SBO April 2011 by SBO School Band & Orchestra

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Carl Sabatino & Peter Sciaino Whippany Park High School

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Contents

April 2011

Features 14

COMMENTARY: AIR LEAKS Harold Snyder looks into the mechanics of making clarinets, saxophones, and flutes more airtight and efficient.

UPCLOSE: CARL SABATINO & PETER SCIAINO In a recent SBO interview, Carl Sabatino and Peter Sciaino, the co-directors of the burgeoning Whippany Park High School band department, provide details of the approach and recruiting methods that have enabled tremendous growth in their program.

SURVEY: TECHNOLOGY SBO readers weigh in on the effects that new tech tools are having on their music programs

REPAIR: BRASS SLIDES Jeff Smith of JL Smith & Co. presents a step-by-step how-to guide for servicing brass instrument tuning slides.

TECHNOLOGY: AP MUSIC THEORY Tech expert John Kuzmich checks in with several educators who have integrated new technology into their music theory classes.

STAFF SELECTIONS: CONCERT BAND Vince Corozine reviews repertoire suitable for intermediate concert bands.

36 40

18 Columns 4 6 50

Perspective Headlines New Products

53 54 56

Playing Tip Classifieds Ad Index

Cover photo by Jim Malzone, Whippany, N.J.

SB&O School Band and Orchestra® (ISSN 1098-3694) Volume 14, Number 4, is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

2 School Band and Orchestra, April 2011

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Perspective

A Model for Growth

“W

e just make ourselves invaluable.” This statement by band director Peter Sciaino of Whippany Park High School, a small school in northern New Jersey, sums up a philosophy that has enabled the development of a strong marching band program. Even within the current state of economic troubles, Sciaino and co-director Carl Sabatino have devised a clear path for recruitment and retention, while making their band an intrinsic and essential part of the community and the school system. This program has shown that implementing these concepts can be effective, as their ensembles have seen a significant increase in student participation. As a parent, I know that my children have had to make some very difficult decisions in school that center on “extra-curriculars,” including music, sports, and other outside activities. The challenge can be daunting, as often the kids have varied interests. Too often, the particular groups they want to join are quite rigid and don’t allow much flexibility in terms of accommodating students’ packed schedules. The Whippany directors recognize the dilemma that students often face: being “The more the band torn between choosing to perform in the marching band or participating in clubs or sports. In resupports the community, sponse to this, Sciaino and Sabatino have devised the more the community a policy that encourages the students to enjoy as supports the band. many of the activities as the kids can handle, yet with clear parameters for their commitment to music. Rather than an “all or nothing” approach, the directors have carefully crafted agreements with students and coaches that allow for reasonable flexibility, maintaining the band’s objectives without forcing the student to choose between all or nothing. The resulting growth of the band has proven that this system works within their school setting. Being available and supportive to the community is another significant attribute of the Whippany band. They recognize that being involved in the different local events provides not only a wonderful opportunity for the band to perform, but also a great benefit for recruitment and visibility to younger, future band members. The more the band supports the community, the more the community supports the band. Reading through this issue’s cover story, you’re bound to find an array of ideas that could prove to be useful for any music program. As a final note, we are extremely proud to announce our completely redesigned SBO website, which now makes it easier for music educators to find references to hundreds of in-depth articles on all aspects of music education, the SBO student essay scholarship contest, advertiser links, and our new print music reviews section. Take a look at www.sbomagazine.com and you’ll have a wealth of knowledge from professional educators at your fingertips…

April 2011

Volume 14, Number 4 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff

EXECUTIVE EDITOR Christian Wissmuller

cwissmuller@symphonypublishing.com

EDITOR Eliahu Sussman esussman@symphonypublishing.com Art Staff

PRODUCTION MANAGER Laurie Guptill

lguptill@symphonypublishing.com

GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff

ADVERTISING MANAGER Iris Fox

ifox@symphonypublishing.com

CLASSIFIED & DISPLAY SALES Maureen Johan mjohan@symphonypublishing.com

SALES & MARKETING MANAGER Jason LaChapelle jlachapelle@symphonypublishing.com Business Staff

CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com Symphony Publishing, LLC

CHAIRMAN Xen Zapis PRESIDENT Lee Zapis lzapis@symphonypublishing.com CHIEF FINANCIAL OFFICER Rich Bongorno rbongorno@symphonypublishing.com Corporate Headquarters 26202 Detroit Road, Suite 300 Westlake, Ohio 44145 (440) 871-1300 www.symphonypublishing.com Publishing, Sales, & Editorial Office 21 Highland Circle, Suite 1 Needham, MA 02494 (781) 453-9310 FAX (781) 453-9389 1-800-964-5150

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Member 2011

RPMDA Rick Kessel rkessel@symphonypublishing.com 4 School Band and Orchestra, April 2011

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HeadLines SBO’s new Website, Print Music Review section

BO has redesigned its website (www.sbomagazine.com) to feature increased interactivity for readership, accessibility to the publication’s vast array of articles, tools, and resources, as well as an enhanced layout and look. Check it out for yourself and let us know what you think! In other SBO news, SBO has debuted of a new print music review section, “Staff Selections.” Each month, acclaimed arranger and educator Vince Corozine will present a number of topical repertoire recommendations for school music groups of all skill and age levels. See the new website for yourself at www.sbomagazine.com.

2010 National Medal of Arts Recipients

resident Barack Obama has presented the National Medal of Arts to 10 recipients for their outstanding achievements and support of the arts. The National Medal of Arts is a White House initiative managed by the National Endowment for the Arts. Each year, the NEA organizes and oversees the National Medal of Arts nomination process and notifies the artists of their selection to receive a medal, the nation’s highest honor for artistic excellence. “The National Medal of Arts recipients represent the many vibrant and diverse art forms thriving in America,” said NEA Chairman Rocco Landesman. “From criticism to literature, music, poetry, sculpture, and theater, these honorees’ devotion to shaping and sharing American art is unrivaled, and I join the President and the country in saluting them.” • The 2010 National Medal of Arts Recipients are: • Robert Brustein, Theatrical Critic, Producer, Playwright, and Educator (New York, N.Y.) • Van Cliburn, Pianist and Music Educator (Shreveport, La.) • Mark di Suvero, Sculptor (Shanghai, China) • Donald Hall, Poet (New Haven, Conn.) • Quincy Jones, Musician and Music Producer (Chicago, Ill.) • Harper Lee, Author (Monroeville, Ala.) • Sonny Rollins, Jazz Musician (Harlem, N.Y.) • Meryl Streep, Actress (Summit, N.J.) • James Taylor, Singer and Songwriter (Boston, Mass.)

NJ School of Music posts list of Music Education Facts

he New Jersey School of Music, located in Cherry Hill, N.J., has published a list of 11 facts about the cognitive and developmental benefits of music education. For example, the first fact states: “As the musician constantly adjusts decisions on tempo, tone, style, rhythm, phrasing and feeling, he/she trains the brain to become incredibly good at organizing and conducting numerous activities at once.” Go online to cherryhill.injersey.com/2011/03/03/nj-school-of-music-musiceducation-facts/ for the complete list.

6 School Band and Orchestra, April 2011

SMART Foundation uses excess instruments to fund school programs

or the past ten years, a non-profit foundation in California has combined parent advocacy programs

with instrument rentals to help save and restart music programs. This combination of parent and PTA support, along with temporary funding, has given the SMART Foundation a winning combination for music education programs as it seeks to establish “music education for ALL children.” The SMART Foundation is supported by business organization such as the Boeing Corporation, the CPA firm of Haskell & White, and the Rutan & Tucker law firm to create a self sustaining model that grows and restarts music programs in line with national standards. As a former music dealer, the founder, Chris Clark, saw the need for a nonprofit model when his children’s school was forced to cut back on music and arts classes. Clark created the SMART Foundation (School Music/ART) to play a specific role. As a non-profit, the Foundation can work with the PTA and a school’s educational foundation directly. It can create a partnership with the school through the PTA, provide music education advocacy, parent training and school administration consulting. It can work closely with support groups such as Arts Orange County and California Alliance for Arts Education to develop systemic changes supporting arts education. It can also provide temporary and supplemental funding through its own instrument rental program. The foundation has also established its GI/FT (Giving Instruments/Finding Talent) program as way for children from modest means to participate in band and orchestra. Visit www.smartfoundation.org to learn more.

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HeadLines Sistema Scotland: So far, so good!

ritish news outlet, The Guardian, reports that Scotland’s el Sistema-inspired program of social change through music education for impoverished children, Sistema Scotland, is off to a stellar start. The program is based in Raploch, a city in the heart of Scotland renown for the areas picturesque scenery and a memorial for William Wallace, and one that also happens to be in dire straights. According to an article on The Guardian’s website, the region has “33 percent unemployment, grave problems with drug and alcohol abuse, and poor health. Only four children out of every 100 make it to higher education.” The article continues, “But since 2008 an audacious project to change the future for Raploch’s young people by immersing them in classical music has been working with 80% of children at nursery and primary schools. And now a new report commissioned by the Scottish government has concluded that the project, Sistema Scotland, has the potential ‘to achieve social transformation.’” Although it is too soon to gauge the success of the program’s long-term goals, a recent report has concluded that, “The scheme is already having an overwhelmingly positive effect on the children involved.” Read more at www.guardian.co.uk.

Apple releases Garageband app

In a press conference for the release of the iPad 2, Apple CEO Steve Jobs declared, “Anyone can make music now.” He was referring to the new Garageband App for iPad 2, which will allow users to create and edit music on the go. The first generation iPad was already a big hit with music makers and App developers, says Davis Inman of www.americansongwriter.com. He notes, “The first generation iPad was immediately popular with music makers and app developers. Major musical products manufacturers like Korg jumped on board with apps like the iElectribe, a powerful synth and sampler, and the iMS-20, an analog synth. There were a whole slew of multitrack recorders like Sonoma Wirework’s StudioTrack and Tascam’s Portastudio. IK Multimedia also introduced app versions of their popular AmpliTube effects aimed at guitar nuts, and DJs got plenty to work with like the Serato app and AC-7 controller for Ableton. The Winter NAMM show this past January was awash with iPad functionality, and one can only imagine that trend will increase.” To see a video of the press conference and more details on Apple’s plan for music making functionality, visit www.apple.com.

