MARCH 2011 $5.00
Teaching P.R.I.D.E.
Through Music
Walton High School’s Mike Back
Survey: Summer Camps Report: Best Tools for Schools
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Staff Selections: ¨ Chamber Music
Contents
March 2011
Features
30 40
20
12
FROM THE TRENCHES Bob Morrison takes a look back at the genesis of the modern music education advocacy movement, which began in earnest 20 years ago.
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REPORT: BEST TOOLS FOR SCHOOLS SBO presents the second annual Best Tools for Schools, as selected by educators and administrators attending the music products industry’s 2011 Winter NAMM Show.
20
UPCLOSE: MIKE BACK SBO catches up with Mike Back, director of the band program at Walton High School, a charter school in Marietta, Ga. that boasts an exceptionally well rounded music department.
30
SURVEY: SUMMER CAMPS
34
PERFORMANCE: SAXOPHONE Sean Murphy examines the intricacies of developing a versatile saxophone section capable of seamlessly integrating into the many ensembles that music programs feature throughout the year.
40
TECHNOLOGY: VIDEOCONFERENCING Dr. Kuzmich showcases the ALIVE project, a fascinating music education endeavor that uses videoconferencing to connect educators, students, and performers across the globe, in real time.
46
REPERTOIRE: CHAMBER MUSIC This debut SBO column of print music reviews by acclaimed arranger Vince Corozine focuses on repertoire recommendations for chamber ensembles.
Columns 4 6 51
Perspective Headlines New Products
53 54 56
Playing Tip Classifieds Ad Index
Cover photo by Eric Richards, Richards Studio, Sharpsburg, Ga.
SB&O School Band and Orchestra® (ISSN 1098-3694) 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, March 2011
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Perspective
Virtual Potential
T
here have been numerous attempts at providing a digital alternative to sheet music suitable for both students and professionals for use during rehearsals and performances. Some companies have designed dedicated hardware with the sole purpose of reading and editing sheet music, but mostly with limited capability beyond this specific application. Other software programs have been developed that allow music to be scanned, digitized and downloaded to laptops, tablets, or other devices. Even as the pace of development of these tools increases, the orchestra world has been slow to adapt to these tools in performance. That is, until recently. An article in the New York Times (January 14, 2011 edition) described an interesting experiment by the highly acclaimed Borromeo String Quartet which enabled them to perform by reading digital recreations of Beethoven’s original handwritten scores. “They have forsaken “Imagine the director paper musical parts in favor of MacBooks nestled on of a high school wind special music stands,” states the article. The quartet ensemble who is utilized the computers on specially designed stands, reading off a digital using customized foot pedals to turn their virtual pages. Besides exploring digital sheet music, the score and can make quartet also records all of its concerts, and uses reon-the-fly edits or cordings as a learning tool to help analyze and imhighlights to the tenor prove on future performances. The question that comes to mind is: at what saxophone part that point in the near future will this technology be would immediately be cost-effective for the typical school music program? networked, so the same Imagine the potential applications for educational edit appears on the purposes. For example, imagine the director of a player’s part.” high school wind ensemble who is reading off a digital score and can make on-the-fly edits or highlights to the tenor saxophone part that would immediately be networked, so the same edit appears on the player’s part. Perhaps the three-measure section could immediately be played digitally through a speaker in the player’s computer, at the director’s touch, to help the section? The potential is virtually limitless, and could also save enormous amounts of time in distributing and maintaining sheet music parts, as well as making notations on those parts for the students. The technology that the Borromeo String Quartet is using is undoubtedly beyond the budgets of the typical school music program, and for now, may only be adaptable to a very small ensemble. In its current form, this technology might present challenges when employed in large groups like concert bands or symphony orchestras. However, the Borromeo example presents an interesting model of the potential of the future of these technologies and how they may be applied to broad, real-world musical applications.
®
March 2011 Volume 14, Number 3
GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff
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Member 2011
RPMDA Rick Kessel rkessel@symphonypublishing.com 4 School Band and Orchestra, March 2011
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HeadLines Disney’s “Ear for the Arts” Badge
D
isney Performing Arts is now celebrating and commemorating students that take part in the program with the new Ears for the Arts badge of honor. Participants in Disney Performing Arts programs, which include performance opportunities, workshops, festivals and competitions for everything from march-
Pittsford (N.Y.) Mendon High School students were the first official recipients of Disney’s new Ears for the Arts badge of honor. Photo by Gene Duncan, Walt Disney World Resort.
ing bands to jazz ensembles, dance to choral, theatre and everything in between, will now receive an exclusive Ears for the Arts pin and become a part of an elite group of students. The pin is intended to commemorate the confidence, character and camaraderie required for an ensemble to be able to come together and perform in front of an international Disney audience. Learn more at www.disneyyouth.com.
MASON SCHOOL OF MUSIC Students learn from nationally and internationally recognized faculty who are active performers, conductors, composers, theorists, historians, and music educators. Featuring new facilities and in close proximity to Washington D.C. Accredited by the National Association of Schools of Music (NASM). Comprehensive degree programs include: B.A. Music B.M. Performance, Music Education, Jazz Studies, and Composition M.M. Performance, Music Education, Jazz Studies, Conducting, Pedagogy, and Composition D.M.A. Performance, Conducting, Composition Ph.D. Music Education
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POTOMAC ARTS ACADEMY Join one of our outstanding summer programs and become a part of our acclaimed Mason arts community. Whether you are a teacher, student or child, you will find professionally staffed programs that enrich and inspire—all within the respected Mason setting. Our excellent faculty, world class guest artists, and brand new facilities make Mason the place to be this summer! Teacher Training Programs: Orff Schulwerk and Kodaly Certification Program, Piano Pedagogy Workshop, Paul Rolland String Method Academy Elementary - High School Programs: Ovations String Chamber Academy, Jazz Workshop, Woodwind Camp, Choral Camp
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Nashville Schools ‘Keep the Music Playing’
M
etro Nashville Public Schools have received almost $5 million in funding for music programs from the Nashville-based Country Music Association since 2006, and this week students put on a show to celebrate the impact that this funding has had. Hosted by country music star Luke Bryan, hundreds of Metro Nashville Public School students shared the stage of the Schermerhorn Symphony Center this past Tuesday in a motivation concert demonstrating that music continues to thrive in Nashville schools, despite tough economic times. Learn more about this collaboration at www.cmaawards.com
Remainder of Detroit Symphony’s Season Canceled
A
mid ongoing labor disputes between management and the musicians of the Detroit Symphony Orchestra, the ensemble’s administration has pulled the plug on the
remaining five months of the DSO’s scheduled season. The DSO has remained silent since the musicians went on strike on October 4th, 2010, after their counter proposal of a 21 percent pay cut, instead of the 30 percent initially proposed by management, was rejected. A press release on the DSO’s Web site reads, in part, “Prospects of rescheduling concerts originally within the season, resuming the 2011 Summer Orchestral Season and announcing a 2011-12 calendar remain possible pending a settlement.” For more information, visit www.detroitsymphony.com.
