School Band and Orchestra by SBO School Band & Orchestra

DECEMBER 2011 $5.00

Barry Manilow

Changing Lives

Through Music Report: 50 Directors Who Make a Difference Performance: Trumpet Basics

Contents 10

Features 10

FROM THE TRENCHES: DEAR SANTA Bob Morrison is back with his annual holiday wish list for influential figures in music education.

PERFORMANCE: TRUMPET BASICS Paul Copenhaver presents performance tips for young trumpet players.

UPCLOSE: BARRY MANILOW In an exclusive conversation with SBO, iconic entertainer Barry Manilow talks about how his foundation, the Manilow Music Project, aims to “help young people bring music into their lives,” while also detailing the formative role that a public school orchestra program played early on in his own career.

GUEST EDITORIAL: SOUND ADVICE FROM THE PITCH Frequent SBO contributor Kenneth Wayne Thompson of Bowling Green University examines the similarities between lessons youngsters learn in music ensembles and playing “the world’s sport,” soccer.

REPORT: 50 DIRECTORS WHO MAKE A DIFFERENCE In this 14th annual report, SBO checks in with 50 outstanding music educators from an incredibly diverse array of geographic and demographic settings.

TECHNOLOGY: PLAY-ALONG SOFTWARE John Kuzmich looks at the latest accompaniment and play-along tools.

December 2011

Columns 4 6 67

Perspective Headlines New Products

69 70 72

Playing Tip Classifieds Ad Index

SB&O School Band and Orchestra® (ISSN 1098-3694) Volume 14, Number 12, 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, December 2011

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Perspective

Stamp Out Hazing

azing has typically been associated with fraternities and sororities on college campuses around the country. Yet, according to StopHazing.org, it is well documented that it also occurs within sports teams, religious organizations, clubs, and other groups. Unfortunately, hazing is also insidiously pervasive in school music programs. Recently, a drum major at the famed Florida A&M Marching 100 is presumed to have died as the result of a hazing episode. The band’s longtime director, Dr. Julian White, was fired and the band program was shut down due to ongoing investigations of the incident. In White’s defense, he did alert his superiors and take action following an earlier hazing incident. Baynews9 recently reported, “In the weeks before the Florida Classic in Orlando, FAMU’s band director, Julian White, says he reported a case of hazing in his clarinet and trombone sections. In a letter released Friday, November 25, White says he forwarded the information to all of the superiors, and a FAMU police investigator. He also banned 26 people from taking part in the Florida Classic for participating in hazing activities.” However, according to the Huffingtonpost.com “This frightening on November 23, there has been a history of such cases at fact suggests that the school, including one in 2001 when, “former FAMU band the hazing may be member Marcus Parker… suffered kidney damage because of going on right in a beating with a paddle.” Most often, hazing in school bands has been nothing more our own community than harmless pranks set upon unsuspecting freshman or even or school.” simply through threats that are never actually carried out. On rare occasions, however, thoughtless students come up with ways to physically or emotionally abuse another student to the point where serious injury (either physical or emotional) or even death occurs. Simply put, hazing at any level is unacceptable. The hazingprevention.org website points out that nobody really knows the entire background of each and every student, which could include incidences of physical or mental abuse, bullying, alcohol or other addiction, post-traumatic stress syndrome, or any other number of disorders or issues that could cause a student to become highly traumatized through hazing. Hazing is now taken so seriously that 44 states have put laws in place banning such behavior. However, many of those narrowly define the act of hazing as involving postsecondary fraternal organizations, and most don’t include high schools in the description. An even more disconcerting statistic is that “95 percent of respondents believe that most people do not report hazing incidents” (insidehazing.com). This frightening fact suggests that hazing may be going on right in our own community or school and that it won’t come to the forefront until a serious injury – or worse – occurs. There is a wealth of effective information available on the Internet, including sites like insidehazing.com, to help determine if hazing is occurring among students, and provide guidance for students, parents and educators on this topic. It is critical to do all that is possible to protect students from this destructive behavior as even a minor incident has the potential to lead to lifelong damage…

December 2011 Volume 14, Number 12 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff

EXECUTIVE EDITOR Christian Wissmuller

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EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Matt Parish mparish@symphonypublishing.com Art Staff

PRODUCTION MANAGER Laurie Guptill

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

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School Band and Orchestra, December 2011

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HeadLines Broken Arrow Wins Bands of America Championships Nearly a hundred of the best marching bands in the country performed in the November’s Bands of America Grand National Championships at Indianapolis’s Lucas Oil Stadium, presented by Yamaha. Oklahoma’s Broken Arrow High School came away with the event’s top honors, followed in ranking by Avon (Ind.,), Carmel (Ind.), and The Woodlands (Texas). The wide-ranging event saw 92 bands from Indiana, Ohio, Illinois, Kentucky, Michigan, Wisconsin, Missouri, Tennessee, Alabama, Louisiana, North Carolina, South Carolina, Texas, Oklahoma and Pennsylvania converge on Indianapolis for the championship. Four college bands performed in exhibition as well: Marian University, the Indiana University Marching Hundred, the University of Massachusetts Minuteman Marching Band, and the Indiana State University Marching Sycamores. To view complete results, visit www.musicforall.org.

NAfME and EAMA Form New Collaboration

he National Association for Music Education (NAfME) recently announced an agreement with noted American composer Philip Lasser and the European American Musical Alliance (EAMA) to boost the benefits of participants in next year’s Student Composers Competition. As a result of this agreement, all student compositions entered in the 2012 NAfME Student Composers Competition will receive an evaluation written by one of select composers from across the country. Lasser will lead a composition session for the competition winners and music educators who attend the NAfME Composition Academy, part of Music Education Week in Baltimore, Maryland in June, 2012. Competition winners will receive a cash prize provided by the European American Musical Alliance, which is directed by Lasser. Winning compositions will be performed in a Millennium Stage Concert at the John F. Kennedy Center for the Performing Arts. A distinguished member of the faculty at The Juilliard School since 1994, Philip Lasser’s compositions have been performed by the Seattle Symphony, the New York Chamber Orchestra, Cho-Liang Lin, Simone Dinnerstein, Margo Garrett, and Zuill Bailey, among others. His works have been featured on New York’s WQXR, and have been broadcast on NBC-TV, National Public Radio, Britain’s XFM, and RTHK Radio Hong Kong. The European American Musical Alliance (EAMA) is a not-for-profit organization committed to fostering and promoting the classical arts. Each summer in Paris, France, the EAMA offers intensive music programs taught by professors from The Juilliard School, Indiana University, Mannes College of Music, Westminster Choir College, and other conservatories in the U.S. and abroad. The high school winner in the NAfME Student Composers Competition will be considered for acceptance into the EAMA Summer Music Program. For more information, visit www.nafme.org.

6 School Band and Orchestra, December 2011

Drum Major Death Leads to Hazing Investigations The college marching band world was rocked by the recent death of Florida A&M drum major Robert Champion and the subsequent dismissal of its longtime band director, Julian E. White in events surrounding controversial hazing incidents in the school’s program. According to Associated Press reports, Champion collapsed on a bus in Orlando after performing at a game against rival school Bethune-Cookman on November 19. He died at a nearby hospital and, though no further details had been released at press time, it has been noted that his condition was a result of hazing. Julian E. White had directed the FAMU’s famous “Marching 100” band since 1998 and led them through performances at the Super Bowl, the American Music Awards, CBS News, and the Grammy Awards. He is currently appealing his dismissal in order to keep his position as director of bands.

Join SBO at NAMM for the

“Best Tools for Schools” presentation

In January of 2012, SBO will be presenting the third annual Best Tools for Schools at the Winter NAMM Show in Anaheim, California as part of the NAMM Foundation’s Music Education Days. Music educators attending the show are invited to grab a ballot – provided by SBO and NAMM – and walk through the exhibit halls at North America’s largest music products convention looking for the best products and tools for classroom use. Ballots must be returned to the SBO booth on the afternoon of Saturday, January 21. On Sunday, January 22, SBO and a panel of distinguished educators will then present the 2012 Best Tools for Schools at NAMM’s Idea Center. If you are planning to attend the show and you’re interested in participating, email editor Eliahu Sussman at esussman@symphonypublishing.com to learn more!

HeadLines DCI Corps Now Holding Auditions for 2012 Season

nits that compete on the Drum Corps International summer tour are now holding auditions through the end of December. Approximately 50 competitive DCI corps are located throughout North America, representing more than 20 states and several Canadian provinces. DCI’s competitive rules allow performers to march until they reach age 22. To march during the 2012 season, applicants must have been born on or after June 1, 1990. Marchers over the age limit can consider marching in an all-age corps affiliated with Drum Corps Associates. There are several events already planned for the 2012 season, including West Coast tours from the Boston Crusaders and the Phantom Regiment. Phoenix’s marching corps, The Academy, is planning on performing at five more competitions this year than last year, and three groups – the Vanguard Cadets, the Revolution, and Forte – will be lead by new directors in the 2012 season. For more information, including specific audition times and locations, visit www.dci.org.

Efforts Under Way for Another Boston-Area El Sistema Program

oston school programs recently united for a joint concert to gain support for an after-school El Sistema music program in the Boston neighborhood of Somerville, Mass. The free concert took place at the Somerville Public High School Auditorium and was organized by Arlington chart school the Conservatory Lab to bring an El Sistema-inspired núcleo to Somerville public schools. The proposed program would function as an everyday afterschool instrumental ‘during the day’ program. The Conservatory Lab lead the local charge in the advocacy for the globally acclaimed music education program. As the only elementary school in the US that fully implements the program of music education for all students – they’ve extended school hours to ensure that every student receives music instruction and education – the school says that its seen performance go up across the board, from musical skills to standardized test scores. The push comes on the heels of last month’s announcement that neighboring Cambridge, Mass., will soon also host an El Sistema-inspired program entitled “Take a Stand” and run by the Longy School of Music in collaboration with New York’s Bard College and the Los Angeles Philharmonic. For more information on the Conservatory Lab, visit www.conservatorylab.org.

Museum of Making Music Unveils ‘Roots of Reeds’ Exhibit

he Museum of Making Music in Carlsbad, Calif. has revealed details on its latest special exhibition, “Roots of Reeds.” The exhibit delves deeper into the global history of reed instruments and their impact on contemporary music. The rich and varied history of reed instruments, whose modern day counterparts include clarinets, oboes, harmonicas and saxophones, dates back centuries and touches many countries and cultures. The Roots of Reeds exhibition presents an overview of reed instruments and explores their ancient roots in the Middle East, Persia and Asia, and the evolution of reeds into the instruments commonly played today. The Roots of Reeds exhibition will be on display through March 2012 and is accompanied by a series of special concerts by highly acclaimed musicians, including James Cotton, Howard Levy, Sounds of the Jungle Temple, and Dr. A. J. Racy. Learn more at www.museumofmakingmusic.org. School Band and Orchestra, December 2011 7 Trevor James Ad_SBO_2011.11.indd 1

11/15/2011 8:11:31 AM

Hofstra’s Peter Boonshaft Wins 2011 George N. Parks Award

he National Association for Music Education announced that Peter Boonshaft, Professor of Music and Director of Bands at Hofstra University in Hempstead, New York, is the recipient of the 2011George N. Parks Award for Leadership in Music Education. He was given the award at the Bands of America Grand National Championships in Indianapolis in November. Developed by NAfME and Music for All, the award is named for George N. Parks (1953–2010), director of the University of Massachusetts Minuteman Marching Band at the University of Massachusetts Amherst from 1977 until his death. Considered a national authority on drum majoring, he led the George N. Parks Drum Major Academy, a summer workshop program for high school drum majors. For more information, visit www.nafme.org.

LudwigMasters Buys Brook Publishing

udwigMasters Publications has recently purchased Brook Publishing, a company known for percussion books such as Here’s the Drum by Emil Sholle. All of the Brook Publishing books can now be found in the LudwigMasters catalog. LudwigMasters is located at 6403 West Rogers Circle, Boca Raton, Florida and online at www.ludwigmasters.com.

If you come across headlines or breaking news that you want to share, e-mail editor Eliahu Sussman at

esussman@symphonypublishing.com! 8 School Band and Orchestra, December 2011

SBOFrom the Trenches

The Annual Music Ed Wish List for Santa By BoB Morrison

Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. In addition to other related pursuits in the field of arts education advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Hollandâ&#x20AC;&#x2122;s Opus Foundation. He may be reached directly at bobm@artsedresearch.org.

10 School Band and Orchestra, December 2011

t has been a really busy, harried, controversial, and challenging year for most of us. And if you are like me, you are ready for a well-deserved break. But before mine starts, I have one last task to complete: my annual Christmas Wish

List for Santa!

Dear Santa, As I have for the past eight years, I would like to forgo any gifts for myself and instead recommend a list of gifts for others who could certainly benefit from some thoughtful presents. Yes, some have been naughty and some have been nice. But everyone deserves something, right? So without further adieu, please deliver the following gifts as soon as possible:

For Congress: A calendar and a watch. The Obama administration has done an end-run around congress by allowing states to apply for waivers from the daunting No Child Left Behind legislation. This has happened because Congress is not only late taking action on the lawâ&#x20AC;&#x2122;s reauthorization, they are four years late. Come on, guys (and gals). What

the heck are we paying you to do in Washington – go to dinner with lobbyists? I can’t wait for the first state to be awarded waivers from NCLB (which would dub most schools in the US as failing by 2014 if nothing is done) since this would be followed by the requisite lawsuits! At this rate, the law will be reauthorized when my grandchild starts high school, and I don’t even have a child old enough to have provided me with a grandchild!

For the Presidential Candidates: Box set of the 2008 Presidential Primary Debates or a new candidate. Yes, I know I asked for this last year, but this request obviously went unfulfilled. 2008 was the first time in our history where we had a majority of the presidential candidates speaking eloquently about music and arts education and the need to help support the arts in schools. This is not the case with our current crop of candidates. Actually, they have all been scarily silent! In fact, these folks couldn’t spell “arts” if we spotted them an A-R-T and an S. 2008 was an informed discussion about arts education. It is time to remind this years crop of candidates where we stand. Is it too late to draft Mike Huckabee?

For the Arts Education Community: A new narrative. Yes I know we have lost some teachers and our programs are getting squeezed… but the reality is the vast majority of our schools offer music education and nearly 100 percent of our high schools provide these programs. The rumors of our demise have been greatly exaggerated. We need to push back against this notion that music has disappeared from our schools and it is okay to cut arts programs because everyone is doing it. Everyone else is not doing it, so it is not okay. Instead of bemoaning cuts, we need to showcase the prevalence of our programs so we show those who wish to cut programs exactly what they are: out of touch with the majority of schools in the country.

For All Teacher Evaluation Task Forces: A Research 101 course. Using student performance scores to measure teacher effectiveness is an interesting sound bite and certainly has become all the rage for education reform. But as I researcher, I learned a long time ago not to use a measure designed for one thing (students skills and knowledge) for something not really related (teacher effectiveness). If we want to measure the effectiveness of teachers, we need to develop the appropriate measures. The last thing we need to use to measure a music teacher’s effectiveness, which some states have proposed, is how a student performs… in math!

