Inspiration, Information & Resources for Music Teachers
Term 3, 2015
Instrumental Music Education Freephone 0800 775 22
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Contents & Events
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IN THIS ISSUE...
Articles
Events Calender
August
KBB MUSIC FESTIVAL (p.2) Starts 22nd August. MIDWEST CLINIC AND ALL THAT JAZZ PT.2 (p.4) by the 2014 Midwest Scholarship winner Andrew Stopps. THE POWER OF PLAY IN OUR SCHOOLS (p.8) Don't work the instrument, play it! ROLAND’S NEW HS-5 SESSION MIXER (p.10) KBB's Education Resources Specialist gives the mixer a run-down. NZ PIANIST RECOGNISED FOR SERVICES TO NZ MUSIC (p.16)
TERM 3 2015
2015 CHAMBER MUSIC NEW ZEALAND NATIONAL SEMI FINAL // 1 AUG Wellington The Semi-finalists in the 2015 Chamber Music Contest compete for prizes and awards. KBB Music proudly sponsors the KBB Music Awards in all district contests and the finals. See www.chambermusic.co.nz for further details. 2015 CHAMBER MUSIC NEW ZEALAND NATIONAL FINAL // 2 AUG Wellington The finalists in the 2015 Chamber Music Contest compete for prizes and awards. KBB Music proudly sponsors the KBB Music Awards in all district contests and the finals. See www.chambermusic.co.nz for further details. HAWKES BAY FESTIVAL // 1 AUG Lindisfarne College Hastings
Specials Contents & Events
Annual music festival featuring bands from the Hawke's Bay region. BIG SING NATIONAL FINAL // 13-15 AUG Michael Fowler Centre, Wellington Finals for the highly successful secondary schools choral festival/competition. BRASS SHOWCASE // 16 AUG 2pm, Music Theatre, University of Auckland School of Music, 6 Symonds Street A Showcase of regional championship winners in brass solo competitions. See www.kbbmusic.co.nz/Events for booking information. KBB MUSIC FESTIVAL // 17-21 AUG Holy Trinity Cathedral, Parnell, Auckland Free adjudicated performances from symphony orchestras, chamber orchestras, concert bands and jazz bands from schools in the greater Auckland region and beyond. KBB MUSIC FESTIVAL GALA CONCERTS // 22 AUG Holy Trinity Cathedral, Parnell, Auckland A real celebration of youth music where the best groups from the Festival are invited to perform at the professional venue of the Holy Trinity Cathedral. See www.kbbmusic.co.nz/KBB-Music-Festival for further details. WELLNGTON BANDS AND ORCHESTRAS FESTIVAL // 22-23 AUG St Patrick's College, Silverstream upper Hutt 2015 heralds an all new WeBO! The Wellington Band and Orchestra Festival on the weekend of August 22 & 23, 2015 with new venue, clinics, workshops and evening concert and an international adjudicator See www.webo.co.nz for further information. STRUM STRIKE AND BLOW // 26 AUG 9am - 9pm Honcastle Arena, Christchurch 1000 Canterbury children come together to play recorders, marimbas and ukuleles in this wonderful Festival of music making. During the day the children will rehearse and present their individual items which they then present in a public concert at 7.00pm in the evening. Email Celia Stewart for further information celia@xtra.co.nz.
September More information @ www.kbbmusic.co.nz
Cover Photo: Rockquest Hamilton, photograph by Rhiannon McLeman
NEW ZEALAND CONCERT BANDS FESTIVAL // 18-19 SEPT Rotorua, Rotorua Performing Arts Centre Annual festival featuring Concert Bands from around the country. See www.festival.nzcba.org for further information. TERM 3 FINISHES // 25 SEPT
Musical Instrument Specialists since 1888
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RANDOM NOTES // Term 3, 2015
KBB MUSIC FESTIVAL The 2015 KBB Music Festival is nearly upon us so please mark Monday 17 to Saturday 22 August in your diaries.