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HeadLines Baltimore’s OrchKids program expands
O
rchKids, the el Sistema-based program developed by the Baltimore Symphony Orchestra and featured in the January issue of SBO, has expanded to a second school. A two-year grant of $50,000 from the Rouse Company Foundation has enabled the program to begin classes at the New Song Academy in the Sandtown-Winchester neighborhood of West Baltimore. Almost 200 students, pre-K through third grade, study music through OrchKids at Lockerman Bundy Elementary school, and now 37 pre-K and kindergarten students at New Song Academy have joined the program. Each year, more students are expected to participate, as the current class moves up a grade level. OrchKids provides music education opportunities at no cost to students. Visit www.bsomusic.org to learn more. Photo by Bill Denison.
8 School Band and Orchestra, March 2011
Listen to the MTA
Google engineer and artist Alexander Chen has created a fascinating musical art project titled “Conductor” using a map of the New York City Subway system. In short, Chen
animates the various train lines and when one line crosses another, it generates a sound like the plucking of a string, with the resulting tone depending on the length of the line being crossed. Visit www.mta.me to explore this unique project.
HeadLines
Walt Best Buy gives $1.24mm for Music Ed Disney World B
Travel to
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est Buy Co. Inc. and its children’s foundation have announced a $1.24 million donation to the Grammy Foundation to support music education in high schools. Paula Prahl, one of Best Buy’s vice presidents, issued a statement saying, “Music is a foundational piece of Best Buy’s DNA and our commitment to the music industry extends well beyond the products we sell in our store. We salute all of the great work the Grammy Foundation is doing to advance the music industry, especially giving young people access to music education.�
Dallas Symphony names new Concertmasters
T
he Dallas Symphony Orchestra has named two new concertmasters: Alexander Kerr, who once held DSO music director Jaap van Zweden’s old post as concertmaster of the Royal Concertgebouw Orchestra in Amsterdam, and Nathan Olson, who is the concertmaster of Ohio’s Canton Symphony Orchestra. Learn more www.dallassymphony.com.
Š Disney
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10 School Band and Orchestra, March 2011
Milton Babbitt, who was widely known for his exceedingly complex avant-garde compositions based on the 12-tone technique of assigning notes values, passed away on January 28th at the age of 94. Babbitt, was the son of a mathematician and began playing music at age 4. By age 7, he was arranging and composing. Babbitt studied music at New York University, and later at Princeton University, where he joined music faculty in 1938. In 1973, he accepted a position at the Juilliard School, and also taught at a number of other institutions throughout his career. Although Babbitt was well versed in many musical genres and reportedly held a passion for theatre music throughout his life, his compositions have often been regarded as inaccessible to the lay listener due to their sophistication, specifically regarding abstraction from popular constructs of key and tonality.
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25%
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SBOFrom the Trenches
“It was 20 years ago today…”
“Just as there can be no education without learning; no education is complete without music” – Growing Up Complete (1991) BY BOB MORRISON
A
s we celebrate March as “Music in Our Schools” month, some readers may not be aware of the events that occurred 20 years ago to help preserve music education in our schools and launch the modern era of music and arts education advocacy – thus, the homage to the Beatles’ Sgt. Pepper’s Lonely Hearts Club Band.
In March of 1991, several hundred people from music education, the record business (yes, they did sell records at one time), the music products industry and government leaders all gathered at the JW Marriott Hotel in Washington D.C. to release a groundbreaking report to Congress and the Bush I administration, Growing Up Complete – The Imperative for Music Education. The release of this report, and the recommendations embedded in it, served as the first public salvo of the modern day music and arts education advocacy movement. This was the culmination of two years of organizing of the broader music community against the threat of marginalization in our schools. The threat came from the establishment of the “National Education Goals” by the National Governors Association. The goals, released in the summer of 1989 and as stated at a meeting chaired by then Governor of Arkansas, Bill Clinton, were: Goal Three: “children will demonstrate competency in core subjects English, math, science, history and geography.” 12 School Band and Orchestra, March 2011
This is the first time our nation had attempted to codify core subjects. Noticeably absent was music and arts education. This served as a clarion call to some key leaders in the music community. A breakfast meeting was convened in 1989 between Mike Greene, president of the National Academy of Recording Arts and Sciences, Inc. (the
Grammy folks), Larry Linkin, president of NAMM, and Karl Bruhn, director of market development for NAMM. These three meet to discuss the problems that music education had been facing over the previous decade: declining enrollments, gutting of programs, and outright systematic removal of music programs around the country. Recognizing that the current trend
would be devastating to music in our culture the three gentlemen decided to take action. These leaders then contacted John Mahlmann, executive director of the Music Educators National Conference (MENC) and together the four of them and the three organizations that they represent went to work to create the National Commission on Music Education. The National Commission was a blue ribbon panel of 60 national dignitaries from all walks of the music community, including high profile names like Henry Mancini, Quincy Jones, Wynton Marsalis, and Leonard Bernstein. Three forums were held (one in each in Los Angeles, Chicago, and Nashville) to gather testimony before the commission during the fall of 1990. Petitions were signed from coast to coast to show public support for music education and materials were being prepared for a national campaign. These activities culminated in a symposium in March of 1991, entitled “America’s Culture at Risk.” The results of all of the forum testimony were brought together in the commission report, “Growing Up Complete: The Imperative for Music Education.” Along with the report came 150,000 petitions for all corners of the nation. The two daughters of Nashville congressman Bob Clements pulled them into the ballroom on little red wagons. The petitions and report were delivered to President George H.W. Bush, all members of Congress, and the Governors of all 50 states, as well as the chief education officers in the Department of Education in each state. At that point, the Commission, with its work complete, was disbanded. A new group was formed out of this meeting to lead the national campaign and thus began the National Coalition for Music Education. MENC, NAMM, and NARAS were joined by the American Music Conference (AMC) to lead the push to implement the recommendation from Growing Up Complete. The Coalition developed state level affiliates in 43 states with thousands of local advocacy groups around the country working to support music education in the schools. Major accomplishments from those recommendations included:
• The Development of National Standards for Music and Arts Education (March 11, 1994) • The Establishment of Music and the Arts as a Core Subject (March 31, 1994) • National Assessment for Educational Progress in the Arts (1999 and 2009) • Sustained National Media Campaigns (NARAS, NAMM, MENC, AMC 1993-2002)
• Greater Investments in Scientific Research (NAMM – ongoing) • Embedding Advocacy Efforts at the State and Local Level (1992- present) This collaboration, born at that breakfast meeting in 1989 and cemented in the release of Growing up Complete in 1991, has led to tremendous group efforts among these organizations benefiting the music education community and, in many
School Band and Orchestra, March 2011 13
instances, helping save music programs. The addition of music and the arts as a core subject at the national level and the establishment of national standards for arts education are two of the most significant moments of the last century in music education – efforts that were an outgrowth of this work. I share this story for a couple reasons: 1. Many people do not know this background (and there is more to share), but more importantly 2. To illustrate that all of us in music education and the music community have the potential to create change. The challenges we face today pale in comparison to the threats of 1989. Contrary to popular opinion, we have more music and arts programs in our schools today than we did 20 years ago. Most children in the United States have music and visual art as a part of their basic education (with a few notable exceptions, like California). I will
14 School Band and Orchestra, March 2011
go further to say that the quality and diversity of the programmatic offerings in music has never been greater. Guitars, mariachi, keyboard labs, technology stations, and rock bands – all in the classroom – are initiatives over the past 20 years. Do not let all the doom and gloom of threatened budget cuts take our eyes off the prize of realizing a system of education where every child has access to an education that includes music. Although it may not at times feel like it, we are closer to this goal than ever before. It is up to all of us to finish the important work the was launched 20 years ago and write the positive ending to this story future leaders will write about 20 years from now. It is our responsibility. It is our obligation because: “Just as there can be no education without learning; no education is complete without music” And that means music… for all.
Note: There are plenty of resources to help you and your parents groups advocate for music education in your community at MENC.org and SupportMusic.com.
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. Holland’s Opus Foundation. He may be reached directly at bobm@artsedresearch.org.
Presents
the 2011
“Best Tools for Schools” Awards
SBO recently presented the second annual Best Tools for Schools awards at the 2011 Winter NAMM Show in Anaheim, California, highlighting a new batch of exciting and creative games, programs, instruments, services and accessories suitable for music educators in a wide range of settings. Expert educators and administrators mining the massive musical industry convention oor in search of the best items for classroom use found a number of intriguing tools that are sure to be a hit with teachers and students alike.
16 School Band and Orchestra, March 2011
Best Elementary Tool
Best Beginning Tool
JoyTunes (www.joytunes.com)
ArtistWorks (www.artistworks.com)
This interactive game appropriate for young learners features animated characters that are controlled by musical instruments. By blowing a flute or recorder into a microphone, student musicians can propel a colorful character through a series of levels.
ArtistWorks is a Web site that offers customized critiques by master-teachers through video sharing. Send in a video using a web cam and their online tools, and teachers will respond with personalized instruction on relevant technical skills.
Best Intermediate Tool
Best Advanced Tool
Midi Player 2.0 (www.interactiveblueprints.com)
Disklavier (usa.yamaha.com)
This app for iPhone and iPad enables MIDI playback on those devices, with many customizable functions suitable for music educators.
This acoustic piano by Yamaha uses electromechanical controls and optical sensors to play independently of a human operator. It can be pre-programmed, played remotely, or played live, creating a plethora of opportunities for school and classroom use.
Best Innovative Tool
Best Ear Training Tool
Music Creed (www.musicreed.com)
Harmony Director HD-200 (www.yamaha.com)
This colorful medallion features a dial that can be set to the musical scales of different cultures, including Western and many types of Arabic and Eastern music.
The Harmony Director is a keyboard tuner that demonstrates how individual notes fit into complete chords, bringing harmony training, rhythm training and ensemble timing together. Students learn how to tune individual notes within chords and understand how each part fits into the complete harmony of the ensemble.
School Band and Orchestra, March 2011 17
Best Tool for Marching Band
Best Music Game
Wristies (www.wristies.com)
Knowledge of Music Playing Cards (www.knowledgeofmusic.com)
Wristies are fingerless polortec (100 percent polyester) gloves for musical instrument practice and performance. Their unique design allows for complete finger dexterity and circulation. Wristies are machine washable and available in a wide variety of colors.
These music-oriented playing cards offer the familiar concept of playing card games to learn the structures of scales and chords.
Best Tool for Strings
Best Rehearsal Tool
Penguin PST-30C (www.paratuss.com)
iKnob (wwwKharmaDesignusa.com)
This versatile motorized string winder and bridge pin puller reportedly makes changing guitar, mandolin, ukulele and double bass strings 80 percent faster. It recharges with an iPod, iPad, or iPhone charger or through a computer using a USB cable.
The iKnob is an analog volume control device designed for use with the iPod or any other audio device. In addition to controlling volume levels, it also has channel cutoff toggle switches so teachers can flip between rehearsal and performance modes for method books with CDs.
Best Tool for Teacher Trainings Honorable Mentions: Mac Pro Video (www.macprovideo.com)
AppOmator (www.appomator.com)
Mac Pro Video offers custom online training videos. The same company also has a program that can be used to make custom apps for iPad, iPhone and iPod Touch, the AppOmator. These tools and services can be used to create and make apps out of educational videos on specific points and steps of a process or training.
Microphome (www.microphome.com)
18 School Band and Orchestra, March 2011
Guitar Hands (www.guitarhands.com) Travelite stands (www.herculesstands.com) Ear Filters (www.earfilters.net)
One Piano, Unlimited Potential
Teach students anywhere in the world.
The Yamaha Disklavier is extremely versatile. As a first-class acoustic piano, it’s ideal for practice and recitals, and as a feature-packed reproducing piano, it’s perfect for education and entertainment. The Disklavier’s huge repertoire of capabilites includes recording and re-creating performances, communicating with remote Disklaviers for long-distance lessons and concerts, accompanying best-selling CDs by award-winning artists, and much, much more. Visit www.4wrd.it/dkv to explore the possibilities. Archive student performances.
Pre-record piano accompaniment so ensembles or choirs can practice without a pianist.