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HeadLines

Walt Levine to Depart BSO Disney B World

Travel to

oston Symphony Orchestra managing director Mark Volpe has announced that effective September 1, 2011, James Levine will step down from his current role as Music Director of the BSO, a position he has held since 2004. Discussions between the BSO and Maestro Levine are underway to define an ongoing new role for Mr. Levine. Mr. Volpe has also announced that the BSO will immediately form a search committee to begin the process of appointing the next Boston Symphony Music Director. For further information about the BSO 2010-11 season, program details, photos, and artist bios, visit www.bso.org.

Philly Orchestra faces wage cuts, possibly Chapter 11

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recent article in the Philadelphia Inquirer is reporting that management of the Philadelphia Orchestra is suggesting filing for bankruptcy if dramatic cuts – in the neighborhood of 20 percent of base pay and the loss of 10 positions – aren’t implemented by the players. States the article, “In past contract negotiations at the Philadelphia Orchestra, it has been musicians who have quietly held, or explicitly exercised, the threat of damaging action: a strike. But in current talks, it is management tolling unprecedented and severe consequences: bankruptcy. Management has intermittently used the prospect of Chapter 11 in talks during the last few months in its drive to reduce labor costs, people familiar with the talks say.” With many professional orchestras around country facing similar budgetary dilemmas, the results of these negotiations could have broad and significant impact among major ensembles nationwide. Learn more at www.philorch.org.

Joe Morello: 1928-2011 Joe Morello, the legendary jazz drummer most famous for his performance on the Dave Brubeck Quartet’s seminal Time Out album, which featured one of the most iconic jazz tunes ever, “Take Five,” passed away on March 12, 2011. Morello, who played with Brubeck for more than 12 years, was a longstanding pillar of the music industry in many facets: as a performer, clinician, endorser, and author of a number of highly successful method books. According to his website, www.joemorello.com, Morello passed away peacefully at his home in Irvington, New Jersey. He was 82.

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Correction Last month’s cover story on Mike Back and the Walton High School bands erroneously stated that Back’s bands had performed at the Midwest Clinic in Chicago. In fact, it was ensembles from the Walton High School orchestra department that performed at the renowned band and orchestra convention, not ensembles from within the band program.

HeadLines YOU DON’T HAVE TO BE FAMOUS TO

SBO publisher Rick Kessel and Mark Churchill recently performed together at Symphony Pro Musica’s Family Festival concert. Rick has been the principal clarinetist for more than 25 years and performed two solos: Debussy’s Premiere Rhapsodie and Briccialdi’s Carnivale di Venezia. Mark Churchill is the founder and Music Director of Symphony Pro Musica, and was profiled in the January 2011 issue of SBO about his work bringing Venezuela’s music education movement, El Sistema, to the United States.

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ay 2-8, 2011 is NAMM’s 5th annual National Wanna Play Music Week, which will feature activities designed to put the media spotlight on the many proven benefits of playing music and give people new reasons to start or re-start this life-changing activity. In advance of the National Wanna Play Music Week, NAMM will launch the “Pledge to Play.” This Facebook promotion will encourage non-players who’ve always wanted to play a musical instrument to sign up, be counted and take that next step toward the many proven benefits of playing music. Results of the “Pledge to Play” campaign will be announced in May. Music Monday, May 2— NAMM will join the Coalition of Music Education in Canada in its sixth annual Music Monday event May 2, 2011, to demonstrate the importance of music education programs throughout North America, and to celebrate the many proven benefits of playing music for people of all ages. To sign up and join the band so to speak, please visit www.wannaplaymusic.com/ programs/music-monday-usa. Watch for national media coverage of this event to kick the week off right. Wednesday, May 4 — Everyone starts somewhere, and chances are it’s in music class. To recognize that fact, the NAMM Foundation will announce its “Best Communities for Music Education,” honoring schools and communities that work hard to make music a part of a complete education for every child. Thursday, May 5 — You’d be surprised by how many celebrities (including actors, authors, sports stars and politicians) also play music just for fun. NAMM will feature many of these “unexpected celebrity musicians” in creative ways on this day. Watch for media updates from NAMM on this. Friday-Sunday, May 6-8 — National Music Store Weekend. So many musical dreams start in the most humble of places and we’re bringing National Wanna Play Music Week to a close by honoring the hub of all things musical, the local community music store and encouraging non-musicians to pay these stores a visit to get started. Visit www.wannaplaymusic.com for more information.

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SBOCommentary: Air Leaks

Why Not Fix The Leaks In Our Horns? By Harold Snyder

iquids and gases, by their very nature, tend to escape from where they are supposed to be and not do what they are supposed to do. As a player of a musical instrument, we are interested in the mixture of gases we call

air – our air from our lungs that we blow into a tube. Our breath is intended to do a particular thing as we blow it into our musical instruments, but if it leaks out, it cannot fulfill its purpose and there are consequences. Let me illustrate this by looking at some common problems.

“Any leak will keep the instrument from playing at its best.”

14 School Band and Orchestra, April 2011

When it comes to water, there are many interesting examples. Some may remember the story of the little Dutch boy who saved his country by plugging a hole in the dyke with his finger. A gap in a roof during a rainstorm can damage a house and cause costly repairs. A damaged garden hose will not effectively take care of a garden. A hole in a car’s gasoline tank or radiator could keep it from making it to the ball game. A leak in a tire will cause a flat. And if it is five degrees below zero, we don’t want warm air making an exit through the cracks in doors and windows. If we are hosting company we don’t want the air mattress to go flat. And God forbid that we get a leak in our medical oxygen tank. When we discover these leaks, we try to get them fixed as soon as possible. Why then do we put up with leaks, even small leaks, in our musical instruments? We need this wasted air! In reality, it takes a lot of our air to play a musical instrument. The mouth air pressure used for normal speech is about five to six millimeters of mercury (mmHg). One study listed the various mouth pressures needed to play different instruments. For example in mmHg, the alto sax took 56.2, clarinet took 86.4, flute took 77.8, and the trombone took 126.0. When this amount of air pressure is needed to play a musical instrument it is crucial that

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there be no leaks. So why do we put up with leaks? There may be a number of reasons, but here are three. First: Not knowing the symptoms of this wasted air, we do not sense that we have a problem. Second: We do not realize the harm these leaks can cause, so we don’t take it seriously. Third: We are afraid of the possible cost of repair. Any leak will keep the instrument from playing at its best, and this will eventually affect us as the player.

an octave key were open. A leak high up on the instrument near the source of vibration may keep the whole horn from playing. Then also there may be intonation problems with notes playing sharp or flat. All kinds of words are used to describe notes that are not as clear as a bell, sharp as a whistle, or beautiful as a baby’s laughter. The note may sound muffled, fuzzy, airy, stifled, quenched, repressed, choked off, in-

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Why are saxophones, clarinets, flutes and other woodwinds prone to losing air? Woodwind instruments are much more complicated than brass, percussion, or string instruments. They have more delicately moving parts to wear out, become damaged, or shift out of alignment. They also have soft pads that can soak up a lot of

12 New Marching Features from Row-Loff!

The tools and instruments used to measure mouthpieces.

Dr. Snyder removes varnish from a saxophone in his shop.

moisture from saliva. This leads to rot, mold, physical distortion, and tears.

What are the symptoms of this air loss? Leaks can cause various symptoms depending on their size and location. In some cases, an instrument with a leak can feel different to us. We may need to press the keys harder, blow harder, or change our embouchure. We feel that the instrument is just not responding correctly in action or sound. We may get out of breath as we try to sustain a note. Certain notes may not even play. Low notes do not play if we try to play softly. Often higher notes will come out as if

hibited, spongy, dead, blurred, distorted, undefined, or unsubstantial. These are tones that we do not like and we do not want! Also strange sounds that are not musical may come out of our horn: warbles, motor boating and yes, even squeaks. All of this is discouraging and may even cause some people to give up playing the instrument! In a letter from Roger W. McKinney, professor of Clarinet and Music History at the College of New Jersey, and past Principal Clarinet with the Greater Trenton Symphony, he succinctly describes the problem: “Good woodwind players are always checking for response in their instruments – this is a constant. The first clue of a leak is more resistance in producing a note; then they would check the top joint to see if there is a good pull in the vacuum when the air is drawn out of the joint. Most non-professionals are not well informed and the problem has to become very acute for them to bring it to a repair shop.”

From the compositional talents of Brian Mason, Kennan Wylie, Lalo & Julie Davila, John R. Hearnes, David England, Chris Brooks and Chris Crockarell. With a variety of styles and levels, these features will work great for your fall marching show or just to impress the competition! Hear them ALL at www.rowloff.com

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Where in our instrument are these places for air to escape?

Quality Instruments

One source of a leak may actually be the person playing the instrument, but most are found in the instrument itself. Starting with the person playing, the leak may be the player’s nose. This may sound strange, but there is a rare anatomical abnormality known as Velopharyngeal Stress Incompetence where the velopharyngeal valve, located between the mouth and the nose, allows air to leak out of the person’s nose when blowing through the mouth. When this is discovered, surgery is necessary and it is often very successful. An excellent case study is found in Plastic Reconstructive Surgery, Vol. 64, No. 5 Nov. 1979, which can be read by doing an online search. The reed may warp so it does not seal well on the tip of the mouthpiece. Air also can escape from the sides of the reed. Proper care of the reed should help to eliminate these problems. The mouthpiece itself may have imperfections or damages which will allow the air to escape. What some call the “Pop Test” will disclose this condition. This test is made by sealing the barrel end of the mouthpiece against the palm of the hand and sucking out the air. If there is no leak, the reed will seal well against the mouthpiece and a “pop” will be heard when the seal breaks. The corked tenons at the various joints in an instrument or any metal-to-metal slip joint may be at fault.