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his year we have a selection of quality adjudicators once again: For Chamber Orchestras, Michael Joel (London) and Shelley Wilkinson, NZSM and RNZ. For Symphony Orchestras Peter van Drimmelen formerly of the NZSO and Ronan Tighe from the APO. For Concert Bands we welcome Peter Adams from Otago University and Alison Housley from Sydney International Grammar and the Australian Band and Orchestra Directors Association. The Jazz Band Adjudicators are Dr Rodger Fox from NZSM and Ron Samsom from UoA. On Friday afternoon from 4:30-7:30 there is an opportunity to work with Michael Joel in the Honours Orchestra or the Honours Jazz Band with Dr Rodger Fox. This is a fantastic opportunity to play with peers from other schools and will be followed by a short performance to the public at 8pm at the Holy Trinity Cathedral. The Gala Concerts will be held on Saturday the 22nd of August at the Holy Trinity Cathedral as follows: 2.30pm Chamber Orchestras and Concert Bands 6.30pm Symphony Orchestras and Jazz Bands. Please try to support these Gala concerts or, if you can’t, then come along to some of the weekday sessions.
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COMMUNITIES OF PRACTICE
I recently wrote an article for the New Zealand Journal of Research in the Performing Arts and it is due for publication this month. In the article, which discusses several Auckland community music-making ensembles, such as orchestras, brass bands, concert bands and big bands, I used the term ‘communities of practice’, which I will briefly describe below. The concept comes from Wenger (1998), who sees a community of practice (CoP) as a group of people who share ways of operating in the world, usually based on common ground of some sort. What binds and defines the CoP is the shared practice— a way of thinking that helps to make abstract ideas, such as music, more concrete. There are three elements of CoP applied to music ensembles: 1. Mutual engagement – musical actions have been created and agreed upon together. 2. Joint enterprise – which arises out of negotiation and mutual accountability, and on a surface level might mean working effectively and efficiently towards a negotiated goal such as the KBB Music Festival. This also includes the responsibility of ensemble members to work within the social network of the specific school music-making community. 3. Shared repertoire – for Wenger, this includes routines, tools, ways of doing things, actions or concepts that the specific music community has produced or adopted.
So we can see that by placing a value on our music ensembles (Wenger does not really address these) we can establish a kind of community both within the music department, but also within specific groups. This, of course, already happens in a good many cases. One field often used as examples of CoPs is medicine and nursing, and I was recently privileged to observe some of these in action, one of which I will briefly discuss and then link to music. In a hospital I observed the team from the cardiac operating theatre in action as they performed an angiogram. This involved the introduction of dyes into the blood stream which are then observed by a band of x-ray cameras– looking, for all the world, like aliens bobbing up and down and casting their inquisitive gaze on the human form beneath them. This team wore a distinctive maroon uniform and every member played their part both humanely and professionally, whether it was the pair who picked up patients from the wards, the theatre technician and nurse, the cardiologist or the backroom team analysing the data. Everyone appeared to be of equal value simply because what each did was unique to the success of the procedure. The music ensemble can operate in similar ways and, I think, as musical directors, this needs to be made clear. No matter what part you are playing in the group, everyone is essential to the success of the overall performance, and this depends on each member performing their role as musically
as possible. If the second alto player in a big band desires only to show off how cool their new synthetic reed makes them sound by playing over the top of the other saxes, then they are not performing according to the established big band practice. Many years ago I read a review by L.C.M. Saunders, the Auckland newspaper music critic, who, in his review of a concert by the St. Matthew’s Chamber Orchestra said “the trombones were too loud and the timpani certainly so” – I was the timpanist and, in this instance, I had failed the orchestra by getting caught up in the energy of a Romantic Period piece rather than focussing musically on my performance. Jazz drummer Ed Soph describes such behaviour this way: “Be exciting not excited”. Space does not permit me to prattle on more about this topic, so I will leave you with a true story which is just as relevant in today’s era of cut backs as it was in the late 1990s when this event took place. The controller of BBC Radio 3, John Drummond, was being grilled about the music division’s library of printed music (much of it of historical significance). Drummond asked “what do you suggest our choirs and orchestras perform from in the future?” The bureaucrat performing the investigation looked perplexed and asked “Don’t they do it all from memory?” Happy rehearsing and I hope to see many of you at the KBB Music Festival 17-22 August, 2015. Dr Trevor Thwaites Chairperson of the Music Festival Committee