For School Administrators: A new way to evaluate students! Our schools’ rabid obsession with testing is sapping all of the joy out of learning. A wise person once said, “You don’t fatten a pig by weighing it all the time.” And I might add: you do not impart knowledge to our students by testing them all the time. Enough already!

For the National Association for Music Education: A better acronym. I’m sorry, but if you thought NAfME was a better acronym than MENC, I think you might be mistaken. Just as the American Symphony Orchestra League (Acronym: ASOL – say it slowly as a word) switched to the League of American Orchestras

For Ohio State University Marching Band: A new band director. Jon Woods, the man who has led the “Best Damn Band in the Land,” will be retiring at the end of this school year. “For a quarter of a century, Jon Woods has always struck precisely the right note as director of The Ohio State University Marching Band,” said Ohio State president E. Gordon Gee. “Jon’s legacy, like Script Ohio itself, is simply incomparable. We are grateful for his unflagging leadership and countless contributions.” Which means…

For Jon Woods: Our thanks and gratitude! For his years of contribution the University gave him the one of the greatest presents ever… he was selected to dot the “I” in the Script Ohio formation for the final home game – an appropriate tribute to a true leader in music education. Jon Woods has always conducted himself with utmost integrity and class as leader of the Buckeyes. Which is a fitting contrast to:

For the Columbia University Band: A day with Jon Woods. It is certainly clear this group needs some adult supervision. After embarrassing the football team’s players, coaches, alumni, and parents with their, ahem, different rendition of the schools fight song, “Roar, Lion, Roar,” at the conclusion of the football contest against Cornell the Columbia University Marching Band was barred

“You don’t fatten a pig by weighing it all the time.” because of the teasing over those four awkwardly aligned letters, how do you think it will go over as people start saying the letters NAfME slowly and with a certain emphasis? A concerned member pointed this out to me! I am certain this is not what the organization had intended. The betting is now open on how long it will be until the “f ” in NAfME disappears. Even my spell checker wants to remove the “f ”.

from performing at the season’s final game of the season against Brown. Instead of “Roar Lion Roar,” it became “We always lose lose lose; by a lot and sometimes by a little”… and continues while getting increasingly juvenile and tasteless. While it may have sounded good when you were doing pong shots, it was a very bad idea. A day with Jon may allow enough class to rub off on you to keep you from being, well, banned!

School Band and Orchestra, December 2011 11

For Tulsa, Oklahoma: A bottling company! I am not really sure what is in the water out there, but after having three Tulsa high school marching bands placing in the top seven bands at the Bands of America Grand Nationals (Broken Arrow, Union, and Owasso) it must be something really good. Could it be that the center of the Marching Band Universe is shifting west from Indianapolis to Tulsa? Only time will

tell! But in the mean time, I’ll take a truckload of whatever water they are drinking! And while I am at it a big shout out to Darrin Davis, James Stephens and the entire Broken Arrow High School Marching Band for their Grand Nationals Championship!

For Representative Gabby Giffords: The life-long gift of music! Less than a month after she was shot in the head, Giffords met with

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I know many of you, like me, have used or been influenced by Apple products and the design genius that is the late Stave Jobs. From the original Macintosh computers, we all used to do the first computerbased scoring, arranging and drill design programs, to the iPod music player that changed how the world consumed and explored music, to the iOS devices (iPhone/iPad), all of which have altered the way we teach, communicate, and consume media. I am hard pressed to think of another company or visionary whose products have contributed to not only our music but the quality of our lives. Thanks Steve!

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music therapist Maegan Morrow at the Rehabilitation Hospital in Houston. Giffords was unable to speak. Marrow felt she might have a way to cut through the trauma Giffords’ brain was dealing with by way of “a very familiar song”: “Happy birthday!” Morrow sang “Happy Birthday” to the mute congresswoman and “left the end of the phrase out and tried to get Gabby to sing along.” Giffords didn’t sing. Instead, she grabbed the hand of the therapist to physically but silently complete the missing word of the phrase “Happy Birthday to…” Thus began a several-month journey to restore Giffords speaking voice, highlighting once again the incredibly powerful impact music has on cognitive development. It rewired her brain so she could speak! Just think of the impact music must have on the developing brain of our students! This is a story worthy of sharing with all our school administrators.

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12 School Band and Orchestra, December 2011

Educator Discounts Available on Most Items! Call for Details and to Request a Catalog

And lastly, to all our readers, who bring the wonderful gift of music to students across this nation everyday: may you receive as much joy this holiday season as you give to your students and have a very happy, healthy, and prosperous new year!

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SBOPerformance: Trumpet

Performance Tips for Young Trumpet Players By Paul CoPenhaver

ollowing are a few thoughts on various issues affecting student trumpet players, including tuning, mouthpieces, mutes, and performance opportunities.

Tuning Yes, D4 and C#4 are both sharp on trumpet. However, the student trumpet player needs to realize there are a number of other inherent pitch problems that also need careful adjustment. Most of these pitch problems are caused by de-

14 School Band and Orchestra, December 2011

sign considerations common to instruments of every quality. Extending the third slide to varying lengths, of course, will help lower both D and C#. (How many times have you seen that written?) When playing a series of these notes, it is acceptable to leave the third slide extended until a 2-3 valve combination is encountered. Many beginning and intermediate trumpets now have a thumb saddle or some other device to extend the first slide, and, in many cases, it works easier and more efficiently than extending the third slide. Therefore, many trumpet players are able to correct Ds by extending the first valve slide, but that slide usually will not lower C# sufficiently. D5, fourth space E♭5, and E5 are flat. Usually, notes of the inherently flat fifth harmonic can be “lipped up” by firming the embouchure slightly or increasing air compression in the oral cavity. Alternate fingerings often are used to aid with this adjustment, but these fingerings tend to change the tone quality and response of the instrument. G5 and A5 are sharp on most instruments, and both seem to possess a very bright, brilliant tone, making them sound even sharper. Lipping downward (the reverse of above) remains the best method to adjust these pitches. However, the A can easily be lowered to pitch by extending the first slide slightly, or by using the third valve. Adjusting these problematic pitches not only aids intonation, but also helps the player play better “in tone,” thus

more closely matching the quality of other notes in the same range. This factor should help improve the player’s accuracy.

Mouthpieces Many beginners use a Bach 7C [or its generic equivalent] or a Schilke 11. Both are solid, middle-of-the-road mouthpieces that have good dimensional characteristics and are fairly uniform in construction. Which mouthpiece is the next logical step after the 7C? Many trumpet teachers are now recommending moving to the Schilke 14, which is very similar to the Bach 3C. The Schilke line has proven to be a moderately priced alternative, and the sizing on Schilke mouthpieces is quite consistent. Most young trumpet players need to stay close to the above parameters. Unfortunately, the quest to play high often leads to excessively shallow cups, tight backbores, and small throats that tend to adversely affect pitch and tone quality while not really improving the player’s range. Conversely, excessively deep cups and oversized backbores may tend to adversely affect range and cause a number of pitch problems for the developing embouchure. Balancing the mouthpiece width, rim, cup, backbore, and matching these factors to the instrument and player is an arduous process. Just as one pair of shoes will not fit everyone, neither will one particular mouthpiece. Finally, if the young trumpeter doubles on flugelhorn, please be sure he or she is using a flugelhorn mouthpiece. Even though a trumpet or cornet mouthpiece might seem to fit the receiver, use the proper mouthpiece. It is fairly easy to obtain a flugelhorn mouthpiece with the same rim as the trumpet mouthpiece, but with a cup configuration suitable to create a truly characteristic flugelhorn sound. Also, the flugelhorn mouthpiece shank needs to match the receiver. Mouthpiece shanks most often are in three variations: Large Morse Taper, Small Morse [Bach] Taper, and Coueson [French] Taper. There are a number of informative websites that can

be very helpful in making the proper selection of flugelhorn mouthpieces.

Mutes

The primary function of mutes is to change the tone color of the instrument, not to soften the volume. Decidedly, softening of volume does occur, but isn’t the primary reason for using mutes. Otherwise, why would there be so many different types of mutes?

The most commonly used mute for trumpet is the straight mute. Trumpet players would be wise to invest in a quality metal straight mute. The Jo-Ral and the Tom Crown straight mute are excellent examples. The old “red and white” fiber and other cardboard mutes are less desirable alternatives. Both metal and fiber tend to raise the pitch slightly; so careful adjustment of the mute’s corks or tuning slide may be warranted.

School Band and Orchestra, December 2011 15

After the straight mute, the young trumpet player should purchase a cup mute, a wa-wa or Harmon mute, and a plunger. From this basic set the possibilities are almost endless.

Performance Opportunities It has been said many times that the best way to become an effective performer is to perform. That may sound simple, but finding those performance opportunities often takes some doing. Finding and

working with an accompanist seems to be another ongoing problem. However, there is an increasing amount of trumpet music available with some form of electronic accompaniment covering the gamut of styles from religious, big band, jazz, patriotic, and so on. These can make effective material for performances at senior centers, social gatherings, and other events that can help the young trumpeter gain those valuable performance experiences. An effective way for a young trumpeter to perform in public is to play along with

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congregational hymn singing at church. It may be an easy and effective way for student trumpet players to learn the “C trumpet” transposition while playing along with the melody. Or, any number of books are available that contain popular/ familiar hymn tunes that, amazingly, are mostly transposed to coincide with the hymn book key, and have descant parts that are well within the ability levels of most young players. The three volumes of Douglas Smith’s 61 Trumpet Hymns and Descants [Hope Publishing Co.] are particularly useful in regard to key signatures and quality of the descant writing. Another excellent source for young trumpeters to find effective performance materials are the Canadian Brass Easy Trumpet Solos, Canadian Brass Intermediate Trumpet Solos, and the Canadian Brass Christmas Trumpet Solos, also at the intermediate level. This series contains a wealth of excellent performance materials for various performance venues, and each provides a solo part, piano accompaniment, and a CD with both full performances of each composition by trumpeters from the Canadian Brass, and an accompaniment track with piano only.

Final Thoughts Some excellent sources of information about playing the trumpet, equipment, performance, and many other areas may be found in a number of places. A few of my favorites are Roger Sherman’s The Trumpeter’s Handbook, Chase Sanborn’s Brass Tactics series, and David Hickman’s book, Trumpet Pedagogy A Compendium of Modern Teaching Techniques. Another interesting place for trumpet players to visit is the website, www.trumpetherald. com. All contain a wealth of information, interesting discussions, and ideas. Paul Copenhaver is the band director at St. Pious X School in Moberly, Missouri, where he has taught since 2004. Mr. Copenhaver has taught music in Moberly schools for 38 years, serving as band director and Fine Arts/Practical Arts Department chair in the public school system until 2006. In addition to numerous other affiliations with professional associations, Mr. Copenhaver is currently serving as the president of the Missouri Music Educators Association. He is also the assistant conductor and principal trumpet player for the Columbia (Mo.) Community Band, as well as an active adjudicator, clinician, conductor.

16 School Band and Orchestra, December 2011 jjbSBO.indd 1

11/16/09 2:36 PM

Barry Manilow

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18 School Band and Orchestra, December 2011

Changing Lives

Through Music By Eliahu SuSSman

After almost four decades in the spotlight, Barry Manilow has become a household name. His wildly successful career as a performer, composer, and recording artist has spanned just about all facets of the music world. Even with over 75 million records sold, and boasting accomplishments ranging from chart-topping hits to renowned Vegas residencies to hundreds of TV appearances on everything from The Family Guy to American Idol, the Grammy, Tony, and Emmy award-winning artist only recently started a new chapter in his illustrious career.

“Music class is not just playtime; it can change these kids’ lives. It changed mine.”

School Band and Orchestra, December 2011 19

In 2008, when he learned about massive cuts to music programs throughout the country, Barry Manilow decided that he had an obligation to help music education to continue to have a place in public schools. And so he started the Manilow Music Project, a program linked to his foundation, the Manilow Fund for Health and Hope, and later that year made his first donation, giving over $500,000 in musical equipment and instruments to the Coachella Valley School System, near Manilow’s own Southern California home. Since then, Manilow has gone on to coordinate the

Barry Manilow: I was one of the young people who come from a poor area of Brooklyn, N.Y. My family had zilch money – nothing. There was a lot of love in the family, though, and love will get a kid through just about anything. My folks realized that I was a musical kid and they really didn’t know what to do with me. There was no money to buy me instruments.

the orchestra class in my high school. I was a decent student, but I really didn’t enjoy school. As soon as I found the orchestra class, I felt like I was grounded. I knew my way around that world of other young musicians, and I just felt like I had found my home. It pointed me in the direction that I find myself in now. When I speak to principals and school music directors, they always tell me the same thing: students who learn music learn to interact better with other students, their grades go up, and they become better people. Those were the same feelings that I had when I was a student. Music class is not just playtime; it can change these kids’ lives. It changed mine.

“I’m just one skinny singer doing what I can to help young people bring music into their lives.” donation of – and personally deliver – millions of dollars worth of music gear to school districts from coast to coast, most recently in October to Joplin, Missouri, a small town that drew national headlines over the summer for the massive devastation caused by a tornado that leveled the area’s high school, along with much of the rest of the town. In a recent conversation with SBO, the prolific entertainer spoke about his own formative experiences in a public school music program, as well as the remarkable gifts he has made over the past few years to, as he puts it, “help young people bring music into their lives.” School Band & Orchestra: Thanks so much for taking a moment to chat! Let’s start with your own career – what were some of the early experiences that helped lead you into a life in music? 20 School Band and Orchestra, December 2011

However, eventually they were somehow able to rattle up enough to get me an accordion. You can’t do too much with an accordion – although I tried, and I was good at it. What I really loved about that instrument was that it helped me learn to read music. Whenever I talk to young people, I always tell them to learn to read music, because you will always be able to work if you can learn to read music. If you’re serious about being a musician, you need to be able to read music. Otherwise, you’re stuck with your talent, and who can count on that? So I learned to read music with the accordion and that was a real gift. Later on, my parents saved enough money to get me a piano, and then I was able to use my right and my left hand, and I was good at that, too. But the thing that changed my life was

SBO: And you’ve gone from there into an incredibly diverse career in music. You have written jingles and hits, performed in Las Vegas and all over the world, been the music director for television shows and movies – did you ever anticipate such a wide range of accomplishments? BM: I know, it sounds crazy, but it’s my life. I don’t know how to do anything else. I know my way around the world of music and I’ve always felt this way. My first album was a mishmash of styles that I’ve always loved. There was a Chopin prelude that I based “Could it Be Magic” on, followed by a jazz-scat piece called “Cloudburst,” followed by a country-ish song with nice guitar playing. No one knew where to put it in the record store, because it was really all over the place. I attribute that to my stepfather, Will Murphy. When my mother remarried,

all I knew was the accordion, the piano, some Hebrew folk songs, and the pop music of the day, which I hated. And then Will Murphy came into my life, and he brought with him a stack of albums that might as well have been a stack of gold to me because it had every style of music that he loved. It was classical music, followed by scores from Broadway musicals, followed by jazz singers and arrangers, and it just went on and on. I memorized every single note on every one of those albums. I actually got Bill Evans’ “Lush Life” down and George Shearing’s “Lullaby of Birdland” down on the piano. I wish every kid had a Willie Murphy in his or her life, because that’s when it’s most important for young people to have someone say, “Hey, listen to this! You might like it.” If kids don’t have someone like that, I would hope that music directors and teachers in the schools could do that for them. That’s where it all started for me.