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16 School Band and Orchestra, April 2011

Individual pads may not seal well. Where two or more pads must close at the same time, they may not do so. This is a timing or regulating problem. The contact surface of the sound hole may not be smooth thus permitting air to escape. There may be a soldered sound hole or a soldered joint that is leaking. Or a dent or damage may go all the way through the body allowing the air to escape. Reg Thorp, in his very exhaustive book, The Complete Woodwind Repair Manual, published by NAPBIRT, has a section devoted to the sources of leaks in all woodwind instruments. He also has drawings to illustrate these sources. Two more questions arise out of this discussion. First: Can all this information be applied to all woodwinds with some modification? Second: Can a particular symptom be traced to a particular cause much like in medicine or is the leakage problem more like a medical syndrome where there are multiple causes and multiple symptoms? If this is true, then it would be more difficult, but not impossible, to trace a particular symptom to a specific cause.

When should we get these leaks fixed? The terse, frank, and honest answer is, “Get the leaks fixed now!” The longer a leak exists the worse it will become and the more it will cost to be repaired. For the above-mentioned anatomical problem, only a surgeon can fix that. We may be able to remedy the reed and mouthpiece problems. But only a qualified musical instrument repair technician can take care of every other type of leak. So my conclusion is, “We must bite the bullet,” get the leaks fixed, and have our horns restored to a playable condition. I like very much the philosophy of the Thomas Music, Inc. in Rochester, N.Y. They put what should be the ethics of every repair business in a nutshell. Their philosophy is, “Do a really good job, at a reasonable price and don’t take too long about it.”

Dr. Harold E. Snyder, a retired biology professor, is currently a woodwind repair tech at Dr. Snyder’s Woodwind Repair, where he fixes and restores saxophones, clarinets, and flutes. In addition to a career teaching biology, Dr. Snyder made astronomical telescopes and stringed instruments for more than 25 years. Now he has branched out into woodwind repair. Along with his Ph.D. from Notre Dame, Dr. Snyder also holds two baccalaureate and two master degrees.

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UpClose: Carl Sabatino & Peter Sciaino

18 School Band and Orchestra, April 2011

The More, the Merrier

The Pride of Hanover Township By Eliahu Sussman Carl Sabatino and Peter Sciaino are the co-directors of the band program at Whippany Park High School, a small school in Whippany, N.J. Through meticulous design and unflagging enthusiasm, the two have built a marching band, “The Pride of Hanover Township,” that now boasts a whopping 25 percent of the student body. Their recruitment efforts have been fueled by the dual goal of providing students the same musical opportunities that larger schools might present and simply making the music program as accessible to as many students as possible. In this recent SBO interview, Carl and Peter elaborate on the methodology and approach they’ve used to build a bigger, more successful band.

School Band and Orchestra, April 2011 19

School Band & Orchestra: Hi Carl and Peter. Would you give a quick synopsis of how each of you ended up in music education? Carl Sabatino: I have been teaching here at Whippany Park High school since 1989. Music was something that I loved as a kid. I wasn’t particularly good at it, but I had a band director in high school who was very inspiring. I consider myself lucky, because I guess it worked out. I’m not sure I had any business going in this direction – when I look at the kids now, a lot of them are way better players than I was when I was in high school. I worked really hard in college, though, and music is something I’m really passionate about. Peter Sciaino: My turn? Well, I’ve always been great – just kidding! I went to Syracuse for my undergrad and NYU for my masters, and came to Whippany Park after I graduated. Carl had already been here for 8 years at that point. I started college as an English major – I thought I was going to be a writer. But at the same time, I played in the jazz ensemble and the marching band, and took trumpet lessons. At some point I realized that that was the direction I wanted to go in, because that’s what I was really interested in. I think I was interested in it all along, but was sheepish about fully embracing it. I also questioned whether I was really on the level that I should be to go into music. My parents were

both educators, so it felt like the right choice when I finally made it.

was hired that we really started to build the program up.

SBO: Let’s talk about the WPHS music program. Carl, what was it like when you came on board in 1989?

SBO: Did the two of you look around decide that you needed more kids in the classroom? What were your goals coming in?

CS: When I came on here at WhipPS: Band directors are always lookpany Park High School, I was just a ing to grow their programs and reach kid right out of college. There were more kids if they’re doing their job. I 55 students in the band program and don’t know that we were more mindit was serving the needs of the kids, even though the overall enrollment was a bit low. I was part-time between several schools at first, and by the time Pete came on board, we’d built it up to about 70 kids. We had a marching band – it was pretty small, but it was a band. We had one concert band, and a jazz band as well, but it wasn’t until Peter Sciaino and Sabatino.

WPHS Bands at a Glance Location: 165 Whippany Road, Whippany, N.J. On the web: www.wpmb.org Students in school: 630 Students in instrumental music program: 148 Instrumental music directors: Carl Sabatino & Peter Sciaino 2010-11 Ensembles & number of students in each: “The Pride of Whippany Park” Marching Band: 148 Symphonic Band: 130 Concert Band: 81 Wind Ensemble: 49 Color Guard: 20 students

Jazz Experience I: 23 Jazz Experience II: 23 Recent notable events 2009 Yamaha Cup Group – 5A Best Color Guard 2010 NJ Music Educators Association Marching Band Festival – Gold Rating 2010 USSBA Scotch Plains-Fanwood High School Show – Group 6A 1st Place, Best Music, Best Percussion 2010 Yamaha Cup Group 6A – 2nd Place at New Meadowlands Stadium May 2011 – To Perform at US Capitol Building in Washington D.C.

On Deck: Music for upcoming WPHS concerts Wind Ensemble: Variations on a Korean Folk Song” by John Barnes Chance (B & H) “Arabian Dances” by Brian Balmages (FJH Music) Concert Band:“Days of Glory” by Sean O’Loughlin (Carl Fischer) “Kitty Hawk, 1903” by William Owens (FJH Music)

20 School Band and Orchestra, April 2011

Jazz Experience I:“Sky Dive” by Freddie Hubbard, arr. Erik Morales (Alfred Publishing) “Li’l Darlin’” by Neal Hefti (Alfred Publishing) Jazz Experience II:“Four” by Miles Davis, arr. John Berry (Prestige) “Moondance” by Van Morrison, arr. Victor Lopez (Belwin)

ful about recruiting early on; it’s more that we had some success because we were excited about what we were doing. We worked well together and the kids responded to that. We were enthusiastic about the new marching band show that year, and so were they. They can sense if you’re into it, and they respond to that. It started to get to a point where we had about 500 kids in the school and we were getting almost a fifth of the kids in the school to participate in the band program. Then we started making goals – last year our goal was to get 140 kids on the field in the marching band, and we went over that. We’ve always recruited but in the last five years we taken a multi-tiered approach and started adding on to how we recruit. CS: We started taking it much more seriously. SBO: What do you think increasing the number of students in the music program means to the kids, the school, and the community? PS: When you have a small school like we do, you have the potential for putting the kids at a disadvantage because they can be spread so thin. You have to be mindful of the school’s en-

The

vironment. If we were at a school that had 3,000 kids, we probably would do things differently. At a small school, the concept of getting more kids involved with music really means that you have to be super flexible. I know that I was having a lot more fun in a marching band with 200 kids than when I was in a band with 30 kids. It’s great to have a full concert band without missing parts or instrumentation. In a small school, it’s easy to have that smaller program. So the vision is to give these kids that come from a

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smaller town and a smaller community something that is on the same playing field as the programs at some of the larger schools. And music certainly an area where we can make that happen. CS: It was a conscious decision of ours over the past few years to grow the numbers, and to go after a different population of the kids. We opened up the band to beginners and anyone else looking for what we can provide, which is the sense of community and belonging, being a part of something great. We found that just going after the kids that are sitting in eighth grade holding an instrument was a little bit short sighted. There are a lot of other kids that want to be a part of what we’re doing. So we made a conscious effort to expand the music program. We felt that it would make us more successful to have more people involved. SBO: How has this recent boost in numbers changed your program? CS: This year was our first year where we really jumped. We had maybe 150 kids marching, and last year we had about 110. And particularly, having that many freshman and sophomores was very challenging from a day-to-day standpoint, so that made us work a lot harder. Having that many different levels of playing is challenging. But we are fortunate that we have a supportive administration and we have a good infrastructure. We see the kids for a weekly lesson, one-on-one,

so we can cater our instruction to the needs of the kids, depending on whatever they need. We’re certainly looking to improve upon that, but it’s a challenge. PS: Also just as far as the logistics, when 25 percent of the kids come through our door, and those kids are also involved in field hockey, volleyball, cheerleading, and football, we find that we have to have policies clearly set for attendance for those after school rehearsals. Our band is fortunate to meet every day for a period, so we have contact with all of the kids everyday, which is great. We wouldn’t want that to change. SBO: And is the marching band, “The Pride of Hanover Township,” curricular? PS: It is part of the curriculum, but it also meets after school twice a week during marching band season. That’s where it gets challenging. We’re meet-

ing after school, and so are the sports teams. We find that as long as we have a policy and we’re reasonable with the kids as far as our expectations, they

usually respond to that in terms of their attendance. Nobody is trying to get out of our rehearsals, and that’s a great feeling. That means we’re doing some-

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thing right. The general philosophy of the school is that kids should be involved in as much as possible, and we work to keep up our side of that program as much as we can. SBO: How do you balance the schedule between your rehearsals and other activities? PS: That’s the hardest part. We have rehearsals twice a week after school, and the students that play sports have practice every day. They know when they sign up for band that we have a clearly defined commitment policy – it’s a signed contract – so it’s going to be extra work for them. They are aware that they will at least have to split the time if we have a rehearsal when they have a practice. So if a volleyball practice overlaps with band practice for an hour, they’ll split that overlap down the middle and do a half an hour of each. The coaches are usually good about it, too. They know that we’ve been here a long time and we’re reasonable. A game trumps a rehearsal, and concert trumps a practice. It’s not perfect, but it works. SBO: So you hash out the priorities with the coaches in advance? PS: Carl has always said this and I’m right on board: you never want to put the kids in the middle of these types of situations. You always want to make sure to talk to the coach – if, say, we have a big performance and they have a big game and the kids are working their butts off to try to be in both places at once – to come up with the best situation for the kids.

