band listings if you have a group that has just started and you are expected to present a performance.

Most Junior High bands would probably use the First-Plus Band through Young Band listings.

CF has set up an excellent system to make it easy to select what you need.

Primer Band (Grade 1/2, Orange Cover) ° For bands with as little as ten weeks of study ° All pieces use only the first six notes of the Bb scale ° Limited Instrumentation - one of each part, bass line covered by all low brass and low woodwinds ° Alternate parts for Horn that puts them in a better range, Trombone that does not go past 4th position ° Bass Clarinet part is also an optional Euphonium T.C. part ° Clarinet below the break ° Simple rhythms of whole, half, and quarter notes. If eighth notes used, only two repeated ° Active Percussion writing ‘ Timpani is an optional part ° Short pieces - length is a consideration for young embouchures Beginning Band (Grade 1, Blue Cover) ° Instrumentation uses one part for every instrument ° Limited ranges, rhythms, and independence of parts ° Active percussion scoring ° Bass line covered by any low brass or low woodwind instrument First-Plus Band (Grade 1.5 to 2, Gold Cover) ° Instrumentation uses one Flute, two Clarinets, two Trumpets, one Horn, and Trombone/Baritone together Title

° Difficulty ranges from Grades 1.5 to 2 ° Second Clarinet stays below break and break crossing considered for first Clarinet ° Active Percussion scoring ° Bass line covered by multiple instruments Young Band (Grade 2 to 2.5, Red Cover) ° Instrumentation uses one Flute, two Clarinets, two Trumpets, one Horn, and one Tuba ° Difficulty ranges from Grades 2 to 2.5 ° Second Clarinet stays below break ° Active Percussion scoring ° Limited independence of part writing Concert Band (Grade 3 to 3.5, Green Cover) ° Instrumentation uses two Flutes, three Clarinets, three Trumpets, two Horns, and three Trombone parts ° Difficulty ranges from Grades 3 to 3.5 ° Generous cross-cueing of exposed or solo parts ° Use of expanded Percussion writing ° Careful selection of keys and degree of difficulty for advancing groups Symphonic Band (Grade 4 and Up, Purple Cover) ° Standard concert band instrumentation ° Difficulty within reason for high school groups ° Unusual instruments cross-cued ° Expanded Percussion section, increased instrument options ° Mature pieces of high musical value

Composer/Arranger Grade Level

Achieve Larry Clark Amber Moon Peter Terry Ballet Of The Dinosaur Hatchling Joseph Compello Exemplary Richard H. Summers TEMPO 30 Journey To lllyria Sean O’Loughlin

0.5 0.5 0.5 0.5 0.5

Primer Band Primer Band Primer Band Primer Band OCTOBER 2018 Primer Band

Title

Composer/Arranger Grade Level

Aurora Eclipsed Tyler Arcari 1 Beginning Band Badlands Peter Terry 1 Beginning Band Best Friends Forever Joseph Compello 1 Beginning Band Contemplation Larry Clark 1 Beginning Band Effervescence George Sweet 1 Beginning Band Embolden Sean O’Loughlin 1 Beginning Band Expeditious John M. Pasternak 1 Beginning Band Reveille March Chris Ferguson 1 Beginning Band Sailing Into the Moon Gary Fagan 1 Beginning Band The Gauntlet Matthew R. Puthanm 1 Beginning Band Trumpet Stars Andrew Balent 1 Beginning Band Wolverine Trail (March) Matthew R. Puthanm 1 Beginning Band Aztec Gold Joseph Compello 1.5 First-Plus Band Incursion Sean O’Loughlin 1.5 First-Plus Band Quest For The Throne Larry Clark 1.5 First-Plus Band Symbol Of Freedom Joseph Compello 1.5 First-Plus Band The Snake Pit Tyler Arcari 1.5 First-Plus Band Ulterior Motifs Matthew R. Puthanm 1.5 First-Plus Band A Certain Slant Of Light Peter Terry 2 Young Band Aeolus Joseph Compello 2 Young Band All The While Tyler Arcari 2 Young Band Avalon Tyler Arcari 2 Young Band Bevond The Crest Sean O’Loughlin 2 Young Band Bravery And Grace George Sweet 2 Young Band Chase The Horizon John M. Pasternak 2 Young Band Cirque De L’Estrange (March) Matthew R. Puthanm 2 Young Band Cornish Coastal Walk Michael J. Miller 2 Young Band In That Quiet Moment Grant Michel 2 Young Band Proteus Grant Michel 2 Young Band Santa On Parade arr. Gene Milford 2 Young Band The Advocate (March) Gene Milford 2 Young Band Turn Balalaika arr. Carl Strommen 2 Young Band Arachnophobia And Fugue Bach/James Meredith 2.5 Young Band Factory Child (Sweatshop Protest Song) Ed Kiefer 2.5 Young Band Live On Larry Clark 2.5 Young Band Sleep, My Child Larry Clark 2.5 Young Band Unleashed Peter Terry 2.5 Young Band Veni, Veni Emmanuel MJ Trotta, arr. James Meredith 2.5 Young Band Adventure Express John M. Pasternak 3 Concert Band Aerius Carl Strommen 3 Concert Band Alcazar Bill Calhoun 3 Concert Band Apollo Arise Travis Weller 3 Concert Band Beethoven Folk Song Settings Beethoven, arr. Andrew Balent 3 Concert Band Bluebell Yukiko Nishimura 3 Concert Band Commence!

Sean O’Loughlin 3 Concert Band Cosmic Expedition Michael J. Miller 3 Concert Band Hymnsong Impressions Grant Michel 3 Concert Band Irish Lullaby JR Shannon, arr. Carl Strommen 3 Concert Band Journey Of The Spanish Buccan Ed Kiefer 3 Concert Band Portrait In Rhythm Gary Fagan 3 Concert Band Rainbow in the Clouds Carol Brittin Chambers 3 Concert Band Sound Off (March) Sousa, arr. Andrew Balent 3 Concert Band To Create a Voice Carol Brittin Chambers 3 Concert Band Black Light George Sweet 3.5 Concert Band Solar Flare Tyler Arcari 3.5 Concert Band Tartan Tapestries Larry Clark 3.5 Concert Band The Long Ships Gene Milford 3.5 Concert Band Western Reserve John M. Pasternak 3.5 Concert Band American Fiddle Tune Variations Carl Strommen 4 Sym. Band American River Portrait Brant Karrick 4 Sym. Band Resignation Ed Kiefer 4 Sym. Band With Wind And Water Brant Karrick 4 Sym. Band Festival March V. Herbert, arr. Richard Summers 5 Sym. Band 31 TEMPO OCTOBER 2018

Guitar Program Spotlight 4 Interview With Arts High School Instructor, Jayson Martinez Thomas Amoriello Fleminton Raritan School District tamoriel@frsd.k12.nj.us

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t is my pleasure to interview Jayson Martinez for our October issue of TEMPO. He is a respected guitar educator in New Jersey who teaches guitar at Arts High School in Newark as well as Essex County College He will also conduct the 2019 NJMEA Honors Guitar Ensemble on May 4th at The College of New Jersey. Enjoy!

Please Tell Us About Your School And Overall Music Program?

Newark’s Arts High School opened its doors to students in September 1931 as the first public high school in the United States, specializing in the visual and performing arts.

Although I am recognized as the first official guitar major in Arts High history, the true first guitarist who attended our school was Manuel Barrueco. Back in 1968-69, there was no guitar program, so Maestro Barrueco was forced to major in tuba. Today, the maestro would certainly extol the virtues of our guitar program, as it serves roughly twenty majors in the art of classical guitar.

Please Tell Us About Your Own Personal Musical Background Growing Up And Your Collegiate Experience?

Growing up, I was inspired to play guitar by several rock guitarists, such as Dave Mustaine and Slash. But it was Jose Luis Serrano, a music teacher serving in the Newark Public Schools, that offered me private lessons.

These lessons played a critical role in my development as a guitarist; much like today, the guitar is not offered as an instrumental choice in many public schools. As a student in Arts High School, Lou Melchor taught me the exquisite art of the classical guitar. But it wasn’t until I studied guitar at New Jersey City University under the

tutelage of Ana María Rosado that I came full circle as a musician. During these formative collegial years, my passion for every aspect of classical guitar truly blossomed.

What Obstacles Did You Face When You Were First Hired At Your School?

The main obstacle I faced was that many incoming freshman had no prior guitar playing experience. This puts our program at a disadvantage, inasmuch as other students instrument major of choice had prior playing knowledge, since they studied the instrument as a group or class in middle school. This is why I opened my own music studio, Tremolo Music Studio, so that students can take private guitar lessons and be prepared to enter Arts High School with a solid playing foundation.

What Kind Of Classes Related To The Guitar/Mandolin Do You Teach?

At Arts High School, I teach not only classical guitar playing and pedagogy, but also guitar history and music theory. My goal is to prepare the guitarists with a solid overall foundation in order for them to continue their studies at the collegiate level if they so choose.

What Would You Like To Say To The Non-Guitarist Music Educator That Is About To Or Interested In Incorporating The Guitar Into Their Program?

Personally, I’m a strong advocate of the Little Kids Rock program. David Wish has established a strong and reputable program designed for the inclusion of guitar studies in the public schools. I would recommend to attend LKR seminars, network with other

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guitar teachers for tips and advice. Finally, I would highly recommend guitar teaching apps such as Yousician. Novice students and guitar teachers alike will find this platform very intuitive and easy to understand.

I reach out to all of the middle school music teachers in the area that have guitar programs as well as private guitar teachers in this area and encourage them to send their students to audition at Arts High. A few of my junior and senior students visit nearby schools and do mini performances and promote the benefits of attending our school. I also send some of my most gifted seniors to teach lessons at a handful of Newark Middle Schools in order to improve the student’s skills before auditioning and give the older students a chance to share their knowledge. Lastly, I promote the achievements of my students on social media and in the school newsletter and website.

What Kind Of Future Do You See For Guitar In Music Education In Our New Jersey School System?

Do You Have Any Success Stories You Would Like To Share About Students (Musical & Non-Musical) Early this school, your Arts High School welcomed Lily Afshar for a presentation and masterclass, in which one of my seniors played Sor’s Mozart Variations for her. Not only did Afshar love his playing, but she recommended him for a full scholarship to the University of Memphis. As a teacher, this success story motivates me to continue my methodology and strive for student excellence, inasmuch as it may lead them to enter a higher learning institution, hopefully free of charge. Also, my own guitar teacher from NJCU, Dr. Rosado, is accepting another one of my seniors into her program. Their continued accomplishments motivates me to continue to excel at teaching.

As music becomes more high-tech, it is apparent that the popularity of “real” instruments is drastically decreasing. Amongst the students who are interested in guitar, the majority prefer rock or jazz to classical style.

Therefore, we may need to adjust our approach to teaching the guitar in the classroom to include a wider range of musical styles. There are many music skills that can be addressed teaching students how to play contemporary pop music. The guitar can also be used as an effective tool to teach improvisational skills through knowledge of modes as scales. This improves students’ creativity and boosts their self confidence.

What Do You Tell Your Talented Students Who Are Planning To Pursue Music Or Guitar Studies In High School, College After They Finish With You? My best advice is to study with a private teacher, who possessses a degree in music Secondly, find a teacher with experience in preparing college-bound musicians and who has experience as an outstanding/professional performer. These qualities will certainly assist the student to enter a collegiate setting with much success.

Do You Have Any Networking Or Advocacy Tools That Have Worked For You In Promoting Your Program That Would Help Other Educators?

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What Type Of Arrangements And/Or Transcribing Have You Done For Your School Performances?

I tend to give my students as many opportunities to perform as possible. It gives them a tangible goal to work towards that forces them to become more regimented with their practicing and polish a piece of music to performance level. Recitals allow students to see those who are more advanced than them and give them motivation to work towards attaining greater musical achievements.

It is important for students to learn how to play together in large ensembles, smaller groups and individually. My students get the opportunity to play in large and small groups with multiple different melodic lines occurring simultaneously. This teaches them to follow their part and listen to the other students, and stay on point rhythmically. They also get opportunities to perform solo repertoire several times a year which helps them gain confidence in front of an audience.

Do You Do Any Musical Performance Or Activities Outside Of Your Public School Teaching Duties?

I believe that in addition to me increasing my knowledge in the education field it is beneficial for me to stay active as a performer. I perform in the NY Classical Guitar Orchestra. We rehearse weekly and perform several times a year and have recently started recording our first CD. I also perform solo repertoire at cafes and social events. I teach Music History and Jazz Appreciation to College Students as well as private lessons to students of all ages on a wide array of different instruments.