UpClose: Mike Back
Teaching
P.R.I.D.E. Through Music By Eliahu Sussman
M
ike Back is the director of the band program at Walton High School, a charter school in Marietta, Georgia. The Walton bands have an impressive resume, boasting recent appearances at such notable events as the Macy’s Thanksgiving Day Parade in New York City, and the Tournament of Roses Parade in Pasadena, California. Furthermore, the Walton music department is exceptionally well rounded, with high achieving marching, orchestral, and vocal ensembles. Through musical instruction, and perhaps bigger than the music itself, the Walton band program stresses “P.R.I.D.E.”: Proficiency, Reliability, Integrity, Discipline, and Excellence. SBO recently caught up with Mr. Back to gain some insight into the factors that allow for such success, as well as the teaching philosophy and approach behind the man running the show.
20 School Band and Orchestra, March 2011
got to Morehead, I realized that I couldn’t just study percussion, that I had to have a broader degree, so I decided to enter into music education. After finishMike Back: In high school, I knew I wanted to ing school, I played with the Spirit of Atlanta Drum play percussion. There was another student who was & Bugle Corps and became their percussion directwo years ahead of me and he became my private tor in 1982. During that time, I decided that I also percussion teacher for a couple of years. He really wanted to teach high school band, instilled in me a love of percussion. which I started doing in 1984. When he finished high school, he My first job was at a school in DeKalb went off to study at Morehead “Within an organization County, which is another suburb of AtState, and it was around then that I like a band program, lanta. I found out during that year that learned about the great percussion program they had there. I applied there are so many life Cobb County was opening up four positions for assistant band directors, and to that program when I was lookskills that a student I was accepted here at Walton High ing at universities and was lucky School in 1985. I have been here since. enough to be accepted. When I can develop.” School Band & Orchestra: How did you end up in music education?
School Band and Orchestra, March 2011 21
Walton High School Band at a Glance Location: 1590 Bill Murdock Road, Marietta, Ga. On the Web: www.waltonband.org Director of Bands: Mike Back Students in school: 2646 Students in instrumental music program: 285 Performing Ensembles (& no. of students) Symphonic Band I (69) Symphonic Band II (73) Concert Band I (68) Concert Band II (48) Jazz Band I (18) Jazz Band II (21) Winter Guard (14) Marching Band (192) Recent Highlights 1996 – Boscov’s Thanksgiving Day Parade (Philadelphia, Pa.) 1998 – Macy’s Thanksgiving Day Parade (N.Y., N.Y.) 1998 – Members of the Walton Band participated in the Olympic Band for the Centennial Olympic Games (Atlanta, Ga.) 2001 – Scholastic A “World Champions” at the WGI Championships (Milwaukee, Wis.) 2003, 2010 – Tournament of Roses Parade (Pasadena, Calif.) 2005 – Waikiki Holiday Parade (Honolulu, Hawaii) 2006 – Bands of America Grand National Championships semi-finalist (Indianapolis, Ind.) 2009 – Recipient of the Sudler Shield by the John Phillip Sousa Foundation. 2011 – Georgia Music Educators Association In-service Conference (Savannah, Ga.) On Deck Music for the next Walton HS Symphonic I Concert: “Xerxes,” John Mackey (pub. by John Mackey) “Vesuvius,” Frank Ticheli (pub. by Manhattan Beach Music) “Dance Of The Jesters,” Peter I. Tchaikovsky (transcribed by Ray Cramer, pub. by Curnow Music)
SBO: Tell me a little about your program now? MB: We have four concert bands,
Back addresses the marching band before a football game half time performance.
two jazz bands, winter guard, and a marching band, as well as a full orchestra. We have about 285 students in the band program. When I first came to Walton, we had two concert bands, and it started getting bigger, so we added a third and then a fourth. SBO: What was the impetus for that growth? MB: That’s tough to say. We have
two tremendous middle school feeder programs. Between those strong programs and those directors encouraging kids to continue playing music, as well as our efforts at recruiting throughout the years, maybe that has helped students want to join. We’ve also done things like march in the Macy’s Parade and the Tournament of Roses parade (twice). We also participate in Bands of America contests, which is an activity that really motivates the kids and something they enjoy doing. When students see
24 School Band and Orchestra, March 2011
us doing those sorts of things, they want to be involved. We do recruiting every year. We stay in touch with the middle school directors and kids, we do things like – and this is pretty common – at one football game every year, we invite all the eighth graders to come out and experience what it’s like to be at a high school football game as a member of the band. SBO: How does Walton High School’s charter status affect your program?
MB: The charter affects our program in several ways. There are a few things that we can do with respect to scheduling, in particular, that really help us. Walton has a traditional seven-period day; we’re not on a block schedule, like so many other schools. Through our charter, we’re able to offer something called “Morning Tuition School.” That gives students the opportunity to come in and take a class basically before the school day starts. Students or their parents have to pay
Are YOU Using the Method that is Revolutionizing Teaching?
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INNOVATIONS Revolutionary Methods for Musicians Bob PHILLIPS
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SBO: What do you do to confront that challenge? MB: We try to have opportunities for the students in the band program so that they’ll want to be in the program, such as the big trips to the major festivals and parades. Just last month, our Symphonic Band was a featured ensemble at our state music convention. Those types of activities are prestigious, and students can look at those and see them as things that they want to participate in. The other thing that we try to do is work with students to make sure that they can still do other activities as well as band. If we can help
for it, but it gives them an opportunity to take another class. That helps us because they can then keep band, orchestra, or chorus in their schedule for four years, rather than having to drop it to take another class that they need or really want. Walton is a very high achieving school in terms of academics. There are so many AP courses offered, and a lot of our students in the music program want to take those AP classes. This zero period, or Morning Tuition School, gives them the flexibility to still take those classes and keep music in their schedule. Another thing we can do schedule-wise as a result of our charter is that on Wednesday afternoons, school is out at 12:30. The rest of the afternoon is what’s called the “enrichment block.” Students are able to go to teachers for extra help, and there are also some science labs during that time. This is also a time when many students take private lessons, if they want to. Rather than trying to schedule around other activities that normally occur after the school day, this gives students some extra time to use for music instruction. SBO: Do many of your students take private lessons? MB: We have quite a few that do, yes. It’s not something that we offer here at school, but we highly encourage it because it really helps. We find that a lot of our students take private lessons not only to get better at their instruments, but also to move up to a higher band. I mentioned that we have four concert bands, so they like to continue to improve, move up, and try to get into that top band. There are plenty of music stores in the area that provide teachers, but we don’t have any affiliations with anyone in particular. We have recommendations both from students who already have a teacher and we also have a list of people who send us information about teaching private lessons which we make available to the students. SBO: Are there any additional challenges brought on to your music program through Walton’s charter status? MB: Really, the biggest challenge is keeping students in the band room because there are so many activities and great classes available to them, especially the AP classes. It can be a challenge for the kids to get all of the classes that they want, and also stay in the fine arts classes. 26 School Band and Orchestra, March 2011
them work out schedule issues, we certainly try to. SBO: Would you like to have more students than you already have? MB: We have a good number right now, around 285 in our total program. Sure, I’d like to have more, because there are always kids – especially coming from eighth grade to high school – who don’t join the band, who don’t even try it. I often wonder how many of those students could have become really great musicians or really would have benefited from being in our band program. So in that sense, yes, I would definitely like to have more students, just to see what some of those students might have been able to accomplish. SBO: Does that tie into a broader teaching philosophy? MB: Perhaps, in a sense. I am fully aware that the vast majority of students who participate in our high school music program are not going to major in music in college or have careers in music. I hope that, through what they learn here in our program, they will enjoy music and realize all of the great benefits of music – not just in class, but in all aspects of their life. I hope that they become and remain supporters of music. Music education is so important in our schools and hopefully as our students become adults, they’ll be the next generation of supporters of music education and the arts in general. SBO: Has music ed changed significantly in the past 15 or 20 years?