24 School Band and Orchestra, April 2011

Obviously, we always think that our performances are super important and the coaches always think what they’re doing is more important, but there are times when we’ve given in because we don’t want to put the kid in the middle of it. We’ve taken the hit sometimes. Of course, we could say, “Too bad, you can’t do both,” but then we wouldn’t have the number of kids that we do have involved in music. CS: We’re trying to really go way out of our way to make a kid not have to make a choice between a sport and

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down. Sometimes we see them come running from their practice still in their uniforms, and we see them go to games with their baritones in their hands. They do everything they can because they see that we’re really trying hard to accommodate them. They realize that and they appreciate it. PS: And it wasn’t always like that. As we got better at this, and the band got better, and the band became more of a cool thing to do, it was an easier

“We have the entire eighth grade in a little gym and then – boom! – 140 high school kids come running in holding their instruments in their hands. That’s pretty impressive for an eighth-grader.” our activity. We never want to put a kid in that position, even if it means that a kid is not out there for every practice or if he or she misses the occasional performance. And the kids are great – they don’t want to let us

26 School Band and Orchestra, April 2011

sell, the kids were more willing to go the extra mile. In some cases, they’re working way harder than we are: they just ran four miles for cross country and then they show up for our prac-

tice and we’re marching them around the field for 35 sets in a rehearsal. And then they go home and do their homework! SBO: What is it about your program that has inspired your students to want to take on that type of workload? PS: Like any music program, we try to really foster a sense of community. It sounds cliché to say the word “family,” but the social aspect of the band means a lot to the students. In terms of the music we choose and the style we tend to march in, we think we’re pretty unique because we are community oriented. We try to reach the kids with music that is important for them to know about, learn from, and get better at their instruments through. But we’re also choosing pretty entertaining music that will draw a large reaction from the crowd. SBO: You mean pop material? PS: Absolutely. And we have had shows where, to make that work, we

also incorporate electronics, guitars, bass guitars, and drum sets to hold up the musicality of the original tunes. We also have pushed more towards a college band feel on the marching field. We have a pre-game show that we do now that we just started this past year. That was a huge hit. It was more of a “rah rah,” school-spirit-andfight-songs type of performance. The kids love that, because it gives them a chance to really get into it on the field and almost go crazy – in an organized way, of course – and it also gets great reaction from the crowd. The band really thrives off of that reaction. It’s not something just for highbrow music lovers, obviously, but it reaches the energy of all of the people who are there for the football game. The band feeds off of that energy. There’s a time for the concert band material and other more sophisticated music, but we don’t necessarily go for that during the football games. We will often write or try to find arrangements of current songs that the kids know because not only do the kids in the band think that that’s cool, so do the other students who are their for other reasons, and that encourages some of them to come out and join the band. You have to take advantage of the performances; we play to an audience to a point, while still trying to maintain the educational values of the music and our program.

PS: That attitude is why we attract so many beginners, I think. SBO: Is there anything unique that you do in terms of recruiting that other directors and programs might consider? CS: Every performance is a recruiting tool and we really acknowledge them as such. Take, for example, a Memorial Day parade. Some people might not think about that as much as, say, an

upcoming school concert, but so many more people are going to see the band during the Memorial Day parade than at a school performance. So even just by acknowledging that, we put ourselves in a position to work hard, take it seriously, and put our best foot forward. Who knows how many people will be on that parade route that might want to participate in or support our band? Another activity we do, which I’m sure many other programs also

SBO: Do you think that there’s an optimal percentage of any school that should participate in the music program? PS: Sure, 100 percent! That’s the optimal, absolutely. We obviously value what we do to the point where we’ve devoted our lives to it. It’s certainly something that I would hate to not be a part of. CS: The kids that are here definitely get a lot out of our program. They appreciate it. We feel that we can offer something to everybody. No matter how experienced a child is musically, even for students who have never touched an instrument before, we would love to bring them in and teach them what our band program – and learning music – is all about.

School Band and Orchestra, April 2011 27

do, is head over to perform for the eighth graders. Again, we really try to pump that performance up and appeal to a broad range of kids. We have the entire eighth grade in a little gym and then – boom! – 140 high school kids come running in holding their instruments in their hands. That’s pretty impressive for an eighth-grader. Pete mentioned the electronics, so we do a little of that and talk that up. We

also try to sell ourselves as a product and make the kids believe in that. That idea is helped by the fact that a lot of the students coming to the high school may have seen the band come around the corner of Whippany Road during the Memorial Day parade when they were fifth graders, and been impressed by what they saw. And, of course, there are also the football games, which give us great exposure. We don’t do the corps style marching shows – we have so many beginners in our band

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PS: Right when kids are signing up for their courses is the hottest time for recruiting; you want to have as much contact with the eighth graders as possible then, because in order to get them to join the band, they need to sign up for band class. Like a lot of high school bands do at this point, we have a website with videos of performances that we try to spread the word about as much as possible. Also, there’s a FAQ portion of the site that has been extremely valuable. We used to field a ton of phone calls when the kids are trying to sign up for courses because that process, and understanding how the music program works, can be overwhelming. That FAQ really helps put the information out there so people understand what’s going on. We also send out a print brochure that our band parents support us with and help pay for. That print brochure has some basic information and some photos, and of course it also has our website printed on it – we’re always trying to get our

website out there and make that look as cool and interesting and appealing as possible. It’s not just a hub for the kids who are already here to get information, but also to attract the kids who aren’t already here – as well as their parents. One other thing we’ve decided to do is create a brand for the band – a logo, color scheme, and font that present a recognizable and memorable image for the band. Every letter that we send out to kids and parents, they’ll know right off the bat it’s from us. It sounds kind of silly, but you really are marketing. The words “marketing” and “advertising” sometimes have dirty connotations, as if we’re trying to pull the wool over someone’s eyes, but we really believe in what we’re doing and we’re just trying to get it our there to the kids. Once the kids get here, they’re having a great experience. You see that Xbox logo, for example, and it doesn’t even say “Xbox” anywhere on the ad or the packaging, but everyone knows exactly what it is. So we put our logo and font all over our website and print materials. Even if we hand out a new arrangement that we’ve done ourselves, we make sure to use our font and throw our logo on there, on occasion. It all helps. And the students like it – they like that consistency and they respond to it. And then when you go around town and see our logo magnet on the back of people’s cars, that’s certainly helping the promotion as well.

going to let anything happen to that band program!” PS: We have about 300 band parents that are currently active, and we have a number of other alumni parents who are still a part of it. We also have all of these alumni band parents and students in town that know about our program. It really means a lot to the community. Like any place, we feel the pinch and we’re not getting any increases in

funding, but we make it work. Our administration is really supportive, and part of that comes from the fact that we try not to throw any problems onto their desks. If something comes up that we can handle, we’ll handle it in house. Administrators respect that because they then realize that if we come to them with an issue it’s going to be something that really requires their attention, not something that’s just going to take up their time. They’re busy, too.

SBO: How is that you two have been able to increase the size of your program now, when many music programs around the country are facing budget cuts? PS: We’re definitely feeling the pinch, too. We just make ourselves invaluable. CS: We are fortunate to have two band directors at the high school and we understand that that’s a rarity among music program. So we try especially hard when we bring the band out to make everyone feel that this is their band. If the senior citizens want us to perform at their holiday celebration, we’re there. We’re going to show up and put our best foot forward. And at every football game, we want to put on a performance that will have everyone saying, “There’s no way we’re School Band and Orchestra, April 2011 29

We have to understand that and try to take up as little of their time as possible. SBO: What is the most important lesson you’ve learned about being a band director? PS: Just off the cuff, I’d say that while you have your logos and the kids excited about a trip and the parents involved and whatever else, when it really comes down to it, the kids have to perform music they really believe in and are interested in

playing. That’s going to come through in the performance, and also in how the kids approach the activity. You have to pick music that has a broader appeal than just your own tastes. It’s not just for highly trained musicians; the music has to be interesting for the students playing it, the students who are listening to it, the parents who are helping you out on a regular basis and have to hear the same thing over and over, and to us, the teachers. It also has to reach those educational

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PS: We have a hallway here that we call the “Hall of Fame,” where we have a bunch of plaques and photos up. One of the areas there that we’re most proud of is a section called “The Next Level.” A lot of times people put a lot of stock into which kids are going on to whichever great music schools and how many are going to continue on to be band directors – and that’s all great! We’ve had that, too, and we’re certainly proud of them, but that’s not the majority of our kids, and it’s probably not the majority of any high school music program. But we have a wall where kids sent in photos of them playing in their college marching band or their college pep band or the jazz ensemble in their school. We have a whole wall of that, and that’s fantastic. Our current kids who see that realize that this activity isn’t a dead end; this is something they can continue doing for the rest of their lives.

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CS: It really comes down to understanding your clientele. With all respect to the programs that are built on a competitive model – and we tried to do that here, at first, too, but it didn’t work for us – we had to make a choice. We’re a small school and in order to try to be competitive, we’d have to tell a lot of kids that they couldn’t participate. We’ll take the larger numbers every day of the week. We are trying to be the absolute best we can, but we know that there are other bands out there that are way better than us, musically. SBO: So what is it that you hope the students that participate in your program come away with or think back on down the line?

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CS: We have some kids that go to big schools because of a marching band they want to participate in, or a small school that might have a jazz band opportunity for them. That’s a great compliment to what we’re doing and something we’re really proud of. That wall is a testament to what we’re doing here.

SBOSurvey: Technology

Game-Changing Technology

s tools like e-mails and cell phones serve to facilitate communication and accessibility in ways that would have been unfathomable a

How different are the tools in your classroom today from the tools in the classroom ten years ago?

Completely different ballgame

16%

generation or two ago, the music world is filled

with comparable advances. Devices like digital tuners and hand-held recorders, access to videos and playl-

We have some new tools

ists on YouTube, and the unceasing innovation of amps, tuners, mixers, synthesizers, notation software, and more have changed the way people, learn, practice, and

80%

There hasnâ&#x20AC;&#x2122;t been a significant change in the tools we use

perform music. In many ways, technology has changed how music is taught, as well: 96 percent of the band and orchestra directors responding to this recent SBO

Most of my students attend survey indicate that that have implemented significant summer music camps tech2% tools into their classroom over the past ten years.