Thomas Amoriello is the chair on the NAfM Council for Guitar Education and also serves as the Guitar Education Chairperson for the NJMEA . He teaches guitar for the Flemington Raritan School District and Hunterdon Academy of the Arts. Tom graduated from Shenandoah Conservatory with a Master of Music Degree in Classical Guitar Performance. He is the author of the children’s picture books; A Journey to Guitarland with Maestro Armadillo & Ukulele Sam Strums in the Sand, both available from Black Rose Writing. He recently had two vinyl record releases on the H42 Records label of Hamburg, Germany featuring former members of Black Sabbath, Whitesnake, Dio, Ozzy Osbourne, Quiet Riot, Loudness, Yngwie Malmsteen’s Rising Force and more.

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Any Last Thoughts To Conclude Our Interview?

To all guitar students and aficionados: The best music happens when you have a personal connection to it. That same philosophy can extend to the instrument you hold in your hands: if a guitar means something special, you’re bound to do great things with it.

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Five Ways To Use Seesaw In The Early Childhood And Elementary Music Classroom

S

Amy Burns Far Hills Country Day School aburns@fhcds.org

eesaw (web. seesaw.me) is a student-driven digital learning journal that serves as a platform for student engagement.

Students can use it to post, showcase, and reflect on their musical works. Teachers can utilize it to showcase what goes on in their classrooms and assign activities for the students to complete. Parents can connect to their child’s Seesaw learning journal through an invitation by the teacher, and be able to access the journal from their mobile devices.

How to Begin You can sign up for a free Seesaw account at web.seesaw.me, which will give you access to create 10 classes, with two teachers per class. This is great if you co-teach a class or if you are piloting Seesaw at your school and you want to partner up with a classroom teacher. Seesaw is compatible with iOS devices, Chromebooks, Android Devices, Kindle Fires, and computers.

Students can sign in using their email addresses, or if they lack email addresses, a class QR code. Creating a new class in Seesaw is fairly intuitive and there are many resources at Seesaw’s Help Center (help.seesaw.me) to answer any of your questions. There are also a couple of Seesaw webinars found at my website, amymburns.com/ webinars, to assist with using Seesaw in the elementary general music classroom. NJMEA music educators receive PD credits for watching the webinars by sending me a summary of it and answering the question at the end of the webinar.

For my younger elementary classes (PreK through grade 2), my students use the music class QR code to login with their iOS devices. However, your school does

not need to be a 1:1 school (one device per student) to use Seesaw in the early childhood and elementary music classrooms. Here are five ways that Seesaw can be used in an early childhood classroom with 1:1 devices, or just one device in the classroom.

Showcasing Your Classroom Music Making or Music and Movements With one device in the classroom, the teacher can log into the class’s Seesaw journal, tap the plus button, tap “Post to Student Journal”, and tap “Video”. This launches your device’s camera and you can video your class’s music making or music and movements like folk dancing.

In a 1:1 classroom, students can login to the Seesaw music journal and follow the same steps to video their music creations. These creations can vary from recorder music to orffestrations. Once you or your students are done videoing, press the green check button and post it to the students’ journals. If there are five students in the video, then you can post it to just those five students’ journals. Students only see what is posted in their personal journals. They cannot see what is posted in other students’ journals.

When an item is submitted, the teacher is the only one who can accept and reject posts (see figure 1). If a teacher sees a post that should not be accepted, then the teacher rejects it and it becomes deleted. The parents will never see the rejected posts. When a post is accepted, the parents of that student receive a notification that an item was added to their child’s journal and they can figure 1 now view it. If you have allowed the parents to comment, they can leave their child a comment about their music making (see figure 2).

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of dress code for concerts, of rehearsals, of links to google form permission slips, and so much more.

One way to send an announcement is to use the “Note” tool. This allows you to type and/or record a monthly newsletter. I have used this tool to post the “Ask Me Song of the Month”. I would post the lyrics to a short song sung in the early childhood music class and then press the record button to record myself singing it. When the parent reads the newsletter, they can ask their child to sing the song of the month. If the child cannot recall it, the parent can play the recording to assist the child in singing the song.

Figure 2: This is the view from the parent app with the student showcasing her handmade instrument and reflecting on the process.

Making Recordings for Your Early Childhood Music Classes For my PreK or younger classes, I can utilize any type of recording software, like Soundtrap (soundtrap.com) or GarageBand, and record myself singing some of the songs we sing often in class. To post it on their journals, if I am using the iOS app, I can app smash the recording into the Seesaw Journal. If I am using my laptop, I can save the recording as an mp3 file and upload it to their Seesaw journals. Once posted, the parents have access to the songs sung in class and can play the recordings to sing with their children (see figure 3).

figure 3: A song post in a PreK Seesaw Music Journal Monthly Newsletter There are a few ways that you can post a monthly music class newsletter to your students’ journals. Monthly newsletters can be used to remind parents of concerts, OCTOBER 2018

figure 4: PreK Song of the Month Another way to post a newsletter is to send an announcement. By tapping the plus button and then tapping “Send Announcement,” you can write an announcement and add an attachment using the Seesaw tools of photos, videos, drawings, files, notes, and links.

The announcements can be sent to just the parents, just the students, or both, depending on who you want to receive the announcements.

The main difference between posting your newsletter using the note tool and using the announcement feature is that the note tool posts it on the student’s journal. The announcement feature sends it to the parents as an announcement and is figure 5: PreK Song not posted directly on the of the Month student’s learning journal (see figure 5). Therefore, when the announcement has passed, it is not taking up space on their journals that host videos, drawings, reflections, and more. Seesaw advises to use the announcement feature for announcements.

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Writing and Performing Rhythm Patterns One of the activities that my students complete is writing and performing the rhythms of their names. In this activity, my students have 1:1 iPads. They login into the music class using the Seesaw app, they tap the plus button, tap the drawing tool, and click the record button. Then, they write their names, speak their names, write the rhythm patterns, and perform them. Once finished, they post it to their journals by clicking the green plus button and tapping their name from the list of students’ names. It will not appear on their journals until the teacher approves the posts. Once the teacher approves them, the parents can see their child’s post (see figure 6).

figure 6: Rhythm Names

they can discover the sensation of the singing voices. Another goal is for young students to discover and sing in their head voices. There are a variety of ways to assist students in finding their head voices from placing yarn on the floor and having students sing the shape of the yarn, to having students echo a slide whistle.

By utilizing Seesaw, the students can use the drawing tool to draw a line on their screens. They can then tap the record button and trace and sing their lines. Once they submit their posts, the teacher can listen to it and provide feedback. If the teacher approves the pitch exploration to their journals, the parents will now be able to listen to it and read the caption from the teacher explaining the importance of pitch explorations.

If your classroom is not 1:1, perform the alternative of having them draw a pitch exploration using traditional methods of pencil and paper. Then record them individually in the Seesaw app and post to their journals.

When taking Feierabend’s First Steps Certification Course with NJ music educator, Missy Strong, Missy showed us an activity where she had three teachers hold up a purple string to create a pitch exploration, via Harold and the Purple Crayon by Crockett Johnson. This inspired me to create a Seesaw activity to submit to their library of activities. If you are using Seesaw, you can find this pitch exploration activity in the Seesaw Library of Activities for grades PreK, K, and 1, and use it tomorrow in music class (see figure 7).

If you are working in a classroom with one device, have the students do this process with traditional methods of paper and pencil. When it is time to perform what they composed, grab your device, open Seesaw in your teacher account, click the green plus button, click the video tool, and video the student performing their rhythm pattern. When the student is finished, click the green check button and click on the student’s journal.

The video recording will now be posted onto the student’s journal and the parent will receive a notification to view the post.

Pitch Explorations In the same way that your young students can write their names with rhythm patterns and record them, they also can do this with pitch explorations. The goal for young students to perform pitch explorations is so that TEMPO 42

figure 7: Pitch Exploration Pricing Seesaw is free for up to ten classes. The Seesaw Plus is OCTOBER 2018

$120 a year. This will allow you have 25 classes and you can utilize the skill sets to record assessment data from their portfolios. Seesaw for Schools is subscription-based and allows up to 100 classes, it allows the teacher to utilize the skill sets, and the portfolios will follow the students from grade to grade.

Final Thoughts Seesaw is a game changer in the early childhood and elementary music classroom. You will now be able to have your music classroom accessed by your parents from their mobile devices. Your program will no longer be defined by concerts.

Some final thoughts about implementing a tool that can bring your classroom to your parents’ mobile devices: • Start small. If no one in your school is using Seesaw, pilot the program with one grade level or one class.

• If you are piloting the program, team up with a classroom teacher because that will have more impact, as the classroom teacher will post more often than the specialist.

• If your school is asking you to implement it, go to help. seesaw.me or view my webinars at amymburns.com/webinars.

Jump in and learn all you can about it because when implemented well, it can make a wonderful and positive difference in your classroom.

• The video tool is an amazing tool for your students to use to record their music, record themselves performing music, and to record themselves reflecting about music. Though Google OCTOBER 2018

Classroom (classroom.google. com) is a great and effective tool as well in the elementary music classroom, Seesaw is currently more intuitive for young students to use to upload videos.

• If Seesaw is too overwhelming at this time, but you like the video aspect of it, then I would suggest Flipgrid (flipgrid.com). Flipgrid recently became free and has a very similar platform to Seesaw, but at this time, mainly focuses on video.

• If you would like to try the paid version of Seesaw for a month (Seesaw Plus), then use this QR code to access Seesaw Plus for a month.

I hope that this inspires you to consider Seesaw to be that “one new item” or that “one new thing” or that “one new tool” that you might try this school year.

Amy M. Burns (aburns@ fhcds.org) has taught PreK-grade 4 general music for over 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 4 keynote addresses in Texas, Indiana, Saint Maarten, and Australia. She is the recipient of the TI:ME Teacher of the Year, NJ Master Music Teacher, Governor’s Leader in Arts Education, and the 2017 NJ Nonpublic School Teacher of the Year Awards.

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Making Sound Decisions For Music Tech Marjorie LoPresti East Brunswick High School marjorielopresti@gmail.com

L

ost in the sea of music technology options?

Confused by the alphabet soup of technology acronyms? Tired of wasting time and money researching, then trying to implement “solutions?”

Many educators and administrators feel intimidated and overwhelmed by the requirement to integrate technology across the curriculum, and by the abundance of technology options. Asking the right questions now can help save precious dollars and prevent headaches later.

This discussion will provide a framework for making wise decisions for today and for the future, and will include three lenses through which to view technology integration: SAMR, Triple E, and TPACK. To develop a meaningful music technology integration plan, we need to clarify our goals. Why are we planning to use technology? Are we just fulfilling a mandate, trying to seem cool to the students, or simply attempting to keep up with the rapidly-changing times? Implementing technology in a catch-as-catch-can manner may lead to wasted time and money.

One way to think through the all of issues is the 5 W’s: Who, What, When, Where, Why. Answers to the 5 W’s will provide a clearer path to the all-important How. Though the 5 W’s are presented sequentially, we many need to revisit them throughout the decision process.

advocate for buy-in from school officials and parents?

Too many people in the education community still fail to see the transformative power of technology for arts education.

• Who are you as the teacher? What is your comfort level with technology? If you have not done so, compare your current practices with technology for school music to the SAMR model. The more comfortable you become with technology, the greater power you can give it to increase instructional efficiency and deepen student learning.

Developed by Ruben R. Puentedura, the SAMR model provides a structure for considering whether technology integration provides: • Substitution for a prior method or technique • Augmentation of a prior strategy • Modification of a prior method, with significant redesign • Redefinition, in which the new activity would be inconceivable without the technology.

Who? • Who are your students? Consider their age and experience level. Do any students need assistive or adaptive technologies? Are most students adept at using technology? Do all students have their own devices or school-issued devices? Do they have access to technology outside of school?

• Who are the stakeholders? What are their expectations of the school and community? Is an instructional technology plan in place already? Do you need to TEMPO 46

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Source for image Puentedura, R. (2014, November 12). SAMR: First Steps [Presentation slides]. Retrieved from http://www. hippasus.com/rrpweblog/archives/2014/11/13/SAMR_FirstSteps.pdf SAMR for musical ensembles: • S: Students maintain digital music practice journals instead of paper practice journals • A: Digital practice journals with embedded or attached audio recordings from each practice session (may be hosted on any platform, including Google Classroom or MusicFirst) • M: Students monitor and critique one another via online/shared digital practice journals containing audio recordings • R: Students engage in real-time practice sessions via video conference, collaborating and coaching one another from separate locations.