MB: The reasons for having music in schools are the same now as when I first started teaching. Within an organization like a band program, there are so many life skills that a student can develop. These are really important as kids go into college and out into the world. They’re so beneficial and helpful. Some of those life skills are more important than the things they learn about music. Some of these are really basic concepts, like learning how to work and get along with others. It sounds elementary, but it’s so very important. Learning how to respect others. Learning what it means to be dedicated and committed to something, and the value of that. And, also, like most band programs, we have a leadership program where the students can learn about leadership and become leaders. They have that opportunity in our program, and we all know how important that is in college and out in the real world. Hopefully we teach them the basic tenets of leadership and teamwork that will serve them the rest of their lives. SBO: What are your thoughts on the key to creating and maintaining successful career in music education? MB: To be successful in this job, you have to be willing, first of all, to spend a whole lot of time at
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School Band and Orchestra, March 2011 27
it. This is not a standard nine-to-five occupation; you have to know that upfront because of the demands of what we do. So it’s really important to find a balance with your family life. The other thing about being a band director is that there’s so much about this job that is not about teaching music. It’s really almost an administrative type of position. There are so many administrative things that you have to manage to run your program besides just teaching
music. There are so many skills to be learned about how to handle all of the additional tasks. SBO: Do you have any advice for handling all of those administrative responsibilities? MB: A lot of it is just on-the-job training, where you’re faced with a situation and you have to figure out what to do in order to move forward. But I would definitely suggest that any time
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SBO: While obviously running a music program is a considerable time commitment, what do you do to prevent burning out. MB: [laughs] In my situation, I happen to have a wife who is very supportive and understanding of what I do, so I’m very lucky. But there are some things you can do. We don’t have band meetings or activities on Wednesday after school or Wednesday evenings – that’s me time, or that’s family time. As you’re planning your schedule, you have to keep in mind that you also need time for your personal life. If you can find time for yourself and your family away from all of this, it will help keep you fresh. Time away from school is important to stay rejuvenated. Anytime you can focus on time for yourself or time for your family, that’s beneficial. SBO: What is it about teaching music that gets you out of bed in the morning?
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a young band director has a chance to go to a state music convention or the Midwest Clinic or other similar conferences or events, where there might be a clinic on the administrative aspects of music education, he or she should leap to do it. The other thing that has been very valuable and helpful to me has been being able to call on colleagues. I teach in an area where we have great music programs in our county. The directors are very willing to help each other. It’s been invaluable to be able to pick up the phone and call the band director who’s a few miles down the road and who has gone through this experience before me, and ask, “how do I do this,” or “how do I do that?” To have those people around to help out has just been awesome. I would encourage any young band director to not be afraid to get out there and talk to other people.
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28 School Band and Orchestra, March 2011
MB: I’ve been at this for a long time, but I still really enjoy working with teenagers and watching them improve. As a band director, we’re in the unique position of being able to watch our students develop over four years, both as musicians and as people. It’s really rewarding to see how they grow over that time.
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SBOSurvey: Summer Music Camps
Planning Ahead
A Look at Summer Camps
A
lthough summer may seem like a distant fantasy to some, chances are that many students and their parents are already
well underway cementing plans for
With that in mind, this recent SBO reader survey seeks out the latest trends on music camps – how many students are attending, short and long-term benefits, as well as factors to consider when choosing between different organizations.
Does your school run or have an affiliation with a summer music program (not including band camp)?
the extended break. While young music students often resolve to dedicate
Yes
31%
their time to honing their craft, few opportunities provide such a nurturing environment for growth and renewed musical enthusiasm as a summer music camp. 30 School Band and Orchestra, March 2011
No
69%
“I run a voluntary informal summer program at my school two days a week for a couple hours per day. Students pay a small fee to cover the cost of teachers and it is a way for me to keep them practicing over the summer which makes it easier in the beginning of the school year to get up and running.” Chris Nunes Westport Middle School Westport, Mass.
How would you rate your students’ experiences with summer music camps?
Okay
2%
Good
29%
Do your students attend summer music camps?
Excellent
69%
Most of my students attend summer music camps
2%
No or only a few
27%
Some do
71%
“One camp sends a rep to our school in February to listen to auditions and then the camp sends them scholarships. This goes a long way toward getting my kids interested in going to music camp.” David Wuersig Roosevelt Middle School River Forest, Ill. “The elementary and middle school directors in my area give five or six weeks of lessons. The parents pay the directors directly for the lesson, not through the school. Of my students, some attend jazz camps. My drum majors attend a drum major/leadership camp, and some of the colorguard do, too. Others look for a camp that will allow them to participate in both instrumental and vocal ensembles.” Mark Philgreen West Delaware High School Manchester, Iowa
“Some camps are better than others. Price isn’t always a good indication of whether the camp is worthwhile. Look at who is running it and how long they have been doing it.” Rick Brimmer Lake Local Schools Millbury, Ohio
What is the ideal length of time for a music camp?
