Random Notes - Term 4, 2015

Inspiration, Information & Resources for Music Teachers

KBB MUSIC FESTIVAL AWARDS

Freephone 0800 775 22

Term 4, 2015

MIDWEST CLINIC PART 3 www.kbbmusic.co.nz

Tour with Tour Time and perform in: Carnegie Hall, the Musikverein, Teatro Colon, Sydney Opera House and more!

Tour Time are Official Agents/Partners for Festivals and Events around the Globe

re o f e b r e v e en k i l e b o l he G t d n u o r a alls H t r e c n o C Perform in

Licensed and Official Agents

music@tourtime.co.nz • www.tourtime.co.nz

Contents & Events

IN THIS ISSUE

Freephone 0800 775 22

Articles

MIDWEST CLINIC PART 3 (p.2) by the 2014 Midwest Scholarship winner Andrew Stopps NEW TEAM MEMBER (p.5) We welcome KBB's new Education Manager, Tanya KBB MUSIC FESTIVAL (p.6) Bigger Than Ever THEME (p.10) Chamber Music NZ article by Hannah Neman KBB ROLAND (p.12) The Feedback YOU TEACH JAZZ?! (p.14) Kevin Field discusses the perceptions of jazz education

TERM 4 2015

October

ROYAL NEW ZEALAND NAVY BAND LIVE@THEVIC // 16 Chamber music Concert - Victoria Theatre, Devonport 12.05pm WELLINGTON UKULELE, RECORDER & MARIMBA FESTIVAL // 22 Naenae Intermediate School, Lower Hutt Contact Peter Pegler: pg@nnc.school.nz

Specials Contents & Events

Upcoming Events

CHRISTCHURCH BIG BAND FESTIVAL // 23-26 Various locations around Christchurch A festival of Big Bands from around NZ of all ages, with free public concerts, a gala concert featuring Rodger Fox and Rodger Manins with Symposium, swing ball, jazz workshops and more.

Contact: www.bigbandfest.org.nz

November

SHURE NIGHT - // 10 KBB Music, Epsom 10.00pm RSVP to tanya@kbbmusic.co.nz by 1/11/15.

Topics: Shure for education; wireless laws; trade in options; network session; Q&A. ROYAL NEW ZEALAND NAVY BAND LIVE@THEVIC // 20 Chamber Music Concert - Victoria Theatre, Devonport 12.05pm

December

ROYAL NEW ZEALAND NAVY BAND – NAVY BIG BAND – LIVE@THEVIC // 3-4 Victoria Theatre, Devonport 7.30pm TERM 4 ENDS // 18

More information @ www.kbbmusic.co.nz

Cover Photo: KBB Music Festival 2015, photograph by Rhiannon McLeman

Musical Instrument Specialists since 1888

1

RANDOM NOTES // Term 4, 2015

MIDWEST CLINIC & THE MIDWEST BLUES E

very day at Midwest you wake up excited to get there and see what the day will bring. Day three was no exception.

My first session on day three was a technology session.

Coming from a school that was going completely BYOD, I was keen to learn about online learning systems for music. I was struggling to find one and was even looking at developing one myself.

This session opened with the following question: “what does every ensemble director want?”

Answer: “I want my ensemble to sound awesome and I want my kids to practice more.”

Amen to that!

MusicFirst is the name of the online learning system and it integrates a number of music programs online so that students don’t need to download anything to their computers. They can do all their work “in the cloud” and we, as teachers, can mark and provide feedback directly to them via the same system. The online software includes: The Singing Classroom, MatchmySound™, Sight Reading Factory, Groovy Music Online, Morton Subotnik's Music Academy, Musition, O-Generator, Focus On Sound and Music Delta. You can get more information at musicfirst.com or by contacting helen@computermusic.co.nz.

I have been using this ever since I got back and it’s awesome. Any student with a device can access everything and it helps integrate online learning with a standard classroom program.

The next session I attended was Creating the Successful Band or Orchestra Rehearsal’, something we all strive for.

This was presented by Dr Timothy Rhea, Director of Bands & Music Activities, Texas A&M University and Dr Paul Sikes, Director of Orchestras, Texas A&M University.

by the 2014 Midwest Scholarship winner Andrew Stopps Tim described how best to prepare for each new school year, starting in the summer break by selecting the whole program of repertoire that his bands and choirs were going to perform. Then Paul spoke about score study and the importance of going through the score carefully. He told the story of as a young teacher and director he was working on a piece with his band called Variations on A Korean Folk Song by John Barnes Chance. By the end of his first rehearsal he was “falling all over himself with the piece.” A senior conductor was watching and walked up to him and said afterwards “You’ve got to know your score!” As a young teacher he didn’t know what that meant or how to do it - though his university conducting classes were more about the technique of conducting and not about score learning. He went away and started to really look at his score. The first thing he did was conduct his way through it all and make sure he actually could. As he got older however, he decided that that is not really where you need to be with your score study.

The most important part of score study, according to Dr Sikes, is that you should have a very, very clear idea of what that music should be. That is the number one reason to do score study. “There’s not a maths teacher in the country (not a good one anyway) that would walk into their class not knowing what they are going to teach their students.” He said: “score study is our way of knowing exactly what we are going to teach our students. With score study, you just Dr Sikes

2

www.kbbmusic.co.nz

Dr. Sikes

Freephone 0800 775 22

4. A phrase analysis. Go through every phrase and count how many bars long it is. I use a “cheat sheet” where I plot out the sections and phrases and number of bars in each so I can better learn the piece. This is especially helpful when there are odd numbered phrases, like a 9 bar phrase or 11 bar phrase.

This will really help stop you from getting lost.

5. Start identifying potential problem areas that your ensemble may have. Work out bowings, look for tricky fingerings and work out solutions in advance. have to do it.” The hardest thing with score study however, one which we can all relate to, is finding the time. We have classes to teach, duties to do, admin, reports, meetings and even rehearsals squeezed in there somewhere. “You have to do your score study during the summer break, so you have to plan in advance as best you can.” This is how you do it: 1. Read every single word in that score. If there are unfamiliar words you can translate and get the meaning of them. That includes the cover page, program notes, instrumentation – you need to know if there are E flat horn instead of F parts etc. For orchestral music you need to locate all the bowings.