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RANDOM NOTES // Term 3, 2015
MIDWEST CLINIC AND ALL THAT JAZZ PT.2 by the 2014 Midwest Scholarship winner Andrew Stopps
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aving survived the shock of the size of this event the previous day and realising that you could not go unprepared into the fray, I spent the evening of the first day enjoying some Chicago cuisine in my hotel and sitting with the 200 page Clinic Guide planning my next day down to the minute. Day Two, I decided would be a Band Day. Day Two started with a little “down under” music and the New South Wales Public Schools Symphonic Wind Ensemble. What an outstanding band and it got me to thinking this is something we need here in New Zealand. It would certainly inspire high school age musicians to strive for excellence on a wind or percussion instrument. More on that idea later and you can hear my recording of the concert at www.andrewstopps.com/midwest
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My first clinic session was the cryptically named “What If You Could Show Them the Sound They Produce?” led by Hector Perez and Steve Giovanoni from the Randolph Field Independent School District (Texas). My expectation of this first clinic was perhaps a little high. I was hoping for some fantastic new technology that instantly analysed and produced a nice graphic for a performance. Being the visual person I am, I would have been in geek heaven. What we got was Audacity. Most of the session was spent on how to use it. The “Show Them the Sound” part was recording your students individually playing a tone on their instrument and them showing them the sound wave produced. In order for students to be able to judge if the sound wave is good or needs improvement you need a teacher who understands what
good tone and articulation looks like as a wave form. Failing that, a chart with wave form graphics on it would also be helpful. As a one off lesson, where you can show students what wave forms look like, I think this is a very good idea, however, as a diagnostic tool, it needs more resources available to it or even a piece of software that can compare the sound produced to the desired sound and then display the two wave forms for comparison. This is a little like “biofeedback” for the musician. A copy of the clinic handout is available at andrewstopps.com/midwest The next clinic was “Beginning Band Basics”. This was a fantastic session and was a packed room. The session was filled with really great ideas and the first that really stuck with me was the concept of sitting correctly. We were taught a better
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After the rehearsal Cantor calls the student over and says “Hey, we’re going to call your mum.” The student looked horrified, “What did I do?” he exclaims “You did great, so we’re going to call your mum and tell her.” So Cantor dialled his mother and started to play it up a little. “Hey Mrs. Harris, I have your boy next to me here.” An audible sigh come through the speaker, “What did he do?” came the exasperated reply. way to sit for wind musicians. All of us who play wind instruments were taught to sit with two feet flat on the floor and slightly forward in our chair. Apparently though, a better way is actually to make sure your knees are lower than your hips. This is achieved by sliding your feet back under your seat, so your knees drop. It occurred to me that that was generally how I naturally played my clarinet when I was sitting. We were then introduced to some Breathing Gym as developed by Sam Pilafian and Patrick Sheridan (one of the speakers). It’s really worth looking them up! Breathing Gym is fantastic for developing breath control and tone production. Another brilliant “Ah Ha!” moment for me was to call home when a student does something really good. Most of us only contact parents when a students is struggling or naughty, this idea
turns it around. Richard Canter explains his story of a student in Grade 7, who came to him and said “I want to play the drum”, “Great!” said Cantor, “You’re going to be a percussionist!”
“Your son has become a true percussionist. He has gone away and practiced everything that I told him to do and he is just burning up the music. I couldn’t be more proud of him.”
“No” said the student “I just want to play the drum.” So a few weeks went by with his teacher saying, you’ve got to learn mallet percussion too and finally the student thought “I’m not going to get him off my back, so I will give this mallet percussion thing a go.” So he started practicing it and realised it was easier than he thought and it was actually fun. The one day at a rehearsal, there he is in the percussion section reading like a machine. Cantor stops the rehearsal and says, “That’s amazing, how did you do that?”
Silence on the other end and then, “Get him on the phone.”