One month
5%
Several days
9%
“I run, independently, a camp to help the kids keep their chops up over the summer. I run it for four-to-five weeks over the summer, three or four days per week. That way, it allows kids time for other activities and keeps them playing for a longer period of the summer. If the camp were only a week, there is no assurance any playing would be going on otherwise.” Jeff Canter Thorne Middle School Port Monmouth, N.J. “Middle school students do well for the first time with a short length camp. A high school student can achieve a great amount of learning and conditioning in a week long camp.” Deborah Bradley Lowndes Middle School Bands Valdosta, Ga.
Which factor is most important for your students when selecting a music camp?
Musical/performance opportunities
46% Location
37%
Camaraderie with other music students
11%
Distinguished faculty
6%
Two weeks
25%
One week
61%
“For the regular student a week is sufficient; for the advanced, two weeks; and for the high end talent, a month is preferable.” Timothy Mika Summer Creek High School Houston, Texas
“Transportation and location are key issues as my students are too young to drive.” Ken Aune Jamestown Middle School Jamestown, N.D. “Having qualified instruction, the chance to hang out with other kids, and additional activities like being able to go swimming cannot be minimized. All of the above categories go into a quality camp.” Dale Pendley Jefferson Middle School Oak Ridge, Tenn. School Band and Orchestra, March 2011 31
“My students really enjoy meeting other kids as well as getting a different perspective on playing with a group or individual tutoring.” Rachael E. Lewis Bluffton Exempted Village Schools Bluffton, Ohio.
How have your students’ experiences at summer music camps impacted your program? “I had a student that attended a summer music camp in the summer prior to her senior year. That experience helped validate a choice to major in music after high school and gave her the confidence to have a very successful senior year.” Michael Palmer Charles B. Aycock High School Pikeville, N.C. “The students come back better prepared to have a musical experience in school. Bands benefit from summer
music programs as much as the individual learners.” Duncan Goff Madison Central Bands Madison, Mo. “Obviously having them play at all during the summer helps the program, but more importantly they come back to school with a renewed excitement for music. Being in a rehearsal with students who all share the same passion as you do is very powerful!” Scott Minnerly The Gilbert School Winsted, Conn. “The students who attend the summer camps always return with so much more interest and knowledge. They are also ready to get to work. If I could, I would pay for all of them to attend a camp somewhere. The experience is priceless.” Alda Wilmoth Harlem Middle School Harlem, Ga.
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32 School Band and Orchestra, March 2011
“Positive growth in individual musicality, personal musical expectations, and intrinsically motivated leadership development have all been factors that have increased my band’s esprit de corps as a direct result of individual members attending summer music programs and camps. “Convincing first-time campers’ parents that a summer music camp is worthwhile investment in the only difficulty in students choosing to attend summer music camps.” Michael J. Miller Freeport High School Freeport, Fla.
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“The students who attend summer camps are, usually, the best players and most enthusiastic students – cause or effect? These opportunities are great ways to keep students playing over the summer and to expose them to peers from other schools, who are just as, if not more, excited about being involved in music.” Salvatore Terrasi Shorewood High School Shorewood, Wis.
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SBOPerformance: Saxophone
Developing a Versatile Saxophone Section BY SEAN MURPHY
W
hen teaching the saxophone players in a school band program, the director should be conscious of preparing the students for the diverse applications of this versatile instrument, which is often used in marching
band, concert band, jazz ensemble, chamber groups, and other ensembles. In order for a saxophonist to be well rounded musically, he or she must acquire the ability to seamlessly switch between a variety of stylistic genres. The music educator can successfully teach this concept by differentiating tonal conception, performance style, and customizing the mental approach required by
Marching Band In many school music programs, the largest ensemble is the marching band. Saxophone students can sometimes face an identity crisis when considering what type of tone quality is optimal for the field. Although there will always be exceptions, a good tonal concept for the marching band saxophone sections is a jazz-based sound, excluding any of the inflections or stylistic aspects present in jazz music. Students will need to use a large amount of air to create a big sound that will project. This can be achieved with a jazz cut or softer reed and a stock mouthpiece. Most stock mouthpieces are hard rubber and have internal char34 School Band and Orchestra, March 2011
acteristics that are very similar to a jazz mouthpiece. This allows the mouthpiece to easily create a big sound when coupled with a healthy air stream. Also, using a stock mouthpiece on the marching band field is a safe practice to avoid damaging a jazz mouthpiece, which can be much more expensive. Stylistically, the playing of the saxophone in marching band is always shifting. Students cannot be allowed to fall into a pattern of lethargy in regards to the interpretation of the articulation or dynamics of this ensemble’s music, which may happen because there is no standardized programming of material. Whereas a concert band is constantly striving for a warm, dark sound, the
marching ensemble could perform a Latin composition, jazz arrangement, and patriotic march in the same program. However, students must be constantly motivated and reinforced to utilize excellent breath management. It is far too easy for a saxophonist to fall into weak breathing habits outside, while carrying the instrument on their neck, especially when using a larger saxophone. The mental approach must take into account the use of a full air column, which will generate a big sound. With a big sound, the color and timbre of the saxophone can be a prominent feature in the high school marching band’s overall sound.
comes in, as these function only to prevent damage to the reed while shipped. Another aspect of tonal conception that is frequently overlooked is tonal imagination. This is the notion that allows a student to realize the desired tone quality on an internal level and reproduce it on his or her instrument. The question is, however, in what situations will high school and middle school students
be exposed to the tone quality of a professional classical saxophonist. Sometimes, asking students to name skilled performers or appropriate classical recording of the saxophone can produce alarmingly few answers. Students should be exposed to the classical tone of their instrument on an aural level to create a customized mental approach for the classical situation. Online shopping is the most efficient way for students
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Concert Band The concert band, or wind ensemble, is where the tonal conception, performance style, and mental approach of a saxophonist must be completely reconstructed. Changing from the marching season to the concert season means more than switching from mellophone to double horn and sousaphone to concert tubas. Saxophonists must also undergo a radical change in their tonal conception. Far too often, however, this notion can be ignored or forgotten in the hustle and bustle of the school year. The student must now strive for a warm, dark tone that blends into the group sound. Many elements go into creating the appropriate concert band saxophone sound, otherwise known as the “classical saxophone” sound. Part of this is an equipment change. One of the most efficient manners to help facilitate the desired tone quality in concert band is to have the student play a classical mouthpiece in the concert ensemble. Furthermore, the student needs to create a reed rotation. Rather than using the same reed on a daily basis, a rotation of four different reeds will allow for clear response and tone quality on a daily basis. To further enhance this, the reeds should be kept in a holder or case that keeps the reed flat while not in use. This will not be achieved by the plastic cases each new reed
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School Band and Orchestra, March 2011 35
or directors to obtain recordings by these artists. Having students listen to players such as Kenneth Tse, Claude Delange, or Timothy McAllister is a good way for saxophonists to discover the master sax performers wihtin the classical genre. Creating a system of listening assignments for saxophonists is one of the many ways to foster an interest in classical tonal conception.