2. Read through the dots in the score, get an overall impression of the piece. Orchestral music is wonderful because there are so many hundreds of recordings of that genre, but band music does not have as many opportunities to listen.

3. A formal study of the score identifying the form of the piece. You know then where the transitions occur between sections and where there is going to need extra work. You also can identify key changes in the piece. This allows you to start to prioritise your rehearsal time and to focus on those sections that you know will probably cause problems in your ensemble.

By doing this type of score study and taking the time to learn the music and come up with solutions for potential problems, it means that if you only have a 50 minute rehearsal, you are using all your time very effectively. This also instils a sense of confidence in you from your ensemble.

The final stage to creating an amazing ensemble program is to set goals. You set your long term goals and short term.

Long term goals: what is the youngest grade in your school? What do you want that year group to have done by the end of that first year? What kind of sound are they going to make? What scales can they play? What key signatures can they play in?

Then look at the next year and so on.

Short term goals: we are going to play this piece and we have six weeks. What is going to happen in each rehearsal?

It’s important to remember that when making these goals, both long and short, that we need to tell other people about them, particularly our students. It’s easy to just forget and get stuck into rehearsing and forget that our students need to know where we are headed too. Dr Rhea shared what he does regarding planning.

Musical Instrument Specialists since 1888

3

RANDOM NOTES // Term 4, 2015

Every Friday he sits down and plans exactly what is going to happen the following week at rehearsals. If you have identified areas that sections or the whole ensemble was struggling with during the previous week, that is what you can focus on the next week. He also uses email to send announcements and describes what the focus is for the coming week, so he hardly spends any time during the rehearsal doing anything other than rehearsing.

to my hotel (South Loop Chicago, which I thoroughly recommend), picked up my gear and hailed a cab to go to the airport. But the magic of Midwest hadn’t quite gone. It was while waiting for the cab that a couple approached me, asked if I was going to the airport and if they could share a ride, “Of course!” I said. It was then I met Dr Rich Roberts and his wife Karen. They were at Midwest too and I hadn’t even met them until now!

This was one of many fantastic teaching ideas told in this session. You can access the handout of the session (and other sessions I attended) at andrewstopps.com/midwest.

We chatted all the way to the airport, where I invited Rich and his wife to come to New Zealand. Rich came and adjudicated at WeBO and took some workshops, he is fantastic! They are coming back next year to do WeBO again and the NZCBA Festival.

I have also made some wonderful good friends.

As quickly as it all started it was suddenly over. After my last session I returned to the main foyer – there was hardly anyone there, where just hours before it was jam packed with people. That’s when the PostMidwest Blues set in. I didn’t want it to be over yet.

To try and get over the blues I visited the Museum of Science and Industry (see photo). This was fantastic seeing whole aircrafts hanging from the ceilings and plasticised humans. Then I caught a cab downtown and explored Chicago. On almost every corner there were Jazz musicians playing (photo), noise everywhere. It was a breath taking experience. Finally I trudged back

4

www.kbbmusic.co.nz

I want to thank KBB Music with all my heart for giving me the scholarship and letting me experience Midwest.

A friend of mine said, “After you have been to Midwest, you will never be the same.” She was right! I am planning on going back in 2017, this time as a presenter.

Thanks for taking the time to read this trilogy of articles. It’s been a joy to share just a small part of my adventures in Chicago. You can download the PDF’s of the sessions I attended, and also find an audio recording of it here: andrewstopps.com/midwest

Freephone 0800 775 22

WELCOME to a

NEW TEAM MEMBER Tanya Hiskins KBB Educational Business Account Manager

I

n July we welcomed a new member to the KBB Education Team. With the departure of Katrina earlier in the year a new position became available for a KBB Educational Business Account Manager.

She is also available to help and discuss funding assistance, leasing options, as well as maximising your budget and giving you friendly, helpful support. So, please use her extensive knowledge in this busy area.

H

Tanya will also keep you informed of any master class opportunities and education specific product demonstrations that are held close to your school area, and keep you up to date with any product specials and promotions that might be useful.

aving previously worked for the company for 12 years, Tanya returned to join the team at KBB. With 8 years practical hands on teaching experience on piano, 13 years of instrument retail and product management, plus over 25 years of performance skills in jazz, pop and rock groups, Tanya is a great addition to our team to assist schools with the latest product information and instrument solutions.

Currently she is contacting and visiting Auckland's schools to make sure you have all the support you need to make quick and informed choices.

As the year starts to disappear and the residual budget amounts need to be used, please feel free to contact Tanya on 027 403 5553 or by email tanya@kbbmusic. co.nz. Alternatively you can contact your local KBB sales person to assist you with this.

By having another team member available we hope you receive the best sales support available.

Thanks from all the KBB Team!!

Musical Instrument Specialists since 1888

5

RANDOM NOTES // Term 4, 2015

KBB MUSIC FESTIVAL 2015

Bigger than Ever T

he KBB Music Festival has been celebrating youth music since 1983 and this year's festival was bigger than ever. With more than 3,800 students participating in 136 ensembles from 47 high schools (including one from Melbourne), it is the largest youth music festival of its kind in New Zealand. So a big thank you to all the schools who participated in some way and to their teachers and students. Thank you also to those who attended even though they not participate. Thanks must also go to the staff of the Holy Trinity Cathedral who went out of their way to accommodate us all so graciously.

The 2016 Festival is also planned to be at the Holy Trinity Cathedral.

What a fantastic week of music it was, beginning with the Fringe Festival on Monday 17 August, and ending with two Gala Concerts on Saturday 22 August. The Peter Goddard Award, selected by members of the Committee, was awarded to the Avondale College String Ensemble for their positive and outgoing attitude. The Chairpersons Command Performance Award, based on adjudicator feedback, went to the Mount Albert Grammar School (MAGS) Jazz Band for their performance of You are my Sunshine,

6

www.kbbmusic.co.nz

Freephone 0800 775 22

featuring soulful vocals from the five singers; and the Tour Time Jazz Improvisation Award – a new award at this year’s festival – went to the Lynfield College Big Band.

Thank you to our hard working adjudicators: Michael Joel and Shelley Wilkinson for Chamber Orchestras; Peter Van Drimmelen and Ronan Tighe for Symphony Orchestras; Peter Adams and Alison Housley for Concert Bands and Dr Roger Fox and Ron Samsom for taking good care of the jazz big bands.