“Practiced.”
The boy takes the phone and in the background you hear, blasting through the phone, “My baby! My baby!” Just goes to show how one phone call can make someone’s day. This was one of many fantastic anecdotes told in this session. You can access the handout of the session and from the other sessions I attended at andrewstopps.com/midwest Coming up in Part Three, an online music learning system to save you time and software, creating amazing rehearsals and creating the best middle school band.
Musical Instrument Specialists since 1888
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RANDOM NOTES // Term 3, 2015
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here are many things in life that bring us joy. Family, friends, a nice warm bed on a rainy night or a tropical island holiday. For me, one of the best parts of my job as the KBB Music education representative is the joy on a teachers face when they are able to invest in some new resources for their classroom. Often the school budgets don’t allow for such luxuries and the music departments have to wait in line alongside sports, IT and other areas. That is where Community Trust funding is always a good option to explore. It is not as scary of difficult as you think and can often bring unexpected and joyous results. Just recently, Hugo Zanker from Mount Hutt College in Methven emailed me to say he had just received $7000 in funding from a local trust. You could almost read the excitement in his email. Now the fun begins when he gets to buy the items on his hit list which include Violas, Cellos, Double Bass, Alto Sax and Baritone Sax. No doubt Hugo, the students and school will all benefit from these new instruments and Hugo will be the first to say that the funding process is well worth the effort. As you can see from the pictures, Mount Hutt College pupils enjoy their music classes and will be looking forward to the new instruments arriving soon. If you are interested in talking about funding for your school music programmes, please contact KBB Music on 0800 775 226 or feel free to email me personally roger@kbbmusic.co.nz Roger Cleave Music Resource Specialist KBB Music Christchurch
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MAKING SENSE OF THE NEW WIRELESS LAWS From 11 March 2015, it is now illegal to operate wireless microphones and in-ear monitor systems in the 606-622 MHz and 698-806 MHz frequency ranges (the 700 MHz band). Why?
What do wireless microphone users need to do to make the changes?
When analogue television was switched off, the 700 MHz band was allocated for next generation mobile broadband. Wireless microphones were compatible with the TV services that previously utilised the 700 MHz band, they are not compatible with the new cellular services and interference is likely.
Check transmitters and receivers for any indication of the operating frequencies. Contact your local KBB Music store if it is unclear which frequency it operates on.
What frequencies can wireless microphone users operate on? From 11 March 2015 radio microphones must operate within 502-606 MHz and 622-698 MHz frequency ranges. Specific frequencies available for wireless microphones in any particular area will depend on the frequencies used by television in that area. The regulations that govern what frequencies wireless systems can operate on? • •
Radiocommunications Act 1989 Radiocommunications Regulations 2001
Under General User Spectrum Licences, wireless microphone operators are permitted to operate wireless microphones on a secondary basis to television. These licences do not protect radio microphone users from interference and require that users should not cause interference to primary licence holders. What can happen if wireless microphones operate in the 700 MHz band? Compliance action, including fines, can be taken against wireless microphone users who operate it on the 700 MHz band or other non-permitted frequencies.
If a radio microphone operates on a frequency in the 606 – 622 MHz and 698-806 MHz frequency range it will need to be replaced or you could receive a fine. What can be done with old equipment? KBB Music is offering a trade-in deal. Trade-in your existing wireless systems (any wireless system, any brand, and any condition) for up to 15% off a new Shure wireless system operating in legal frequency bands, offer runs Term 3, ending September 25th, 2015. Contact your local KBB Music store to find out more.
Do you require more information? For further information on the wireless microphone changes www.rsm.govt.nz For information on upgrading your wireless system to a new Shure wireless system in legal frequencies, contact your local KBB Music store. www.kbbmusic.co.nz/Store+Locator.html
WIRELESS UPGRADE DEALS
With NEW LAW CHANGES for wireless microphone users in place, it is now illegal to operate wireless systems outside 502-606 MHz and 622-698 MHz. Check your systems today to avoid interference issues and compliance action, including There is still time to make the changeover!