What?

• What are you trying to teach? Music performance? Music Theory? Composition? Music listening and critique?

Technology skills?

• What resources do you already have? What computers, tablets, Chromebooks, microphones, recording devices, document cameras, and other gear is already available?

• What devices can your students use? Does your school provide every student a device like an iPad tablet or Chromebook? Are there carts of devices you can borrow or a technology lab you can use? Does your school have a BYOD policy? If so, many students have smartphones, and love to use them every chance they get.

• Don’t write off “old” gear including keyboards, microphones, and DI boxes. If it’s got a USB connection, it will probably work. Piano keyboards with MIDI connections can still be used with a MIDI-USB converter (retail about $30 each, but available for much less).

Where?

• Will students be able to use technology in your regular classroom, or is another space like a lab needed? How robust and reliable is the WiFi in your classroom? *FYI: WiFi hubs run at the speed of the SLOWEST device attached. If one person is using an iPhone 4, everyone on the network will have slower response times.

• Do you expect students to use technology for music class at home? Do they have access to devices and Internet/ WiFi outside of school? If not, find out whether your school can loan devices to students overnight, or if students can get free access at a public library or community center. The “digital divide” between the “haves” and “havenots” is a legitimate concern, and we need to ensure that no student is put at an educational disadvantage for economic reasons.

When?

• How often do you hope to use technology yourself as part of instruction or assessment? Every teacher does a balancing act between music making and other instructional and assessment activities.

• How often do you expect students to be hands-on with technology? This decision may be largely dependent on your performance commitments. Maximizing rehearsal time is important, and hopefully your choices of technology will help make rehearsal time more efficient.

• How much time (in minutes) do you anticipate students will need technology for each type of activity? Will they use tech frequently in short spurts, or for the bulk of a class session from time to time? Be sure to plan for some extra time (about 20%) when you first introduce a technology-based music activity. There are always a couple of glitches to resolve, and students will need time to walk through initial access or login steps.

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Why? • Are you just trying to meet some state or local mandate?

• Are you trying to stay current and relevant, without looking like a dinosaur?

• Are you looking for a way to connect with kids whose brains are wired differently?

• Are you meeting the needs of ever-more diverse student populations?

• Have you considered The Triple E Framework? Developed by Professor Liz Kolb at the University of Michigan, Triple E (Extend, Enhance, Engage) illustrates a virtuous cycle in which we can use technology in a studentcentered way.

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Triple E in General Music Enhance: General music students use online lessons in Focus on Sound via the MusicFirst Classroom to supplement traditional in-class instruction about instruments of the orchestra. Photos, audio, and video provide a rich experience. Students can proceed at different speeds, and take short quizzes to demonstrate mastery. Students share about their favorite instruments in class and in an online discussion forum.

Extend: Focus on Sound is available 24-7 to students with an Internet connection, extending learning beyond school hours. The teacher has developed targeted world instrument explorations assigned to students based on interests and preferences shared about the instruments of the orchestra. This differentiation of subject matter also includes differentiation of complexity to meet individual learning needs.

Engage: The Focus on Sound platform provides a rich learning environment while preventing distraction from hyperlinks or necessary outside searches. The follow-up project on world instruments can be conducted inside Focus on Sound, or via Webquest, to provide structure and safety for students.

Once you have a clear vision of the kinds of ways in which you can and want to use technology with your music students, it might be helpful to check whether it’s going to be pedagogically effective and efficient. Just because we can do something doesn’t mean we should.

A helpful strategy for checking whether you should use a particular technology is the TPACK model. The model helps find the sweet spot--the intersection of Technology, Pedagogy, and Content Knowledge--and was developed by Matthew J. Koehler & Punya Mishra at Michigan State University. http://www.citejournal.org/volume-9/issue-1-09/general/what-is-technological-pedagogicalcontent-knowledge Using TPACK, we can check whether the music technology we think we want to use will be a solid choice for instructional purposes.

TPACK for Music Technology Decisions Mrs. Williams is starting a high school music technology program. Her counterpart in the middle school, Mr. Lee, uses GarageBand for a 6-week music cycle course for 7th graders. The goal is to start with one half-year elective open to grades 9-12, then add a second level course for the next school year.

Mrs. Williams is looking at investing in Logic or ProTools for her HS Music Tech 1 class, to be offered as a halfyear elective. The price for either one of these software titles is pretty steep, and the software must be installed on each computer in the shared Arts Department computer lab.

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Through the TPACK lens, she will need to will ask herself these questions: Technology: What tech skills is she trying to teach? Basic recording and editing? Effects like EQ & reverb? Or does she need a highly sophisticated DAW with integrated music notation, like Logic or ProTools?

Pedagogy: Will every student be entering the class with background knowledge in music composition and know how to use a DAW? How much time does she want to devote to teaching the software vs. teaching music composition?

Content Knowledge: Musically, is she teaching songwriting and composition, or is the focus more on audio ngineering?

A glance at the “Triple E” model (Extend, Enhance, Engage) might also lead Mrs. Williams to consider whether she wants students to have access to the software outside of school hours (When & Where).

Given that her target students (Who) will have limited background experience, and that she wants to spend more time teaching music composition than software (What and Why), Mrs. Williams may decide that GarageBand plus a cloud-based DAW like Soundtrap or Soundation4Education would be better for meeting the needs of the students in HS Music Tech 1. Based on how things go during the first year of HS Music Tech 1, Mrs. Williams will be prepared to make a wise, cost-appropriate decisions when she launches HS Music Tech 2.

The wider instructional technology community beyond music education views technology integration in terms of SAMR, Triple E and TPACK. As music educators, we need to speak their language, and to speak to the specific needs of students in our discipline. Keep in mind these guiding principles for music tech integration rationale: • Be clear and able to articulate how the use of technology will improve/enhance learning outcomes or streamline important tasks like assessment and record keeping.

• Include technology in your view of how students engage in music learning, practice, creative activities, collaboration, communication, and assessment. Don’t feel pressured to use technology in all of these areas, but be sure to include this information in lesson plans and evaluation documents whenever possible.

• Enlist students as ambassadors for the positive impact technology has on their learning. Whenever possible, have students advocate to administrators and parents.

Keep yourself from getting stressed out with these strategies: • Start with what you/your students already have. Check with your school IT people, instructional coaches, and media specialists. They may have gear gathering dust that will be helpful to you, including computers, Chromebooks, document cameras, USB microphones, and other recording gear.

• Start small. Commit to one or two technology integration strategies for 2-4 weeks. It takes time for everyone to adapt and adopt, including students. Add or change strategies based on how the tech works for you and for students.

• Hang tough. Glitches happen, and there are almost always a few bumps in the road when trying something new.

• Ask for help. Colleagues and capable students can help smooth the road to new technology.

With a clear vision, a music technology integration plan will take shape. Start with small technology integration steps aligned with a plan for future growth and innovation. Students will benefit and you will become a savvy 21st century music educator.

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n of “Funk Guitar” playing? Please be rd concepts, equipment, and approach.

You have performed on recordings that have influenced countless musical acts such as the Red Hot Chili Peppers to the hip hop samplings of Dre, what are your thoughts?

NJMEA Young Composers Competition 2018-2019

style, it’s also a way of life. It is a musical t more so than that it’s what you feel inside Well again, that’s the “get off.” When I started playing music, I how hard you hit the open E and A strings did it to become a great musician, get fame and all of that. It is obviFunk is the way you play a 9th chord, as ously a great honor to have influenced anyone. Part of the reason of your tone comes from all of that. Funk to picking up an instrument is to reach as many people as I can through o another person and everybody’s feel and my craft and I hope I am achieving this. Having said all that, I still Robert Frampton ou have to understand the rules to know have only to grow.

NJMEA & Eastern Division Past President is all of that. Some people strum a chord, NJMEA YCC Chairperson for a more aggressive approach. However This article will be read by many K-12 music educators and rtframpton@comcast.net where you can use finesse such as a funky members of the National Association of Music Education. e funk but needs to know how to interDo you have any words of advice or statements learn from somebody else but make sure you would like to make to them? ty. As much as funk is, he don’t limit yourself New Jersey Music Educators Association is proud to announce the 2018-19 Young Composers Commuch music as you canpetition. but never abandon I would like to thank K-12 music members The competition will include twoyou, divisions, one educators, for middle schoolofstudents in grades 6 – 8, and the National Association of Music Education and collaborators for one for high school students in grades 9 – 12 (graduating June 2019). allowing me to participate in this article and congratulate all of you Finalist composers will be invited to attend a critique sessionthem to beto held in the conjunction with the NJMEA State on reaching out to people and helping develop riches Conference at the Hilton Hotel that in East February composition recordings will be played musicBrunswick has to offer. on Keep on doing 23, what2019. you areThe doing.

I will do thethe same here. God knowsIn weaddition, need music.the winning composer(s) will be announced at that and the finalists will participate in critique session.

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time and awards will be presented. All other participating student composers are welcome to attend. The exact time Thomas Amoriello is the Guitar Education Chairperson for the New Jersey and location will be announced Music in January Education2019.

Association and also serves on the NAfME Council for Guitar Information and applicationEducation forms can found onHethe NJMEA at https://njmea.org/young-composersas thebeChair-Elect. teaches guitar forwebsite the Flemington Raritan School District and Hunterdon Academy of Arts. Tom graduated fromEndorsement the competition/. The deadline for online application submissions is the November 26, 2018. page and applicaShenandoah Conservatory of Shenandoah University with a Master of Music tion fees must be postmarked byDegree November 2018. in Classical26, Guitar Performance. He is the author of the children’s picture book A Journey to Guitarland with Maestro Armadillo, available from barnesandnoble.com. He recently recorded heavy metal tracks with a stellar roster of & musicians including ex-Quiet Riot bassist Bjorn Englen, ex-Yngwie Malmsteen vocalist Michael Vescera and former TNT drummer John Macaluso that will be released in January 2018.

ee the future of “funk guitar” the world of music?

o me, funk guitar will always have a om what I understand and don’t want is not being taught in a lot of schools. I re cutting music and art classes due to ools not to have instruments to teach of music, funk and music itself looks it upon ourselves to expose our kids to n their hands, play different types of music orb and grow. We need to keep educating I can see, there is a lot of talent out there ay music. Your organization supports kids, g music for people. The future of funk guic, art, everything, should be fine as long as e are doing.

31 OCTOBER 2018

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What Is Arts Integration?

Shawna longo Hopatcong Middle School shawnalongo@gmail.com

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rts Integration is not a new initiative, but it has grown in practice throughout New Jersey over the past 4 years. The definition of arts integration has varied over the years, but fortunately a codified definition has developed into commonplace within our state. Arts integration is “a teaching strategy in which the arts are integrated with the non-arts curriculum to deepen students’ understanding of both.”

Arts integration is different from another term used in education: arts enhancement. Arts enhancement is commonly defined as the arts being used to increase student engagement and make learning “stick” within another content area. By definition, these two terms are quite different. This graphic from Prince George’s County Public Schools in Maryland gives a succinct explanation. With authentic, natural arts integration, if you take the arts component or content out, the non-arts component/ content will not “look” the same. It will be affected and change. With arts enhancement, students might listen to a song or draw a picture, but no true connection is made between the contents. The learning in the non-arts content can occur if you take out the arts component.

The foundation for arts integration is in the intention. Educators: • Intentionally select standards from both content areas.

• Purposefully teach both of these standards throughout the lesson.

• Deliberately assess both content areas.

In order for arts integration to occur naturally and authentically there are a few key components.

• Students must be taught the specific content in both subject areas separately BEFORE you integrate!

When integrating the music concept of pitch with the science concept of sound waves, students need to be taught, or at least introduced to pitch - higher and lower, consonant and dissonant, and any other pitch-related content to the lesson – by a music teacher. A science teacher lays the foundation for sound waves – frequency, amplitude, waveform, etc. The foundation of knowledge in both content areas needs to occur before you integrate them and deepen the students’ learning.

• Both content areas (arts and non-arts) must be taught equitably! When choosing the standards to align, make sure that the arts and non-arts standards occur throughout the lesson. I suggest using the National Core Arts Standards for arts integration lessons. The verbs included in the anchor standards align naturally with other content standards (NGSS, Common Core E/LA & Math, Social Studies, ISTE, and the New Jersey Student Learning Standards). Adding an arts-related introductory activity (or strategy), such as, listening to a song or drawing a picture, does not equate to an arts integration lesson.