The Honours ensembles played on the Friday evening and thank you to Michael Joel for the splendid job conducting the Honours Symphony Orchestra and to Dr Roger Fox for his ingenious direction of the (2) Honours Big Bands.

The two symphony orchestra adjudicators – one from the APO and the other having just retired from the NZSO – commented to me that one particular work performed by a school orchestra during the week had approached the standard of effectiveness expected by their respective professional orchestras. Both adjudicators agreed that the overall standard of orchestral playing at the festival was extremely high. Across all categories, adjudicators commented on the value of a good musical director/ conductor and I myself have noticed a vast improvement in musical direction by some teachers who just a few years ago were absolute novices (I remember going through the same phase myself back in 1983).

instruments and technical support during the festival. We also value our associate-sponsor Tour Time and both Brent Imrie from Tour Time and Andrew Chamberlain from KBB who are members of the KBB Music Festival Committee.

Thank you also to Foundation North for additional funding and to ABRSM, BDO Accountants, The University of Auckland (NICAI and Faculty of Education) and the New Zealand School of Music.

Additional appreciation must be shown to the Quality Inn, Parnell, for their generous discounts on adjudicator accommodation.

huge additional burst of energy to ensure the Festival itself ran smoothly. What a team.

We look forward to seeing you all in 2016.

Dr Trevor Thwaites Chairperson of KBBMF and ASSMFT

Finally, special thanks to the KBB Music Festival Committee and the Auckland Secondary School Music Festival Trust Committee (ASSMFT) who volunteered so much of their time helping to plan and run the event.

An extra special thanks to our Administration Team, Warwick and Miriam Robinson, who worked so hard throughout the year to keep everything on track and then still managed to give a

To KBB Music, a big thank you, we really value your ongoing belief in the festival, provision of backline

Musical Instrument Specialists since 1888

7

RANDOM NOTES // Term 4, 2015

KBB MUSIC FESITVAL 2015 Awards SPECIAL AWARDS

Peter Goddard Memorial Award: Avondale String Ensemble Chairpersons Command Performance Award: MAGS Jazz Band (Mount Albert Grammar School) You Are My Sunshine by Ray Charles Tour Time Trophy for Jazz Improvisation: Lynfield College Big Band BEST PERFORMANCE OF A NEW ZEALAND

By a chamber orchestra: Sebastian Squad (St Cuthberts College) Aquarius: Suite No 2 by John Ritchie By a symphony orchestra: Westlake Symphony Orchestra Tango Mangle by Leonie Holmes By a jazz band: Birkenhead College Jazz Orchestra Theodore by Cam Allen By a concert band: Auckland Grammar School Premier Concert Band Paper Cut by David Hamilton

8

www.kbbmusic.co.nz

MOST OUTSTANDING PERFORMANCES

By a chamber orchestra: Sebastian Squad (St Cuthberts College) By a symphony orchestra: Westlake Symphony Orchestra By a jazz band: Lynfield College Big Band By a concert band: Macleans Senior Concert Band GOLD AWARDS (19)

Diocesan Chamber Orchestra Sebastian Squad (St Cuthberts College) St Mary’s Chamber Orchestra Westlake Chamber Orchestra Diocesan Symphony Macleans Symphony Orchestra Westlake Symphony Orchestra AGS Big Band (Auckland Grammar School) Lynfield College Big Band Pukekohe High School Stage Band Saint Kentigern Stage Band TGS Jazz Band (Takapuna Grammar) Westlake Big Band Diocesan Concert Band King’s College Premier Concert Band Macleans Senior Concert Band Pukekohe High School Senior Concert Band St Peter’s College Senior Concert Band Westlake Concert Band

RANDOM NOTES // Term 4, 2015

SILVER AWARDS (36)

ACG Parnell College Chamber Orchestra Avondale College String Ensemble Chamber Orchestra D.S Bach (St Peter’s College and Baradene College) Epsom Chamber Orchestra (Epsom Girls Grammar) Grammar Virtuosi (Auckland Grammar School) Macleans Chamber Orchestra MAGS Strings (Mount Albert Grammar School) Saint Kentigern College Chamber Orchestra Western Springs College Chamber Group Westlake Boys Camerata Auckland Grammar School Symphony Orchestra St Peter’s and St Mary’s Sinfonia Birkenhead College Jazz Orchestra Edgewater College Jazz Band Glendowie College Big Band King’s College Little Big Band Long Bay College Big Band Macleans College Big Band Manurewa High School Jazz Band Orewa College Jazz Band Pukekohe High School Big Band Rangitoto College Big Band St Peter’s College Jazz Band ACG Parnell College Senior Concert Band Auckland Grammar School Premier Concert Band Baradene Concert Band Epsom Concert Band (Epsom Girls Grammar) Glendowie College Concert Band Long Bay College Concert Band Lynfield College Concert Band Macleans Symphonic Band Pakuranga College Concert Band Rosehill College Concert Band Saint Kentigern Concert Band St Cuthbert’s College Concert Band Takapuna Grammar Concert Band

COMMENDED AWARDS (7)

Long Bay College Chamber Orchestra Pukekohe High School String Group TGS Strings (Takapuna Grammar) WBHS Conchordia (Westlake Boys High School) Rangitoto Sinfonia Orchestra Westlake Taharoto Orchestra Rosehill College Tour Band

9

www.kbbmusic.co.nz

BRONZE AWARDS (46)