TRADE IN ANY WIRELESS MICROPHONE SYSTEM, ANY BRAND, ANY CONDITION TO RECEIVE UP TO 20% OFF A NEW SHURE SYSTEM For more information contact your local KBB Music Store.
UP TO 20% SAVINGS
on Shure Wireless Microphone Systems!
WIRELESS TRADE-IN REBATE: BLX - 15% cash back GLX-D - 10% cash back SLX - 10% cash back WIRELESS UPGRADE DISCOUNT: UP TO 20% OFF* QLX-D ULX-D UHF-R
Offer valid until end of Term Three, September 25th, 2015.
*Discount value based on trade in system equivalence to upgrade system.
Musical Instrument Specialists since 1888
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RANDOM NOTES // Term 3, 2015
INSTRUMENTAL MUSIC EDUCATION AND THE POWER OF PLAY IN OUR SCHOOLS by Tony
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have spent many years visiting public schools throughout our nation, and most times I see the same thing: students hard at work. There is always lots of work going on in our schools, and with the increased emphasis on meeting national and state standards there is more work coming. My Kindergarten-bound daughter will get right to work when she goes to school next year on what used to be a 1st grade curriculum. As a matter of fact, my wife and I had to search quite a bit for pre-schools that were play-based as opposed to a more structured elementary school-ish routine. The less play our children experience during the school day, the more adult-assigned tasks they will receive — that’s not the roadmap to independent and creative thinking. But when I visit music classes in schools, I see something different. I see students playing. Students don’t work instruments, they play instruments. And playing is one of the most natural ways in which people of all ages learn. But our schools see play too often as a “frill” or an expendable extra in their curricula. Somehow, administrators have grown to think that play detracts from working, studying, and test prepping. The irony is that play is exactly what our children need in their physical, social, emotional, and intellectual development. Instead, our schools are constantly chipping away at the one thing that our children thrive from — learning through play. We are all born natural learners, but by the time children are a few years into school, many are bored, struggling, stressed out, or worse. Yet give them a musical instrument and good teaching and
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they become passionate about learning, problem solving, collaborating, and playing music. Here are 3 reasons why music education — and the concept of play — is so crucial to our education system: • Children are designed to play. Want to test this theory out? Give some children a cardboard box and sit back and watch them imagine, roleplay, and have fun completely independent from adults. It’s a basic drive that is hard-wired into all of us. Therefore, sitting a bunch of children at desks in rows to perform adult-driven tasks in order to prepare them to fill out bubbles on a test sheet may not be our best educational plan. Incorporating music into every school day as a stand-alone class that does not “pull” from other courses is a large part of the answer. The same case should be made for the arts, recess, and physical education, of course. • Music nurtures our children’s mind, body and soul. Can you imagine a school day that has no opportunity for play? Instrumental music class is a place where children make friends, solve problems by doing, and overcome their fears by experimenting, taking risks — and even failing — in a supportive environment. Our schools are becoming more and more standardized, and in the process they are eliminating opportunities for play to occur in the curricula. Will this damage our children? It’s questionable. But at the very least, it leaves parents to their own devices when it comes time to provide their children opportunities for true mental growth. This creates an enormous inequity when we start talking about students from low-income homes getting their fair shake educationally.