Jazz Band The school jazz band is another area where the saxophonists must be taught to become diverse in both tone and playing style. A jazz ensemble can be a good breeding ground for band directors to begin to develop specific student’s skills on other saxophones, such as tenor and baritone. This musical setting provides
many areas in which the student must make a seamless adjustment to style on various members of the saxophone family. In jazz, the desired sound is no longer dark and controlled, but more powerful and aggressive, especially by the student playing lead alto. Jazz playing also dictates another equipment change. Saxophone students should all be equipped with both a classical and jazz mouthpiece, as well as reeds for each genre. A hard rubber or metal mouthpiece can help the students produce an appropriate sound as well as softer, single cut, reeds that will facilitate more volume and power when needed. Listening is another critical aspect of tonal conception when playing jazz. Every great jazz saxophonist has a unique sound that can be recognized instantly. Students should
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explore the recordings of the giants on their instrument and determine at least one master jazz saxophonist whose sound they wish to emulate. This will help the students identify and develop a personal sound on their instrument. The mental approach in a jazz ensemble can also prove to be problematic for the director because jazz includes so many other performance aspects that need to be navigated. For example, when students begin reading swing rhythms they must discover that the notation is not a literal translation of the printed eights. The swing feel derives from an interpretation of the eights as a quarter note and eights felt as a triplet. Furthermore, there are also chord changes and the nomenclature of chord symbols that must be interpreted by the students. With all this new information occurring simultaneously, it is the goal of the director to ensure the student maintains an appropriate jazz sound, as well as plays with correct stylistic interpretation. This is most frequently evident when playing notes with a marcato short in length. The educator must make certain that all three elements – sound, style, and approach – are being demonstrated by the saxophonists and to prohibit a focus on only one area that might limit or derail the remaining two components.
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Saxophonists should also have the ability to function as a member of a chamber ensemble, such as a saxophone quartet. These types of groups are an excellent way for young saxophonists to develop proficiency on saxophones other than the alto, as, in the quartet, each of the four saxophones play an equally prominent role in a chamber group. Also, a small group provides opportunity for student leadership and allows the students musical, emotional, and visual interaction, often independent of the director. Furthermore, it will provide students the chance to really focus on their intonation. The chamber group is
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an excellent breeding ground for students to heighten their sensitivity to waves in the sound, either flat or sharp, when only playing with three other people. This concept can then be carried over to the large ensembles in which the saxophonists participate. The saxophone quartet will also provide numerous benefits in the way of tonal conception. The repertoire of a saxophone quartet is varied; however, it frequently calls for the classical sound as the desired tone quality. Having students work on classical piece will develop and enhance the classical tone qualities of the tenor and baritone players in the quartet, as well the concert band rehearsal. The stylistic considerations of the group can be flexible depending upon the repertoire being studied. Students can be exposed to all types of music ranging from fugues to rags to jazz or other contemporary compositions. Regardless of the repertoire, this type of playing really helps intensify a student’s mental approach to playing. Since the group is so small, all members can increase their awareness on breathing together, as well as focusing on the instant response of each note. Furthermore, the students can increase their sensitivity to time by truly feeling the pulse among the four performers and engaging in
meaningful subdivision, since there is no director to coordinate this musical component.
Conclusion It is evident that a saxophonist must possess the ability to engage in various performing styles, and produce sounds characteristic of these contrasting styles. By teaching saxophone students how to differentiate tonal conception, performance style, and the mental approach through various performing ensembles, the high school saxophonist will be prepared for any performing opportunity he or she encounters.
Sean Murphy is studying Music and Music Education at Slippery Rock University in Slippery Rock, Pa., where he expects to receive his bachelor’s degree in May of 2011. Sean was named a University Presidential Scholar and is a twotime winner of the Slippery Rock University Grant for Scholarly and Creative Research. Also an active performer, Sean was the first-ever winner of the Slippery Rock University Concerto Competition.
SBOTechnology: Videoconferencing
The ALIVE Project and You BY JOHN KUZMICH, JR.
W
hile giving a presentation in Stockholm for the Swedish chapter of the Percussive Arts Society’s Day of Percussion in 2004, Allan Molnar stated, “Back in the 1980s, musicians began taking computers to
gigs so they could replace live musicians with MIDI instruments. Now musicians can take computers to gigs and replace MIDI instruments with live musicians!”
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.
40 School Band and Orchestra, March 2011
He recalls, “The virtual musicians I took to that gig were from Kansas State University. I played vibraphone onsite in Stockholm with the Kansas State University Latin Jazz Ensemble under the direction of Dr. Kurt Gartner. The gig was very traditional in every way except for the fact the KSU musicians were in Manhattan, Kansas. They joined me via videoconference in perfect real time.” This performance launched the Accessible Live Internet Video Education (ALIVE) Project, under the direction of Allan Molnar and Stewart Smith. This series of videoconference presentations used these trans-Atlantic performances as a vehicle to demonstrate the potential for working together on musical projects. Allan Molnar says, “Today, we are challenged to integrate technology into our teaching methodology without compromising the traditional music education paradigm. Just imagine: where would you go if you could take your students on a field trip anywhere in the world? If you could invite anyone to teach a lesson to your class, whom would you ask? Imagine the ability to connect your students with students from other schools in distant cities and countries. One of the technologies the ALIVE Project uses to bring these ideas to fruition is the technology of computer-based distance learning!”
Allan Molnar (in Winnipeg) performs onsite at the “Virtual Percussion Festival” with KoSA founder, Aldo Mazza (in Montreal).