• Both content areas (arts and non-arts) must be assessed equitably! I suggest listing the arts and non-arts

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standards on each assessment piece (rubrics, checklists, etc.). This way you can reference the standards as you are drafting the elements included in the assessment. I also encourage you to think objectively, not subjectively.

Too many times I see arts integration rubrics that have a “creativity” or “neatness” category. These topics are subjective. How can you truly measure them? Be very specific about what you are looking for in both contents. For example, an objective category might be “pitch”: Students will label two consonant and two dissonant pitches/harmonies.

Where does STEAM fit into all of this? STEAM falls under the umbrella of arts integration. With STEAM, you are focusing on integrating science, technology, engineering, arts, and/or mathematics. You can integrate any two, or more, of these contents and it will still be STEAM. STEAM lessons are grounded in inquiry, problem-solving, and process-based learning, while focusing on discovery. STEAM encourages a student-centered classroom with teachers serving as guides, or facilitators, along the way. I adapted the following graphic from Education Closet to breakdown the similarities and differences between arts enhancement, arts integration, and STEAM.

Arts integration is also about building relationships with colleagues and students. It has provided an opportunity to work along side of my fellow teachers in my district, gaining a better understanding of what their classrooms look like and feel like. My colleagues gain a better appreciation of the music curriculum, as well as my fellow arts teachers’ curriculums. Arts Integration OCTOBER 2018

and STEAM allow the students to use the skills they are learning in their fine arts classes to create connections to content within the classroom. Students are immediately more engaged, on task, and excited to learn! Gone are the questions, “When will I ever use this?” “Why do I have to learn this?” Use arts integration as an approach to transform the things that we don’t like and to support the things that we already do well! I have found that arts integration can be an excellent advocacy tool. The more your non-arts colleagues, administrators, and community understand the importance of what we as arts teachers teach in our classrooms, the more likely that they will see how crucial and integral the arts are to a well-rounded curricular program. Make sure you promote your work with arts integration! Write a quick, brief press release.

Create a bulletin board. Set up a gallery to showcase student work at your next concert.

In case arts integration still makes you a little nervous, here are a few final thoughts: • Arts Integration isn’t possible unless the students have learned the arts skills first. By definition, it cannot be used to replace arts teachers.

• Arts Integration will not decrease the integrity of the arts. By actively working with classroom teachers, you can correct poor implementation…align the standards and work together!

• Arts Integration provides us with more opportunities to showcase the importance of the arts and advocate for our own efforts.

• As arts teachers, we never have enough time with our students. Arts integration can help increase our time as we are reinforcing our arts content and standards, while making deeper connections for our students, in their non-arts content classrooms.

Check out www.educationcloset.com for more information and resources surrounding arts integration and STEAM. Shawna E. Longo is the General Music (Music Technology) teacher at Hopatcong Middle School. She also serves as the Arts Integration & STEAM Specialist for TMI Education. She is a clinician and consultant for music education, arts integration, and STEAM. She is also a recipient of the 2018 NJMEA Master Music Teacher Award and 2016 Governor’s Educator of the Year for Hopatcong Middle School. & 53 TEMPO

The Importance Of Fort Building In Music Education Collenn Sears The College of New Jersey colleen.sears@tcnj.edu The following is the text from my keynote talk at the 2018 NJMEA Summer Workshop.

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ne of NJMEA’s current strategic initiatives is a focus on inclusion and diversity in our profession. Issues related to equity, inclusion, and diversity have always existed in music and music education. Race, class, gender, sexuality, and varying abilities have long impacted access and opportunity in school music and beyond. And yet, it seems as if these issues were not particularly at the front and center of our profession until the former president of NAfME, Michael Butera, made his now infamous comments back in 2016, in which he blamed the lack of diversity in our profession on his perception that “blacks and Latinos lack the keyboard skills needed for this field.”1 And with those words, issues related to diversity in music education were thrust into the spotlight, and into the New York Times, and into everyday conversation amongst music teachers. As is the usual case with flashpoint incidents like this, a litany of apologies, councils on issues related to diversity, and new policies emerged from NAfME. While these are all steps in a positive direction, I often wonder how far those steps reach. Do they extend beyond the well-designed websites, press releases, diversity grant recipients, and people who serve on those councils?

The focus of my talk is this: What does access, diversity, equity and inclusion in music education mean for all of us in

this room right now. What does it mean for all of our individual communities, buildings, classrooms, and students that we serve?

I have a seven-year old daughter, and one of her favorite books is The Day the Crayons Quit2 and the sequel, The Day the Crayons Came Home3 by Drew Daywalt and illustrated by Oliver Jeffers. (If you don’t know these books, I implore you to go directly to the children’s section of the nearest Barnes and Noble and read them immediately!)

The story begins like this. “One day in class, Duncan went to take out his crayons and found a stack of letters with his name on them.”4 What follows are essentially resignation letters from his crayons, in which each color aired their grievances regarding their dissatisfaction about how they are used. I’ll give you a few of my favorite examples.

WHITE CRAYON Dear Duncan, You color with me, but why? Most of the time I’m the same color as the page you are using me on – WHITE. If I didn’t have a black outline, you wouldn’t even know I was THERE! I’m not even in the rainbow. I’m only used to color snow or to fill in the empty space between other things. And it leaves me feeling, well, empty. We need to talk.

Your empty friend, White Crayon.5 PINK CRAYON Duncan, Okay, LISTEN HERE KID! You have not used me ONCE in the past

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year. It’s because you think I am a girl’s color, isn’t it? Speaking of which, please tell your little sister I said thank you for using me to color in her “Little Princess” coloring book. I think she did a fabulous job of staying inside the lines.

Now, back to us. Could you PLEASE use me sometime to color the occasional PINK dinosaur or MONSTER or COWBOY? Goodness knows they could use a splash of color. Your unused friend, Pink Crayon6 PEACH CRAYON Hey Duncan, It’s me. PEACH CRAYON. Why did you peel off my paper wrapping?

Now I’m NAKED and too embarrassed to leave the crayon box. I don’t even have any underwear! How would you like to go to school naked? I need some clothes. HELP. Your naked friend, Peach Crayon7 MAROON CRAYON Dear Duncan, Not sure if you remember me. My name is MAROON CRAYON. You only colored with me once, to draw a scab, but whatever. Anyway, you LOST me two years ago in the couch, then your Dad sat on me and BROKE ME IN HALF! I never would have survived had paperclip not nursed me back to health. I’m finally better, so come get me! And can Paper Clip come too? He’s really holding me together.

Sincerely, Your marooned crayon, Maroon Crayon8

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I could go on and on, but you get the point. (Seriously. Go to Barnes and Noble and read these books!) So now we’re all giggling, and maybe you’ve forgotten that this talk is about diversity, equity, access, and inclusion.

So, let’s take the case of white crayon. “If it wasn’t for the outline, you wouldn’t even know I was there.

It leaves me feeling…empty.”9 What white crayon is describing what it feels like to be rendered invisible. One of my music education students once wrote in a paper for my Contemporary Issues in Music Education class that “Coming to the United States without speaking any English was one of the most impacting experiences I have lived – both negatively and positively. I was one of those kids ticketed as ESL and seen as remedial. This took away many opportunities for me, especially in my elective courses. I was denied the opportunity to participate in music classes because I was required to take extra “core curriculum classes to make up for the fact that I had the equivalent of a language deficiency – a language barrier.”10 Many of my students for whom English is not their primary language have reported feeling invisible in their K-12 education experience; relegated to the back of their section in ensembles, or blatantly ignored in class. White crayon feels empty because it feels invisible.

Then there’s pink crayon – on a personal crusade to call out and challenge gendered norms and traditional notions of masculinity and femininity with its plea for pink dinosaurs, cowboys, or monsters every once in a while.

How do the dynamics of gendered expectations play out in music education?

From choosing instruments and the seemingly ever enduring notion that flute is for girls, to the use of traditional masculinity to recruit more male voices into choir, (Come on! Join the choir! You’ll be with lots of girls!); to the text of vocal music that privileges heterosexual love and often reinforces traditional genOCTOBER 2018

dered expectations; to the severe lack of females in secondary music positions – particularly in the instrumental world (and especially in band); to the #MeToo movement that has rocked the classical music scene and now the music education world as well. There is certainly no lack of gender equity issues to call out and challenge in our profession.

Peach crayon. While I find the lack of paper wrapping and its subsequent nakedness hilarious, the bottom line is that peach crayon is too embarrassed to be seen, because it isn’t getting what it needs. In this case, underwear, at the very least. Each year I interview prospective students for admission to our music education program here at TCNJ. And each year, something like this happens:

Me: Nice to meet you! Tell me a little about yourself and what you do musically.

Applicant: Well, I’m in the band, the choir, the orchestra, I made regions, I’m section leader, and I uhummnnn…(whispers) I play in a rock band.

Me: I’m sorry, what was that last part?

Applicant: (barely audible) I play in rock band…

Me: Again?

Applicant: (Finally, louder) I play in a rock band.

Me: A ROCK BAND! THAT’S SO AWESOME! Another one of my students who once said this in class: “Well, I really used to like to cover different pop songs. I’d sing and play guitar and record it and put it up on YouTube. And I really liked doing that. But once I became a music major and became friends with some professors on Facebook, I just stopped doing that.” These peach crayons can’t leave the box because they’re embarrassed by the musical practices they love because they don’t often count as “real music” or “serious music” in our profession.

And finally, marooned crayon. The one that was barely given a chance, forgotten, and then broken in half. In the last teaching job that I had before moving to higher ed, I was a middle school band director. I also taught a cycle course of group guitar that met every other day for one marking period. As one marking period ended, my students were asking me about my next cohort. I ran down the roster of their peers’ names and was interrupted by a gasp of horror as I read who I’ll call “Bobby”’s name. “DOCTOR SEARS!” they exclaimed with dismay, “HE’S THE WORST KID IN THE ENTIRE SCHOOL!” The worst kid in the entire school. He was failing all of his classes and spent more time in detention or in school suspension than in class. Based on the description his peers had provided, I was fully anticipating a combative, explosive personality to burst into my classroom. Instead, he was quiet. He sort of slumped in his chair and I remember that he seemed worn down. Marooned by his peers and most of his teachers.

So let me pause here. At the end of the book series, there’s this: “Duncan was sad to learn of all the crayons he’d lost, forgotten, broken, or neglected over the years. So he ran around gathering them up. But Duncan’s crayons were all so damaged and differently shaped than they used to be that they no longer fit in the crayon box. So Duncan had an idea…He build a place where each crayon would always feel welcome.”11 The illustration shows a gigantic monstrosity of a cardboard structure that Duncan fashioned so that each crayon belonged and felt valued, seen, and wanted. The brown cardboard was decorated with many colors – including WHITE, who was made visible against the tan cardboard. There were pink dinosaurs. Peach was given what it needed, a pair of underwear, and maroon was used to color something OTHER than a scab, a beautiful horse.

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So what does a crayon fort look like in terms of diversity, inclusion, equity and access for our music classrooms?

Let’s go back to white crayon and the English language learner who felt invisible. One of my former TCNJ students was recently teaching first grade general music in a predominantly white, affluent school district. He had one Spanish speaking student in class, who spoke almost no English. The boy barely spoke at all and rarely smiled. My student was teaching a song about frogs and used a children’s book about frogs as a starting point for the lesson. The only twist?

The book was in Spanish, which he read first, and then shared the English translation. My student told me that this boy’s face LIT UP as he began to read. At the end of the class, the boy approached my student and said that this was the first time he ever heard anything in Spanish in school. A part of the crayon fort constructed.

Pink crayon. How do students know that pink dinosaurs, monsters, and cowboys exist if they’ve never seen one? How do students know that composers of color exist if we don’t regularly program their work? How do girls know they can be high school band or college band directors, or all state conductors if they’ve never seen one? (A side note: 2018 marked the first time in the eighty year history of the New Jersey All State Band that a female conductor directed the All State Wind Ensemble.) How do boys know they can play the flute if they’ve never seen or heard a man play the instrument? Representation in our curriculum and programming matters. That’s one way to build a fort for pink crayon.

Peach crayon. Duncan gave it what it needed: a pair of underwear. What do we do about the fact that the type of music students often love, and the way students often make music outside our classrooms is not valued or included in our largely traditional, Western, classical curriculum? How can we build a fort for those students? How can we change

the secretive whisper of “I play in a rock band” into a proud statement? Can we find a place in our regular classroom practice to value rock bands, acoustic covers, and beat making with Garage Band? Does learning “by ear” make a student less of musician? Does teaching “by rote” or shall we say, by “aural tradition” make us less of a quality music teacher? Can we rethink the idea of what it means to be a “real musician”?