SBO: Do you think that all of the recent proliferation of music on the internet might help kids today and tomorrow discover some of the great music out there? BM: It’s better than nothing, but it’s not like what I’m talking about. The internet is impersonal; I’m talking about one human being to another. That will make a much bigger impact on a kid than the internet will, ever. It’s better than nothing to be able to go over to iTunes or Youtube and look up Chet Baker or whoever, but when Willie put the record on, there was no doubt that I was hearing something special. What Willie – and the people like him that I’m hoping are out there – can do for kids is turn on their musical motor. I was able to take it from there. Then, I went off on my road to find out how I could use it on my own, what I could do with music. If kids don’t have a Willie Murphy, I hope they have a great schoolteacher. But what’s going

on now, where classes and programs are being cut, is just killing me. And that’s why we’re talking. SBO: So let’s get into the Manilow Music Project. What was the catalyst for this coming together? BM: Well, the “Manilow Music Project” may sound like some big official thing, but it’s really a simple grassroots organization made up of me and three or four of my friends who work with me. When I realized in 2008 that they were cutting music and arts and orchestra programs in schools all over the country because of budget problems, it was killing me. All I could think was, “How can I help?” Those are four great words! So I put my little team of people together to see what we could do to help out. People such as my music director, my stage manager, my business manager, and I order club sandwiches and sit around and talk about how we can help this situation. That’s how it started, and it’s still that way. It is turning out to be very

School Band and Orchestra, December 2011 21

Manilow poses with students from Palm Springs, Desert Sands, and Coachella Valley schools in 2008.

successful, and I’m considering taking it to the next step and making it an even bigger project. Right now, though, it’s still a small organization; I’m just one skinny singer doing what I can to help young people bring music into their lives. SBO: How did you decide on the best way to assist music programs? BM: We raised money in various ways, and then we pick an area to focus on. The first time we did it was in an area where I live, down in Palm Springs. The Coachella Valley is an area that has a lot of schools – maybe 20 schools –

w w w.gp gmu sic.com

and I thought we’d start here because this area has been so good to me. I have a deal with Yamaha and Hal Leonard Publishing, and, through them, I raised the money myself. We picked these schools and sent them a letter saying, “We’d like to give you some brand new musical instruments because we hear you’re having some financial trouble. What do you need?” We included a long list of instruments that we knew we could get a hold of, and they could check off what they needed, up to 100 points. And we got everything they asked for – drums, pianos, synthesizers, horns, flutes, strings! We loaded the instruments into five huge trucks and on a brisk Thursday morning, in front of all of these young kids and their teachers and the school staff, we went out to all 15 or 20 schools to give these kids brand new musical instruments. I wish I could do that every morning!

SBO: I imagine a number of schools out there wish you could do that every morning, too! Have you stayed in contact with these schools that you’ve helped? BM: Oh, yes. I get letters and cards – you can only imagine what it does to these young people. And I go to listen to them now and again and they’re just beautiful! Beautiful little orchestras or jazz bands doing the best they can. I am so glad I could help them out. That was the first one, and since then, we’ve gone to about 10 other areas where

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22 School Band and Orchestra, December 2011

we have done the same thing – in Las Vegas, Seattle, New York, L.A., the list goes on and on. Some of the donations are smaller than others, of course. The latest was in Joplin, Missouri, an area that was hit incredibly hard by a tornado that blew the school away. They lost everything – all the instruments, all the sheet music, everything. We put our brains together for the last couple of months, raised a lot of money, and were able to send a lot of musical instruments to the kids in Joplin. Hopefully that will help them bring music back into their lives. SBO: What do you look for when selecting communities to assist? BM: I look for some kind of personal connection with me, whether it’s a place that’s near to where I live, where I work, where I am touring, or somewhere I’ve been – I need to know that I have some sort of connection with the area. If we get bigger than this, it’ll take on a whole other dimension, but right now it’s a very personal selection. SBO: And so what’s the future of the Manilow Music Project? What are some ideas for how to continue to help out or possibly even expand your efforts?

SBO: How about to band and orchestra directors – do you have any particular message that you’d like to share with them? BM: Oh, please! In my world, these men and women are heroes. They stay up into the middle of the night trying to fix broken down instruments, they buy kids instruments, they do so much

do that. People who can read music are always the ones who are much more in demand, even for singers. I spent so many days as a background singer and doing jingles and studio work. I wasn’t that great a singer, but I was able to read really well and I could sing in tune, and I made a lot of money that way. You can

“It’s overwhelming to see all these young people so excited about music.” of it themselves – they’re really the heroes to me. When I meet them, all I can do is shake their hands and thank them for all the wonderful things that they do. SBO: And how about for music students, any particular messages that you’d like to pass along? BM: Like I said before, learn to read music. That’s a really important message to get across – it’s just such an important skill. If you really are serious about making any kind of career in music, you need to learn the language, which means learning to read music. Then you can decide if you want to do it for real or not, but you will never know if you can’t

make a great career out of that. You may not wind up being the latest Lady Gaga or something, but you can have a career. The way to start is by taking it seriously, giving it a couple of years, and learning how to read music. Barry Manilow’s latest album, 15 Minutes, was released on June 14, 2011. Inspired by the Andy Warhol quote that “in the future, everybody will be world famous for fifteen minutes,” this “energetic, guitar-driven pop album” explores the “perils and pinnacles of fame’s double-edged sword.” For more info on the Manilow Music Project, visit www.manilowmusicproject.com.

BM: Maybe soliciting grants or donations from bigger organizations to make this into a bona fide organization – something it really isn’t yet, at this stage. We’re doing the best we can, and it’s very, very rewarding on a personal level, but it seems to be working so well, that maybe it’s time to blow it up a bit and get more instruments in more schools on a much bigger level. SBO: Would you talk about the impact that this has had on you, being able to take a look at the faces of those kids as they receive shiny new instruments and all of this special attention? BM: It’s overwhelming to see all these young people so excited about music. Some of them are finding their passion and others just becoming better students and better people through music. It’s very, very rewarding. I see it, I get the letters, I get the big thank you notes and videos, I watch the orchestras playing, and it couldn’t be more gratifying. School Band and Orchestra, December 2011 23

SBOGuest Editorial

Sound Advice from the Pitch By Kenneth Wayne thompson

f you follow soccer, or football as it’s known around the world, the title of this article is not only a play on words, but rather is intended as a serious commentary on what we might learn about teaching music from a seemingly unlikely

source. Growing up as a trumpet player performing in bands and orchestras, and later becoming a professional conductor, I assumed my first child would study music without complaint. Surely he would be a cellist, the instrument I would play if I could do it all over again, or he would play the piano, or maybe

As usual in situations like this, I was wrong. He doesn’t play the cello, piano, oboe, or even the banjo – my six-year-old son is a “footballer,” and he’s pretty good. He plays with a grace and agility that mirrors what I try to achieve on the podium. I played soccer as a child, but because of my son, after many years away from the game, I have begun to play again. Unfortunately, what I realize every time I walk onto the field is that my son is much better than I am at this game. As much as I enjoy watching him play, I most enjoy watching his academy training sessions. I am grateful to have rediscovered the game as an adult,

even the oboe.

Young soccer players learn the importance of both individual technique...

as the sound advice from the pitch has been quite a personal and professional revelation. I find the relationship between soccer training and some inherent problems I find in instrumental music teaching in this country to be insightful. We are very fortunate to have brilliant soccer teachers in my son’s academy, and the academy philosophy 24 School Band and Orchestra, December 2011

of “fall in love with the game” is evident in every training session. Numerous times, we hear there are relationships between music and athletics. I agree with this statement, primarily because we should first and foremost consider learning to play a musical instrument a physical endeavor, not an artistic one. The development of technique, no matter if it involves learning F# or dribbling a ball, is training the body to physically replicate a specific act. Artistry is the application of technique – perhaps playing that F# with slightly more emphasis because it is a suspension that will resolve, or dribbling a ball with the outside of the foot in order to set up a pass or shot. These are both applications of physical skill for a specific purpose. In American sports, there is an emphasis on winning games. This can, and often does come at the expense of actually developing more proficient technical skill, and importantly, usually comes at the expense of learning to appreciate and love the sport. The parallel to this is readily seen in many instrumental classrooms across the country. There is an emphasis on performing, which unfortunately comes at the expense of learning to develop better technique, and definitely at the expense of falling in love with music as an art. How many programs put away the beginning band methods and technical drills to prepare for the first holiday concert? It starts a vicious cycle, because when you might want to get back into the method books and technical development, it’s time to prep for the winter concert, and then the spring concert, and on and on… we continuously try and get our ensembles organized to present performances. In soccer we see the same thing as coaches get their teams organized to win games. Organization without individual skill is useless. The soccer equivalent to a concert preparation model is having kids play lots of games and practicing in a very tactical, or organizational manner – as a team – in order to win games. This happens in excess with young players and the outcome is that the tactical model does win games at early stag-

...and teamwork.

es of development, just as the young musicians likely have no trouble pulling together to play simple tunes in 3 or 4 parts. At some point, however, children must possess individual technique, and it is at this point we really begin to see deviations between various instructional models. The emphasis on winning, or concertizing, has catastrophic consequences for youth development. How many goals have U.S. strikers recently scored in international matches? Not many, because the emphasis on winning at an early ages reduces an emphasis on technical development. When placed in difficult situations, technique matters above all else. Our bodies need to be able to react quickly and with purpose. Without individual technique, everything we know becomes specific to a situation. Ask a small child on the soccer field why they are standing in a certain spot and you might receive different answers depending on how they were trained. The young tactical development approach will yield a response similar to “because my coach told me to.” In the ensemble, asking the student why they placed an emphasis on the middle of a particular phrase might result in “because my teacher told me to.” Is that really learning? Is the child really developing anything other than a reliance on someone else to tell her what to do? I think this is why if you see a youth soccer game, you will often hear the coach screaming at the

players about where to go, what to do, and when to do it – and that sounds shockingly similar to some ensemble rehearsals we might have experienced. Neither seems like a method for talent development to me because there is no opportunity for transfer. The screaming coach/instructor is teaching children to react to instructions, not react to situations. If we want to begin to develop great musicians, we need to cultivate great technique and allow students the freedom to apply the technique to all situations. This means they are going to make lots of musical mistakes, but they will be learning how to make individual decisions independently. If I am thinking about my technique – for example, the fingering for F# – then I must be told by my teacher to emphasize the note. If my technique allows F# to be an automatic reaction to seeing the printed note, I can actually listen to what is happening around me in the ensemble and hear that it is a suspension resolving, so I know, without help from my teacher, that the note needs emphasis. This may sound complex, but even young musicians can achieve this when the teaching intentionally leads students to these situations. My son will run into open space during a game, and if I ask him why, his response will indicate he is reacting to play as it unfolds. “The ball came from the left through the center School Band and Orchestra, December 2011 25

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so I needed to go out wide right” is a far cry different from a “becausemy-c o a c h - t o l d - m e - t o - g o - w i d e ” scenario. There is no wasted energy thinking about technique, the energy is devoted to playing the game. In the ensemble, we need to cultivate technique so there is no energy of thought devoted to technique, either. All of the thought needs to go toward playing in tune, playing a phrase, or any other musical element. Soccer is a player’s sport, and the art of music is a player’s realization of sound. When trained with intentionality, in a way that places an emphasis on player development for a higher purpose – one that is directly related to group effort while still founded in individual skill – we will have many more successful musicians in our schools. These musicians will have developed a thoughtful means to solve their own problems, and apply the solutions to creating great music. That recipe yields life-long learners that will have a greater chance of continuing with music beyond their school years, and truly develop a passion for our art. And we might even win a World Cup.

Dr. Ken Thompson serves on the faculty in the College of Musical Arts at Bowling Green State University in Ohio. Additionally, he serves on the conducting staff of both the Detroit Symphony Orchestra, where he directs the Detroit Symphony Orchestra Civic Wind Symphony and Philharmonic Orchestra, and the Toledo Symphony Orchestra, where he serves as artistic director of the Toledo Symphony Youth Orchestras and conductor of the TYO Philharmonic.

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50 SBOReport

Directors

Who Make a Difference

BO’s 14th annual “50 Director’s Who Make a Difference” report features an array of outstanding educators whose incredible diversity in style, geography, and demographic setting mirrors the similarly wide range of thriving music programs throughout the country. From the founders of focused elementary string programs like Elva Jean Bolin in Aurora, Colorado to the directors of large-scale, perennial champion marching bands such as Barry Trobaugh of Tennessee’s Munford High School, this report aims to celebrate this diversity while also shedding light on some of the common values and philosophies held by a representative sampling of exceptional music educators. Responding to questions about teaching philosophy, making a difference in students’ lives, and the most important lesson they’ve learned in their careers as educators, the directors, instructors, and teachers who make up the 2011 “50 Directors Who Make a Difference” present an uplifting mosaic of school music programs nationwide.

ALABAMA

Steve McLendon Dothan High School Dothan Years at School: 25 Total Years Teaching: 35 Students in Music Program: 145 Teaching philosophy: I love music. My goal as a music educator is to share that passion and love for music. Through music I hope to help each student I teach be a better musician, appreciate music more, improve their self discipline, and build on their self esteem. Making A Difference In Students’ Lives: I hope I’ve instilled a level of discipline with the band that helps them make 28

School Band and Orchestra, December 2011

better decisions and be better people throughout their lives. I hope I can lead them to be better friends, better spouses, and great citizens. Most Important Lesson Learned: Never say Never! You have to take one day at a time, be prepared, and make the most of the moment.

ALASKA Stan Harris

Palmer High School Palmer Years at School: 29 Total Years Teaching: 36 Students in Music Program: 120 Teaching Philosophy: My philosophy is simply that all students need and deserve to have experience in creating and performing music.

Music performance is the only activity that I know of that requires use of your intellect, physical coordination and stamina, and emotional involvement in order to be successful. Add the element of teamwork and responsibility to each other that playing in a band or orchestra involves and you have the whole package. It is no wonder that people with instrumental music experience are highly prized and usually successful in the fields they aspire to. I try to give my students a well-rounded quality experience where they can feel successful and proud of their accomplishments.

Making A Difference In Students’ Lives: I think my students come away from my program feeling like they have grown intellectually, artistically, and emotionally. The experiences in music and the broad range of performance opportunities we offer should give them a strong sense of self worth and the ability to work with others toward a goal. It is my hope that I have helped prepare them to be successful in life. I also hope that I have inspired a lifelong love of the arts. I think my students generally leave our department with a more open mind about musical styles and a broader sense of the world. Most Important Lesson Learned: The most important lesson I’ve learned is that the more my students learn, the more I learn. As my teaching skills have improved over the years it has made me a better musician and continually opened new doors for my own development. t was a joke when I was growing up that those who perform, perform and those that can’t teach. Nothing could be farther from the truth. I have been a professional musician for longer than I have been a teacher and I can tell you that they complement each other perfectly. I have also found that I personally need both. While I love to perform, I love seeing the progress in my students just as much or more.