No or only a few

32 School Band and Orchestra, April 2011

27%

â&#x20AC;&#x153;I still have Blackboards and chalk, but I also have tuners and computer software that allows me to write We and have no budget for tech tools music parts.â&#x20AC;? Mark Best 58% New Haven Middle School New Haven, Ind. 0-$1K

23%

$1K-$2K

16% ballgame Completely different 16%

We have some new tools

“SmartMusic hasnew changed in the We have some toolsthe role of technology80% classroom. Instead of playing along with sequences, they are 80% practicing and being evaluated.” There hasn’t been a significant Michael Holl change in the tools we use Chartiers Valley Intermediate School There hasn’t been a significant Pittsburgh, Pa. 4%

change in the tools we use

What is your music department’s annual budget for new technology?

We have no budget for tech tools We have no budget for tech tools 0-$1K 0-$1K $1K-$2K $1K-$2K $2K -$5K

9% 9%

23% 23%

5% $5K-$10K 5% Completely$5K-$10K different3% ballgame 16% More than3% $10K 2%$10K Morenew than We have some tools 2%

58% 58%

No “I constantly use my Smartboard in conjunction with my music writing software in39% rehearsals.” Yes No Bob Lewis 61% Yes School 39% Phillis Wheatley Middle Bridgeville, Del.

61%

“The use of digital recording devices and laptop computers makes certain tasks easier, such as the above mentioned show design, and giving the kids a chance to hear themselves.” Kurt Stalmann Santana High School Santee, Calif. “Creating lists, communicating with parents and students, creating programs, cataloging instruments and music, video to accompany performances, writing and animating drill for guard percussion and marching band are a few areas impacted by today’s music software.” John New Mattacheese Middle School West Yarmouth, Mass.

$2K -$5K

Does your music program or any of the ensembles you run have a website?

80%

There hasn’t been a significant changeWhich in the areas tools we use program have been significantly of your by new technological tools, and how so? 4%affected Rehearsals 36% Rehearsals 36% Administrative tasks 34% Administrative tasks We have no budget for tech tools 34% 58% Performances Performances 12% 0-$1K 12% 23% Marching Band Show Design

$1K-$2K

10% Marching Band Show Design Other

$2K -$5K

Other

5% $5K-$10K

More than $10K

9% 10% 8% 8%

39%

Yes

61%

“The band website is updated weekly with assignments and reminders. I also include pages that help with recruiting, maintenance, advocacy, and reoccurring documents such as practice logs, band manual, and so on.” Windy Fullagar Alexander Graham Middle School Charlotte, N.C.

What technological improvements relevant to music education would you most like to see in the future? “I would like to see more information or basic classes available to those of us that were not brought up in this latest wave of technology. It can be a challenge to learn how to School Band and Orchestra, April 2011 33

use/incorporate this new technology in our everyday teaching. It would also be useful to know what can be done on limited budgets – and I do mean limited and or non-existent budgets.” Kent Crawford Maquoketa High School Maquoketa, Iowa “Less expensive music reading pads would make music distribution to performance classes much simpler and less time consuming.” David Bean Morrison High School Morrison, Ill. “I wish that there were more training programs for jazz and rock drummers. I would love it if there were a way for a drummer to use an electronic drum set in an assessment application the way that a clarinet or sax can use SmartMusic. If Rockband can assess a drummer’s playing (and that is what it is doing to give a score), why isn’t there an educational variation?” John Mueller Incline Middle School Incline Village, Nev. “I would like to see a better integration of video, audio, and recording technology that allows everything to be more compatible. While we are getting closer, we are not there yet.” Ken Goodman Sycamore High School Sycamore, Ill.

Additional thoughts on integrating new technology into school music programs? “Technology in music has made a significant impact on my teaching, as I am now able to teach music technology on a full-time basis at an elementary school. The music tech program has allowed many more students to be able to participate in an instrumental music class (using keyboards). Most of these students would not be able to take instrumental music (band) because of the financial limitations. Stu-

34 School Band and Orchestra, April 2011

dents of all abilities can participate in the class and work at their own pace. The class is an introduction to instrumental music that helps prepare them for middle school music programs.” Karen Garrett Central Park Elementary Birmingham, Ala. “Technology has become a significant part of Music Ed – one that must be embraced, not ignored.” Richard Lundquist Chautauqua Lake Central School Mayville, N.Y. “As exciting it is for us, it is not so much for students. They are not taking advantage of ‘new stuff ’ to get better. There are fewer players, and therefore fewer good players. Somehow we need to reinvent ourselves again, to bring interest back to band.” Thomas Kessler Bacon Academy Colchester, Conn. “Technology comes with both benefits and issues. Trying to find the right fit for our needs can be challenging. Technology should only be used as a tool in assisting the teacher with instructional delivery and the student in receiving instruction. It should never

be the primary tool for instruction or learning.” James Shaw Joliet PSD 86 Joliet, Ill. “Technology is still just a tool in a bigger picture. It can’t take the place of an effective and passionate teacher. You can buy the best cookware and ingredients in the world, but if you don’t know how to cook, the meal is still going to taste awful.” George Dragoo Stevens High School Rapid City, S.D. “As wonderful as all of our current technological resources are, the ability to keep up with adequate equipment is a huge challenge. Our computers are all out of date and soon will be obsolete in many ways as the older operating systems are no longer supported. We don’t have funds to keep the stuff we use now upgraded, let alone upgrade software and include newer programs or newer applications and hardware.” Carole Grooms Freedom Intermediate Middle School Franklin, Tenn.

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ervicing brass instrument slides can be rewarding. With only a few affordable supplies, some basic knowledge, and a little time, you can greatly affect the playing condition of your brass inventory, stretch your repair budget, and have fun getting your hands dirty at the same time!

Examine Stuck slides on brass instruments are usually the result of neglect: infrequent cleaning and lubrication and, sometimes, improper lubricants. Also, examine the slides and connected tubing for dents, as well as for loose braces and solder joints. Don’t try to free slides that have any of these issues, or slides that are adjacent to loose braces, as this could lead to further damage. Please refer these jobs to a professional repair shop. When examining a stuck slide, note if one side of the slide moves while the other seems stuck. This will more often be the case on slides with greater distance between them than on narrower slides. See, for example, a trumpet main tuning slide as opposed to a first valve slide.

Before You Pull, Oil Though you may be able to pull some stuck slides without the help of “penetrating oil,” I recommend that you take advantage of its properties. This special oil is made to creep into tight places and help break the cement-like bond of mineral deposits, and it provides lubrication, which helps when pulling long slide tubes. For the oil to work best, it is helpful to warm the tubing that is stuck together. This can be done with a commercial hot air gun or even a blow dryer. Concentrate the heat at the area of the tube that you want to draw the oil to. Put a couple drops of the oil at the joint of the inner and outer tubes (Fig. 1). If you can, also apply a few drops from the inside

36 School Band and Orchestra, April 2011

Fig. 1: Applying penetrating oil.

(through a valve port, for example). The heated part will draw the oil to affected areas. You may need to repeat this if a slide does not easily come free on first attempt. Keep exterior surfaces clean by wiping excess oil off of the instrument. It is sometimes necessary to let the instrument sit for a time, allowing the penetrating oil time to do its work.

Helpful Tools

Fig. 5: Using crook plates.

necessary to unsolder and disassemble the slide to pull the tubes, and may even require rebuilding the slide with new tubes. These are certainly jobs for the professionals.

Fig 3: The crook pin.

The most basic and useful helper in pulling stuck slides is the loop strap. To use a loop strap, wind the strap through the crook and then through itself as shown in the photo. This simple way of holding a slide will keep it from falling to the floor when it pops loose (and it may). You may tug on the strap by hand (Fig. 2), or hold the strap in a

Cleaning

Fig. 4: Crook plates.

hammer supplies shock to the parts (rather than force) and the shock and vibration breaks the lock between the slide tubes (Fig. 5). Occasionally, you may find a slide that the methods described cannot SBOCelloColorAdQuarter:Layout 1 free. When this is the case, it may be

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Fig. 2: Using the loop strap.

bench vice (tugging on the instrument), or use it with the handle that is in the J.L. Smith Slide Service Kit.

Other helpers: Crook Pins and Plates In the aforementioned kit are a crook pin (Fig. 3) and some crook plates. These are made to fit the inside of various sized crooks to use as knock out tools. The pin is sized to remove very tight slide crooks such as the valve slides on trumpets (larger crooks would be damaged by this tool). The strap won’t often fit these small slides. The plates are used for larger slides, and the curvature fits against the crook with proper support (Fig. 4). The pins and plates are mounted to a handle that is tapped upon. Tapping with the

Before reassembling the instrument, clean the slide (both inner and outer). There are a number of ways to do this, but in a band room it would be helpful to brush all of the tubing with a good stiff nylon slide tube brush, and a cleaning snake for the crook. Use warm (but not hot) water, and a degreasing dishwashing detergent such as Dawn. If you are servicing slides that have not been frequently cleaned, you may need to have the instrument commercially and1 then follow 3/15/11 12:06 cleaned PM Page with regular cleaning and lubrication.

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This is particularly true if there are hard deposits on the slides. Commercial repair shops will employ various chemicals to emulsify (to remove grease), decalcify (to remove deposits), and surface treat the brass. Also a growing number of shops have brought ultrasonic cleaning online. And after either a chemical or ultrasonic process, often the technician may use additional methods to produce a uniform surface finish to both the inner and outer surfaces of the slide tubes. The surface finish will have some bearing on the feel of the slide as well as how it holds lubricating grease.

Assembly Lubricate the inner slide tube with a quality commercial slide grease of your choice. Apply the grease around the circumference of the inner slides, and then individually work each inner slide into its outer tube with a twisting-pushingpulling motion. This will insure that both the inner and outer slide tubes are uniformly covered with a thin layer of grease. Next, insert the slide into playing position and wipe off the excess grease. When storing instruments for a long period of time, pull each slide slightly so that later you can either push or pull the slide to free it up. Establishing a regular maintenance routine and schedule for servicing the slides will help keep these vital aspects of your brass instruments in top shape and help stretch your repair dollars by reducing the need for professional repair work. And you may wish to enlist and equip a conscientious student to help with this work.