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• Play allows for creative teaching. Play leads to imagination; imagination leads to innovation on the student’s and the teacher’s part. More than ever before, students need outlets during their school day to develop an appetite for work by playing first. Accompanied by great teaching, students are motivated to learn musical instruments. Once they are motivated to learn, they naturally acquire the skills they need (with assistance from the teacher) to make the music they want to make. Competent school leaders will harness the creative magic that happens in a music classroom and share those best practices throughout the curriculum. WHAT IS THE GOAL OF EDUCATION? I believe that school systems must do everything in their power to create conditions in which students want to and are able to learn. Parents need to continue to advocate for play to be included in school curricula — and music is a great start. With school days being extended and policymakers pushing for the school year to extend through summer
months, our children’s time and freedom is being stolen from them in the interest of test scores. Play is absolutely key to learning, but if we are not careful, it will slip away from our schools. Because of the large amount of time and energy directed toward testing and grading, school leaders tend to see play in school as risky and unproductive. Instrumental music instruction enables students to learn through play while also fitting the bill as far as creating measurable results that school leaders crave. It’s no wonder that many students don’t want to show up to school these days. Most students who normally wouldn’t want to go to school do so when they are involved in a music program — they can’t wait to play in their school’s musical ensembles. With an ever-growing population that is becoming more disinterested in school in its present form, we would be wise to do everything we can to ensure that playing musical instruments is a core part of our children’s education moving forward. www.musicparentsguide.com
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RANDOM NOTES // Term 3, 2015
ROLAND’S NEW HS-5 SESSION MIXER by Mitch Golner
Education Resources Specialist at KBB Music
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eed a break from the incessant sound of your rock bands rehearsing? The Roland HS-5 Session Mixer is the answer. The HS-5 allows up to five musicians to rehearse, jam, and record while monitoring with headphones. And it is silent. Bands can capture stereo recordings directly to a USB stick, or connect the HS-5 to a computer via a USB cable and record each channel to individual tracks in a digital audio workstation. Additionally, each musician’s personalized settings can be saved for instant recall, providing quick setup for future rehearsals and recording sessions. The HS-5 is an upgrade from its competitor the Jam Hub. The Jam Hub was a great model. The HS-5 is so much better. In addition to the features mentioned above, your stereo mix is recorded to a USB stick instead of an SD card, a sturdy Roland stand is readily available and most practically, the inputs to the HS-5 are mono which alleviates the need for annoying, always being lost, stereo adaptors that the Jam Hub required. You simply plug in
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any instrument with a standard instrument cable and away you go. You will need an electronic drum kit. As an example the Roland TD1K at the special EDU Price of $764.00 might be a good place to start. We here at KBB can advise on the best kit for your situation. And, did I mention that the Roland HS-5 Session mixer is silent? The only sounds you'll hear are sticks tapping on the electronic kit and the occasional un-amplified vocal. The HS-5 can also be a great teaching tool. For instance your guitar teacher (or drums, bass or keyboards) can plug into the HS-5 with up to four students for group lessons. Your teacher is able to monitor each student’s performance while giving instructions via a microphone / headset (not provided). So to recap: • The HS-5 allows every musician in a group to set up their own independent monitor mix and listen to it via headphones. • Provides access to guitar and bass amp modelling on four independent channels. This means that players can connect their
electric guitar or bass directly into the HS-5 and jam with the same sound and feel as playing through an amp. Vocalists can also experience enhanced, studioquality sound via the built-in compressor for each mic input. • Includes a built-in metronome to keep everyone playing together. • Has a snapshot function that allows you to save all the unit’s current settings to a USB stick. This lets an entire group resume performances right where they left off, even at a totally new location or a much later date. • And finally, for larger groups, two HS-5's can be connected in tandem to accommodate up to eight musicians. You get all this and a bit of peace and quiet. What else do you need? Special EDU pricing for the Roland HS-5 is $820.25 including GST. If you have any questions about the Roland HS-5 or any of our wide range of products, please feel free to contact me on 0800 775 226 X 205 or at mitch@kbbmusic.co.nz. SOME SOURCE MATERIAL WAS GATHERED FROM ROLAND'S HS-5 WEB PAGE.
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RANDOM NOTES // Term 3, 2015
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RANDOM NOTES // Term 3, 2015
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RANDOM NOTES // Term 3, 2015
NZ PIANIST RECOGNISED for services to NZ music E
ach year, KBB Music sponsors and supports the Composers Association of NZ’s Citation for Services to New Zealand Music, an award granted to a person or organisation that is recognised as having made an outstanding contribution to our music. On May 22 , as part of Chamber Music NZ’s ‘Composer Connections’ afternoon in Auckland, this year’s KBB/CANZ Citation* was presented to pianist Stephen De Pledge by KBB General Manager Andrew Chamberlain and CANZ President Glenda Keam. At the end of a concert featuring the NZ String Quartet and De Pledge together performing Ross Harris’ new piano quintet, CANZ committee member Samuel Holloway spoke of Stephen’s many impressive performances of NZ music and, as a composer who has worked with Stephen, thanked him for his advocacy and for taking the music just as seriously as he does older music from Europe. nd
De Pledge is renowned for his exciting playing, his versatility and diversity of repertoire. As a soloist, chamber music performer, and accompanist he is continually dealing with new works and new situations, balancing an international performing and recording career with University teaching. He has worked in close collaboration with composers from Europe as well as New Zealand, and he commissioned and championed the set of twelve New Zealand ‘Landscape Preludes’ that he premiered in Wellington in 2008 and since performed in London and elsewhere.