ARIZONA

Melanie Britton Sandra Day O’Connor High School Phoenix Years at School: 10 Total Years Teaching: 21 Students in Music Program: 242 Teaching Philosophy: My philosophy on teaching is “do what you love – love what you do!” I am blessed with the best job a person could have because I truly love music and I truly enjoy the teenagers I work with. Encouraging

teamwork, demanding excellence, and developing leadership skills among my students and showing them how discipline and hard work truly do pay off in life are the best lessons I can relay. What I teach my students goes far beyond the skills of musicianship, which is an expectation. I want them to have the skills necessary for life, and the best part of this is that they are having fun while doing it. I want them to care deeply about each other and that in life it really isn’t just about the individual, it is about the relationships we build with one another. I teach life skills through music and make it a point to give each student a positive experience, so that in the end they will seek a work environment where they are able to “do what they love – and love what they do”! Making A Difference In Students’ Lives: I positively impact my students’ lives by giving them an environment in which they will flourish. It doesn’t matter if they are not the most popular student in school or not seen as an athlete, because everyone in my class knows and feels they are part of a team that is recognized as outstanding throughout the state and nation. We have a blast together because I am a part of the team as well, not just someone who stands on the sidelines. We all integrate together to reach our goals and we know we need each other to be successful. My students know I care deeply for them and show genuine concern and compassion for what they are going through in life. I appreciate their hard work and dedication and consider it an honor to be with my students while we experience life together each and every day. My students participate in numerous activities that teach about the diversity of each person’s personality and characteristics of how they handle themselves in different scenarios. They learn to appreciate and accept that not everyone will act the same and how to have patience with one another when

under stress. This is also important because they learn how to trust one another, and trust is hard to come by. Once they learn this they appreciate each other so much more, and can express themselves so much deeper, not only as musicians, but especially as people. I encourage my students to strive for excellence in all they do. Average is ordinary, but going above and beyond your comfort zone is extraordinary. It is important that each student wonder, “What will my legacy be?” I guess the reality is that my students are really the one’s that make a difference in my life and I feel responsible for making sure they have the best high school experience possible so I fully embrace my position as a leader in their life. Most Important Lesson Learned: Every child matters! We all experience those students who in the first week we feel will be our problem child, but as we watch the magic of what band does to children we see their lives change. Being blessed to have most of my students for four years I have been blown away by the growth these kids go through – from awkward to extraordinary. And all it takes is patience, respect, patience, humor, patience and great student leadership to help these kids exceed potentials that they may never have even dreamed of. The reality is you have to have passion for teaching. I never underestimate the difference I make in my students’ lives by saying hello, smiling, and wishing them a good day, or congratulating them on their accomplishments. I know so many of these kids wouldn’t even come to school if it weren’t for band. Most students and their parents may never know the hours spent preparing meaningful lesson plans, the energy it takes to present these lessons, write and design marching band shows, grading and the “oh so dreaded paperwork” in our profession – so we can’t dwell on that. If I were to give any advice it would be: Give your full energy to positively School Band and Orchestra, December 2011 29

Who Make a Difference

influence your students’ lives each and every day. Care about what they are going through in life, connect with them through humor and stories, and make their time in school uplifting. Then, when you go home exhausted, you know you did your best. You were a positive force in a child’s life. I know I am and I am honored to be a teacher!

ARKANSAS Karen Dismuke

North Pulaski High School Jacksonville Years at School: 23 Total Years Teaching: 30 Students in Music Program: 90 I believe that every student can learn something. I believe in teaching my students life lessons using music as a vehicle. Not all of my students will become professional musicians or teachers, but they will become adults. I want them to become good citizens. I feel that it is a big part of my job to teach them teamwork, character, confidence, humility, responsibility, to show respect and to be respectable. Making A Difference In Students’ Lives: I believe in my students. I push them past their limits to higher goals. I operate my classroom on the three Ds (discipline, dedication, and determination) with physically, mentally, and musically demanding instruction. The success of our program has taught them to have pride in all they do. Whether they become doctors, lawyers, teachers, nurses or stayat-home moms or dads, they have learned character skills to help them realize their potential and to become responsible, successful and caring adults. Most Important Lesson Learned: I have learned that sometimes I am the only adult who cares about some of the students that I teach. What I do or say and how I do it or say it affects some kids to their core. I am respon30 School Band and Orchestra, December 2011

sible for making them feel good about what they are doing and proud of who they are. I am responsible for making them strive to do their best and to be their best. My words may be the ones that save them or condemn them.

CALIFORNIA Ami Garvin

Suzanne Middle School Walnut Years at School: 10 Total Years Teaching: 14 Students in Music Program: 490 Teaching Philosophy: I strive to nurture in my students an excitement for learning in conjunction with the State and National Standards for Visual & Performing Arts and to provide a positive atmosphere that fosters creativity and musical excellence. My ultimate goal is that students exit their middle school experience with a greater appreciation of music and art, a desire to continue participation in music, and the ability to interact with a changing world. Making A Difference In Students’ Lives: I’m committed to delivering more than just music education. I want my students to use music as a way to get to know themselves and develop teambuilding and leadership skills, as well as an understanding of social dynamics and empathy. I accomplish this through “Edutainment”– teaching and motivating students using analogies and stories. Most Important Lesson Learned: When students know you believe in them and their potential for greatness, they will move worlds to create amazing results.

COLORADO Elva Jean Bolin

Peoria Elementary School Aurora Years at School: 14 Total Years Teaching: 42

Students in Music Program: 73 Teaching Philosophy: Education is about teaching kids, not presenting curriculum or lesson plans. Teaching is about the student, not about the teacher. Learning is a process, not a product. Every child can learn, but not all learn at the same rate and in the same manner. Often the kid who struggles the most in the process has the concept learned more completely at the end than the one to whom it comes instantly. The teacher needs to use different ways to present a concept to the students because some students are visual learners, some aural learners, some kinesthetic learners. We, as teachers, need to break out of our own comfort zone to address different learning styles. Students who are successful have a lot that they can share about the process of their own learning. Teachers need to remember that we preparing students for their future and not for our own past. Making A Difference In Students’ Lives: The Peoria Violin Program began in 2000 with a grant from TEXACO for $10,000 and a donation of eight violins from the Colorado Youth Instrumental Program. In 2001, when I received the Channel 7 Everyday Hero Award For the Violin Program, Berger Fund donated money for 12 more violins. Several individuals also donated violins. The Peoria PTO and two area music stores have helped us purchase more violins. Today we have 70 violins in six different sizes. We have 73 students enrolled and 25 on a waiting list. The program is designed to provide a violin and free violin lessons for each interested student in our low-income neighborhood school. Students may continue violin until they complete twelfth grade. Several advanced violin students currently assist me in teaching the beginners. This is how I began to teach. And I always remember that if I had not had a free violin and free

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Who Make a Difference

lessons at my elementary school, I would not be a violinist today. Most Important Lesson Learned: Whatever you do, do it with enthusiasm!

CONNECTICUT Carmalyn Buleje Cook

John C. Daniels School New Haven Years at School: 21 Total Years Teaching: 21 Students in Music Program: 475 Teaching Philosophy: All children can thrive and feel proud of their accomplishments in the music classroom. It is my job to know my students and offer a varied curriculum so each child can feel successful.

Making A Difference In Students’ Lives: By taking advantage of what is available to these children, I have opened them up to many new experiences. Every year we put on a musical, perform in our community, attend concerts at Yale University and go to Carnegie Hall for the LINK UP program. Most Important Lesson Learned: I have learned so much about the varied backgrounds and cultures of my students and their families. It has enriched my life and expanded my world.

DELAWARE James F. Tharp

Cab Calloway School of the Arts Wilmington Years at School: 21

Total Years Teaching: 25 Students in Music Program: 150 Teaching Philosophy: All of my students have something to contribute to the ensemble and all of my students need to have a creative and performing outlet. Not only does participation in music engage vast amounts of brain power, it also satisfies the emotional connection the students need to make with each other as both performers and cooperative learners. Making A Difference In Students’ Lives: I hope to make a difference basically by giving them a place to belong, where they are important and their contributions are important. A place that is safe yet challenging. And by

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32 School Band and Orchestra, December 2011

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Who Make a Difference

constantly asking them to give more in the way of performance they learn that they can achieve any goal they choose to pursue. Most Important Lesson Learned: Students really do want the challenge and the discipline that it takes to perform at a high level, and even though the journey is not as always comfortable or fun, the results are clearly worth the effort. My students always seem to rise to the occasion.

FLORIDA

Robert Schaer Lakewood Ranch High School Lakewood Years at School: 14 Total Years Teaching: 35 Students in Music Program: 260 Teaching Philosophy: I have always tried to engage, inspire and encourage growth through music performance. It is my desire to instill in my students a love for music and performing music. Through all this I have also tried to work, teach, and exemplify the many life skills needed to succeed in today’s society. Making A Difference In Students’ Lives: I think that music performance has made a difference in my students lives. In this era of instant gratification through a click of the mouse, many students have lost contact with the ability to work hard to achieve and attain high goals. We always set the bar high in our performing ensembles and I think our kids understand that working hard is what is going to make them successful as they move on with their lives. Most Important Lesson Learned: My most important lesson has been, without a doubt, patience. It seems I never give up on a child.

34 School Band and Orchestra, December 2011

GEORGIA

HAWAII

Duluth High School Duluth Years at School: 11 Total Years Teaching: 28 Students in Orchestra: 280 Teaching Philosophy: I believe the music classes we teach would be better described in the course catalogue as The Study of Excellence 101. Music is simply the medium we use to teach not only music skills but the intangible tools that will make students successful in their life in whatever obstacles they may face. Teaching students to express themselves is a far more valuable life skill than anything we can teach them about music. Making A Difference In Students’ Lives: Students often come back from college or their professional life and comment how deeply they felt the common bond of being a part of something larger than themselves as a member of our orchestra program. Shared sacrifice, work ethic, commitment, and pride in their accomplishments (music or otherwise) and all the memories of those wonderful moments make students look back fondly on their years in orchestra and lays a foundation of excellence in all parts of their lives. Most Important Lesson Learned: What matters most to students is that their teacher cares about them. To students, those small gestures make a big difference asking, “How are you?” or “What’s going on?” Over my career, more times than I care to remember, I have not seen the forest of my students’ for the trees of their technique. In other words, I was so concerned with teaching the music I often neglected to understand how students were responding to me and the music, missing those opportunities to build trust and to enlist their support and partnership in learning. It’s funny, I’m a much happier teacher now – and I get better results with my students – than I ever did with focusing only on music instruction.

Chiefess Kamakahelei Middle School Lihue Years at School: 4 Total Years Teaching: 4 Students in Music Program: 200 Teaching Philosophy: All students are capable of becoming good musicians and music participation can be a powerful event in their lives. Students who do poorly or well in other subjects can excel in music. The experience provided in a music ensemble is unique and important. Making A Difference In Students’ Lives: As the band director at Chiefess Kamakahelei Middle School, I have the privilege of teaching instrumental musicians for their entire middle school careers. I watch and help them grow and mature. This is how I believe I truly make a difference. I have the potential to impact their lives for a fourth of the time they have been alive. It is my responsibility to provide them with the best possible experience and to everything I can for my program so my students can shine. I must provide them with chances to hear and perform all types of music and create unique experiences for them like marching in the local Holiday “Lights on Rice” Parade or off-island travel. I want my students to look back on their middle school band experience fondly remembering all the wonderful things they were taught, the awesome concerts they performed in, and experiences that they may not have had if they had not been a member of the band. Most Important Lesson Learned: I have learned two important things since becoming a music educator. First, in order to have efficient rehearsals, it is vitally important to teach the students how to read music. The more preparatory work you can do to teach them to read what is on the page

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in front of them, the more you can accomplish. Second, to be the band director is to be the CEO of the band. This is something they do not stress enough while getting your undergraduate degree, yet it is one of the most important things for a successful band program. You have much more to manage than just planning for individual rehearsals. It is all the other things, paperwork, fundraising, instrument inventory management and repairs, purchase orders, uniforms, recruitment, traveling, the music library, managing volunteers – the list goes on and on. These are critical to the quality of a band program. It is a tough yet rewarding job and I am honored to do it.

IDAHO

Tim Sandford Lake City High School Coeur d’Alene Years at School: 16 Total Years Teaching: 26 Students in Music Program: 160 Teaching Philosophy: I believe in giving students the opportunity to excel and be successful. Much of my teaching centers on students’ skills for success in life. Students need to learn to think creatively, problem solve, and act responsibly within whatever community they are involved. We work in my classroom on being prepared, following through on commitments, leadership skills, and how to be a part of a cohesive team. Students are given the opportunity to lead, to follow, to involve themselves in multiple activities and to take risks. I teach to four principles: 1) “Strive for Excellence” – Students are held accountable and encouraged to do their best at all times. 2) “Never Settle for 2nd” – I challenge them to never give a second-rate effort and hold them accountable to being their best. 3) “Dream Big” – My students are asked and encouraged to take risks. We believe that the only true failure is to not try. 4) “Arete” – This is a Greek word that implies becoming a person of impact. Students are always asked to consider how the example of their conduct, preparation, and attitude effects and inspires those around them. Making A Difference In Students’ Lives: All I can say is that I hope I have made a difference. I know that students of mine come back and thank me for the lessons learned, the fun we had, the opportunities they were given, and the experiences they enjoyed. I have students who have gone on to be professional musicians and music teachers. I have far more who enjoy participating in music groups for after their high school career is finished. Others, although not actively participating, enjoy music in a deeper way than if they had not been in music and appreciate the hidden lessons

Who Make a Difference

of leadership, teamwork, and commitment. It is an honor to be able to influence and shape a life for the better and I am blessed to be in a position to do that. Most Important Lesson Learned: Laugh. Try to enjoy the moment and celebrate the positive.

ILLINOIS Mark Mikulay

Sesser-Valier High School Sesser Years at School: 10 Total Years Teaching: 24 Students in Music Program: 125 Teaching Philosophy: Never forget band isn’t a required subject. Every student who walks through the band room door is there to discover his

or her own potential. Create an environment where the expectations for behavior, mental focus and practice commitment are high, but the rewards for hard work are tangible every day. Keep it challenging, and keep it fun. Making A Difference In Students’ Lives: I’m not sure it could ever be determined. However, they do change my life every day. When one of my trumpet players finally masters a tough phrase and grins or an ensemble starts to gel on a particularly hard piece and I read the excitement on my students’ facial expressions, it is pretty great to be there. Most Important Lesson Learned: Engage. Engage. Engage. I wouldn’t go so far to agree that today’s students are so media and technology-saturated they need to be entertained every moment, but you’ll lose them fast if you

waste their time. Truth be told, the same was true when I was in school band and, I imagine, long before I was around. In some ways, a successful band room really is like a video game, where students are transported every day to a different world, one where continuous concentration and effort pay off, even if just a little at a time.