Howick College Chamber Orchestra King’s College Chamber Orchestra Kristin Orchestra Lynfield College Chamber Orchestra MRGS String Orchestra (Mount Roskill Grammar School) Pakuranga College Chamber Orchestra Rangitoto College Chamber Orchestra Sacred Heart College String Group Black Watch Orchestra (St Cuthbert’s College) Epsom Symphonia (Epsom Girls Grammar) King’s College Symphony Orchestra Macleans Sinfonietta Rangitoto College Orchestra Saint Kentigern Symphony Orchestra St Mary’s Orchestra ACG Parnell College Jazz Band Epsom Stage Band Howick College Jazz Band MAGS Jazz Band (Mount Albert Grammar School) Massey High School Mafioso Northcote College Jazz Band Pakuranga College Jazz Band Pinehurst Jazz Band Rangitoto College Junior Jazz Orchestra Rangitoto College Stage Band Rosmini Big Band Selwyn College Stage Band St Cuthbert’s College Stage Band Western Springs College Jazz Band Westlake Boys Stage Band Whangaparaoa College Jazz Band BDSC Concert Band (Botany Downs Secondary College) Birkenhead College Symphonic Band Epsom Intermediate Concert Band Glendowie College Wind Band Manurewa Symphonic Band Manurewa Wind Symphony Mt Roskill Grammar Concert Band Orewa College Concert Band Pukekohe High School Wind Band Rangitoto College Concert Band Sacred Heart & Baradene College Senior Concert Band St Mary’s College Concert Band Tauhara College Concert Band Westlake Boys Symphonic Band Whangaparaoa College Concert Band

9

RANDOM NOTES // Term 4, 2015

THEME

SEPTEMBER 2015

by Hannah Neman Contest volunteer and Master of Music student at Victoria University

T

hroughout 2015 we have been celebrating the Contest Jubilee. For 50 years the NZCT Chamber Music Contest has helped in launching the careers of young musicians. Generations of New Zealanders have been introduced to chamber music through participating in the contest ensuring on going interest in this music.

The culmination of the year was the National Finals weekend in Wellington on 1-2 August, when over 50 young musicians descended on the capital to demonstrate their skills and passion for making chamber music.

The contest may culminate at the finals, but what makes it special is where it begins. With district rounds held in 15 centres, from Whangarei in the north to Invercargill in south, this event engages people across the breadth of New Zealand. This led a member of the Doric Quartet to comment last year: “If only we had something quite like this in the UK – it is a truly unique event.”

This year video footage of the National Finals in Wellington was livestreamed on the internet to viewers across the world – an opportunity for contestants and their supporters to continue to participate in the Contest following the District rounds. Videos of each performance are on the CMNZ Youtube Channel and have received thousands of views.

Congratulations go to the overall winning group, Trio Glivenko, featuring Shweta Iyer (violin), Bethany Angus (cello) and Claudia Tarrant-Matthews (piano).

They performed Piano Trio No.1 by Shostakovich for the final competition. The members of the trio are students at Queen Margaret College, Wellington East Girls’ College and Te Aho o Te Kura Pounamu (The Correspondence School) and are the first Wellington based group to win the competition since 1980. Each member of the group received a framed certificate the Arthur Hilton Memorial Award, and the James Wallace Arts Trust Prize which this year was $2000.

10

www.kbbmusic.co.nz

The National KBB Music Award went to the Auckland based group, Cube. This ensemble featured Michelle Yue Wang (flute), Josh Webster (oboe) and Riley Cahill (piano).

This was the first year we had a People’s Choice Award with votes cast through cell phone text messages.

Audience members, including those watching the live stream, were given a cell number to send their choice to in the form of a code printed on the programmes. The award went to Papricca, a saxophone quartet made up from students from Riccarton and Papanui High Schools.

Mark Holdaway, Rachel Liao, Alena Le Ngoc and Mahlon Moevao performed Diffusion for Sax Quartet by Gordon L. Gordon. The group had a last minute set back when the ligature broke on Mark’s soprano saxophone during the dress rehearsal for the finals. Their tutor dashed to KBB Music who kindly loaned them an instrument for the afternoon and they played on undaunted.

The Original Composition section, sponsored by SOUNZ (Centre for NZ Music) and CANZ (Composers Association of New Zealand) had a total of 20 entries from across the country. The Composition Adjudicator was well-known New Zealand composer, Leonie Holmes, senior lecturer in Composition and Music Studies at the School of Music, University of Auckland.

Congratulations to the Senior Section winner Riley Cahill (Auckland) with his piece The Lightning in Me for piano, string quartet and trumpet and also to the Junior Section winner Benjamin Sneyd-Utting (Wellington) with Neptune's Horses for String Quartet.

Both winners received their SOUNZ prizes at the National Finals in Wellington on 2 August; and Riley’s piece was played as a demonstration performance with the composer at the piano during the finals concert.

Whilst the adjudicators were deliberating at the Sunday finals concert, the audience was treated to engaging performances of Riley Cahill ’s The Lightning in Me and

Freephone 0800 775 22

also Anthony Young’s Invocation performed by Cantus Bellorum, Auckland, who were the winners of the National Award for the Best Performance of a New Zealand Work. This award was presented by Leonie Holmes (Composition Adjudicator, on behalf of SOUNZ) and is made with the help of the estate of Auckland Composer Keith Statham (1934 – 2012).

The Marie Vandewart Memorial Award was presented to Ingrid Culliford. Ingrid is a flute player and teacher who has been the District Contest Organiser in Wanganui since 2005. A Contest Finalist herself long ago she has for many years been a huge supporter of the contest.

Throughout 2015 we have showcased the Contest’s incredible Alumni by reconnecting these people with CMNZ.

The New Zealand Community Trust continues their generous support as the principal funder of the Contest since 2004.

Many of our artists this year have been contest alumni.

In addition to The Turnovsky Jubilee Ensemble we had two groups of young NZ musicians on tour who are forging careers at an international level. The piano trio CliK the Ensemble toured our main centres and offered workshops in regional centres. The Mimosa Ensemble was a group of emerging professionals who as school students had national wins in the Contest.

In partnership with Chamber Music Hutt Valley CMNZ pioneered a new programme that aimed to engage school students and the broader community.

The Play It Up! Residency: Chamber Music Hutt Valley with Mimosa Ensemble was held over a week in July leading up to the National Finals as well as performances for the Wellington 150th celebrations.

can be to a community. I always enjoy being able to lend a hand, especially to young percussionists with big set-ups, so never hesitate to ask! :)

Other 2015 sponsors and funders included SOUNZ (Centre for NZ Music), The Wallace Arts Trust, ABRSM, KBB Music and various regional funders who supported district events.

CMNZ acknowledges the core funding it receives from Creative New Zealand.