And finally, marooned crayon: the worst kid in the class. What must it be like to live day in and day out with that label? What must it be like to walk into a school, knowing that you aren’t wanted? Not wanted by your peers, not wanted by your teachers. As humans, we want to be wanted. We need to be wanted. The fort I built for Bobby (my maroon crayon) was that I threw out Hal Leonard Book One for Guitar. I found out what students were listening to, downloaded tabs, and we learned chords to the songs that resonated with the lives of my students. As we did this, I noticed that Bobby was focused. He asked questions and he asked for help.

He brought in tabs for a song that he found on his own. He even ended up asking for a guitar for Christmas. A few months later, my principal shared that she had a meeting with Bobby’s parents.

He was still failing most of his courses and they were trying to figure out how to motivate him. His parents said something like, “Forget about those other classes! What’s happening in that music class? What is that teacher doing? All he can talk about is that class! How do we get whatever is happening in there to happen in all of his other classes?!?”

I spent ten years teaching music in New Jersey’s public schools. One phrase that colleagues would sometimes utter (and one that I confess I uttered myself in my early career) went something like this: “Yes, so and so quit band. They didn’t really care about it.” Or, “Oh, those kids in general music…they don’t really want to be there. They don’t care about music.” The problem with these

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statements, I eventually came to realize, is that they lay blame on the student for quitting music, for a lack of interest in the content. But here’s the thing. These statements blame the crayons, when really, the problem is with the box. The power that we hold as educators, and the power that we hold as music educators in particular, to see, value, and find a place for each and every student we encounter, is profound. What diversity, equity, access, and inclusion is really about is creative crayon fort building.

And yet, you, as music educators may sometimes be left feeling more like gray crayon: Dear Duncan, Gray crayon here. YOU’RE KILLING ME. I know that you love Elephants. And I know that elephants are gray…but that’s a lot of space to color in all by myself…and don’t even get me started on your rhinos, hippos, and HUMPBACK WHALES. You know how tired I am after handling one of those things? Such big animals….Baby penguins are gray you know. So are very tiny rocks. Pebbles, How about one of those once in awhile to give me a break?

Your very tired friend, Gray Crayon.12 Concerts, community events, SGOs, doc logs, meetings. Do you know how tired we are after handling those things? We may be tired from the pressures associated with the daily grind of music teaching, but being creative in crafting practices that aim to make music education more inclusive can actually invigorate and inspire us, making us more like orange and yellow crayons.

While these two colors argued over who is the true color of the sun in the book, they both illuminate and make visible everything in their path. Diversity, equity, inclusion, and access in PRACTICE and ACTION in our classrooms requires love, creativity, patience, and a willingness to literally think outside the box to challenge the parts of our profession that constrict, restrict, and confine; to illuminate new ways forward and reimagine and reconstruct the box in ways OCTOBER 2018

that enable all our students to be visible, valued, and loved so that like Duncan’s crayons in their newly constructed fort, each student will always feel at home when they are with us. Thank you.

(Endnotes) 1 Michael Cooper. “Music Education Group’s Leader Departs After Remarks on Diversity.” The New York Times, May 12, 2016, accessed August 14, 2018, https://www.nytimes. com/2016/05/13/arts/music/ music-education-groups-leaderdeparts-after-remarks-ondiversity.html.

2 Drew Daywalt. The Day the Crayons Quit. (New York: Philomel Books, 2013).

3 Drew Dayalt. The Day the Crayons Came Home. (New York: Philomel Books, 2015).

4 Drew Daywalt. The Day the Crayons Quit. (New York: Philomel Books, 2013).

5 Ibid.

6 Ibid.

7 Ibid.

8 Ibid.

9 Ibid.

10 Colleen Sears. “Seeking Aporia: Experiences with Teaching Social Justice in

the Undergraduate Music Education Program,” Action, Criticism & Theory for Music Education 15, 5 (2016):16.

11 Drew Dayalt. The Day the Crayons Came Home. (New York: Philomel Books, 2015).

12 Drew Daywalt. The Day the Crayons Quit. (New York: Philomel Books, 2013).

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Four Ideas To Improve String Intonation Problems Mark Przybylowski Bunker Hill Middle School, Sewell, NJ mark@markprzybylowski.com

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s a string player, solid intonation – or accuracy of pitch – is something that must be developed and is an ongoing area of development and practice no matter the experience level of the player.

Many of my middle school orchestra students don’t hear when they are out of tune and are also not sure how to fix the out of tune note.

As educators, it is our job to help them develop their ear, recognition of pitch, and ability to adjust their pitch on their own, in the moment.

The method and means for helping students or yourself develop more solid intonation will vary, but listed in this article are four ideas that have proven helpful over the years.

1) Playing to a drone A drone is a sustained tone or note. Working on intonation with a drone is an extremely powerful way of developing the ear and gaining more confidence and accuracy of pitch. I have used drones with my students in small group lessons, large group rehearsals, one-on-one lessons, and in my own practice.

If you have a pitch generator, such as a Doctor Beat or similar device, you can start by setting the generator to the tonal center you

desire. The idea is to measure each note, whether it is the notes of a scale or a musical excerpt, against the drone. The goal is to make sure each note is exactly in tune and if it isn’t, adjusting accordingly. This method of practicing intonation really connects the player to each note. When a note is not totally locked in, it is apparent.

It is best to practice very slowly and stay on each note of the scale or musical passage until every note is totally in tune. This method of practice will help to build confidence in where your students should place their fingers. If you are teaching in a small group lesson situation, rehearsal, or one-on-one lesson and you don’t have a pitch generator, you can split the group in half so that one group or person plays the sustained note and the other group or person works on matching their pitch to the sustained tone. You can then switch the groups or roles.

2) “Did that sound like what I played?”

Another method I use is I play a short excerpt or phrase, two or three notes long, and have the students repeat what I played. If the students echo and their pitch is not accurate I will ask them the question, “Did

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that sound like what I just played?” I will then ask, “Which note (or notes) didn’t sound exactly like mine?” This helps the students and I to analyze their performance and helps to get the students thinking critically about their intonation.

I tell them to focus on the note that was out of tune and really try to hear it and adjust it. I don’t immediately isolate the incorrect pitch notes so that my students apply their knowledge. If the problem isn’t corrected, we will spend some time working on the notes that aren’t correct. Working on intonation with students can be frustrating for them, therefore, it is important to be positive and encouraging.

3) Move your finger up or down Another method is to work on matching one pitch note at a time.

This works best when working with one student at a time. For example, I will play a single note, such as an F#, and tell the student to move their finger lower in pitch (toward the scroll) or higher in pitch (toward the bridge) until they make their note sound exactly like mine. Once the student has located the note, I will have them play the note and match it to mine as accurately as possible.

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4) Singing It may be challenging to get students who are self-conscious about their voices to sing, but singing is a powerful way of connecting the body to the scale or passage being practiced.

One idea is to have students play a short melodic phrase, then sing it, and then play it on their instruments again. The idea is to help the students get the melody in their ear and internalize what they are playing. From there they can go beyond just the mechanics of playing their instruments to a place where they are really hearing what they are playing.

In addition to playing their instruments against a drone, students can practice singing against a drone.

Connecting and measuring the voice against a drone creates a strong sense of pitch and again, helps students to feel and hear the relationship of the drone to the note they are singing.

I have used this method in personal practice and have sung scales, melodies, and intervals against a drone to really get a sense of what they sound and feel like.

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Currently, Mark Przybylowski is the orchestra teacher at Bunker Hill Middle School in Washington Township, New Jersey.

He performs regularly with Ensemble Novo, a group dedicated to performing the music of Brazil, and freelances in the area.

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Solid intonation is a life long pursuit. It isn’t that the great masters of music never play out of tune, but that they are able to adjust quickly and fix their error. Hopefully these ideas will help you and your students develop even better intonation.

What methods do you use for working on intonation? What has helped you or your students play with more accurate pitch?

OCTOBER 2018

MASTER OF MUSIC EDUCATION MASTER OF SACRED MUSIC: PRACTICAL PEDAGOGY MASTER OF VOICE PEDAGOGY

Westminster Choir College Princeton, New Jersey www.rider.edu/wcc wccadmission@rider.edu 1-800-962-4647

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Christopher Thomas, Chorus New Jersey All-State Chorus and Orchestra The Eighty-Seventh Annual Program THE NATIONAL ANTHEM Chorus, Orchestra and Audience Conducted by Jeffrey Santoro, President New Jersey Music Educators Association

Timothy Dixon, Orchestra Conductor Procession of the Nobles from Mlada......... Korsakow Carnaval Overture..........................................Dvorak Sola Gratia ...............................................Amundsen Finale from Symphony No. 5................ Shostakovich Orchestra PRESENTATION OF PINS TO THE CHORUS AND ORCHESTRA Marie Blistan, President New Jersey Education Association Patrick G. Hachey, Chorus Conductor Wonder................................................. Mack Wilberg Spaseniye sodelal......................................P. Chesnokov No Time.............................................Susan Brumfield Baba Yetu........................................................... C. Tin Nyon Nyon.............................................Jake Runetad Song to the Moon.................................. Z. R. Stroope Signs of the Judgment.................................. M. Butler Chorus

Alleluia...................................................Jake Runestad Der Gang Zum Liebchen..................Johannes Brahms Evening Prayer............................................. Ola Gjeilo Balleilakka......................................Rahman arr/Sperry O Radiant Dawn.............................. James MacMillan Even When He is Silent................ Kim Andre Arnesen Music Keeps Us Here.................................. Sean Ivory Combined Orchestra & Chorus Let All the World................. Ralph Vaughn Williams Friday, November 9, 2018 at 7:00 p.m.

Atlantic City Boardwalk Hall and Sunday, November 18, 2018 at 3:00 p.m.

NJ-PAC Prudential Hall Newark, NJ

Christopher B. Thomas is Associate Professor, Director of Choral Activities, and Chair of the Department of Music at Rowan University. In his role as Director of Choral Activities, he oversees four curricular choirs and personally conducts the Rowan University Concert Choir, a chamber ensemble named Voices, and teaches undergraduate and graduate courses in choral conducting and choral literature. Under his direction, the Rowan University Concert Choir has performed at regional and state conferences of ACDA and NJMEA in addition to international performance tours throughout Austria, Czech Republic, Germany, Hungary, Italy, and Poland. He recently served as assistant conductor of Varna International Music Academy’s performances of The Creation by Joseph Haydn in Varna and Dobrich, Bulgaria, and returned in 2017 to serve on the conducting faculty for a performance of Mozart’s Requiem. Domestically, his recent guest conducting engagements have been in Connecticut, Delaware, Illinois, Ohio, New York, New Jersey, Pennsylvania, Texas, and Vermont. As a scholar, Thomas has presented at International, Regional, and State Conferences on choral literature, pedagogy, philosophical, and historical topics. In addition to his academic positions, Chris is also the Artistic Director of the 90-voice Greater South Jersey Chorus. In the past, he served several churches as director of music and was an award-winning music educator for grades 6-12 in the Illinois Public School systems. Thomas is president of NJ-ACDA on the planning committee of the 2018 Eastern Divisional ACDA conference in Pittsburgh. He received the BM in Music Education from Millikin University where he studied with Brad Holmes and graduate degrees (MM and DMA) in Choral Conducting at the University of Arizona under the direction of Bruce Chamberlain. Chris and his wife Jessica live in Glassboro with their son Greyson and daughter Elandra.

Timothy Dixon, Orchestra Timothy Dixon is Director of Orchestral Studies / Professor of Music at Messiah College (PA), and the Music Director/ Conductor of the American Youth Philharmonic, the leading youth orchestra in the Washington D.C. area.

At Messiah College, he conducts the symphony orchestra, chamber orchestra and opera productions, and provides leadership to the string area, and is the lead teacher in the graduate program in orchestral conducting at Messiah College. Under his leadership, the orchestras at Messiah College have been selected to perform at many conferences and have won multiple awards from the National Opera Association. Timothy Dixon is the Conductor Laureate of the West Shore Symphony Orchestra (PA) and has been a regular conductor of the Harrisburg Opera Association. Active nationally and internationally, Dixon has conducted numerous all-state and other festival orchestras, as well as professional orchestras in the United States, Germany and Ukraine. He has also served as a music educator, grades 4-12, in the Middletown City School District (OH). Timothy Dixon holds the Doctor of Musical Arts in Orchestral Conducting from the University of Iowa, the M.M. in Orchestral Conducting from Michigan State University, and a B.A. and B.M. in Music and Music Education, respectively, from Miami University (OH). Timothy Dixon lives in Camp Hill, PA with his wife, Roxanne, a K-5 music educator in the Camp Hill School District, and his children Delaney and Alex.