Jeff Smith is President of J.L. Smith & Co. The Charlotte, N.C.-based company manufactures tools, parts, and supplies for wind instruments sold around the world under the J.L. Smith and Valentino brands. Jeff has been servicing woodwind and brass instruments for over 30 years.

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SBOTechnology: Music Theory

Enhanced AP Music Theory Instruction By John Kuzmich, Jr.

t’s a lucky music student who can take an advance placement (AP) music theory class, especially while

budget axes are swinging. But it takes more than luck to score a 4 or 5 on the College Board sponsored AP exam. And about 33 percent of the approximately 4,000 students who take the exam each year are reaching that goal.

Thousands of strong college-bound high school musicians know it’s worth the effort. A high score can earn college credit, savings, and is a great boost on a transcript. So I asked several teachers who incorporate technology in their AP Music Theory classes to tell us how they help their students get ready for the exam. Each of these educators incorporates technology differently and their individual situations may provide insight on how you can enhance your own music instruction, even if you don’t teach an AP Music Theory class. The teachers I spoke with are Matt Haynes of Danvers High School in Danvers, Mass., Scott Watson of Parkland High School in Allentown, Pa., Brian Timmons at Bergenfield High School in Bergenfield, N.J., Diana Gable at Clearview Regional High School in Mullica Hill, N.J., and Martha Reed at Tucson Magnet High School in Tucson, Ariz.

Creative Projects Synthesize Concepts Scott Watson created his own AP Music Theory class curriculum with an emphasis on developing instructional materials posted on a Wiki. It is also projectoriented, letting students become highly proficient as the technology takes them beyond the content of an average AP Music Theory class. Take a look at this first movement of a four movement operetta, called “The Digestive System,” that one of his AP classes composed and performed in 2009: psdweb.parklandsd.org/watson/videos/The_Mouth.mov.

40 School Band and Orchestra, April 2011

Scott reflects, “I was very interested in something Tom Rudolph said: ‘Another way I have changed over the years is that I have become much more project oriented. I realize that when students work on individual or group projects, they tend to put more of themselves into it than if they are passively listening to me, even if I am giving my best lecture.’ Although there’s more to it than just doing projects, what Tom said is so true. It is a big part of my teaching these days.” Scott has taught an AP Music Theory course at Parkland High School in Allentown since 2002. During his one-year assignment as assistant professor of Music Theory and Technology at Temple University, he taught several levels of written and aural music theory, as well as music technology and composi-

support each unit: recordings, podcasts, PDF worksheets and rubrics, notation examples (images and Noteflight files), and online tutorials. For instance, as I begin a unit on non-harmonic tones, I’ll have students listen to a brief podcast on the topic, then during the unit they pull a notes packet off the wiki and complete it for me, in addition to material in their course text and/or workbook. At the end of the unit, in addition to a conventional test, I have them complete a creative project in which non-harmonic tones are central. These projects always rely on technology to free students to express themselves musically. Of course, all year long sites such as www.musictheory.net and teoria.com are there for review and drilling. I’m really big on solfeging canons, many of which I’ve typeset

“My class is so much further ahead in the schedule

because I’m using technology.” tion electives. It was the best preparation to start the AP Music Theory class at Parkland because he knew what music majors at a college of music were covering in their first year. He recalls, “I looked at the materials available from ETS (www. ets.org/), and based my activities at Parkland almost solely on that experience. Each year all of my students that take the test have received the top scores (either a 4 or 5), entitling them to receive college credit if they choose, so I think I’m on the right track. Many students have told me they felt amply prepared for college theory, often passing out of their first semester of written and/ or aural theory. One student, Dawn, recently emailed me from Syracuse University to say she was the highest-scoring freshman on the theory diagnostic test and could skip Written and Aural Theory 1.” The central resource for Scott’s AP class is a wiki, online at: parklandmusic.wikispaces.com. He explains, “I not only outline the entire year’s curriculum, but I post and link to all sorts of resources to 42 School Band and Orchestra, April 2011

in Noteflight and linked from the Wiki. I also have an 11-level dictation area at the Wiki with more difficult material (both recordings and PDF forms on which to notate dictations), beginning with short step-wise phrases, then longer, more complex melodies. I assign these as preparation for each dictation quiz I give. Also, when I give a dictation quiz if students are absent I just record the class with a handheld recorder (Yamaha Pocketrak) so they can take the quiz on their own with headphones when they return. “One important shift I’ve made in recent years is to incorporate more creative projects that summarize and synthesize concepts we’re covering. For instance, to cap off the study of modes I have each student compose a modal etude. Works-in-progress get mirrored via projector to a large screen in front of the class so I can coach and other students can offer feedback & suggestions. Even though students use tools such as Noteflight or GarageBand to work on their projects, it must be performable and we take

time to have an in-class recital of these projects, making a recording of each to post online. My favorite part of the course is actually after we’ve covered all the content for the year to prepare them for the AP Test. By that point there’s still about four weeks left in the school year and I turn the class over to a student-driven, collaborative Final Project. I am very flexible with what the students choose to create together, but I oversee their progress just the same to keep their focus on quality and maintain forward motion creatively. And, each year, I am very impressed and proud of what they come up with. Past Final Projects have included musical underscoring to narrated witty children’s poems, several themed instrumental suites (seasons, romance, dinner party), and even an operetta called ‘The Digestive System,’ with an original libretto told from the point of view of the stomach, the esophagus, and the upper and lower intestines. Noteflight has been a great tool since students can work alone at home, collaboratively via email, and in class. We can project their sketches on the screen for feedback and criticism. In the end, sometimes we need to export the Noteflight drafts as XML files, and then import them into Finale to finish the job. And, as I mentioned before, we mount an in-class performance when they’re done. It’s usually quite an event with other classes invited and refreshments available. Often we make a video recording and use it later for reflection, self-assessment, and simply to enjoy. You can see samples of these projects at the wiki.”

So Much Farther Ahead Matt Haynes teaches both his high school AP class and an online course for the Virtual High School Global Consortium (VHS). While he had a few hybrid courses in college, he didn’t have any specific technology education. Matt recalls, “My first online course was VHS’s NetCourse Instructional Methodologies

(NIM) course that prepared me to teach online. My online teaching has made my face-to-face teaching much better. Now that I’ve completed NIM, my school has offered professional development around how to incorporate wiki spaces, wiki builders, Google docs and Google groups into our face-to-face class. NIM was really the turning point for me.”He continues, “A lot of what we focus on is geared more towards critical listening because that is a huge component of the AP exam. This could be anything from orchestration to something as complex as, ‘tell me what cadence we just heard.’ I use a lot of audio, such as drop the needle discussions, where I give students pieces of music and ask them to talk very specifically about what’s going on – what time signature are we in, what is the rhythmic motive, what are the tools the composer is using, and so on. I try to be careful about using YouTube.com because of copyright infringement. This is a good lesson for students to let them know that just because it’s sitting out there on YouTube doesn’t make it ok to use for this purpose. When I do use YouTube it’s for critical listening and analysis and I will embed YouTube videos and screencasts into the Desire2Learn platform, which is what the course is delivered on. “The website I have found to be most helpful is Noteflight.com. It saved me because I wasn’t sure how I was going to manage written assignments; particularly writing music easily and enabling students to turn it in. Noteflight has been perfect for this. I have master copies of all worksheets and make them available to the students. In Noteflight, they click on the master and open a copy, edit the copy and hand in their assignments. This has made things completely paper-free, no scanning required and enables lots of good sharing and peer-editing. I regularly use Practica Musica for music theory which has sample AP tests included in their software for ear training. I also use and recommend a free tool called Teoria.com, which students use for at-home

practice since they can’t take MacGamut home. It has a lot of the same exercise as MacGamut and students are able to work at their own pace. MacGamut is good for ear training and students get the software in their course media kit and installed on their computer. MacGamut helps them achieve certain levels each week that correspond to their textbook assignments. “Some of the tools that I use are the Virginia Tech Online Music Dictionary, which I have found to be the most comprehensive, class blogs, Wikis, and the Wimba voice board, an internal podcaster. VHS subscribes to Wimba. It’s a private, external tool that no other students see and is built into the course. It’s really helpful because it enables students to record their site reading practice. I have one teaching block dedicated every day to my VHS course. It was a lot of work to put the course together and is even more work to manage it, reflect on it, and keep kids hooked into the course. However, it’s worth it. I can’t say enough how much it has improved my planning and teaching overall. This course is a little more difficult because not only do I have oversight from VHS, but also from the College Board since this is an AP course. They have to approval all syllabi, textbooks and what’s expected on the AP exam in May drives everything we do. “It would take me longer to do the things I need to do without technology. My class is so much further ahead in the schedule because I’m using technology. The biggest challenge in doing this, especially in the first year of this course, is screen time. Both myself and the kids are putting in a lot of screen time so my biggest challenge is pacing the kids and getting the work done without spending 24/7 in front of the computer. However, I do think it will even out as we go into the second year of the course. “Keeping track of students isn’t a challenge thanks to VHS and Desire2Learn. D2L provides me with data around how long students are spending online in the course, pages they have School Band and Orchestra, April 2011 43

His ed e

e s -

t p

ted re.

gone to, discussions they have participated in, and more. I can quickly see how long they have or have not been online so you immediately know who is participating and who isn’t. In the online classroom, we have external tools and websites (see above) that provide a sort of digital lab. Ordinarily, I think it would be a challenge incorporating technology. However, I have the bonus of using tools provided by VHS, so cost isn’t much of an issue.”

Listening and Writing Diana Gable has taught AP Theory at Clearview High School in Mullica Hill, New Jersey for five years. “I teach the class in a piano lab,” she says. “We have keyboards and computers. I find that I use technology much more in the Theory I class which is all about the fundamentals, melody writing, and a little harmonization. For AP, I use Finale for notation and Musition/Auralia for drills. We are using the Musicians Guide Series,which comes with scores and recordings. Check out www.musictheory.net – it’s a tremendous resource. I supplement with exercises from Benward, Koska-Pain, Aldwell-Schacter, and Barron’s practice test book. We do a lot of listening and writing, so pencil and staff paper are still a must. My school website has a lot of links and sites that we use for reference and practice. To see them, go to www.clearviewregional.edu, click on “high school home” and then “faculty sites”, then my name in the left-hand column.