Thanks to CMNZ staff for the incredible work that you all do. Organisations like this can make a huge and positive difference, and from what I can tell only having been in NZ just over a year, CMNZ shows just how important that positive difference

CUBE - WINNERS OF THE NATIONAL KBB MUSIC AWARD. PHOTOS BY SIMON DARBY, WANAKA PHOTOGRAPHY

Musical Instrument Specialists since 1888

11

RANDOM NOTES // Term 4, 2015

KBB ROLAND DIGITAL PIANO FEEDBACK KBB General Manager Andrew Chamberlain sat down with Stuart Angel from the Auckland Philharmonic Orchestra to talk about the Roland Digital Grand Piano and how the Orchestra is utilizing it.

12

www.kbbmusic.co.nz

Freephone 0800 775 22

What was the main reason you were requiring a Digital Grand Piano like the Roland?

Acoustic grand pianos are heavy, cumbersome, and require regular tuning and maintenance to keep them sounding in top condition. We also have to be mindful of the conditions the instrument will be played in, such as humidity, heat, and other inclement weather conditions.

These operational and artistic constraints significantly limited APO’s ability to fully achieve our mission of engaging Auckland’s diverse cultures and communities.

Previously, it had been difficult and expensive to perform sonatas and other accompanied works outside of the concert hall. We wanted to decrease the cost, and increase operational feasibility so that we can take music to Aucklanders, in any and every space and place.

control, such as weather, the digital makes us confident that APO performers can live up to their high standards, and the standards that Aucklanders have come to know and expect from their APO players.

How have you found the action and feel of the Piano compared to an acoustic piano?

Here is what one of our players at The Box Piano Series thought of the Roland Digital Piano:

“The action of the piano was slightly heavier than acoustic grands – the keys felt more responsive allowing me to play more effortlessly. I was able to play a really fast and difficult piece easier than some acoustic pianos. “ – Lucy Zeng, APO Young Achiever Pianist

Has it met this need?

The Roland Digital Grand Piano has allowed us to make music outside of the concert hall, strengthening ties with Aucklanders and our artistic partners, such as Auckland Live.

What is it main advantage for you over Acoustic Piano?

The key advantages are that it is significantly lighter, making it easier to move and transport. Releasing us from tuning constraints significantly decreases costs, while increasing the number of places APO players can now perform accompanied works.

The Roland Digital Grand Piano also increases consistency, thereby decreasing risk. By nullifying previous constraints outside our

How have you found the sound quality through its own speakers and through a sound system?

requirements and blend with other musicians (whether other instruments are amplified).

We have found both methods adaptive to our needs.

What concerts have you used it for so far?

• The 2015 Gucci fashion show in Auckland • Two separate Jaguar car launches • The Box piano series at Auckland Live – 3 week series with Young Achievers performing twice a day, three times a week. Over 18 performances to a total estimated audience of 900 Aucklanders.

Any further comments?

We are very grateful for KBB Music’s continued support of APO. This instrument has allowed us to let loose on Auckland, and we have some exciting projects in the pipe-line for next year allowing us to fully engage with Aucklanders – letting them know that their orchestra is here to serve them.

“I thought the sound quality of the piano through its own speakers was very good – it was pretty, round and mellow. The top register, clear and bright, is suitable to play a wide range of repertoire.”

APO has used the piano to perform, playing both through its own speakers, and through a sound system.

The decision of which option to choose has depended on venue

Musical Instrument Specialists since 1888

13

RANDOM NOTES // Term 4, 2015

YOU TEACH JAZZ?!

by Kevin Field

I

was recently interviewed on Radio New Zealand and my host mentioned how most of his listeners would be surprised that jazz can be taught – particularly in a university environment. This got me thinking about perceptions of jazz education and how the teacher-student relationship within a jazz environment works.

Of course, a large amount of ‘jazz teaching’ may not actually relate specifically to jazz as it deals with areas that are common to all genres – typically technique and sound. I know several teachers of jazz (myself included) who use classical exercises and repertoire to develop reliable technique and tone that is then transferrable to any genre. For a jazz student the only difference might be that the ‘models’ they are listening to are the great jazz artists.

This brings us to perhaps the most important point for teaching and learning jazz – you need to listen to jazz in order to learn it!

Jazz can’t be learnt out of a real book, textbook or even play-along recordings though all of these are useful tools. A good teacher will be able to open a student’s ears to important recordings and more crucially, what to listen for.

Things such as: the role of the instruments, interaction between musicians, the groove and feel

14

www.kbbmusic.co.nz

of both the collective band and the individual players, as well as performer specifics such as tone, texture, register and our next big point – language.

Alongside listening is learning the language of jazz. This is perhaps where a jazz teacher is most valuable – explaining and imparting the qualities that make up the vocabulary of jazz and jazz improvisation. This typically involves the study of such things as: • Chord/scale theory – the relationship between chords and scales • Harmony – chord constructions, extensions and progressions • Time feel – what makes the music feel good and ‘swing’ • Rhythm • Phrase construction and contour Observant readers will notice a slight L theme emerging – Listen, Language ... and yes there’s

one more - License! Or more specifically taking license with all the knowledge gained from the first two Ls. This is at the very heart of what jazz musicians do – creating distinctive improvisations derived from the study of harmony, melody and rhythm along with technique and tone on one’s instrument.

Taking license also involves the freedom to break rules and make new ones. An effective jazz teacher helps inspire, guide and develop a student’s improvisational style from learning the tradition to eventually adding to it – going from imitator to initiator of great musical statements.

Kevin Field is a jazz pianist and composer who recently released his third album The A List featuring some of the top jazz artists in the USA. He is also a Senior Lecturer in Jazz Studies at the University of Auckland. www.kevinfieldmusic.com

Freephone 0800 775 22

11 3/4" W X 18" H X 11 3/4" D

MAKE YOUR OWN CAJON

One of the most popular percussion instruments today is the Cajon and now with the new MEINL Cajon Kit you can build your own.

The kit comes with all the parts and a list of the materials and tools you need. The instructions will guide you through this fun project and at the end you will be able to customise the finish of the instrument by adding oil, a lacquer, wax, or paint it with an entirely unique design.