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OCTOBER 2018

Lisa DeSpain, Jazz Choir Director The New Jersey Music Educators Association proudly presents The 2018 New Jersey All-State Jazz Ensemble and Honors Jazz Choir Lisa DeSpain, Jazz Choir Conductor Program to be selected from: Words.........................................Lane & Lerner, arr. Marsh Quiet Nights of Quiet Stars.............. Jobin, arr. Rutherford Yesterdays.......................Kern & Harbach, arr. Rutherford Do Nothin’ Till You Hear From Me....Ellington, arr. Weir Bli Blip............................................. Ellington, arr. Meader

Peter McGuiness, Honors Jazz Ensemble Conductor Program to be selected from: Low Down................................................. Thad Jones Who Cares..................... G. Gershwin, arr. McGuiness Blues in Hoss Flat.................................... Frank Foster Butter.....................................................Jerry Dodigan Beautiful Dreamer.....................Foster, arr. McGuiness El Carborjeno...........................................Bob Mintzer Stompin’ at the Savoy................Sampson, arr. Holman

Finale NJ Honors Jazz Choir & All-State Jazz Ensemble Don’t Be That Way....Sampson/Goodman, arr. Meader Thursday, November 8 , 2018 Claridge Hotel Theater 7:30 p.m. and Friday, November 16, 2018 NJ-PAC Chase Room 7:00 p.m.

OCTOBER 2018

Lisa DeSpain is a Utah-native, New York City based composer of musical theatre, opera, and concert works known for her American sound. She is the recipient of a 2018 Discovery Grant from OPERA America in support of her first opera, THAT HELL-BOUND TRAIN. Lisa was also a Dramatists Guild Foundation Fellow and writer-in-residence at the Eugene O’Neil Musical Theatre Center for her original musical STORYVILLE created with Oscar Award-winning lyricist, Kristen Anderson-Lopez. Commissioned by a wide range of ensembles, Lisa has composed works for The United States Air Force Band of Flight, the Cassatt String Quartet, Liz Lerman Dance Exchange, Copland House/Hendrick Hudson High School, New York Choral Society, New Haven Symphony Orchestra, pianist Scott Holden, and the womens choir Bella Voce. A force in the musical theatre education world, Lisa is the go-to arranger for Broadway educational choral works including HAMILTON, ONCE, AMERICAN IDIOT, NEXT TO NORMAL and more. Lisa was the first jazz composer awarded a Copland House Residency. Living and composing in Copland’s home profoundly impacted her artistic mission. Inspired by Copland’s legacy, DeSpain strives to explore and expand the boundaries of the American musical language, to create artistic works uniquely identifiable as American. She is a Professor of Music & Theatre at LaGuardia Community College - CUNY (City University of New York)

Peter McGuiness, Jazz Ensemble Director Originally from West Hartford, Connecticut, Pete McGuinness has been an active New York City-based jazz musician since 1987. His creativity is expressed in many capacities…well-established NYCbased jazz trombonist, GRAMMY-nominated composer/arranger, award-winning jazz vocalist, and longtime jazz educator. After his many years of studies, starting back as a teenager in the renowned Hall High School jazz program (West Hartford, CT), going on to college studies at New England Conservatory and University of Miami (bachelor of music, 1986), and Manhattan School of Music (master of music, 1987), Pete quickly became involved in the NYC jazz scene. His credits as a jazz trombonist over the years are many, including performances with many varied jazz artists. Pete appears as a sideman on over 50 jazz CDs, including the GRAMMY-winning CD by Maria Schneider “Concert in the Garden” He has performed in the pits of many Broadway shows throughout the years. Pete is also featured as a trombonist on 6 CDs he has either lead or co-lead throughout the years. His most recent CD “Strength in Numbers” received TWO GRAMMY nomination; Best Instrumental or A Capella Arrangement for “Beautiful Dreamer” AND Best Instrumental Arrangement with Vocals for “What Are You Doing the Rest of Your Life?” Pete is an active jazz educator. He was a member of the jazz studies faculty at New Jersey City University (Jersey City, NJ) for 17 years. He is currently an Associate Professor of Jazz Studies/Arranging at William Paterson University (Wayne, NJ). Pete is a Conn-Selmer company affiliated clinician.

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NJEA Convention Music Meetings November 8- 9, 2018 –­­ Atlantic City Sponsored by

New Jersey Music Educators Association An affiliate of the New Jersey Educators Association

NJMEA All State Choral Procedures Committee Meeting 11/8/2018 - 12:00-2:00 PM Sheraton Hotel: Shelbourne NJMEA All-State Band Procedures Meeting 11/8/2018 - 9:30 - 11:00 AM Sheraton Hotel: Ambassador NJMEA Collegiate Meeting 11/9/2018 - 9:30 - 11:00 AM Sheraton Hotel: Crown Ballroom NJMEA Executive Board Meeting 11/9/2018 - 8:00 - 10:00 AM Claridge Theater

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OCTOBER 2018

2019 NJMEA Honors Guitar Ensemble Audition Application Form The NJMEA Honors Guitar Ensemble Audition will take place in person on Saturday, February 9th from 9:00 - 1:00 pm at The College of New Jersey in Ewing, NJ (Music Building). Those accepted as Honors Guitar Ensemble members (see dates on website: www.njmea.org) must attend all rehearsals and prepare music with conductor Jayson Martinez for the Saturday, May 4th festival date at TCNJ at 12:00 pm. Concert dress is semi-formal. The non-refundable Audition Fee is $10.00 per student. All applicationts send check payable to the NJMEA and enclose a copy of your school music teachers current NAfME membership card postmarked by January 15, 2019 to Tom Amoriello, Guitar Festival Director, PO Box 651, Lambertville, NJ 08530.

Each participating student must fill out an application and if accepted will pay $50 acceptance fee.

Be sure to bring your music and footstool!

Please Print Legibly Using Ball Point Pen Only

Student Name: ________________________________________ ___________________________________________ _________ First

Last

Grade

Address: __________________________________________ __________________________________ ________ ______________ Street

City

State

Zip

Teacher Name: ____________________________________________ _________________________________________________ First Last

School Address: ___________________________________________ ___________________________________ ________ _____ Street

City

State

Zip

Director Phone: (H) (________)________________ (W) (________)________________ (C) (________)_____________________ Director Email: _____________________________________________________________________________________________ Checklist:

1) Postmark deadline for all materials is January 15, 2019.

2) Mail applications, check and copy of NAfME card to: 2019 NJMEA Honors Guitar Ensemble Audition Thomas Amoriello 213 North Main Street Lambertville, NJ 08530 More info, e-mail only - tamoriel@frsd.k12.nj.us. Phone for emergencies on February 9th only: 908-342-7795. * All students must perform on a nylon string classical guitar (no steel string acoustic or electric guitars)

Audition Requirements for students in grades 9-12: • Allegro in Am Op. 60, No. 9 (also known as No. 7 in other editions) by Matteo Carcassi which can be found in this issue and at www.njmea.org (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal) • Scale Requirement: A Major Scale edited by Kevin Vigil can be found in this issue and at Ensemble Excerpt: (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal)Ensemble Excerpt: http://www.njmea.org/classroom.cfm?subpage=479 (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal) • Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading.

CONTRACT ENDORSEMENTS: I am aware that I must attend the entire Festival, Saturday, May 4, 2019.

STUDENT SIGNATURE: _______________________________________________________ DATE: __________________________________ As parent/guardian, I give permission for my child to apply to the 2019 NJMEA Honors Guitar Festival. I understand that the NJMEA does not assume responsibility for illness or accident. I further attest that I will assist my child with obligations related to this activity. I am aware that any photos of me that are taken at the festival may appear in TEMPO Magazine or on the website.

PARENT SIGNATURE: _________________________________________________________ DATE: _________________________________

OCTOBER 2018

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Allegro in Am

Solo Guitar

Op. 60, No. 9 based on facsimile, other editions number this as No. 7

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TEMPO 64

OCTOBER 2018

A Major Scale 2019 NJMEA Honors Guitar Ensemble Auditio

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There are no required fingerings as the audition is an audio recording only.

Recommendations: Alternate right hand fingers Avoid audible glissandi

2019 NJMEA Honors Guitar Ensemble Auditions: February 9, 2019 at The College of New Jersey (Music Dept.), 2000 Pennington Rd., Ewing, NJ 08628 Ewing, NJ 9:00-1:00 pm (snow date Sunday, Feb. 10th @ Bayonne High School, Time TBA) Audition Requirements for students in grades 9-12 Set Piece: Allegro in A minor by Matteo Carcassi Scale Requirement: A Major Ensemble Excerpt: May be downloaded from: http://njmea.org/classroom/guitar-in-the-music-classroom/ Sight Reading at the audition.

Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading.

Rehearsal 1: March 16, 2019 from 9:00-12:00 pm at Bayonne High School, 669 Avenue A, Bayonne, NJ 07002 (snow date, Location TBA, March 17th) Rehearsal 2: April 13, 2019 from 9:00-12:00 pm at New Jersey City University, Rossey Hall 101.

Rehearsal 3: April 27, 2019 at Bergen County Academies, Room 5, 200 Hackensack Avel, Hackensack, NJ 07601.

Office Phone: 201-343-6000, x2313. From 9:00-12:00 pm.

Performance May 4, 2019 @ TCNJ (no snow date) Ensemble Performance 12:00 pm Student Showcase 12:30 pm Guest Artist: Tengyue (TY) Zhang, from China: 1:00 pm Audition Fee for NJMEA : $10(non refundable) Participation Fee (if selected): $50.00 Personnel: Jayson Martinez, conductor NJMEA Guitar Festival Director: Thomas Amoriello OCTOBER 2018

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Guitar Ensemble Excerpt

TEMPO 66

OCTOBER 2018

2019 Region Jazz Ensembles Junior Jazz Ensemble Audition Requirements (Grades 7 - 9) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 11, 2019 Rehearsals: March 18 & 25 (4 – 8 PM) April 5 & 6 (9 AM - 3 PM) Concert: April 7 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

•

SOLO - All students are required to prepare the solo listed below in its entirety.

All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

•

SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.

Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website: www.njaje.org

•

SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

All Saxophones: *Required solo: NJAJE Junior Saxophone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave.

G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves.

Tenor : C, D, & G Blues - 2 octaves.

C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave.

Trumpet: *Required solo: NJAJE Junior Trumpet Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave.

Trombone: *Required solo: NJAJE Junior Trombone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave.

Piano: *Required solo: NJAJE Junior Piano Etude No. 1A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Guitar: *Required solo: NJAJE Junior Guitar Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Bass: *Required solo: NJAJE Junior Bass Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Drums: *Required solo: NJAJE Junior Drum Etude No. 1A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba).

Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase. *Free Improvised Solo included as part of the solo etude.

Students should demonstrate creativity, technique, and musicality.

OCTOBER 2018

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2019 Region and All State Jazz Ensembles Senior Jazz Ensemble Audition Requirements (Grades 9 - 12) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 11, 2019 Rehearsals: March 18 & 25 (4 - 8 PM); April 5 & 6 (9 AM - 3 PM) Concert: April 7 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

•

SOLO - All students are required to prepare the solo listed below in its entirety.

All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

•

SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.

Scale sheets for all instruments may be downloaded from the NJAJE Website: www.njaje.org

•

IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold "New Approach to Jazz Improvisation, vol. 1." Student will pick a card to determine key. *Drum improvisation is included as part of the solo etude.

•

SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

Saxophones: *Required solo: NJAJE Senior Saxophone Etude No. 1A NOTE - Bari Sax: Students will play the entire saxophone etude using the bottom lines in the ossia section. *Scales [ALL SCALES MEMORIZED]: Alto/Bari: C, G, D Blues - 2 octaves, A Blues - 1 octave.

G & A Dorian & Mixolydian modes - 1 octave. C & D Dorian & Mixolydian modes - 2 octaves.

Tenor: F, C, G, D Blues - 2 octaves. G Dorian & Mixolydian modes - 1 octave. F, C, D Dorian & Mixolydian - 2 octaves.

Trumpet: *Required solo: NJAJE Senior Trumpet Etude No. 1A NOTE - Lead Trumpet: Students will play the entire trumpet etude using the top lines in the ossia section. *Scales [ALL SCALES MEMORIZED]: C, D Blues - 2 octaves; F, G Blues - 1 octave.