Differentiating Instruction Brian Timmons teaches AP Music Theory at Bergenfield High School in Bergenfield, New Jersey. “The most beneficial workshop I attended on AP Music Theory was an AP Conference offered by The College Board,” he notes. “While we only briefly addressed the implementation of technology in our courses, the instructor, Richard Zweier, was very tech-savvy and utilized a laptop and projector with a multimedia presentation for our class. Technology is a wonderful way to differentiate instruction. Using ear training software, such as Auralia, allows students to move independently at their own pace while still benefiting from the coaching of the teacher.” Brian continues, “For web-based instruction at school and home, www. musictheory.net is a great resource for home practice. My students will complete drills and then print out progress reports to verify their homework. When students need staff paper for old-fashioned pencil and paper writing, people.virginia.edu/~pdr4h/musicpaper/ has many layouts for composing.” Practica Musica has sample AP tests included in their software for example as does ear training software, Auralia and their music theory software, Musition, which is also good for differentiated instruction. While software is often cheaper than paper textbooks, we still use a physical textbook and workbook,

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Elementary Harmony by Robert W. Ottman. Technology supplements our traditional materials very well. “To help make technology function well in a music lab, we are using the Korg GEC3 controller and Apple Remote Desktop,” says Brian. “It allows me to visually and aurally monitor how students use any of the music theory websites or applications. In addition to providing feedback, it helps them to stay on task because they know they are being observed. We also have studio monitor speakers, an iMac with an M-Audio ProKeys Sono 61 keyboard at each of the 16 workstations, a Korg GEC3 Controller for audio, and a SmartBoard interactive whiteboard.”

Closing Comments This is just a sampling of the hundreds of dedicated music teachers who are preparing thousands of students for this year’s Advanced Placement exam. Creatively incorporated technology plays a role. Additional resources and AP music-related websites can be found at www.kuzmich. com/SBO042011.html. And congratulations to Scott Watson, who has had close to 95 percent of his AP students who chose to take the exam achieve a 4 or 5 over the past six years!

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America. For more information, visit www.kuzmich.com.

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Selections

New Music for

Intermediate Concert Band by

Vince corozine

his article is a review of music for intermediate concert band. Selections

touched

upon include new music for grade levels three and four, followed by established favor-

ites at grade three. Each title reviewed has merit as a composition that is recommended for performance, and should be listened to online.

46 School Band and Orchestra, April 2011

“Andromeda” – by David Shaffer (C.L. Barnhouse Company, Grade Three) This piece is a high-quality addition to the concert band literature for developing bands. Named after the mythological princess, the Andromeda spiral galaxy is approximately 2.5 million light years away and one of the brightest objects in the sky. This composition paints a musical image of this spectacular celestial body. This bold and dramatic piece opens with 18 measures of exciting and crisp marcato-style brass flourishes. An effective imitative build up of sound leads to the lyrical main theme stated by the woodwinds. In a total change of mood, this lyrical theme is in stark contrast to what was heard earlier. A brief brass fanfare interlude again leads to the lyrical motive, this time expertly conceived with different instrumental coloring. This expressive motive is woven throughout the piece in contrasting styles and musical colors. A lyrical middle sec-

tion creates a antiphonal dialogue between the woodwinds and solo brass instruments. Encouraging students to play solos within the confines of the full band is an excellent way to instill confidence and allows the transparency of the music to come forth. This piece is also a good way to teach fp and crescendos. “Andromeda” expands to a full and vigorous tutti before returning to the energy of the original “bright” tempo. The expressive theme is brought back and builds in intensity leading to a powerful coda bringing the entire work to a dramatic conclusion. A large percussion section is required for this piece, consisting of timpani, plus six percussionists which include: xylophone, marimba, vibraphone, chimes, bells, snare and bass drum, tambourine, and numerous auxiliary percussion. The composition is scored for two of the following parts: clarinets, trumpets, and trombones, and one part for the horn in F. Andromeda is an excellent concert piece for developing bands. Note: a partial audio version is available at J.W. Pepper online.

“Hadrian’s Wall” – by Robert W. Smith (C.L. Barnhouse Company, Grade Three) Hadrian’s Wall is one of the great

fluences creating a unique and powerful musical statement for the concert band. The lyrical opening unaccompanied solo by the alto saxophone should be played freely and with expression. Dark ominous sounds, which emanate from the ensemble following the saxophone solo, produce a somewhat menacing and dramatic effect. The composer has written some appealing moving lines for the horns and saxophones. The piece begins at quarter note = 72 and accelerates in increments of quarter note = 80 to 112, and then returns to a tranquil, flowing section at quarter note = 88. During the quiet, legato section simultaneous solos for flute and alto saxophone create a conversation played against an open-fifth pedal point in the woodwinds. From here the piece builds in intensity with frequent pedal-points in the lower instruments. An intense, vibrant section at a quarter note = 144-152 follows. This stirring section deftly returns to the ominous sound at quarter note = 80. The piece concludes building in intensity and increasing in tempo ending with thrilling splashes of marcato chords. Instrument ranges are comfortable and certain parts are limited to two players: clarinets, trumpets, and trombones, and there is one part for horn in F. Four percussion parts including timpani are necessary and clarity in the percussion section is required throughout the piece. The piece employs the use of grace notes, sfz, and rescendos. It is an excellent addition to the band repertoire. Note: An audio version is available on You Tube with the Middletown High School Band.

“Flight of the Piasa” – by Robert Sheldon (Alfred Music, Grade Four)

monuments to the power of the Roman Empire. The 73-mile wall was built by the Roman emperor Hadrian in A.D. 122. The characteristic themes bring forth both Roman and Celtic in-

The legendary Piasa is an enormous, graceful winged bird-like creature. This heroic-sounding overture is a well-crafted piece of music that expresses the power of the formidable creature and those who challenged it. It is transparent in texture and the composer understands how to write for student groups and achieve successful results. The piece begins with Presto, quarter

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note = 152, in the key of E♭ major, and leads in imitation to the first theme. Rhythmic punctuation in the low brass adds intensity to the general sound. The demand for dexterity and agility exists in the woodwinds as they actively play sixteenth note scales in the key of F major, while the percussion provides interludes of activity connecting the phrases. The tempo remains at 152 until the gentle contrasting theme begins in B♭ major, where tempo slows to quarter note = 77. In this section, there are numerous short solos for oboe (clarinet cue), trumpets one and two, euphonium (trombone cue), flute, alto saxophone, and clarinets. This is a wonderful way

to help students gain confidence in solo playing within the band, thereby freeing them from the protective custody of the ensemble. This effect allows the music to “breathe” resulting in lighter, transparent scoring. Instrument ranges are as follows: Flute to high “A”, trumpet to written “A” above staff, euphonium to “G” above staff (cued for bassoon) and horns to “G” above the staff. A return to quarter note = 152 occurs and leads to a very effective modulation from the key of B♭ major back to E♭ major highlighting the start of the last section. The ending brings forth the significant use of pedal-points, where the composer uses a G♭ major triad over an F pedal resolving to the final F major chord. Imitative entrances and soaring melodic lines for the unison horns provide diversity of scoring and allow the students to hear high-quality, cleanly 48 School Band and Orchestra, April 2011

written contrapuntal lines. “Flight of the Piasa” is a very effective piece of music that is superbly crafted by a composer who really does understand the limitations and playing capabilities of student musicians. Note: Audio versions are available on YouTube.

“The Symphonic Gershwin” – arranged by Warren Barker (Belwin Band Publishers/Alfred Publishing, Grade Four) The opening four measure pyramidal effect culminates in a majestic statement of the theme from “Rhapsody in Blue.” The tempo is a brisk alla-breve half note = 132. The first selection in this medley of songs is the delightful and jaunty “An American in Paris,” (which portrays an American tourist strolling along the streets of the city of lights.) The style, light and spirited, creates momentum and brings forth a flute solo, doubled an octave lower by the bassoon (tenor sax cue). This tutti section presses on in a steady way with a lot of rhythmic imitation and a couple of taxi horn effects in the trumpet section. A solo on the clarinet and F. horn usher in the sultry and mournful Blues theme, played by a solo trumpet. This should be performed with great warmth and expression. When this section modulates up from A♭ major to B♭ major, the full sound of the ensemble elevates one’s spirits to a glorious level. The next section is the famous “Rhapsody in Blue” theme taken at a tempo of quarter note = 160. This spirited section brings forth solos for alto saxophone, and baritone horn. These solos should be performed freely. There is a superb balance of sound in the woodwind section as they bring forth the main theme. This is soon followed by the ensemble singing the theme against a second theme played in counterpoint with the baritone horn and woodwinds. The third and last section is “Cuban Overture,” a bright rumba that sneaks in and builds in intensity. The bass line must be played lightly and not be overbearing. With the addition of Latin American instruments, this section develops into a fiery Latin dance. The medley ends with an extended pyramid

with a D major triad over an A♭ triad, which rhythmically builds in power from p to ff, and ends with precision and fervor as it resolves to a short D♭ major chord. This piece should be performed with rhythmic intensity and precision. Close attention must be paid to the dynamic contrasts. “The Symphonic Gershwin” is a jewel in every sense of the word. Students should be exposed to the great American music of the past and George Gershwin’s music certainly deserves a hearing. Note: Audio versions are available on YouTube.