MATERIAL > Resonating Body: Baltic Birch (Betula pendula) > Frontplate: Baltic Birch (Betula pendula)

ONLY

$119

INCLUDES > 1 x assembly instructions > 2 x side panels > 1 x base panel > 1 x top panel > 1 x rear panel > 1 x playing surface (with MEINL logo) > 2 x side battens > 1 x base & 1 x top batten > 1 x securing batten for the snare > 1 x snare > 4 x rubber feet > 15 x screws 3 x 20 mm (for playing surface) > 4 x screws 4 x 15 mm (for rubber feet) > 2 x screws 3 x 12 mm (for snare)

Musical Instrument Specialists since 1888

15

Edu Model 61-Note, Touch Sensitive Keys w/ AD95 Adapt

$699

594.15

$

EDU PRICE

ARIA PE-TR1-G LP STYLE ELECTRIC GUITAR Natural Mahogany Open Pore Finish – Gold Hardware

$599

509.15

$

ARITACLASSIC

ARIPETR1G

$399

$29.95

$29.95

22

22

$

$

1444.15

$

$15.95

QUIKLOK MS320 3-PAGE MUSIC STAND

EDU PRICE

Classic Black

$2599

ANTIGUA GMS95 ORCHESTRAL STACKABLE MUSIC STAND MS-8R

KAWK300

16

www.kbbmusic.co.nz

$80

22

$

QKMS334

RICO CLARINET REED - SINGLE ORANGE 25 PACK Sizes 1.5, 2, 2.5

$3.2

60

$ .65 per reed

ANTGMS95

RICRCA25

RICO SJA11 Soprano & Alto Saxophone Strap

T4 SPECIAL

$8995

7645.75

$

$29.95

.96

$ 122cm - Ebony Polished

INCLUDES CARRY BAG!

QKMS320

ROLRP401RCB

KAWAI K300 ACOUSTIC PIANO

QUIKLOK MS334 LIGHTWEIGHT MUSIC STAND Black

$99.95

2,039

$

RCL30206D6C

84

$

$19.95

16.96

$

RCL30205D6C

CASPX360

ROLAND RP401R DIGITAL HOME PIANO

6.0m jack>jack

$19.95

15

$

RICSJA11

2

NEOTECH 3301001 BASSOON SEAT STRAP

EDU PRICE

Colour Touch Interface, Tri-Sensor Scaled Hammer Action II Keyboard, Acoustic and Intelligent Resonator

$1699

INSTRUMENT CABLE (CURLY)

11

T4 SPECIAL

Specials

MO

ROCKCABLE

$ .01

EDU PRICE

NEDW EL!

EDU PRICE

ROLF20CB

ROCKCABLE INSTRUMENT CABLE (CURLY) X5.0m jack>jack

EDU PRICE

$1799

1359

$

MUGSP29WB

EDU PRICE

MUGSP38WB

T4 SPECIAL

Classic Satin Black with KSC68CB Stand

Guitar Hanger with Screws

HERCULES GSP29WB AUTOGRAB GUITAR WOODEN WALL MOUNT CLASSICAL AND WIDE NECK GUITAR HANGER W SCREWS

T4 SPECIAL

EDU PRICE

ROLAND F20CB DIGITAL PIANO W/ STAND

HERCULES GSP38WB AUTOGRAB GUITAR WOODEN WALL MOUNT

T4 SPECIAL

CASCTK3400SK

T4 SPECIAL

259

$

CASIO PX360 PRIVIA DIGITAL PIANO

LIMITED STOCK ON SOME ITEMS. BE QUICK!

EDU PRICE

CASIO CTK3400SK KEYBOARD

ARIA TA-CLASSIC SEMI-HOLLOW ELEC GUITAR Black, Brown Sunburst or Wine Red

EDU PRICE

Pianos & Keyboards

EDU PRICE

LIMITED STOCK ON SOME ITEMS. BE QUICK!

RANDOM NOTES // Term 4, 2015

$59.5

50.58

$

LMNE3301001

Freephone 0800 775 22

$149

119.00

$

KALANI SOPRANO UKULELE W/ MATCHING BAG Available in Black, Red, Orange, Yellow, Green, Light Blue, Purple, White & Pink

$169

119.00

$

HOHG1313S

T4 SPECIAL

HOHNER HC06 4/4-SIZE CLASSICAL GUITAR

EDU PRICE

Guitars

EDU PRICE

HOHNER HC03 3/4-SIZE CLASSICAL GUITAR

$39

35.00

$

HOHG1311S

CREDU1

Bulk buy

6+ for only

26.00

$

each!

3

5

$6

RICRKA25

AIRTURN BT105 DIGIT BLUETOOTH PAGE TURNER For all Devices Bluetooth Transmitter Only

$130

110

$

.5

AIRBT105DIGIT PWCGT10

PLANET WAVES INSTRUMENT CABLE Classic Series – 10ft

T4 SPECIAL

RICRJA25

EDU PRICE

$ per reed

$19.95 ea Buy One get one Free PWCMIC25

T4 SPECIAL

HUMES & BERG END152 STONELINED TROMBONE CUP MUTE

$88.95

60

70

$

$

END102

T4 SPECIAL

HUMES & BERG END241A STONELINED TRUMPET SWISH WHA ALUMINUM MUTE

END152

HUMES & BERG END159BK STONELINED TROMBONE WA-WAH MUTE BLACK

$132

105

$

PLANET WAVES CMIC25 MIC CABLE Classic Series, 25ft – XLR to XLR

$176

140

$

END241A

T4 SPECIAL

$4.5

$ .75 per reed

END209

$72.95

$65

T4 SPECIAL

RICO TENOR SAXOPHONE REED – ORANGE 25 PACK Sizes 1.5, 2, 2.5

T4 SPECIAL

T4 SPECIAL

HUMES & BERG END102 STONELINED TRUMPET CUP MUTE

ANTGMS80

RICO ALTO SAXOPHONE REED – ORANGE 25 PACK Sizes 1.5, 2, 2.5

$512

410

$

AUDF50

50

$

T4 SPECIAL

E C AC

RI O S S

$99

QKMS307

ANTIGUA GMS80 HEAVY DUTY CONDUCTORS STAND (MS-10R)

HUMES & BERG END209 STONELINED TUBA CUP MUTE

69.95

$

T4 SPECIAL

QKMS19

AUDIX F50 DYNAMIC CARDIOID VOCAL MIC

END159BK

ANTIGUA WAR2TR SOPRANO RECORDER Available in Trans Red, Blue, Green, Pink & Brown