INDIANA

Jason Witzigreuter Northrop High School Fort Wayne Years at School: 5 Total Years Teaching: 14 Students in Music Program: 175 Teaching Philosophy: I have a basic philosophy of teaching: My students always come first. As their teacher, I will do anything for them

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Who Make a Difference

that will help them succeed in life. As a music teacher, I have an incredibly unique opportunity to work with kids outside of the “normal” confines of the standard school day. I have an opportunity to positively impact their lives and it is a blessing to be in such a position. If I have positively impacted just one life through a quality music education, I feel that I have been successful. As a high school band director, especially during marching and jazz band seasons, I tend to see my students more than they see their own families. My crucial role is to serve as a positive mentor, a leader, and as someone they can always trust to do what is right. Making A Difference In Students’ Lives: My students know that I am always there for them. I have students come back year after year and share their life successes. They tell me that my guidance while they were students of mine helped them in college and life. They thank me often and I feel their respect through our conversations. It is hard for me to acknowledge this because I never seek their praise. I truly have wonderful students and I am blessed to be their teacher. Most Important Lesson Learned: Do everything for kids. When I started teaching 14 years ago, I was mostly concerned with how I came across in the classroom. I always wondered if I looked the part of a band director. I was always concerned that I wasn’t saying the right things. Later I realized that what really mattered was my students. Today I concentrate the majority of my energy as a teacher making sure that I am serving as a positive resource for my students. I care much less about what I think a band director should do, and concentrate my energy on providing my students with a quality music education. I do this through the personal experiences I have gained through my career. When I am at 40 School Band and Orchestra, December 2011

school I strive to give my students 100 percent of my energy and do everything I can for them. Little of my day is about me.

IOWA

Myron Mikita Don Bosco High School Gilbertville Years at School: 21 Total Years Teaching: 29 Students in Music Program: 55 Teaching Philosophy: My teaching philosophy is to help the students in my program have as much fun in learning about the different aspects of music as possible, but at the same time show them the discipline and respect needed to have an outstanding small school music program. Making A Difference In Students’ Lives: I feel that I have made a difference by helping my students not only in the band room, but outside the band room as well. Being a good teacher not only means being able to teach your students their music and having a good program, but being a good listener and friend when the kids need it; before school, during school and after school. Most Important Lesson Learned: I have actually learned two important lessons during my career: First off, that students come from so many different home environments that you have to be flexible when working with them. You cannot teach everyone in your program the same way if you are going to have an overall successful program; and secondly, enjoyment comes before competition. In a world where everyone is “competitive oriented,” I have learned that it’s all about your students coming out of a performance and saying “I thought we did really well and boy did we have fun,” no matter the outcome of the contest.

KANSAS Avian Bear

Blue Valley High School Stilwell Years at School: 7 Total Years Teaching: 37 Students in Music Program: 101 Teaching Philosophy: I believe in maintaining a program whose primary goal is to help every student become the best learner, the best leader, the best musician, and the best person that he or she can become. There is a place for everyone who wants to be a part of this band program and every ability level is welcomed and showcased. Making A Difference In Students’ Lives: Students leave this program with a love for music, an appreciation for what it takes to become good performers, and ample opportunities to develop leadership skills. Providing a special place in students’ hearts with fond memories of their own music experience is the best gift we can give them, whether they go on to be music consumers, parents of future band students, or performers in their own right. Most Important Lesson Learned: It’s all about the students.

KENTUCKY Chris Vance

Garrard County High School Lancaster Years at School: 17 Total Years Teaching: 17 Students in Music Program: 110 Teaching Philosophy: Any kid, any time. Any kid that has a desire to learn to play music or a passion to play music better is what I feel all of our philosophies as music educators should be. We are only here because of the students and no matter what a

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kid grows up to be, somebody, somewhere taught them. When I was hired I was going to be the sixth band director in 10 years and the first thing I decided was to give the school and band program a few years to provide some stability. I kept thinking about how every kid deserved a chance to be in a program that they were proud to be in, even though I was told by directors in other parts of the state that there was no way a band program could be built in Garrard County. I’m one of those people that excel when I’m doubted. That was enough to get me started and after that I just stayed. I’m in year 17 now and I and the band program are still doing alright. In fact, we just competed in State Finals again. Making A Difference In Students’ Lives: I hope to teach worldly lessons through music. Hoping that even if the last time they twirl a flag or play scale is the last day of high school, they are able to relate what they’ve learned to the rest of their lives and world. We’re not just teaching musicians and performers, but human beings. There’s a whole lot more to my job than just band. Most Important Lesson Learned: I hate to use a typical cliché, but it has to be that I learn something new every single day. Maybe a kid teaches me something about how I teach, or how they learn. Maybe it’s in a journal article, or maybe it’s from my colleagues.

ity to provide quality instruction and experiences that help each student realize their own potential and abilities while striving to work as a team. I believe that every student can benefit from a music education. The processes learned in a music program can be carried on throughout their entire life. Music is a unique discipline that integrates all other subjects and provides students with a more well rounded and holistic education. Many “real world” lessons can be taught and fostered through music instruction: teamwork, cooperation, tolerance, respect, and the building of independent and critical thinking skills, just to name a few. Music and the arts are necessary to develop great thinkers and achievers. Through my love of music and experiences, I try to inspire others to realize their potential. Making A Difference In Students’ Lives: I believe that I help students develop their self worth in life. They find a purpose. Many students come into my programs without a voice or self confidence. I see them grow through the years to be independent thinkers and strong individuals that care about others. Most Important Lesson Learned: The most important lesson I have learned is patience. Patience is a virtue that we all need to have. It may not happen today, but it will happen if you keep pushing.

LOUISIANA

MAINE

Jennings High School Jennings Years at School: 16 Total Years Teaching: 21 Students in Music Program: 184 Teaching Philosophy: My teaching philosophy is based on the idea that music plays a very important role in everyone’s life. It is my responsibil-

Old Town High School Old Town Years at School: 23 Total Years Teaching: 27 Students in Music Program: 205 Teaching Philosophy: I want to provide students with outstanding performing arts opportunities, to embrace their creativity and allow them to

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Who Make a Difference

achieve at their highest potential. I want each student to appreciate the arts and all of the possibilities that it can provide to them and their families. Making A Difference In Studentsâ&#x20AC;&#x2122; Lives: The Old Town Music Program has provided outstanding opportunities for students to become excellent musicians and people. They have experienced great joy in performing music. These experiences are and will continue to be building blocks for them to become outstanding people in their communities. Most Important Lesson Learned: Never ever give up! No matter how hard and difficult a situation looks, there is always hope for success.

44 School Band and Orchestra, December 2011

MARYLAND Randi Levy

Roberto Clemente Middle School Germantown Years at School: 7 Total Years Teaching: 10 Students in Music Program: 185 Teaching Philosophy: Music education can be innovative and progressive by including rock and roll as part of the curriculum so that every child has a chance to succeed on every type of instrument, free of charge. Rock and roll education is flourishing everywhere except in the public school music classroom. School music programs may be suffering across the nation, yet private music schools and rock camps

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46 School Band and Orchestra, December 2011

sic is the one team sport that can be played every day in school, for we are all in this music-making business together. Additionally, I give students permission to take risks. My motto is: “If you’re going to make a mistake, make it a big one. Go for it!” I have tried to create an environment where students develop a life-long love of music, learn to work together, and feel comfortable giving music-making their all. Most Important Lesson Learned: I am in the people-building business. I am the deciding factor in the classroom, for I create the climate for learning. It is my responses to students that decide whether a child is valued or devalued. Every day I have an opportunity to make a difference (or not) that can ultimately result in a transformed life.

MASSACHUSETTS Al Dentino

Concord-Carlisle Regional High School Concord Years at School: 20 Total Years Teaching: 36 Students in Music Program: 200 Teaching Philosophy: Over two-and-a-halfthousand years ago, Aristotle taught us that in order to be a complete human being, one needed to be well versed, and equally balanced in the academics, athletics, and the arts. Children today, especially in this ever increasingly technological world in which we live, must be encouraged greater than ever before to explore that which defines us essentially human, active participation in the arts. As much as we teachers love our great sound systems, our ActivBoards, our computer assisted instruction, and our mini tuners, when students sit in our band rehearsals, they still learn in the same way we did fifty years ago: from a talented, devoted, and exciting band

director delivering the curriculum to talented, devoted, and exciting kids. By thinking out of the box, never accepting merely good, and aiming for the stars and occasionally reaching the moon; while at the same time keeping a finger on the pulse of, or balancing high expectations with, what’s realistic and enjoyable. Most Important Lesson Learned: As hard as I try, I can never be all things to all people; but the minute I stop trying, I’m lost. It took me a long time to learn this. But once I did, I became more comfortable with the challenges I face in the rehearsal room every day.

MICHIGAN

Janis Shier Peterson Marquette Public Schools Marquette Years at School: 34 Total Years Teaching: 36 Students in Music Program: 200 Teaching Philosophy: All children can learn and all children are intelligent in their own way. It is my responsibility to provide a quality education for every student in my class using a variety of teaching methods and approaches. I must never, ever give up on a student who is struggling. Making A Difference In Students’ Lives: It’s music that makes a huge difference in the lives of the students. Playing an instrument teaches employability skills like dependability, accountability, teamwork, critical thinking and a positive work ethic. Music students learn a skill that gives them an opportunity for life-long learning and means of expression. They engage in an activity that keeps them busy doing something positive with a positive support group. Most Important Lesson Learned: If I’m inspired, my students will be inspired, too. When an activity loses its thrill, it’s time to find a new one. I’m never too old to learn new ways of doing things better.

MINNESOTA Brad Mariska

Pine City High School Pine City Years at School: 7 Total Years Teaching: 7 Students in Music Program: 191 Teaching Philosophy: Music has to be fun for students. However, the greatest reward or enjoyment in music is performing to your greatest potential and constantly achieving higher levels of musicianship – that’s when the fun really begins. I also believe strongly that a variety of musical forms and styles enrich students equally. While our concert band is the nucleus of our program, we also put great value in our pep band, jazz ensembles, and musical theatre program. Both students and audiences appreciate this diversity – and it’s also very educational. Making A Difference In Students’ Lives: At the very least, I hope I’ve demonstrated to my students that, with hard work, you can achieve greatness, and you reap the rewards in all aspects of your life. Students have a lot of pride in the music they perform, but it gives them a confidence not just in a concert or classroom setting. The skills we teach in band rehearsals or music theory courses are life skills: work hard, have pride, and never give up. Our school has been recognized by the NAMM Foundation as one the Best Communities for Music Education in America for the past two years and students understand that that is a result of a collaborative effort by many people who all subscribe to this philosophy. Most Important Lesson Learned: I’ve learned that even the best training cannot prepare you for teaching. But this can also be exciting. Every student learns differently and to be a great teacher and motivator, you have to adapt daily. I’ve also learned that while fifth graders and high school seniors are completely different, many

of the same teaching techniques apply to all levels of music instruction. Ultimately, though, the most refreshing lesson I’ve learned is that every day I learn as much from the students as they learn from me. How cool is that?

MISSISSIPPI Anna Schwartz

Biloxi Junior High School Biloxi Years at School: 1 Total Years Teaching: 13 Students in Music Program: 200 What Is Your Teaching Philosophy? I have taught at three different schools, each with different student populations. My first school was inner city where 98 percent of the students were on free or reduced lunch. My previous school was the exact opposite where the students came from affluent families and the

The

parents were very supportive. Currently, I teach at a school where the student population is right in the middle of the two previous ones. My teaching philosophy is that most students are basically the same no matter what the socioeconomic situation from which they come or where they attend school. If they are treated with respect, given high quality instruction in a sequenced, organized and consistent fashion, and if they are held to the highest standards in the classroom they will have the opportunity to be successful. Making A Difference In Students’ Lives: Hopefully, I have taught my students to love music and to love the music making process. My goal for my students is not for them to become professional musicians, but rather for them to be lifelong consumers of music. I hope that when my students reflect on their middle and high school years, some of their greatest

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Who Make a Difference

memories will be of their experiences in band. Also I hope that in giving them the opportunity to be successful they have achieved a higher level of self confidence, an attribute that is so important to physical, mental, and emotional health. Most Important Lesson Learned: The most important lesson I have learned as an educator is the importance of seeking as much help as possible from others who have been successful in teaching band. I was very fortunate when I first started teaching to have several retired directors who visited my band room to observe and offer suggestions. This helped me to become a better teacher. They also taught me the importance of having a mentor teacher who is not afraid to hurt your feelings and who will tell you when you are doing foolish things. I see many young directors who think they are supposed to know everything and are therefore reticent to ask for help. It is just impossible to know everything, especially when one is just beginning to teach. Ask for help! Bring in people who have been successful and incorporate

48 School Band and Orchestra, December 2011

their suggestions and advice. It will make you a better teacher and your ensemble a better band!

MISSOURI Rocky Long

West Plains R-VII Schools West Plains Years at School: 8 Total Years Teaching: 12 Students in Music Program: 253 Teaching Philosophy: One aspect of my philosophy is to create a safe environment where students feel welcome. I really work hard to make the band room the place to be, and a place where they can learn. We have to remove all the obstacles from learning, and allow students to take risks and learn from their mistakes. When you can get students to a place where they are not afraid to make mistakes, then you can really make a difference. Making A Difference In Studentsâ&#x20AC;&#x2122; Lives: I believe consistency is a key component in making a difference in the lives of my students. Society today

presents students with many challenges that are well beyond their control. My students need a stable environment in their daily routine, and band is that place where they can succeed. Most Important Lesson Learned: The most important lesson I have learned is that you have to make a personal connection with your students. In the age of technology, students can find the answers anywhere. They are looking for a teacher who will take an interest in their lives. It is more than just the transmission of knowledge. They want to know you care, and that they are more than just a number.

MONTANA Mark McCrady

Whitefish School District Whitefish Years at School: 6 Total Years Teaching: 14 Students in Music Program: 180 Teaching Philosophy: I believe that music is for everyone, from the serious student to the everyday kid. My job is to challenge students at each level, with the expectation that all of us (myself included) need to grow and improve. I want to help them become skilled, literate and confident musicians. While success on stage is vital, the process is more important than the product. The experience should be enriching, rewarding and fun. People first â&#x20AC;&#x201C; music second. Making A Difference In Studentsâ&#x20AC;&#x2122; Lives: It is humbling when I hear about a student whose main reason for staying in school is our music program. If young people leave my classes with an increased sense of self-worth, meaning or belonging, then music has made a positive difference. I give God the credit for that.

Who Make a Difference

Most Important Lesson Learned: A successful band program is not a one man show. Administrators, colleagues, mentors, volunteers, guest instructors, clinicians, parents and student leaders all play a role in a program’s success. Students benefit most when music education is a team effort. I’ve also learned that I still have a lot to learn! Education is a lifelong pursuit – we must never stop learning.

NEBRASKA Evan Lee

Norris High School Firth Years at School: 11 Total Years Teaching: 20 Students in Music Program: 110 Teaching Philosophy: My teaching philosophy is that our program serves as a gateway to building relationships and life skills for our students. We help students learn how to work together for a common goal, develop good time management skills, and constantly strive for excellence. Making A Difference In Students’ Lives: I feel like I have made a difference in my students’ lives simply by being there and supporting them in their efforts, both in band and in their other activities. The students know that I am behind them 100 percent. Most Important Lesson Learned: Students are a direct reflection of their teacher/director. Motivation to succeed, striving for excellence, love of music, passion for the art – it all comes from what students see in front of them every day.