“Jubiloso” – by Robert M. Panerio (Southern Music Company, Grade Three) “Jubiloso” is a composition that brings forth a freshness of sounds and introduces students to contemporary polytonal sounds. It utilizes manageable rhythms and comfortable instrument ranges. A slow introduction of eight measure leads to an Allegro quarter note = 140. The percussion are active throughout most of the composition and must be tempered so as to not dominate the sound of the other instruments. The brass cleverly steal a variation of the theme from the woodwinds and create numerous polytonal chords leading to a tutti section where all instruments are actively moving quickly and with precision. A pedalpoint in the woodwinds and low brasses usher in stacked chords in the upper brass. This effect continues to build to a slower section marked Adagio. The Adagio section is written using tonal harmonies with many innermoving lines. The dynamic level of mp should be adhered to in order to achieve the sonorous, flowing effect of this section. Finally the resonant Allegro section returns with gusto and bravado of style. The piece ends vigorously and forcefully on a D major triad over a C major triad. “Jubiloso” is a superb piece of music and a great vehicle to teach the concepts and sound of polytonal music. The tonal palette is dissonant, but the rhythmic effects and effectual scoring make this a wonderful concert piece.

“Parade of the Tall Ships” – by Jay Chattaway (William Allen Publisher, Grade 3.5) This piece was written to commemorate a large gathering of tall sailing ships on a July 4 holiday. This march begins with a fanfare stated by the brass leading to a perky and mischievous nautical melody played by the flutes and piccolos. This is followed by calls from the horns and cornets. This imitation of the horn calls continues for several measures, while a moving pedal-point in the upper woodwinds stabilizes the sound of the melody brought forth by the horns (cued in cornets). The cornets are required to play numerous sixteenth notes using sharp precise tonguing by proficient players. The rhythmic intensity in the drums continues throughout most of the piece, and the snare drums must not dominate the rest of the ensemble. The main theme is tossed like a wave back and forth in the brass section followed by a restatement by the high woodwinds. This is accompanied by rhythmic punctuations in the lower brass and woodwinds. These low brass articulated rhythms must be played in a marcato style, with proper separation between notes. The composer makes use of numerous suspended chords and pedal-points throughout the composition, as well as the frequent use of sequences and imitative entrances in close proximity. Changes of tempo indications are quarter note = 92, 112, and 100. Particularly effective is the piccolo and flute playing an impish-sounding melody over an open fifth pedal-point while the snare drum plays an agitated rhythmic figure. The piece unfolds with an exciting ending. “Parade of the Tall Ships” will make an outstanding contribution to any concert. Note: Audio versions are available on YouTube

and the effect of this musical two-part form with trio of a busy, nittering, nattering little group of people exchanging the latest bits of news and gossip in a never-ending rush of words and exclamations. This tongue-in-cheek piece is a very well written transcription of a piece by Johann Strauss. It is a delightful change of pace for programming and would be a superb encore piece. The dynamic contrasts and the perky, lighthearted woodwind writing gives this piece buoyancy and charm. Observing the contrasts in dynamics is essential to achieving a proper performance of this charming and slightly sassy piece. Instrumental ranges are comfortable for all players, and the horns are relegated to playing typical after-beats throughout the piece. Tritsch-Trasch Polka is a fun piece for all and a wonderful addition to any program. Note: Audio versions are available on YouTube

Vince Corozine has served as director of Music for the Peekskill, New York City schools, associate professor of Music at the King’s College in Briarcliff Manor, N.Y., and director of Music Industry Studies at Elizabeth City State University in Elizabeth City, N.C. He performed and arranged for the USMA Band at West Point and served as music director for the annual Thanksgiving Day Parade in Philadelphia, Pa. for WPVI-TV (ABC-Disney) for 10 years. Vince is the author of Arranging Music for the Real World, (Mel Bay). He records professionally in New York, Toronto, Philadelphia, Hong Kong and China, and currently teaches 12 music arranging courses online. www.vincecorozine.com

NEW MANHASSET® Harmony Stand Model # 81

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“Tritsch-Tratsch Polka” (Chit-Chat Polka) – by Johann Strauss, arr. by Alfred Reed (C.L. Barnhouse Company, Grade Three) “Tritsch-Trasch” means chit-chat or gossip in the Viennese popular dialect, School Band and Orchestra, April 2011 49

NewProducts Band Room’s Violin/Viola Rack

The new Band Room Violin/Viola Rack enables music and concert band teachers to store their students’ violin and viola cases in an attractive and durable rack while making the instruments quickly and easily accessible in a classroom or studio. The Band Room’s Rack is designed with stability and durability in mind, and holds 20 or more Violin/Viola cases of various sizes and shapes. Among its many benefits, the Rack eliminates scuffed walls, cluttered classroom floors, and crowded band closets, and enables students and players to quickly access any one of the violin/viola cases while preventing the accidental toppling of others. The rack features lockable casters to enable teachers and band directors to easily move the cart as needed – even through 33” doors – and to then lock it in place. The Band Room Violin/Viola Rack is approx. 63” long X 52” high X 29” deep.

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Expanded Acoustical Shell Offering from Wenger

Building on the flexibility and acoustical performance of the Legacy® Acoustical Shell, Wenger Corp. now offers the choice of three Legacy models – Basic, Classic, and Select – to better suit different applications, aesthetics, and budgets. To easily raise and lower the shell, the Basic and Classic models feature

50 School Band and Orchestra, April 2011

a simplified hand-crank lift mechanism. These two models are intended for small auditoriums, gymnasiums, cafeterias, and recital halls, and are available with adjustable tower height and canopy angle to better suit music groups of various sizes. The Classic model’s larger height provides approximately 15 percent more reflective surface coverage than the Basic model. The Classic model is offered in four solid colors; the Basic model is available in Oyster finish.

The Select model is intended for onstage use with an overhead ceiling system in a small auditorium or recital hall. Its curved panels are available in any Sherwin Williams paint color or Wilsonart laminate. All Legacy Shells feature fast, oneperson setup; they nest together compactly for storage and roll through a standard 34” (86 cm) by 80” (2 m) door.

www.wengercorp.com.

Reason Record Education from Propellerhead

Propellerhead recently released Reason Record Education for sale – new packages consolidating the Reason Record application suite at a special price for schools and institutions. Available in license packs of 1, 5 and 10, Reason Record Education pairs the world-renowned, award-winning music production environment Reason with Record, the recording software for musicians. In the classroom, the Reason and Record combination has many distinct advantages over other music software

programs, allowing students to focus on music creation and production, not system maintenance and software incompatibilities. Students can freely experiment and find solutions to audio problems while maintaining creative flow during music production, invariably spending more time on their projects and assignments. Reason and Record’s studio simulation metaphor allows students to configure (and reconfigure) a complete sound studio, selecting and wiring audio processors and generators, while the large format console model provides a rare chance for students to prepare for work in large, professional studios. Propellerhead’s network multilicense system lets schools install the Reason and Record on as many computers as they like. With an Ignition Key connected to the USB port on a server or a computer on the network, the system will allow students launch the software on any computer on the network until the license limit is reached.

www.propellerheads.se/education

Audio-Technica U851RO

Audio-Technica recently released the new U851RO Omnidirectional Condenser Boundary Microphone. Featuring breakthrough audio and mechanical design innovations, the phantom-powered U851RO offers outstanding speech intelligibility and transparent sound quality for surfacemount applications. Such applications include high-quality sound reinforcement, professional recording, television, conferencing and other demanding sound pickup situations. The U851RO’s small-diameter UniPoint® capsule near the boundary eliminates phase distortion and delivers clear, high-output performance. The

NewProducts

unit is equipped with a PivotPoint® rotating output connector, allowing the cable to exit from either the rear or the bottom of the microphone; a UniSteep® filter, which provides a steep low-frequency attenuation to improve sound pickup without affecting voice quality; and UniGuard® RFIshielding technology, which offers outstanding rejection of radio frequency interference. Self-contained electronics eliminate the need for an external power module. It accepts interchangeable condenser elements in cardioid and hypercardioid polar patterns. The U851RO features a lowprofile design with a low-reflectance black finish for minimum visibility, in addition to a heavy die-cast case and silicon foam bottom pads to help minimize coupling of surface vibration to the microphone. The U851RO’s lowprofile element provides a uniform omnidirectional polar pattern with a 360-degree acceptance angle.

accomplished this without sacrificing the dark, woody, and mysterious sonorities traditionally associated with such a primordial instrument! Compared to ordinary log drums, Grover Pro log drums feature increased resonance, superior tonal quality and unparalleled craftsmanship. Imported Baltic birch is used for the resonator box, chosen for strength and tonal stability. Meticulous dovetail joinery employed on every Grover log drum continues a long standing tradition started by New England wood craftsmen centuries ago. The “double curve” CNC machined padauk soundboard is specifically designed for maximum tonal clarity and focus of sound. These new log drums have been added to Grover Pro’s world renowned line of professional percussion products at the specific request of top profes-

sional percussionists, who, until now, have been unable to find professional quality, American made log drums, capable of the musical expression required by the world’s finest musicians.

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New Wind Band Select Works from Theodore Presser

Theodore Presser Company has added two new works to its Wind Band Select series. A prolific composer who blends Chinese and Western traditions, Chen Yi present “Wind,” a work which uses the Western sound of a wind ensemble to depict the Eastern feeling of the winds, or “feng,” in two movements: “Introduction” and “Rondo.” In addition, Valerie Coleman, founder of the Grammy Award-winning wind quintet Imani Winds, has written “Roma,” a sophisticated, beguiling work for wind band, meant to depict the language of the Romani people. Their traditions, their language (Roma), legends, and music stretch all over the globe, from the Middle East, the Mediterranean region, and the Iberian Peninsula, across the ocean to the Americas. Roma is a tribute to that culture, in five descriptive themes, as told through the eyes and hearts of Romani women everywhere: “Romani Woman,” “Mystic,” “Youth,” “Trickster,” and “History.” The melodies and rhythms are a fusion of styles and cultures: Malagueña of Spain, Argentine Tango, Arabic music, Turkish folk songs, 3/2 Latin claves, and Jazz. Wind Band Select full scores are now published in 11” x 17” spiral-bound format for conductors’ ease of use.

www.windbandselect.com.

www.audio-technica.com

Padauk Log Drums from Grover Pro

Grover Pro Percussion Inc. has announced the release of their new line of professional level concert log drums. Grover Pro has taken log drums out of the primitive environs of the jungle; refining their sound and appearance to meet the demands placed on today’s professional percussionist. Grover Pro School Band and Orchestra, April 2011 51

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