C Dorian & Mixolydian modes - 2 oct.; D, F, G Dorian & Mixolydian modes - 1 oct.

Trombone: *Required solo: NJAJE Senior Trombone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Bb, C Blues - 2 octaves; Eb, F Blues - 1 octave.

Bb Dorian & Mixolydian modes - 2 oct; C, Eb, F Dorian & Mixolydian modes – 1 oct.

Bass Trombone: *Required solo: NJAJE Senior Bass Trombone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Bb, C Blues, Dorian & Mixolydian modes - 1 octave (begin below the staff.)

Eb, F Blues, Dorian & Mixolydian modes - 2 octaves (begin below the staff.)

Piano: *Required solo: NJAJE Senior Piano Etude No. 1A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Guitar: *Required solo: NJAJE Senior Guitar Etude No. 1A *Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Bass: *Required solo: NJAJE Senior Bass Etude No. 1A *Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Drums: *Required solo: NJAJE Senior Drum Etude No. 1A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, and fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Styles must be memorized.

Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.

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OCTOBER 2018

2019 Region Jazz Ensembles Junior Jazz Ensemble Audition Requirements (Grades 7 - 9) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 11, 2019 Rehearsals: March 18 & 25 (4 – 8 PM) April 5 & 6 (9 AM - 3 PM) Concert: April 7 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

•

SOLO - All students are required to prepare the solo listed below in its entirety.

All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

•

SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.

Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website: www.njaje.org

•

SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

All Saxophones: *Required solo: NJAJE Junior Saxophone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave.

G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves.

Tenor : C, D, & G Blues - 2 octaves.

C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave.

Trumpet: *Required solo: NJAJE Junior Trumpet Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave.

Trombone: *Required solo: NJAJE Junior Trombone Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave.

Piano: *Required solo: NJAJE Junior Piano Etude No. 1A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Guitar: *Required solo: NJAJE Junior Guitar Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Bass: *Required solo: NJAJE Junior Bass Etude No. 1A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Drums: *Required solo: NJAJE Junior Drum Etude No. 1A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba).

Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase. *Free Improvised Solo included as part of the solo etude.

Students should demonstrate creativity, technique, and musicality.

OCTOBER 2018

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CJMEA

Central Jersey Music Educators Association cjmea.org

Welcome back to another school year! I hope you had a relaxing summer and are ready to begin another year. September always brings changes and challenges for us as we begin to navigate all that is new: new students, new classrooms, new positions, and new schools. Among the unique skill set music educators possess is the ability to adapt to new circumstances and exceed expectations. In my 18th year of teaching, I still get those first day jitters and feelings of apprehension about all the newness. If this is your first year of teaching, welcome to this amazing profession. You’ll find that veteran music teachers are an invaluable resource, so never be afraid to reach out and ask questions or for advice and feedback.

As I begin my 2nd year as CJMEA president, I wanted to thank our tremendous Board for all their hard work, especially behind the scenes.

I’m still amazed by the amount of time and effort that go into preparing our many events. When you arrive for a concert or audition day, our Board members and chairs have spent

many hours laying the groundwork to insure a great experience for our students and teachers alike. In that vein, the full calendar of events for the 2018-2019 school year is available on the CJMEA website.

We have one addition to the CJMEA board. I’d like to welcome our new Intermediate Band Co-chair, Ashlen Udell. Ashlen is the band director at Bridewater-Raritan Middle School and is excited to begin her work on the Board. I’m confident that she and Sandy Olson will do great work together for our intermediate band students and teachers. I’d like to thank Alex Costantino for his years of service on the CJMEA board and wish him all the best.

In an effort to assist with the professional development of music teachers in Region II, CJMEA will once again offer grants to teachers/ music programs: • Grant awards will typically not exceed $750.

• Grant awards may be used to partially fund a project in conjunction with your school if we are not able to fully fund your proposed professional development.

• All checks will be written to a school account. We are unable to write checks directly to teachers, presenters, companies, music booster clubs, or other individuals/companies.

• Grants cannot be requested for the purchase of equipment or supplies unless it directly relates to the PD session being proposed.

The grant proposal form is available on our website. We will continue to approve grant requests until the funds allocated for this school year have been spent.

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In June, we awarded three $1000 scholarships to graduating seniors who had been members of our region ensembles for all four years of high school. I would like to congratulate our 2018 scholarship recipients: • Monique Legaspi, Monroe Township High School • Ethan Marmolejos, Watchung Hills Regional High School • Nitya Patlola, Hunterdon Central Regional High School The application for our 2019 scholarships will be available after the high school region concerts in February of 2019.

Please remember to check the CJMEA website at www.cjmea.org frequently. We post information regarding concerts, audition requirements, application deadlines, and other important information as soon as it becomes available. Also, please feel free to reach out to me or any other Board member if you have any questions or concerns. The contact information for every Board member is also available on the website. We are here to promote a spirit of cooperation and fellowship among the music educators of this region and are always happy to hear from you.

I look forward to seeing and meeting you at our auditions and concerts throughout the year.

David Westawski CJMEA President dwestawski@cjmea.org

NJSMA

North Jersey School Music Association njsma.com

Greetings to my colleagues in Region I and around the state! On behalf of the entire NJSMA ExecuOCTOBER 2018

tive Board, I am excited to welcome everyone to another exciting school year. I certainly hope you all enjoyed an entertaining and restful summer.

Whether you are now deep in the middle of marching band season or preparing for your first concert, I wish you all the best in this new year.

In that same sentiment, I would also like to take a moment to welcome our new Treasurer, Dave Walsh and our new Publicity Chair, Nick McGill. Both individuals are great additions to the NJSMA team and I look forward to working with them and the entire team to continue bringing you all the great things you will read about in just a moment. I would also like to welcome Jennifer Wise to the Band Division replacing Greg Mulford. I wish him the best and want to thank Greg for his service to the performing arts.

Throughout our organization, our division chairpersons are hard at work preparing to bring you and your students the very best musical experiences. Please take a few moments to read over all the exciting happenings from our divisions around the region!

Lastly, remember, if you are ever looking to become more involved or need assistance in your classrooms, do not hesitate to email myself or anyone on the NJSMA board who are willing to help in any way possible. Thank you for your service and beign a valued member of our organization.

Best Regards, Joseph Spina President, NJSMA Elementary Division “Come grow with us at our exceptional workshops and events!”

The NJSMA Elementary Music Division offers exceptional professional development and events for OCTOBER 2018

elementary music educators. Elementary music educators and music education majors from all NJ regions are welcome to attend our events.

Please join us!

At a glance, our 2018-2019 events include: • October 8, 2018- Columbus Day Workshop featuring guest clinician: Jill Trinka • Fall or Winter (date TBD) Professional Learning Community Sharing Session • February 9, 2019 - It’s Elementary, My Dear Saturday morning workshop (cosponsored with New Jersey Youth Chorus) • May or June 2019 - 4th Annual Treble Choral Celebration *Complete details and registration information can be found on our webpage: http://njsma.com/elementary/elementaryhome.html Follow us on our facebook page: NJSMA Elementary Music Division Lisa Wichman and Carol Richardi Elementary Division Co-Chairs Elementary@njsma.com Chorus Division Hello! We hope that you enjoyed your summer and that you are settling into the 2018-2019 school year!

Please check the NJSMA website for important calendar dates and deadlines for the Junior High and Senior High Chorus auditions and rehearsals, and our High School Chorus Festivals. We are really working at getting the Junior High Chorus Festival back into our line up! We would like to hold the Junior High Chorus Festival in January of 2019.

Before we can contract adjudicators, we need to have a site ready to go! If you are interested in hosting, please E-mail us at chorus@njsma.com.

We are always looking for people to get more involved; we are especially looking for people to host and manage our Region Choirs. Please let us know if you can step up and do so.

As always, feel free to contact us with any questions or concerns that you have.

Austin Vallies and Deana Larsen, Chorus Division Co-Chairs chorus@njsma.com Band Division We hope your first days back to school have been rewarding and successful and that you feel renewed for the upcoming year! We would like to take a moment to welcome a new Band Division co-chair to NJSMA, Jennifer Wise from the Livingston Township Schools - welcome aboard!

Tremendous thanks go to Greg Mulford for serving on the board for many years!

NJSMA is pleased to announce the conductors for its 2018 honor bands. For High School, Joseph Higgins, Director of Bands at Rowan University, will conduct the Wind Ensemble. Christopher M. Cicconi, Director of Bands and Assistant Professor of Music Education at Towson University, will conduct the Symphonic Band. The high school rehearsals and concert will be hosted at Parsippany Hills High School on Sunday, January 27, 2019 at 3:00 pm.

As in the past, students choose which ensemble(s) they wish to be considered for using the check boxes on the Audition Application. By signing the application the student elects to participate in the ensemble(s) to which they are selected and they should reserve the dates on their cal-

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endars. Once a student is placed in that ensemble, there should be no reason for a student to drop out. Once the ensemble rosters are selected on the day of auditions, if a student declines participation, that student will not be eligible to audition for all-state and/or for an NJSMA ensemble the following year. Students may change their ensemble selection prior to their audition through the audition chair. Once a student leaves the audition site on the day of auditions there is no opportunity to change their ensemble selections. Directors, we ask that you stress to your students the importance of following through with their commitments to participate in their chosen honor ensemble(s).

It is with great excitement that we can announce that the 2nd Annual NJSMA North Jersey Regional Marching Band Competition will be held at Verona High School on October 27th, 2018! Last year’s competition was hugely successful and we are thrilled to build upon that success for another great show this year. Our judges will include: Professor Darryl Bott from Rutgers University, Tom McCauley from Montclair State University, DCI and WGI Hall of Famer Dennis Delucia, WGI Hall of Famer Jeff Neiman, and WGI Hall of Famer Mickey Kelly. Competition Classifications will be based on band size for this year. A big thank you to our Festival Coordinator Erik Lynch, band director from Verona High School.

The High School Concert Band Festival will be held on March 19, 20 and 21, 2019. There will again be day and evening times for participation. The Junior High School Band Festival will take place on March 27th at two locations. Please check

the website for details and performance application.

NJSMA will be continuing the Elementary Band Festival for those students in sixth grade. Students and directors will have an opportunity to participate in this one-day festival to represent the high quality of instruction at the sixth grade level in our region. The festival will be Saturday, May 4, 2019 at South Orange Middle School and will feature two equally balanced 6th grade bands.

Directors will be able to nominate their students for participation online and will need to be present the day of the festival.

All audition, festival, and concert information can be found online at the region website, www. njsma.com. If you would like to get more involved with the organization, there are many opportunities available. We are always looking for schools to host rehearsals, concerts and festivals in addition to individuals to conduct, manage, and volunteer for the many different jobs that need to be accomplished on a yearly basis. Anyone interested in conducting one of the region bands should complete the application found on the website. Please feel free to contact us with any questions or concerns you may have. We look forward to working with you this year.

Lewis Kelly, Diana May & Jennifer Wise Band Division Co-Chairs band@njsma.com

Orchestra Division I hope you have all enjoyed your summer and are excited for the 2018-2019 school year. Planning for this year’s Region I Orchestra events are already in progress. I am proud

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to announce that this year’s Region I HS Symphonic Orchestra conductor is Lou Kosma, member of the Metropolitan Opera Orchestra bass section, double bass instructor at New Jersey City University, and conductor of many orchestras in the tri-state area. Our Region I JHS Symphonic Orchestra conductor is Brian McGowan, composeer and director of orchestras for the William Annin Middle School in Basking Ridge.

Our Region I Orchestra Festival will be held on April 3, 2019, and the Elementary Honors Orchestra Festival will be held on April 27, 2019.

As always, we are looking for volunteers to host, manage, and coordinate. Please reach out to me if you would like to become more involved. I also try to keep directors up to date with information, so please make sure I have your correct email address by contacting me at orchestra@njsma.com.

I’m looking forward to collaborating with all of you this school year!

Kim Nimmo Orchestra Division Chair orchestra@njsma.com

SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

Our first membership meeting for this school year will be held on Wednesday, October 10, 2018. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 AM. Please notify Rich Beckman (609-457-0590 or rbeckman@chclc. org) if you are able to attend. Audition information and our online registration process will be explained.

OCTOBER 2018

Auditions for the 2019 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 8, 2018 at Absegami HS. Patrick O’Keefe will host this event. Applications and directions are available on our website. The first rehearsal for these ensembles will take place on Saturday, December 15th at Cinnaminson HS. Deb Knisely will be our host.