NEVADA

Danielle McKracken Coronado High School Henderson Years at School: 11 Total Years Teaching: 17 50 School Band and Orchestra, December 2011

Students in Music Program: 160 Teaching Philosophy: We teach kids first, focusing on the individual student and how they contribute to the whole group. We have consistently high expectations of all of our students, never accepting less than their very best each day. Having a strong band program is a great byproduct of this approach. Making A Difference In Students’ Lives: We care about every student who has ever been a part of our program. Whether they are all-state musicians, or ones who struggled through middle school, every person has a place in my program. Our students know what it means to be a part of something bigger than themselves. They learn teamwork, responsibility, accountability, and that hard work in conjunction with talent will produce amazing results. Our goal is to produce life-long lovers of music, and I think we have done that consistently over the years. Most Important Lesson Learned: As educators, we are constantly learning. We have to be just as thirsty for ways in order to improve ourselves as musicians, conductors, and teachers. I have been so fortunate to teach in the Clark County School District, where our colleagues are always willing to share ideas, offer suggestions, and truly help each other. I feel very luck to have spent nearly my entire career here.

how complex. I believe that successful concert band rehearsals are a good balance of keeping the students engaged, setting a structured yet flexible environment and allowing kids to really take ownership of their performance. Making A Difference In Students’ Lives: When former students take time from their busy lives to come back to their middle school to tell me about their recent endeavors as drum major, becoming a music major or even starting their first job as a music teacher, I know I have made a difference in their lives. I also have the privilege to work with students who may have never performed on an instrument or believe that they could ever perform in front of their peers, through my drum class. After teaching basic rudiments and skills, we (the students and I) compose a piece using classroom chairs and perform for the entire student body. The anxiety level is extreme prior the performance. Once their performance is over and the roar of the crowd hits them, it is amazing to see kids that may not have had confidence turn into rock stars. Moments like these validate everything I do. Most Important Lesson Learned: One of the many lessons I have learned during this eleven-year adventure is that it is extremely important to get your students performing. When students are performing in parades, concerts, town concerts or statewide festivals, it makes rehearsals purposeful along with highlighting an amazing group of kids.

NEW HAMPSHIRE

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West Running Brook Middle School Derry Years at School: 11 Total Years Teaching: 11 Students in Music Program: 120 Teaching Philosophy: As a music teacher, I set reachable goals at a high standard and prove to each student that their musical part is important, no matter

Littleton School Morris Plains Years at School: 25 Total Years Teaching: 27 Students in Music Program: 120 Teaching Philosophy: When one is called to teach, the central force behind every interaction with children must be a caring heart. Chil-

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New Concert Band Music for 2011 We invite you to experience it 1. Steel, Randall Standridge, Grade 3 2. Still, Still, Still, arr. by Randall Standridge, Grade 2 3. The Magician, David Bobrowitz, Grade 2+ 4. Mystery Ride, Terry White, Grade 1+ 5. Siegfried’s Super Sensational Circus March, David A. Myers, Grade 1+ 6. Zooveniers, Randall Standridge, Grade 2 7. March of the Chinchillas, R. Kevin Paul, Grade 2 8. Sands of Egypt, Steven O. Scott, Grade 2+ 9. Ballad for Band, Greg Danner, Grade 2+ 10. Irish Minstrel Song, arr. by Michael Vertoske, Grade 2+ 11. Her Majesty’s Brigade, Randall Standridge, Grade 2+ 12. Old Dan Tucker Fantasy, Gregory B. Rudgers, Grade 2+ 13. Guardians of the Seas, David Reed, Grade 3+ 14. Celebration Triablesque, Randall Standridge, Grade 3+ 15. The Lark in the Clear Air, Clifton Taylor, Grade 3+ 16. Kingsfold March, Victor Flowers, Grade 3 17. Chopsticks?, arr. by David Bobrowitz, Grade 3. 18. Heist, Matthew Schoendorff, Grade 3+ 19. A Time with Nicolas, Jared Spears, Grade 3+ 20. Wild Dance, Douglas Akey, Grade 4 21. Anthem, Patrick Burns, Grade 4 White Noise, Ralph Hultgen, Grade 5+ Concerto for Winds, Francis Poulenc, transcribed by Kenneth Singleton, Grade 5

2011 Midwest Clinic GMM Performances BAND t Steel, Grade 3, by Randall Standridge Cross Timbers (TX) Middle School Honors Band t March of the Chinchillas, Grade 2, by R. Kevin Paul Farmington (UT) Jr. High School Symphonic Band t Still, Still, Still, Grade 2, arr. Randall Standridge Cobb Wind Symphony, Marietta, GA t The Lark in the Clear Air, Grade 3+, by Clifton Taylor Douglas Anderson School of the Arts (FL) Wind Symphony t Irish Minstrel Song, Grade 2+, Arr. Michael Vertoske t Ballad for Band, Grade 2+, by Greg Danner Air National Guard Band of the Midwest STRING ORCHESTRA t A Little Quiet Music, Grade 3, by Pierre LaPlante ViBravo String Ensemble (MO)

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t Up, Up, and Away, Grade 1, by Michael Hopkins t Water Reflections, Grade 3, by Walter Cummings Bothell (WA) High School Chamber Orchestra SAXOPHONE QUARTET t In Dulci Jubilo, Grade 2, by J.S. Bach, Arr. R. M. Bearden, Jr. Cedar Park (TX) Middle School Saxophone Ensemble

Who Make a Difference

dren should know that both praise and discipline come because “I care enough to notice” (my most often used phrase). When this drives one’s program, children will want to participate. Mere participation will soon become a drive to excel, once they know that they can trust that your caring will never falter. The results are almost limitless. Making A Difference In Students’ Lives: As an elementary instrumental music teacher, I see students once per week for lessons and once per week for band rehearsals. People outside the field might wonder how I could possibly learn their names, let alone get to really know them. The truth is that as we share in the musical experience over a number of years, we get to know aspects

of our students that other teachers rarely get to witness. As members of a performing group, children come to realize that they are necessary pieces to a puzzle that, without them, would be lacking in some way. This helps to build self worth, confidence, and a sense of who they are. These skills permeate into every aspect of their lives, both in and out of school. Fostering this type of growth through musical avenues is fulfilling for me and for the students in my program. Most Important Lesson Learned: Under normal circumstances, students will work to meet our expectations . They will work up to – or down to – our belief in their ability. Never be afraid to set the bar high! If our expectations are low,

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student achievement will be such as well. During my 25 years teaching elementary band students, I have never overestimated the abilities of my players. They have always met my expectations. They trust that what is being taught is simply the next step in the progression of their musical growth and knowledge. As a result, I still feel excitement over the accomplishments of my bands. This keeps me enthusiastic, and that enthusiasm carries over to the students as well.

NEW MEXICO Shawn Silva

Onate High School Las Cruces Years at School: 9 Total Years Teaching: 13

Students in Music Program: 120 Teaching Philosophy: Teaching music is an opportunity for children to create an identity for themselves; teaching band is an opportunity for children to create experiences and memories that will last forever. Making A Difference In Students’ Lives: I hope that my students witness the love I have for my family, the passion I have for teaching band and how much I care for them as people. I am hopeful that somehow in their own lives they are able to find that same love and passion for something they truly care about. I am hopeful that in some way, making music remains a part of their life. Most Important Lesson Learned: It wasn’t until my own two daughters were born that I realized that the children I work with everyday are someone else’s miracle. Before, my approach was strictly the idea of what is best for the band, but now I find myself thinking about the bigger picture and what is best for each child that is part our band.

NEW YORK Allison Scilla

Harborfields High School Greenlawn Years at School: 12 Total Years Teaching: 13 Students in Music Program: 300 Teaching Philosophy: I believe that it is my responsibility to provide the most comprehensive music education possible to my students and to help each student reach their fullest potential as a musician. The skills they learn as musicians translate not only to other core subject areas, but to real life, such as persistence, discipline, teamwork, and cooperation. Through my passion for music,

I hope to inspire my students to be the best musicians and people they can be. Making A Difference In Students’ Lives: I have tried to give my students many positive musical experiences during their time in high school and have helped them make memories that will last a lifetime. The marching band has traveled to Disney World, Hershey Park, and Busch Gardens to perform. The concert bands participate in music festivals at Six Flags Great Adventure, we take them to New York City to see Broadway musicals and Jazz performances. They have wonderful memories of the time spent performing and experiencing musical performances with each other. Most of my students will not be music majors, I don’t expect them to be, but because of their positive musical experiences in high school, many have gone on to join their college marching band, concert band, pit orchestra, or take pri-

vate lessons. I think that is a direct reflection of the bonds they formed with their friends and teachers as a high school music student. They know the power that music has to build camaraderie and lasting relationships, and I am proud of the fact that I have such a wonderful relationship with my students and with many of my alumni. Most Important Lesson Learned: I have learned many lessons over the past 13 years and it is impossible to narrow it down to one “most important.” One of the most important things that I have learned is that there is so much to still learn! As an educator, I am also an eternal student and I learn every day. I have learned so much from my colleagues, our Director of Music, our High School Principal, but especially from my students!

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Who Make a Difference

NORTH CAROLINA David Robinson

Panther Creek High School Cary Years at School: 5 Total Years Teaching: 26 Students in Music Program: 215 Teaching Philosophy: I spend the majority of my energy teaching my students to engage in their education. I look for ways that students can step up and become leaders. I teach my students that leadership involves giving. The success in my classroom comes from the idea that we all have to succeed for the group to succeed. We are only as strong as our weakest link. All students in the ensemble learn to care for everyone’s progress. I see my students as potential teacher/leaders. I ask them to teach each other in section rehearsals and to look for ways to elevate all of the musicians in their sections. When students think that “we-us” is more important than “I-me,” we will have students that go into the community looking to serve not be served. Making A Difference In Students’ Lives: If we are fortunate, we will have three or four great teachers in our lives; teachers who were able to touch something down deep inside us and who really determined our thinking about everything. Perhaps they confirmed a certain belief pattern, or influenced the way we handled problems, or simply gave us the encouragement we needed to succeed. I was lucky to have two outstanding teachers help mentor me in my early years, Jesse Holton (band director) and Lisa McIver (choral director). I wanted to follow in their footsteps and use them as models in developing my own style of teaching. Most Important Lesson Learned: My final thought would be that in both teaching and learning, you must remain persistent. Dr. Tim Lautzenheiser said it best: Engagement in one’s education and then sharing it with 54 School Band and Orchestra, December 2011

others offers an instruction manual of success. It must be constantly studied and practiced. One year in my class is certainly not going to transform anyone’s life-ingrained habits, nor should it. It is merely a taste of what is possible by shifting to a we/us community and striving for excellence.

NORTH DAKOTA Kim Cournoyer

Standing Rock High School Fort Yates Years at School: 12 Total Years Teaching: 17 Students in Music Program: 50 Teaching Philosophy: I think music should be shared by everyone. Anyone who has a desire to make music should have the opportunity to do it. I truly believe music education – playing a clarinet or a bass guitar, singing a solo or playing in the band-enhances the overall education experience on an everyday basis. When it is enjoyable, it becomes a retention factor as well as a motivator to see that any goal or dream is attainable. Making A Difference In Students’ Lives: My mother, who was raised on the Reservation, told that me if I made a difference in even one student’s life, teaching music would be worth the sacrifice of time and energy. Because I am Native American and my students are too, they see me as an example of what a Native person can achieve. I think that is the difference. My mother was right. Most Important Lesson Learned: Since becoming an educator I’ve learned that teachable moments come when you least expect them. That students surprise you with the effort you inspire in them. That music is sometimes difficult but very enjoyable – especially when a solo becomes real, when a concert piece is appreciated by the players, and when they really thought it was too hard… and they still made it happen.

OHIO

Dan Kelley Ohio State School for the Blind Columbus Years at School: 7 Total Years Teaching: 17 Students in Music Program: 25 Teaching Philosophy: All students have potential. Music is a universal language that can reach all students and is a vehicle for them to learn not only music related skills and concepts, but other things like body kinesthetics, speacial awareness, growing as an individual, seeing how their individual strengths can collectively add to the strength of a team. Making A Difference In Students’ Lives: I model what I teach; I have high expectations of my students. I believe if we do not have high expectations of our kids, it is more difficult for them to learn to have high expectations of themselves. Most Important Lesson Learned: It is important not to judge a book by its apparent cover. Teaching is just as much of a learning process for the teacher as the student.

OKLAHOMA James Morrison

Berryhill Schools Tulsa Years at School: 11 Total Years Teaching: 19 Students in Music Program: 200 Teaching Philosophy: My hope is to equip every student that comes through the program with the ability to adapt to real life after high school. The lessons learned in the teamwork structure of band, orchestra or choir will help students look beyond themselves. They should learn the art of selflessness and find enjoyment in their own sense of accomplishment.

Making A Difference In Students’ Lives: By demanding so much from them at school, my hope is that they will be better people when they graduate. I think the discipline they gain from being in the program prepares them to adapt to any social or professional situation they encounter. As they move on and have families of their own, I hope they will encourage their kids to be part of an arts based program that will help teach them those same skill sets. Most Important Lesson Learned: Very few situations are black and white. Family problems, social pressures and income difficulties can constantly challenge even the very brightest students. You have to go beyond the surface to reach some kids. This is the most important and rewarding part of being an educator.

OREGON

dents to love playing, to make beautiful music with one another, and to enjoy the process. At a bare minimum, I expect students be the best people they can be while in my class, and if they are also on their way to becoming excellent musicians by the time they’re out of my program, then I know I’ve made a difference. I offer my students a glimpse into a cultured life – I bring musicians in to them, take them to concerts, and find as many ways as I can to have music be a part of their lives. Most Important Lesson Learned: I’ve learned that one can never really know what another person is capable of. Assumptions should never become commonplace. I have seen some students who came to me with little talent, little interest and minimal experience become my most favorite people and students, not to mention great musicians.