$34.95

29

$

$8.99

7

$

ANTWAR2

Musical Instrument Specialists since 1888

17

Specials

$59.95

50.96

$

QKS171PAK

QKA302BK

T4 SPECIAL

80

140

55

T4 SPECIAL

$99.95

EDU PRICE

T4 SPECIAL

QUIKLOK MUSIC STAND LIGHTCLAMP ON

$169

$

$

MUDG200B

$

ES

$69.95

.95

$

MUGS523B

QUIKLOK MS19 10-LED CLIP ON LIGHT for Music Stands, includes AC Adaptor OR AA Batteries

$45

29

.15

QUIKLOK S171PAK SPEAKER STANDS WITH BAG Black Pair

T4 SPECIAL

101

QUIKLOK A302 MIC STAND

T4 SPECIAL

$119

$

T4 SPECIAL

HERCULES CLAMP ON SMARTPHONE HOLDER Suits 43.5-90mm

T4 SPECIAL

EDU PRICE

HERCULES GS523B MULTI GUITAR STAND Holds 3 Guitars

RANDOM NOTES // Term 4, 2015

$6.95

$9.95

FLEFLTHDB30

FLEXM1S

5

FLEET FLT-TW20 PLASTIC POWER TAMBOURINE 20 Pair Jingles Half Round – All Colours

$79.95

$19.95

FLEFLTFL27A

FLETW20

20

T4 SPECIAL $69.99

55

$

$

FLEFLTTL25S

FLEFLT4030

FLEET FLT-LT9 PERCUSSION SET W/ BAG Mini Set

FLEET FLT-LB17 PERCUSSION SET W/ BAG Set 1 up to 20 Players

$52.95

$

$79.95

40

$

FLEFLTLT9

FLEFLTLB17

62

$

29

.75

$199

169

$

.15

SONKSP50C

18

www.kbbmusic.co.nz

EDU PRICE

Natural Double Stand Fibreskin 3 Head Pair

$319

271

.15

SONLWX

MEINL MAKE YOUR OWN CAJON PACK WITH OVANGKOL FRONT PLATE

$949

799

.95

$

LEGJDB105

$

LP441TL

$329

279

$

.65

SONMAGBINT

$129

99

$

REMCRP11000

SONOR ORFF MAGBINT ALTO METALLOPHONE C MAJOR SCALE 16 BARS C1 A2 F#1 BFLAT1 F#2 WITH MALLETS

T4 SPECIAL

REMO CROWN PERCUSSION 10 AND 11 INCH CONGAS

$69.95

SONOR ORFF LWX WALKING XYLOPHONE C PENTATONIC 6 BARS

$35

29.75

$

LP234C

49

$

LP441TM

SONOR ORFF 27857001 KSP50C PRIMARY DEEP BASS CHIME BAR C

$99

84.15

$

LUDLE2475

LEGACY JDB105 7 BONGOS AND 8 INCH STRIPE FINISH

LATIN PERCUSSION LP441TL TWIST SHAKER – LOUD

MLMYOCAJOV

SONOR ORFF SXGB SOPRANO GLOBAL BEAT 16 BAR C2 - A3 C MAJOR WITH F#2 B FLAT2 F3 & MALLETS

EDU PRICE

EDU PRICE $35

$

EDU PRICE

$495

420.75

$

FLEFLTLT17

LATIN PERCUSSION TWIST SHAKER MEDIUM LP441TM

Wood

T4 SPECIAL

80

LATIN PERCUSSION LP234C DELUXE CABASA

EDU PRICE

$99.95

$

Jet Pak

EDU PRICE

Set 2 up to 17 Players

LUDWIG LE2475 EDUCATIONAL SNARE DRUMSET

EDU PRICE

T4 SPECIAL

FLEET FLTLT17 PERCUSSION SET W/ BAG

EDU PRICE

P E R C U EDU PRICE

Specials

30 Note with Case

30

15

$

FLEET FLT-4030 GLOCKENSPIEL

$39.95

$

T4 SPECIAL

T4 SPECIAL

27 Note

25 Note with Case

8

$

FLEET FLT-TL27A MARCHING GLOCKENSPIEL

FLEET FLT-TL25S GLOCKENSPIEL

T4 SPECIAL

Soft PVC 28mm Black Head – Pair

T4 SPECIAL

FLEET XM1S MALLET

T4 SPECIAL

Maple Head and Shaft – Pair

T4 SPECIAL

T4 SPECIAL

FLEET FLT-HDB30 BEATER

$419

356.15

$

SONSXGB

T4 SPECIAL

SABIAN TRIANGLE HOLDER 61123

$69

SA5TRIANGLE

EDU PRICE

T4 SPECIAL

49

SABIAN 16 INCH B8X BAND CYMBALS PAIR 41622X

$89.95

SA4TRIANGLE

SABIAN 18 INCH B8X BAND CYMBALS PAIR 41822X

$349

296.65

$

SATRIHOLDER

$59

.00

$

SATRISTRIKER

76.46

$

$15

.75

$

SATRICLIP

57

$

12

.75

$399

339.15

$

SAB8X16BC

SAB8X18BC

$4999.00

3100

$4599.00

3800

$

T4 SPECIAL

Rosewood Bars 442hz A2 C7

$11999.00

8995

$

ADMSMSHV43

Copper 23”

$5199.00

4100

$

3.5 Oct. F4-C8 Honduras Rosewood 38 5 mm Octave Tuned

$6199.00

4895

$

ADMSXSHV35

T4 SPECIAL

T4 SPECIAL

MAJESTIC TIMPANI MAJESTIC HARMONIC

MAJMTG3200

ADAMS XS2HV35 SOLIST XYLOPHONE

$3799.00

3000

$

MAJMCS1465MA

T4 SPECIAL

Fibreglass 32”

MAJMTG2900A

ADAMS MSHV43 SOLOIST MARIMBA

700

MAJMTG2600A

MAJESTIC TIMPANI MAJESTIC HARMONIC Copper 32”

$5999.00

4900

$

MAJMTK2300

ROLAND VDRUMS TD1K ELECTRONIC DRUMKIT

MAJMTK3200

T4 SPECIAL

$3899.00

$

T4 SPECIAL

T4 SPECIAL

Fibreglass 29”

Fibreglass 26”