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These works, which have since been edited by Holloway and published by ‘Score Publishers’, and recorded for CD by a number of NZ pianists, owe their existence to De Pledge’s vision and drive. De Pledge is responsible for electrifying performances and now a recording of Lyell Cresswell’s formidable ‘Concerto for Piano and Orchestra’ (2010), his performance with the NZSO winning the SOUNZ Contemporary Award in 2011. And in a recent concert in Titirangi’s new art gallery, Te Uru, he presented 50 years’ music by NZ composers on Michael Parekowhai’s beautiful carved Steinway He Korero Purakau mo Te Awanui o Te Motu, a programme ranging from David Farquhar’s ‘And One Makes Ten’ (1969) to new works by Alex Hay, Dylan Lardelli, and Holloway’s ‘Grand Piano’. Again, his delight in – and mastery of – a huge range of musical approaches to the piano was utterly riveting. New Zealand music is most definitely alive and kicking, and it’s thanks to performers such as Stephen De Pledge that we get to hear it loud and clear, at home and abroad. * THE COMPOSERS ASSOCIATION OF NZ (CANZ) WOULD LIKE TO THANK KBB MUSIC FOR THEIR MANY YEARS OF SUPPORT END ENCOURAGEMENT TO NZ MUSIC AND MUSICIANS; THE SPONSORSHIP OF THE KBB/CANZ CITATION IS JUST ONE OF THE WAYS IN WHICH THE ORGANISATION DEMONSTRATES THAT IT CARES FOR THE FUTURE OF OUR MUSIC AND CULTURAL EXPRESSION.
The NEW Rovner Rectangular Bore Clarinet Barrel How Does It Work?
A greater range of performance is achievable by simply rotating the barrel to a position that yields the preferred tone and the most dynamic response. Players adjust the instrument to meet their needs instead of struggling to adjust themselves. Icons on the barrel indicate whether the barrel is in the horizontal or vertical orientation, although some players prefer the bore on a 45-degree angle.
Why Is It For You? NOW PATENTED! U.S Patent #8,841,529
The Rectangular Bore Clarinet Barrel offers a uniquely person-alized playing experience for every clarinet player: Band Students will enjoy improved intonation and greater ease of play...and a boost in their confidence. Band Directors will find a powerful and cost-effective tool for improving clarinet performance. Experienced Players will notice increased clarity of throat tones, increased tonal dimension, more even scales, improved articulation, more dynamic and incisive response and improved altissimo response.
Features:
• Constructed of a durable, stable polymer with Rovner’s beautiful, wood-like ProFinish. • Grip Rings For Easier Rotation • Available in Sizes 64, 65 and 66 to assist with achieving the best possible tuning • Value pricing...A minor investment that can yield MAJOR improvements in performance • Made in the USA!
Want Even Greater Performance?
Pair It With The Van Gogh Ligature! The Van Gogh is a BIG ligature with a BIG sound, offering greater presence and access to a fuller tonal spectrum. You will enjoy excellent intontion, articulation and response. This unique, patented design grips firmly, reducing reed shift and warp but allowing full reed vibration. A stellar performer all by itself, players report that combining the Van Gogh with the barrel is pure magic!
www.kbbmusic.co.nz
TO FIND OUT MORE OR TO ORDER, CONTACT KBB MUSIC PH 0800 775 226 ext 205 | school@kbbmusic.co.nz | www.kbbmusic.co.nz