Daryl Silberman West Salem High School Orchestras Salem Years at School: 5 Total Years Teaching: 22 Students in Music Program: 85 Teaching Philosophy: I have a sign in my room that says “I don’t expect you to be the best in orchestra, I expect you to become the best musician you can be” and this is part of my philosophy of teaching. Students can be inspired and motivated to become livelong musicians, as both performers and appreciators. There are so many reasons a student should be involved with music, and many ways that they will benefit – I constantly try to connect music to student’s broader life. I teach tomorrow’s musicians, concert goers, and adults who will be members of our society, and I’m conscious of that every day. Making A Difference In Students’ Lives: I feel that I constantly share my passion for music by encouraging stu-

PENNSYLVANIA Doug Raines

Penn-Delco School District Aston Years at School: 9 Total Years Teaching: 9 Students in Music Program: 150 Teaching Philosophy: As John F. Kennedy said, “All of us do not have equal talent, but all of us should have an equal opportunity to develop our talent.” Students are all different, but they learn best through doing, hearing, seeing, feeling, and verbalizing. Authentic learning is engrained in music. My goal as a teacher is to model and mentor these processes and to provide the motivation for cognitive interaction. I inventory student interests, and make connections to what skills and understandings are to be taught. Lesson planning is a flexible endeav-

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School Band and Orchestra, December 2011 55

Who Make a Difference refine and adapt it frequently. Think outside of the box. All traditions are created by someone from the past and can be changed if planned and implemented properly. Music is sound in time with varied styles and expression, so elitism in music is invalid. As educators, it is our responsibility to reach out to the unknown within music and to continue to grow as a musician. Technology is one of the best educational vehicles to prepare our 21stcentury learners; however it will never supersede traditional hard work and quality music creation. Making A Difference In Students’ Lives: Every student is unique and I strive to instill passion, perseverance, process, performance, and peace within each child through the art of music making. I experience much satisfac-

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or promoting goals and outcomes to capitalize on any teachable moment. Therefore, education is the art of flexibility to merge what is in a student’s best interest “in the moment” with a “picture in picture” view of your end goal in mind. Music is for every child and simply “cool!” Do not accept any other viewpoint. Children should be encouraged to participate in music programs and also be provided the opportunity. As a teacher, be willing to collaborate with the community, parents, colleagues, and administrators, while remaining steadfast in your beliefs. Demand rigor and provide challenges. Scaffold to show the simplicity of all concepts and model how analysis and application will provide success. Have a vision and be willing to

56 School Band and Orchestra, December 2011

tion when students “get it,” but the greater impact occurs later when they understand the bigger picture. “The best teacher I will ever have in my life is myself.” When students understand this element of self-discovery, they have attained the pinnacle. Most Important Lesson Learned: As firm as you are in your professional beliefs and philosophies, these ideals will continue to change, adapt and be refined throughout your career.

RHODE ISLAND Ted Rausch

Portsmouth High School Portsmouth Years at school: 14 Total Years Teaching: 17 Students in program: 215

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Teaching Philosophy: If a student wants to participate in band at the high school level, then he or she should have the opportunity to participate. I have students from all different playing abilities. I try to encourage student leadership by having upperclassmen work with underclassmen in developing their musical skills to help them achieve things they did not think possible. I want my students to develop life skills and be able to respect one another. I always try to provide opportunities for them to grow as individuals by having them perform at different venues. Whether our students are marching in the night parade in Disney, performing on a cruise ship, or performing for an elementary school, I am always trying to provide unique experiences that make a lasting impression. Making A Difference In Students’ Lives: I feel I make a difference when I truly see the satisfaction in my students’ faces after a great performance or rehearsal. I tell the kids, “You never know who you are going to affect or make an impression on when you perform.” Each year, the entire band looks forward to our elementary tour performances, when I have the marching band perform at our elementary schools. I invite the third and fourth grades up to march with us during our performance. It is a rewarding experience seeing my band kids work with the elementary kids. When those elementary kids, five years later, come into our music program, they always recall when the marching band came to play for them. Many of those students are in band today because of those performances. Each year my students look forward to these performances because they truly feel they make the difference as a group. Most Important Lesson Learned: I have learned that there are times

when I have to become the student and let my students be the teachers. Several years ago, I formed a Band Council consisting of student leaders who help with the organization and provide feedback on the “pulse” of the band. We try to meet once a month and I always ask my Band Council members if there is anything that they think I need to address or to try differently for the benefit of the ensemble.

SOUTH CAROLINA Phil McIntyre

James Byrnes High School Duncan Years at School: 29 Total Years Teaching: 35 Students in Music Program: 443 Teaching Philosophy: Give every child you teach your best every day. Treat every child as if they were your own, with dignity and respect, and expect

greatness from all of them. Making A Difference In Students’ Lives: I have always striven to be an example for the standards and expectations I sought from them. I have 21 former students that teach music. Most Important Lesson Learned: Given the opportunity, students will outperform your expectations and rise to the occasion.

SOUTH DAKOTA Julie Berger

Huron School District Huron Years at School: 7 Total Years Teaching: 9 Students in Music Program: 118 Teaching Philosophy: My Teaching Philosophy is simple: My students are first. Their instrumental lessons, classroom instruction, and even the little stories they need to share, are all first. When you care

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School Band and Orchestra, December 2011 57

Who Make a Difference

about them, they will care about what you have to teach them. Everything else is second; I have a messy office and a pile of unfinished, overdue paperwork to prove it! Making A Difference In Students’ Lives: How I have made a difference in the lives of my students: a smile, a laugh and a sense of pride from my students are all small accomplishments that cannot be assessed in the classroom. There is no standardized test to prove I’ve made a difference in my students’ lives. However, I hope, someday, they are proficient in life because of the lessons they’ve learned in Band. Most Important Lesson Learned: The most important lesson I have learned is: to have patience and a sense of humor. Without them, Middle School Band would be very frustrating.

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TENNESSEE Barry Trobaugh

Munford High School Band Munford Years at School: 18 Total Years Teaching: 31 Students in Music Program: 479 Teaching Philosophy: Young-adults deserve to be given every opportunity to learn and mature. Their lives require molding based on proper education and social development. I feel strongly that musical engagements are a unique means to not only bolster crosscurriculum learning, but also a key component to instilling intrinsic responsibility necessary for a vibrant and involved adult. I want to offer every student musical opportunities, regardless of skill level, that encourage exploration and mastery through hard work dedication and responsibility. Music is what feelings sound like, and I want every student to communicate this both as performers and as a casual listeners. My job is simple; utilize the musical arts as an outreach and developmental tool for the youth of our community, and to provide meaningful musical experiences enjoyed by our audiences and our members. Making A Difference In Students’ Lives: We have built the Munford Band program on teambuilding “student-based” responsibility. We engage students not only as musical performers, but also peer leaders with many levels of modeling and coaching. As a result, these students are well prepared for inclusion into college music departments as well as other professions outside of music. Our base of alumni continues to be active in our program, constantly reminding me that their years with the MHS Band provided them with the ability to take on challenges and complete them with superior results. Though many of these graduates have become teaching or performing musicians, most have chosen other professions from the medical field to careers in the military. Each of them shares a similar story of gratitude for the experiences provided to them while a part of our program. Their continued approval and influence on our current students stands as testimony that their pride runs deeply in their experiences and memories. Most Important Lesson Learned: With my career now spanning 31 years in length, the one overriding purpose in my daily routine is to do what is right. I strive to teach not only the music as printed, but also to encourage further exploration of musical nuances inside and outside the classroom. Where some teach “to the concert,” I believe in developing the whole-learner so that they can, in

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many ways, teach themselves through previous and future experiences. I also feel strongly that modeling and exhibiting what is morally correct is paramount in our challenge as a total-educator in today’s world. Though not always popular or easy, we must hold each young-adult to standards that in result posture them in positions to be well engaged in society and a positive impact on whatever profession they choose. Music is the best way to reach the youth of America, and through music, it is the best way to help them develop into adults that appreciate the arts as well as the lives of others within today’s society.

TEXAS

Justin Lewis Wichita Falls High School Wichita Falls Years at School: 6 Total Years Teaching: 18 Students in Music Program: 130 Teaching Philosophy: I believe that our job as music educators is to help prepare the students not only musically, but give them the tools to succeed in their future endeavors. I try to instill a sense of pride in my students in everything that they do. My motto is “pride makes the difference.” Making A Difference In Students’ Lives: My aim is to make students dependable responsible adults. The responsibilities involved in being a student musician are excellent training for entering adulthood. Most Important Lesson Learned: The most important lesson I have learned is that everyone is different and it takes constant adaptation to reach students. They all have different backgrounds and attitudes which makes teaching so challenging, as well as rewarding.

60 School Band and Orchestra, December 2011

UTAH

Eric Perkins Oquirrh Hills Middle School Riverton Years at School: 8 Total Years Teaching: 11 Students in Music Program: 270 Teaching Philosophy: I believe that everyone should have the opportunity to learn to play an instrument or sing, and be able to develop that talent freely. Making A Difference In Students’ Lives: I love hearing about and from students when they hit their senior year, or are in college, and tell me that they are still playing or singing. I get to know that I helped with that. I had a small part in that student’s life. Most Important Lesson Learned: Patience. Lost folders almost always turn up again (sometimes it takes a couple years, but that lost part usually finds it’s way back home). Learning patience has helped me to decide what battles to fight when, it has helped me at home raising small children, it has certainly helped me diagnose problems students have in class beyond embouchure or hand position issues. I am still learning this lesson every day, but it has helped me keep a cool head in (most of my) stressful times, and most importantly it has helped me to bond with my students.

VERMONT Peter Miller

Rutland Public Schools Rutland Years at School: 14 Total Years Teaching: 34 Students in Music Program: 500 Teaching Philosophy: My personal teaching philosophy is to strive for excellence while being inclusive of every stu-

dent. That can mean two different levels: obviously striving for excellence through the honor ensembles and the higher level music and arts classes, but also striving for the excellence that is possible for every student and every class in every ensemble. Making A Difference In Students’ Lives: There are several different ways that happens. The most important way is the terrifically important difference that music and the arts make in the lives of every individual. It awakens us to a much deeper level of appreciation and understanding of life in all of its multifaceted aspects. The other part is that music helps to create a certain meaning for life. It can help express that which is almost inexpressible. Words can do it, but it’s most effective when done in an art form, like literature, theatre, or music. In very practical terms, and I don’t want to overemphasize this, but we are probably one of the best ways to get students to focus and to prepare them to succeed in anything and everything in life. Most Important Lesson Learned: Hold high standards, and yet at the same time, realize context that you’re in. I work in a city that is “blue collar,” yet we have an excellent music program and an excellent overall arts program. To say, “Okay, how can we reach everybody where they’re at, realistically?” Yet, still holding for the highest standards. We’ve all seen these groups from the inner cities that produce amazing results. We simply can’t say, “My kids can’t do it.” It’s also important to realize the social context you’re in – with the community, the school district, and so on – and work within that to realistically and incrementally encourage change.

VIRGINIA Kevin Lewis

Martinsville High School Martinsville Years at School: 7 Total Years Teaching: 31 Students in Music Program: 479 Teaching Philosophy: It is my hope that my students come away from the program with a love for making music that lasts beyond the doors of high school. In my particular school, that means reaching the kids in ways that are not found in some instrumental programs. I make every effort to bridge the gap between the quality music that surrounds them in their own lives to the music that I know is of lasting value. Student motivation, which is the key to education in general, is easiest when activities, trips, concerts and musical selections are deemed to be relevant by the student. At Martinsville High, we even allow the seniors to select, design and teach the last marching band show of the year. Making A Difference In Students’ Lives: I’ve thoroughly enjoyed seeing students experience life in ways that they otherwise would have missed. Whether seeing a professional orchestra or the ocean for the first time, the various band trips have made a lasting impression on my students. Although I have many students who are now involved in music as a profession, it’s great getting an email or Facebook message from a former student that shows they still find the joy of listening to and making music. I also know that it’s impossible for students to come out of the band program without a deep understanding of community and the role that music has within it. As part of a marching band that chang-

es shows for most home games, we were able to perform a special breast cancer awareness show in October. I was floored when the students raised close to $1,400 during their third quarter break for a local women’s health initiative. Most Important Lesson Learned: My thoughts have evolved in how students are selected to participate in the various ensembles. Students, who I may have turned away as not being prepared a decade ago, now turn out to be some of our best leaders when given the opportunity. Having faith that these and other students can handle the responsibility to make decisions is scary but has opened the door for our band and various ensembles within it to even perform successfully on national television numerous times. Those kinds of things are only possible when the students take ownership of the group.

WASHINGTON Mark Wilbert

Sammamish High School Bellevue Years at School: 4 Total Years Teaching: 15 Students in Music Program: 288 Teaching Philosophy: At the core of teaching is the unique relationship between the student and the teacher. I try to come to work every day prepared and enthusiastic, as well as ready to be pleasantly surprised by what the students bring to the table. A good lesson is like good jazz improvisation: lots of preparation, a little spontaneity, and a lot of communication. Making A Difference In Students’ Lives: Creative thinking and working collaboratively are two of the most important skills in the 21st century, so I hope I’ve fostered these skills in my students. I also hope I’ve challenged

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Who Make a Difference

my students to redefine their preconceptions of what they are capable of accomplishing. I believe through studying music my students are more aware of the beauty surrounding them in the world. Most Important Lesson Learned: Never stop learning! Teaching is as complex as any science and requires as much creativity as any art form. I try to take advantage of any resource I can, but nothing compares to what I’ve learned from my trusted colleagues. Teaching is too hard to try to figure out by yourself. Difficult problems are best solved by collaborating with colleagues.

WEST VIRGINIA William R. Jenks

Capital High School Charleston Years at School: 7 Total Years Teaching: 31 Students in Music Program: 479 Teaching Philosophy: I want every student to enjoy making music. I want them to broaden their knowledge and be able to share with others their love for music. I want music to be a positive impact on the student’s lives. Making A Difference In Students’ Lives:

I feel that I have made a difference in students by them not only learning about music, but about necessary things to survive in life. Responsibility, organizational skills, cooperation are important things that I feel I have passed to the students that will help them later in life. Most Important Lesson Learned: Don’t ever give up! Sometimes teaching can get frustrating. Remember in the end, it is rewarding!

WISCONSIN Roxanne Carloni

Mukwonago High School Mukwonago Years at School: 32 Total Years Teaching: 32 Students in Music Program: 275 Teaching Philosophy: I believe all students have the ability to make music. It is my job to show them the way, help them when they get stuck, and give them the independence to go out and play without me standing there. I think students need to know that I see them as individuals and not just the second violin in row three seat twelve. Making A Difference In Students’ Lives: My students play music in a variety of styles including classical, Broad-

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way, pop and alternative styles. I hope that playing in orchestra makes them more open to different kinds of music in their lives whether it is in a movie, on television or something they choose to download. I get the biggest kick of students coming in saying that they want to see a movie, and they heard something from Beethoven’s Seventh or a fiddle tune that they have performed in the past. Most Important Lesson Learned: The most important lesson I think I’ve learned as a teacher is to be flexible. You need a plan B and a plan C. If you are rigid in your approach. whether it be how you run your rehearsal or the music you choose to play, it becomes harder to draw and keep students involved.

WYOMING Shawn Weis

Natrona High School Casper Years at School: 8 Total Years Teaching: 11 Students in Music Program: 330 Teaching Philosophy: I have always felt that music can change students lives when it is taught to them properly. It is my goal to create students who have a deep understanding and appreciation for music that they will last the rest of their lives. Making A Difference In Students’ Lives: I have seen many students discover a true love for music in my classroom. I know that many students have found something they can enjoy for the rest of their lives. Most Important Lesson Learned: To inspire students to achieve what they may feel impossible at first. It is always amazing what students can achieve when they really try!

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SBOTechnology: Play-Along Software

Creative Practicing and Play-Along Solutions By John Kuzmich, Jr.

lay-along recordings have been motivating student practice since the 1950s with everything from simple piano accompaniments to full orchestras. In their originally produced analog format, students could only rigidly fol-

low along, much like practicing with a metronome. Thanks to new technology, those days are long gone.

“The player simply clicks the mouse and starts jamming along with world-class jazz musicians.”