$

MAJM6540P

MAJESTIC TIMPANI MAJESTIC HARMONIC

MAJESTIC TIMPANI MAJESTIC HARMONIC

$895.00

3995

$

SAB8X16SC

MAJESTIC TIMPANI MAJESTIC HARMONIC

MAJESTIC MCS1465MA CONCERT BLACK SNARE DRUM MAPLE 6.5X14

T4 SPECIAL

$179

152.15

$

T4 SPECIAL

MAJESTIC DELUXE MARIMBA M6540P 4 OCTAVE PROLON BARS

T4 SPECIAL

SABIAN 16 INCH B8X SUSPENDED CYMBAL 41623X

EDU PRICE

S S I O N

$1199

999

$

ROLTD1K

Musical Instrument Specialists since 1888

19

Specials

SONGBMP1PT1INT

SABIAN 5 INCH BRONZE TRIANGLE

$15.00

12

$

SABIAN 4 INCH BRONZE TRIANGLE

EDU PRICE

934

SABIAN 3/16 INCH TRIANGLE STRIKER STAINLESS STEEL 61129

EDU PRICE

$1099

.15

$

EDU PRICE

SABIAN TRIANGLE CLIP 61122

EDU PRICE

SONOR ORFF SONGBMP1PT1INT DEEP BASS METALLOPHONE C MAJOR SCALE 16 BARS C-A1 MAJOR SCALE WITH MALLETS

EDU PRICE

Freephone 0800 775 22

$495

320

849

$

PREFL710E

INCLUDES CASE!

450

$

795

FREE!

$2195

1865.75

$

JUPJCL931S

ANTIGUA AS3100LQ ALTO SAXOPHONE Lacquer

1250 ANTAS3100LQ

229

$

INCLUDES CASE!

T4 SPECIAL

Specials

JIGPTRUMPET1

Lacquer finish w/ case by Bach

$595

JUPITER JCB382L BB 3 VALVE TUBA Abs Case JKC80A INCLUDES CASE!

495

$6395

4295

$

PRETB710

JUPJCB382L

T4 SPECIAL

T4 SPECIAL

JUPITER JBR462L BARITONE HORN with JKC90BA Abs Case INCLUDES CASE!

$1199

995

$

B&S CHALLENGER I 313710 TRUMPET Lacquer; Soft Case INCLUDES CASE!

$2295

1885

$

BS313710

$2395

1895

$

PRETS710

PRETR710

$799

$

INCLUDES CASE!

485

.50

PRELUDE TB710 TROMBONE

PRELUDE TS710 TENOR SAXOPHONE Case by Conn Selmer

T4 SPECIAL

INCLUDES CASE!

$270

$

T4 SPECIAL

PRELUDE TR710 TRUMPET Lacquer finish; Case by Bach

T4 SPECIAL

EDU PRICE

INCLUDES BAG!

$1599

$

PREAS710

JIGGS WIGGHAM PTRUMPET Available in Blue or Red

T4 SPECIAL

Buy one get one

PRECL710

Brass and Woodwind

$995

$

$599

JUPJFL511ESSC

T4 SPECIAL

PRELUDE AS710 ALTO SAXOPHONE Case by Conn Selmer

$1150

INCLUDES CASE!

JUPJBR462L

JIGGS WIGGHAM PBONE

EDU PRICE

$

INCLUDES CASE!

JUPITER JCL931S CLARINET 440 pitch; JKC35W Wooden Case

T4 SPECIAL

INCLUDES CASE & BAG!

PRELUDE CL710 CLARINET Case by Conn Selmer

T4 SPECIAL

INCLUDES CASE!

JUPITER JFL511ESSC FLUTE E mechanism, silver riser, airmold JKC11CA case and JKB23JR bag

T4 SPECIAL

PRELUDE FL710E FLUTE SPLIT E Case by Conn Selmer

T4 SPECIAL

RANDOM NOTES // Term 4, 2015

Available in Red, Blue, Yellow, White, Pink, Purple, Orange, Green or Black INCLUDES BAG!

$270

229.50

$

JIGPBONE1

Proudly supporting musicians for over years

125

A U C K L A N D T A K A P U N A

– |

E P S O M

B O T A N Y

| •

A L B A N Y H A M I L T O N

WELLINGTON • NELSON • CHRISTCHURCH

w w w. k b b m u s i c . c o . n z

20

www.kbbmusic.co.nz

Sales, Rentals, Repairs & Servicing

NIGHT NIGHT

FREE EVENT

FREE 10 NOVEMBER 2015 6PM KBBFREE EPSOM EVENT

EVENT

BB EPSOM 10 NOVEMBER 2015 6PM KBB EPSOM

JOIN KBB & & SPECIAL JOIN KBBGUEST & CARL WIN, SHURE NZ UEST SPECIAL GUEST SHURE NZ CARL WIN, SHURE NZ TOPICS AT A GLANCE

- SHURE FOR EDUCATION FACILITIES ANCE TOPICS AT ANEW GLANCE - HOW THE WIRELESS LAWS AFFECT YOU DUCATION -- SHURE FACILITIES FOR EDUCATION CURRENT SHURE TRADEFACILITIES IN OPTIONS W WIRELESS LAWS AFFECT YOU LAWS AFFECT YOU -- HOW NEW WIRELESS Q&A THE URE TRADE IN OPTIONS -- CURRENT SHURE TRADE IN OPTIONS NETWORK SESSION -Don’t Q&Amiss this opportunity to learn from a Qualified Shure Specialist.

SION- NETWORK SESSION

ortunity Don’t to learn missfrom this opportunity a Qualified Shure to learnSpecialist. from a Qualified Shure Specialist.

KBB EPSOM I 377 Manukau Road, Epsom, Auckland 1023 I 10 NOVEMBER 2015 I 6PM

FOOD & BEVERAGES PROVIDED ON THE NIGHT

au Road, 1023 I Road, 10 NOVEMBER 2015 I 1023 6PM I 10 NOVEMBER 2015 I 6PM KBBEpsom, EPSOMAuckland I 377 Manukau Epsom, Auckland

EMAIL RVSP BY NOVEMBER 1ST TO:

tanya@kbbmusic.co.nz

ERAGES FOODPROVIDED & BEVERAGES ON THE PROVIDED NIGHT ON THE NIGHT