Our 2019 Orchestra conductor is Tim Schwartz (Rowan University).

Joanne Erwin (Rowan Prep) will conduct our Junior High String Ensemble. The Wind Ensemble will be conducted by Bill Berz (Rutgers University) and Deb Knisely (Cinnaminson HS) will conduct the Symphonic Band. Rhea Fernandes (Eastern Regional HS) is our string coordinator and Amanda Lakits (Hamilton Twp. Schools) is our high school band coordinator.

The Junior High Band auditions will take place on Saturday, January 26th at Southern Regional Middle School. Jennifer Hodgson and Andrew Wright will be our hosts. Audition information is available on our website. Rachel DiPilla (Milton Allen ES) and Joe Jacobs (Ventnor MS) are the Junior High audition chairs.

Joe Brausum (Berkeley Township Schools) is our Junior High Band Coordinator.

The South Jersey Band and Orchestra Directors Association offers many opportunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehicles for professional development including conducting and managing our ensembles. Many teachers have gained wonderful ideas and strategies by observing rehearsals and meeting OCTOBER 2018

with colleagues. You can enhance your school music program to include excellent performing opportunities for your students and ensembles. We encourage all music teachers to take advantage of the wonderful resources offered by SJBODA this year. Please contact Rich Beckman at rbeckman@chclc.org or 609-4570590 for additional information.

We encourage you to check our website, which is maintained by Derek Rohaly, (Mainland Regional HS) for the latest SJBODA updates. www.sjboda.org We wish everyone an exciting and successful year.

Joseph Jacobs Secretary, SJBODA

SJCDA

South Jersey Choral Directors Association sjcda.net

The South Jersey Choral Directors Association (SJCDA) Board of Directors worked throughout the summer to plan our activities for the 2018-2019 school year and we are looking forward to a successful year of choral activities in Region III. We began the year with our annual General Membership Meeting and Reception at “Villari’s Lakeside Restaurant” in Sicklerville on September 17th. Conductors for our honors choirs presented their programs and the executive board discussed new opportunities and initiatives for SJCDA members. In addition, our membership had the opportunity to connect with their colleagues and share ideas about the upcoming school year.

Our 61st Annual South Jersey High School Choral Festival will be

held at Investors Bank Performing Arts Center at Washington Township High School on January 26 and 27, 2019. Our Senior High conductor is Romel McInnis of Clearview High School and our Junior High conductor is Hope Knight of William Allen Middle School. Auditions for these choirs will be held on Saturday, November 17th at Woodstown High School.

Our 36th South Jersey Elementary Festival Choral Concert will be held on March 3, 2019 and will be conducted by Jim Papoulis. In addition, the concert will feature the premiere of “Only I”, a new piece by Jim Papoulis commissioned by SJCDA. Full concert programs for all three honors choirs as well as bios of our conductors are available on our SJCDA website.

The South Jersey Choral Directors Association offers many opportunities for choral music teachers to participate and in doing so, expand their knowledge as music educators.

We encourage all music teachers to get involved with the honors choirs and also to take advantage of the professional development opportunities offered. We look forward to another exciting year working with the teachers and students of vocal music throughout South Jersey and encourage you to check our website for the latest updates. www.sjcda.net Kahlil V. Gunther, SJCDA President gunther.k@woodstown.org

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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.

Alfred H. Jorgensen Alfred H. Jorgensen, 75: a music teacher in Dunellen and on the college level; a veteran timpanist with the N.J. State Opera and orchestras, passed away Tuesday, April 3, 2018, in Hillsborough, N.J. Al was born in Bloomfield, N.J., and lived in Branchburg, N.J., and Manville, N.J., and owned a vacation home in Bayville, N.J. He was an accomplished musician and music teacher, graduating from Somerville High School in New Jersey and earning his master’s degree in music from Trenton State College. As a teacher, he taught music for 31 years in the Dunellen (N.J.) school district and at three New Jersey Colleges (Rutgers, Morris County College and Raritan Valley Community College). Al also taught countless private students, many of whom achieved All-State status and several who earned All-Eastern accolades. As a performer, Al’s prowess and dedication was highlighted by his serving two years in the U.S. Army Band as a snare drum player and as a timpanist for 40 years with the New Jersey State Opera, 30 years with the New Jersey Pops Orchestra, and 50 years with the Plainfield Symphony Orchestra and Garden State Symphonic Band. He was a member of the American Federation of Musicians, Local 16248. In addition to his music, the other loves of his life included food, in general, especially his

Wednesday night dinner crew outings; and any diner, especially the Manville and Flemington diners; friends, especially his musical associates, his Somerville High School reunion committee gang, several lifelong and dedicated buddies and helpers, including Richard Emerson, Tony Addotta and Richard Ganim, and the many celebrity athletes, actors, and others he came into contact with whom he kiddingly fancied as friends; and family, especially his sister Katherine and brother Clifford; his cousins, with whom he loved to socialize and travel; and his many nieces and nephews who he would always try to help in any way he could.

Ernest N. Scott Ernest “Ernie” N. Scott of Plainfield, N.J. passed away peacefully at home on Saturday, April 7, 2018. He was born in New Brunswick, N.J. on March 20, 1931 to Minnie Belle Washington and Sinclair Scott. Ernie very proudly served his country in the US Army during the Korean War. Following his service, he attended Fisk University for undergraduate and then The College of New Jersey where he earned a Masters of Education. Teaching music was one of his

TEMPO 74

OCTOBER 2018

greatest passions and he did it with a zeal that touched so many. He taught first in Sayreville and then in the New Brunswick Public Schools for 27 years. Also, serving as the Vice President of the Board of Education in New Brunswick.

He came out of retirement returning to the classroom and as an Administrator at the Gray Charter School in Newark. He founded the New Brunswick Choral Society, was the former Minister of Music at Sharon Baptist Church and was most proud of his Youth Choir. Additionally, he was the leader of the Ernie Scott Trio. He performed at many New Jersey and New York City restaurants and clubs including “The Gallery,” “Hemsley Palace,” “The Plaza” and his personal favorite, “Windows on the World at the World Trade Center.” He appeared on Broadway in August Wilson’s The Piano Lesson (1995) and Paul Robeson co-staring with Avery Brooks (1988).

He also had film, television and many other acting credits.

partner, Morris Nanton. That musical partnership, with Norman on double-bass, lasted over 50 years and brought joy to thousands. In 1973, Norman married the love of his life, Jane. They have three children, Jennifer Edge, Jessica Edge Negrete, and Jonathan Edge and three grandchildren Sebastian, Simon, and Samuel. He loved his whole family fully and unconditionally. He was a family man. He had a large network of friends; once he knew you, you became family. He was a long-time public educator in the Edison school system. He played in many varied orchestras and jazz bands. He continued to take bass students privately. It’s impossible to describe the life of Norman in a few lines. To know him was to love him. His super power was to see you for your best self. He shared his emotions willingly, laughing with gusto. He had a great capacity to see joy and beauty in all of God’s creations. His faith in his Creator was absolute. He was a rock for many people. To honor his memory, be kind to each other, listen to live music, and be open to joy.

& Norman E. Edge Norman F. Edge, a long-time resident of Metuchen, NJ passed away on June 4, 2018. He was born on April 29, 1934 in Jersey City. He leaves a long legacy of living life to its fullest, spreading kindness and compassion, and sharing music. Norman served in the Army where he played in the Army Band, and also served in the National Guard for several years. While still in the service he met his long-time musical OCTOBER 2018

75 TEMPO

NJMEA 2017-2018 Board of Directors Executive Board President, Jeff Santoro W. Windsor-Plainsboro District jsantoro@njmea.org

Past-President, William McDevitt Vineland High School billnjmea@aol.com

President-Elect, Patrick O’Keefe Smithville School o’keefep@gtps.k12.nj.us

Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org

Region Executive Members

NJSMA President, Joseph Spina Hanover Park High School president@njsma.com

CJMEA President, David Westawski West Windsor-Plainsboro HS So. dlwestawski@gmail.com

SJCDA President, Kahlil Gunther Woodstown High School gunther.k@woodstown.org

SJBODA President, Richard Beckman Sharp Elementary, Cherry Hill richbeckmanii@gmail.com

Appointed Members Administration & Advocacy Dennis Argul Jazz House Kids dennisargul@gmail.com

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

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

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

Band Performance Adam Warshafsky Montgomery Twp. School District awarshafsky@mtsd.us

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

Choral/Opera Festivals Donna Marie Berchtold Retired firesongwed@gmail.com

NJRMEA Kathy Spadafino, Retired kspadeb@aol.com

Chorus Performance Wayne Mallete Scotch Plains-Fanwood District wayne.mallette1@gmail.com

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com

Collegiate/Research/Higher Ed. Colleen Sears The College of New Jersey quinnc1@tcnj.edu

Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com

Special Learners Maureen Butler Lake Drive School mbutler@mlschools.org

Technology Marjorie LoPresti East Brunswick High School marjorielopresti@gmail.com

Conferences Marie Malara, Retired malara97@aol.com

Corporate/Industry James Frankel jim@musicfirst.com

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OCTOBER 2018

NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters........................................................... Jeff Santoro................................................................ jsantoro@njmea.org All-State Chorus, Orchestra, Jazz Coordinator.....................Joseph Cantaffa................................................... jcantaffahhs@hotmail.com Association Business............................................................ Deborah Sfraga.............................................................. debnjmea@aol.com Choral Procedures Chair...................................................... Wayne Mallette................................................ wayne.mallette1@gmail.com Composition Contest.........................................................Robert Frampton....................................................rtframpton@comcast.net Editor - TEMPO Magazine................................................ Thomas Mosher............................................................ tmosher@njmea.org 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................................................firesongwed@gmail.com NJMEA Historian..............................................................Nicholas Santoro............................................................ n31b13@gmail.com NJMEA State Conference Exhibits Chair............................. Nancy Clasen....................................................... nancydidi@hotmail.com NJMEA State Conference Manager.......................................Marie Malara................................................................malara97@aol.com NJMEA Summer Conference.............................................Joeseph Akinskas.................................................... joea_njmea@comcast.net NJMEA/ACDA Honors Choir............................................. Pam Crockett........................................................... pcrockett@npsdnj.org November Convention – NJEA............................................ Nancy Clasen....................................................... nancydidi@hotmail.com Opera Festival Chair........................................................... Mike Kallimanis ............................................ MrKOrchAuditions@aol.com Orchestra Procedures Chair................................................... Susan Meuse......................................................... susanmeuse@gmail.com Research................................................................................Colleen Sears..................................................................quinnc1@tcnj.edu Students with Special Needs................................................ Maureen Butler........................................................mbutler@mlschools.org Supervisor of Performing Groups.......................................William McDevitt.............................................................billnjmea@aol.com Tri-M..................................................................................... Jeff Santoro................................................................ jsantoro@njmea.org REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association............................... Jack Hill.............................................................. jmwhill@hotmail.com Governor’s Award for Arts Education.................................William McDevitt............................................................ billnjmea@aol.com NJ Association for Jazz Education....................................... Michael Anzuini.................................................manzuini.njaje@gmail.com NAfME.................................................................................. Jeff Santoro................................................................jsantoro@njmea.org NJ Music Administrators Association.................................. Thomas Weber..................................................tweber@westfieldnjk12.org NJ Retired Music Educators Association............................... Frank Hughes.............................................................. flh4hof@gmail.com NJ TI:ME...........................................................................Marjorie LoPresti.............................................. marjorielopresti@gmail.com 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

OCTOBER 2018

77 TEMPO

GENERAL ADVERTISING RATES

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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.

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NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 - 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951 1951 - 1953

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 Janet G. Gleason

1953 - 1955 - 1957 - 1959 - 1961 - 1963 - 1965 - 1967 - 1969 - 1971 - 1973 - 1975 - 1977 - 1979 - 1981 - 1983 - 1985 -

1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983 1985 1987

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 Anthony Guerere Joan Policastro

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1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011 2011 - 2013 2013 - 2015 2015 - 2017

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 William McDevitt

OCTOBER 2018

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MAKE A DIFFERENCE IN YOUR SCHOOL WITH NAfME

The National Association for Music Education (NAfME) is the largest network of music educators. Since 1907, NAfME has worked to ensure that every student has access to a well-balanced, comprehensive, and high-quality program of music instruction, taught by qualified teachers. NAfME provides resources for teachers, parents, and administrators; hosts professional development events; advocates at the local, state, and national levels; and offers a variety of opportunities for teachers and their students.

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