How would you like to be able to customize the tempo? Create practice loops of specific measures? Change the key? Or best of all, have a completely interactive accompaniment? All this is now available to students, teachers and professional performers alike with the latest digital play-along technology. Sherie Aguirre, principal oboist with the Virginia Symphony, used this software to prepare for a performance of the Strauss Oboe Concerto. She relates, “I was thrilled to be able to ‘rehearse’ with the virtual orchestra accompaniment. Its unique ability to follow me I while I play along is particularly important with the Strauss piece. The accompaniment software works beautifully.” Mimi Zweig of the Jacobs School of Music agrees that this is a great learning tool and preparation for playing with a “real” orchestra. “It is the next best thing to the real thing making practice more productive!” she says. Today, there are a number of interactive play-along software applications that are raising the bar and adding excitement to student rehearsals and performances. Creative music teachers can now blend this new technology for more productive student development without time-consuming teacher effort.

BAMtracks/Aebersold BAMtracks is a brand new interactive play-along software company from Australia that incorporates the 64 School Band and Orchestra, December 2011

entire 132-album Jamey Aebersold library with tempo controls, key choices, looping, and interactive accompaniments, making the complete Aebersold library fully digital. It converts the Aebersold CDs and lead sheet books to a single downloadable digital song file that comes with synchronized sheet music display. Once converted into a BAMtracks file, a great number of valuable options become available. Some of those include a bouncing bar shadow, “one more time” switch, tempo control, one-click looping, dynamic chord info with guitar shapes, MIDI and audio recording, and real time transposition with synchronized displayed sheet music charts. BAMtracks also includes a Parts Reveal where B♭ and E♭ instruments parts are displayed in different colors from the concert-piano parts. BAMtracks is a perfect tool for vocalists as well as instrumentalists, as it has provisions available to include lyrics when they are unavailable by default. BAMtracks has other magic tools worth investigating designed for easy jamming and learning. BAMtracks files can be viewed and played using the free BAMtracks Play application, which will soon be downloadable from BAMTracks.com, along with the also free BAMtracks demonstration jingle. For a sample embedded Aebersold play-along rack, go to www.bamtracks.com and register to receive the free demo of the BAMtracks jingle, which highlights all of the incorporated features that the product offers. The publisher will only send users a demo because BAMtracks isn’t going to be fully released until March 2012. Once downloaded, the player simply clicks the mouse and starts jamming along with world-class jazz musicians. Live players may mute their respective parts to join in as the missing instrument or vocalist. To view the depth of repertory in the Aebersold library, go to: www.kuzmich. com/Aebersold.pdf.

SmartMusic SmartMusic was the first software application to provide musical interaction between a soloist and an accompaniment, along with the added ability to record for assessment. This started

A screenshot from Music + One.

a new era of play-along recordings. With SmartMusic, users can change the tempo without changing the key, loop a section, and record while playing along with the music. Students can get instant feedback as they see which notes they played right or wrong and hear recordings of their performance. Instead of practicing alone, students can practice with background accompaniment and hear how their part fits within the whole. An educator subscription to SmartMusic allows teachers to individualize instruction and document the progress for every student. A new feature allows any onscreen notation to be made into a timed sight reading exercise. There are five categories of SmartMusic repertoire and the library is updated regularly as part of a $36 SmartMusic student subscription. SmartMusic features over 40 method books for band, strings, and vocalists – include sight-singing – as well as over 1,900 concert band titles, 700 string titles and 200 jazz titles. It also offers over 50,000 combinations of exercises including scales, technical exercises, play-by-ear, vocals, and rhythm. In addition, there are over 7,000 solo accompaniments on all levels for voice and instruments. Some solos have onscreen notation. Music from popular titles like Harry Potter, Star Wars, and Broadway musicals are also available. SmartMusic has several books that focus on improvisation, and you can

adjust tempo and keys without distorting the sound. Transcriptions of the piano, bass, and drums can be selected. You’ll be able to display note patterns that fit into the chord structure. The rhythm section parts can be isolated. SmartMusic accompaniments can be adjusted from strict metronome for jazz or Baroque work clear over to rich rubato in Romantic and modern music. SmartMusic also allows performance assessment with e-mail connectivity to the teacher for comments and evaluation. Its open-end architecture means that any MP3 audio file can be imported into SmartMusic; plus any Finale file can be imported as a SmartMusic file. Any imported Finale score has the same functionality as any music in the SmartMusic library. This comprehensive library and openended architecture ensures incredible possibilities for everyone from beginners through college and professional level users.

Music + One Another great interactive playalong newcomer is Music + One. This company debuted in 2011 and is aligning with the Music Minus One (MMO) repertory, a formidable playalong library. They presently have 34 master works for flute, oboe, bassoon, clarinet, horn and trumpet, violin and cello, and are in the process of expanding that number to 59. What School Band and Orchestra, December 2011 65

makes Music + One so unique is its special speech-recognition component that seamlessly follows the soloist – even if the student jumps a beat or two – without hesitation or time-delay. Try that with a symphony orchestra and conductor! Jacobs School of Music

instructor Mimi Zweig says, “With its ability to follow the nuances of the performer, Music + One is a great learning tool and preparation for playing with a real orchestra.” This software application is a masterpiece because the accompaniment can be customized and the accompaniment is incredibly interactive. For a good introduction to the product, go to tinyurl.com/dyp4mzd. Another good link with examples of Music + One in action is: tinyurl.com/d8l55ue.

Elevation Elevation by Superscope Technologies is a particularly user-friendly piece of music practice and recording software. While it doesn’t offer a library of play-along tracks, it does offer many desirable features to customize any and all playalong recordings. Just insert a CD into the computer and immediately start modifying the playback to fit your needs. It can play a file in a different key while preserving the original tempo, or slow-down/speedup the music without affecting the key or pitch, loop any section of audio, save loops and key-tempo settings as a “snapshot,” and export files or create an audio CD. Recording capabilities of Elevation are equally impressive for concerts, rehearsals or song ideas at 16 or 24 bit audio resolution. You can use any USB microphone or USB interface to record. Elevation’s ability to save audio recordings in WAV, AIFF, MP3, WMA, and CD Audio file formats is particularly useful for sharing recordings to smartphones, MP3 players and other portable devices.

Play-Alongs Save the Day Last spring, a private student of mine, Josh, was learning the “Concertino for Clarinet” by Karl Maria von Weber for a school concert. He practiced with three different play-along applications. It was a challenge customizing the play-along recording of this concerto because it has so many different tempos. Nevertheless with this new technology, I was able to prepare a practice recording with every tempo change exactly like the Stanley Drucker recording with the New York Philharmonic. The master recording was exported from a Music Minus One recording into separate snapshots in Elevation, and each variation was extracted into a single audio file. In only one or two steps, I adjusted the play-along as Josh got his chops up to tempo over time. Individual variations were electronically copied into a single master file to customize the entire work to his preferred tempos. This practice recording was perfect for 66 School Band and Orchestra, December 2011

both Josh and his accompanist so they could separately prepare for his concert performance. Josh has recently begun experimenting with piano accompaniments in SmartMusic and Music + One using his clarinet concerto and the original MMO recording. Recordings of Josh’s experiences can be found at www.kuzmich.com/SBO122011.html.

Closing Comments Today’s play-along products are revolutionary in helping students practice with real-time self-assessment and musical enjoyment. Jazz students will certainly appreciate that the entire Jamey Aebersold library is now digitally available from BAMtracks, along with a host of customizing features. The progress that my student, Josh, made in just seven short months by using the three applications cited in this article was nothing short of amazing. And these tools have made his practice more fun and productive. Surprisingly, the $20 microphone from SmartMusic proved to be impressively accurate for student recordings. The cost of the software is modest considering the sophistication of the technology. Join the ranks and incorporate play-along recordings in your practice curriculum.

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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Playing with the Classics is a classroom-tested music masterworks Book and CD with musical activities for preschool children, by author and music education professor Peggy D. Bennett. Fully reproducible and with easy-tofollow instructions, the playful lessons in Playing with the Classics give children a chance to sing, move, and act while they learn about the music of the great composers. Author Peggy D. Bennett presents her ideas for movement, stories, and listening activities designed to delight children with selections from Gershwin’s An Ameri-

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NewProducts can in Paris, Beethoven’s Symphony No. 5, Bizet’s Carmen, Tchaikovsky’s Nutcracker Suite, Haydn’s Surprise Symphony, and many more. Detailed biographies of each composer and descriptions of their music are paired to each track on the CD. Playing with the Classics was developed to make great music masterworks a part of students’ beloved repertoire of music, capturing their interest in orchestral music for a lifetime. An overview of the book, teaching tips, and FAQs are included as a resource to make lesson-planning effortless.As part of Alfred’s ongoing commitment to improving the environment, the songbook is printed on 100% recycled paper.

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Check Out the Waves “To help students see gaps in their tenuto playing, I record them and have them listen to and view what they’ve played on a computer screen. This quickens their learning, particularly with the visual learners. Viewing the waveform also helps students build a steady and consistent tone quality as they try to play rectangles of sound.” Michel Nadeau Burr Intermediate School Commack, N.Y.

Submit your PLAYING TIP online at www.sbomagazine.com or e-mail it to editor Eliahu Sussman at esussman@symphonypublishing.com. Winning entries will be published in School Band and Orchestra Magazine and contributor will receive a prize gift compliments of EPN Travel Services, Inc.

NOW ON-LINE!

College Search & Career Guide 2011

Including information on over 100 music schools:

College Music Programs Universities Conservatories Music Education Degrees Technology Performance Commercial Business Instrument Repair Military Band Programs Recording Engineering

■ ■ ■ ■ ■ ■ ■ ■ ■ ■

An Essential Resource for College Bound Music Students!

Students will use this essential on-line

resource filled with informative articles to help them make decide on the best college

music program.

This dynamic 2011 edition can be found at: www.sbomagazine.com

Expert Articles & much more!

2011 Music Students’

College Search and Career Guide Acing the College Audition Freshmen Year Survival Tips The Many Bands of the Armed Forces

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School Band and Orchestra, December 2011 69

Classifieds

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ARRANGEMENTS

Custom Arrangements

For All Instrumental / Vocal Ensembles Tailored to Your Specific Groups Contact Al Newman (505) 681-1213 amnewman@earthlink.net 1424 Sara Way SE Rio Rancho NM, 87124

Free Marching Band Arrangements Contact or email International Education Service P.O. Box 15036 Alexandria, Virginia 22309 703-619-6268 IES9@msn.com

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HELP WANTED Music Man is a family owned and operated Band and Orchestra dealer located in West Palm Beach, FL with over 30 years’ experience serving the music education community of South Florida. Seeking: Educational Sales Representatives who are friendly, knowledgeable, professional, creative and dynamic to build and maintain long-term relationships with existing customer base through the use weekly sales visits. 2+ years of sales experience or instrumental music related degree desired. Repair Technicians w/ 5+ years of repair experience or degree from an accredited Band Instrument Repair program desired.

MERCHANDISE

Salary: Negotiable based on experience All inquiries will be kept confidential.

DVDs Are your band and orchestra students preparing for college?

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The IVASI DVD System helps high school students learn important works to prepare for college orchestras.

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School Band and Orchestra, December 2011

equatone@earthlink.net

Classifieds

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MERCHANDISE

PRINT MUSIC

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SHOW DESIGN

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makes handling large auditions easy. It features automatic data entry from initial registration to final judging via scanner cards. www.AudMgr.com • 800.579.1264 Barry Lumpkin

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CLEAN OUT YOUR BAND ROOM! Recycle your old uniforms and fixtures into cash! SBO classifieds reach 20,000 band/ orchestra directors. $30 per inch to reach a one hundred percent targeted audience!

Call Maureen 800-964-5150 ext 34 or mjohan@symphonypublishing.com School Band and Orchestra, December 2011

AdIndex COMPANY NAME

E-MAIL/WEB ADDRESS

PAGE #

J.J. Babbitt Co. Inc. Band Today LLC Band Today LLC Band World Music Inc Bari Woodwinds Berklee College of Music Berklee College of Music Berklee College of Music Bob Rogers Travel Brightspark Inc Burkart-Phelan Cannonball Music Instruments Cascio Interstate Music Company Casterbridge Concert Tours Charms Office Assistant Crystal Records EMD Music Inc. EPN Travel Services Festivals of Music/ Festivals of Music/ Fobes Clarinet Products Gary P Gilroy Publications Good for the Goose Products Grand Mesa Music Publishers Hunter Music Instrument Inc. InterCulture Association KMC Music, Inc Korg USA Inc. Manhasset Specialty Co. Fred J. Miller Inc. MTS Products Corp. National Assn. for Music Education Pearl Corp. Rovner Products Dan Ryder Field Drillsstruments Sabian Ltd. Summit Tour & Travel Super-Sensitive Musical String Co. Universal Melody Services LLC Universal Melody Services LLC Universal Melody Services LLC Vento Music Verne Q. Powell Flutes, Inc. Vic Firth Company Vic Firth Company Wenger Corp. West Music Woodwind & Brasswind Worldâ&#x20AC;&#x2122;s Finest Chocolate Inc. Avedis Zildjian Co.

www.jjbabbitt.com MarchingBandPlumes.com MarchingBandPlumes.com www.ChateauUSAMusic.com www.bariwoodwinds.com www.berklee.edu www.berklee.edu www.berklee.edu www.bobrogerstravel.com www.brightsparktravel.com www.burkart.com www.cannonballmusic.com www.interstatemusic.com www.casterbridgetours.com www.charmsoffice.com www.crystalrecords.com www.staggmusic.com www.epntravel.com www.educationalprograms.com www.educationalprograms.com www.clarkwfobes.comrams.com www.gpgmusic.com www.chopsaver.com www.grandmesamusic.com www.huntermusical.com www.ica-us.org www.kmcmusic.com www.KorgUSA.com www.manhasset-specialty.com www.fjminc.com www.MTSproducts.com www.menc.org www.pearldrum.com www.rovnerproducts.com www.danryderfielddrills.com www.sabian.com www.summittourtravel.com www.cavanaughcompany.com www.universalmelody.com www.universalmelody.com www.universalmelody.com www.musicfactorydirect.com www.sonarewinds.com www.VicFirth.com www.VicFirth.com www.wengercorp.com www.tjflutes.com www.wwbw.com www.WorldsFinestFundraising.com www.zildjian.com

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School Band and Orchestra, December 2011

SAVE THE DATE

THE 3RD ANNUAL

LOUISVILLE, KY

JEN CONFERENCE January 4-7, 2012 Developing Tomorrow’s Jazz Audiences Today! In the immortal words of one of jazz’ most notable innovators, LOUIS Satchmo Armstrong…

To Jazz or not to Jazz… There is no question!

Call it what you want, but by chance, through karma, serendipity, destiny, fate, providence, or luck…we are proud to announce the Third Annual JEN Conference in yet another city with LOUIS in the title... LOUISville, Kentucky… We think Three’s a CHARM! Come experience all Louisville has to offer, as we will be collectively Developing Tomorrow’s Jazz Audiences Today!

The Jazz Education Network

is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. For complete membership information/beneﬁts please visit us at: www.JazzEdNet.org