For the past 15 years, I have been intrigued with the capabilities of video conferencing and its instructional benefits with guest lecturers – without the complications of travel, housing, meals and timelines. Colleges have advocated for distance learning as a surefire delivery system for asynchronous lecturing. Today, interactive synchronous instruction over the Internet is readily available as Internet bandwidth has increased and cost is more attractive. Opportunities for videoconferencing have also become realistic because computer hardware, operating systems, and software applications are more powerful and practical. For example, since 2003, Skype, a quality delivery software system for Internet videoconferencing, is free for both registered PC and Mac platform users, allowing two locations to interact via simultaneous, two-way video and audio transmissions. Family and friends obviously benefit from Skyping, and music educators can too. Consider the following venues for videoconferencing that the ALIVE Project has featured since 2004: • Concert band rehearsals with guest conductors • Day-long events with multiple guest artists
• Individual lectures on a variety of topics • Jazz band rehearsals and clinics • Joint performances spanning continents • Lecture series culminating in live performances • Interviews with renowned jazz masters • Live concerts to remote locations • Instrument master classes • Music technology classes • Private lessons • Section rehearsals • Supervision of student teachers • Combo rehearsals and workshops • “Virtual” music festivals In October of 2010, Dr. Fraser Linklater and the University of Manitoba Wind Ensemble spent about 75 minutes via Internet communication with Allan McMurray from the University of Colorado. Dr. Linklater remembers, “I was quite excited about the outcome of this first distance ensemble workshop. I had previously spoken with Allan McMurrary about the repertoire to be rehearsed and given him a brief history of the group. Prior to this rehearsal, Stewart Smith was in contact with him regarding the audio and video aspects of the session. Consequently, the technology was seamlessly integrated into the workshop and it was as if Mr.
McMurray was in the room with us, listening and commenting. Granted, he wasn’t conducting up at the front of the ensemble, but his perceptive comments told us that he could distinctly hear the sounds we were producing. “This kind of interaction allowed us to access the talents and experience of someone who, due to cost and time factors, would normally be unreachable for our ensemble. It was also a challenge for me to conduct and make happen the suggestions that Allan provided. The students were intrigued and focused. They enjoyed the experience and everyone grew musically. We will be doing this again in the second semester with H. Robert Reynolds from the University of Southern California. I would definitely encourage ensemble conductors at all levels to consider the possibilities offered by distance learning of this type.”
General Video Conferencing Equipment Options The component parts required for a video conferencing system include: • Video input: video camera or Web cam • Video output: computer monitor, television, or projector • Audio input: microphones, CD/ DVD player, cassette player, or any preamp audio outlet source • Audio output: loudspeakers associated with the display device or telephone • Data transfer: analog or digital telephone network, LAN or Internet There are basically two kinds of videoconferencing systems: dedicated, sophisticated and expensive systems often used by businesses, and portable desktop systems, which are perfect for educators. Allan and Stewart both use the Apple platform, but have also successfully made the Mac to PC link. The ALIVE Project primarily utilizes the technological resources that already exist in most schools. School Band and Orchestra, March 2011 41
Imagination and Video Conferencing At the 2011 Jazz Educators Network (JEN) National Conference in New Orleans, Stewart Smith, who teaches at St. John’s-Ravenscourt School in Winnipeg, Canada, Providence College, and the University of Manitoba, and Allan Molnar, who lives in New York, teaches at Lehman College, runs www.percussionstudio.com, and freelances with KoSA (www.kosamusic.com) presented a clinic on the ALIVE Project, Jazz Education via Distance Learning. Through the medium of Internet videoconferencing, they presented concepts and examples of live Internet links for musicians and students around the world. Over the past seven years, they have nurtured relationships between teaching artists and schools worldwide with classes in elementary schools, middle schools, high schools and universities using iChat, a free conferencing application for Mac users. Allan is also sharing this concept with his colleagues through his role as former chair and current member of the Percussive Arts Society Technology Committee. Allan and Stewart demonstrated how they took their iChat-equipped
42 School Band and Orchestra, March 2011
laptops to their respective schools, plugged in, and began team teaching music
Allan Molnar (in NYC) teaches a jazz improvisation lesson to a student in Winnipeg.
Stewart Smith (in Winnipeg) joins Aldo Mazza and Allan Molnar in a presentation at the KoSA International Percussion Workshop in Vermont (www.kosamusic.com).
classes. It’s really that simple, and to date they have been involved with well over 100 training sessions throughout the U.S.A., Canada, Europe, Australia, and Asia. They created ALIVE because they found that previous videoconferencing initiatives that had been explored in some districts were cost-prohibitive to all
but a few schools. However, this has changed dramatically as technology has continued to develop. The vast majority of the schools now involved in the ALIVE Project have never invested in dedicated video conferencing equipment. By and large, the technology costs are nonexistent because schools can employ
By introducing iChat and the iSight firewire Web conferencing
years although the can be found on eBay and similar sites. A regular DV video camera will work.
“This kind of interaction allowed us to access the talents and experience of someone who, due to cost and time factors, would normally be unreachable for our ensemble.” have reached a point where videoconferences are both effective and satisfying. The PC world is catching up. Here are six basic needs for large group videoconferencing: 1. Apple computer (G3 600 MHz or faster) Any Mac purchased within the last seven years will have the minimum capability to videoconference. 2. Web camera, either external or built into the computer. There are many bands with varying capabilities, so take the time to shop around. Apple’s original iSight camera has been out of production for several
3. iChat account. While free, it can be bundled with a MobileMe account to include Web-based e-mail and web access to files for about $129 per year. 4. High speed Internet connection. 5. LCD projector (not essential but very useful in a classroom with a larger audience). 6. Sound amplifier (again, not essential but very useful in a larger setting). “We have always been interested in finding the confluence of digital technology and music education,” says Allan. “Music teachers are busy
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existing infrastructure. Most schools have high-speed Internet access and personal computers with cameras, and the iChat and Skype software is free. The cost for professional artists will be a budget consideration. This expense will vary based on the demands of the artist and any technical support that might be needed. Many schools have some kind of clinician fee structure in place. Yet, because transportation, accommodations, meals, and so on are no longer an issue, bringing in a guest artist will be more affordable than ever –with no geographic limitations. Allan Molnar reminded us at the JEN Conference, “The value of networking cannot be measured and the concept of connecting classrooms by way of video conferencing is exciting. Teachers sharing ideas, techniques and resources, as well as students meeting students in other schools, cities and countries, make the possibilities limitless. ALIVE encourages students and teachers to develop the networking skills needed for success in today’s highly competitive world. Every teacher and many students can afford to use this technology at home! Music provides an excellent model for the implementation of this idea because in addition to the rich educational value of the subject area, music is a social, interactive and a hands-on discipline. We are building on this music-based model by establishing connections with teachers from other disciplines. The possibilities are limitless.” Initially, they conducted sessions with traditional jazz improvisation lessons where Stewart Smith’s students in Winnipeg successfully traded fours in real time with Allan Molnar in New York. Additional instructional sessions have included brass, percussion, music listening and appreciation, general music and technology workshops.
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ing sessions since 2004. For an overview of the 15 different venues, go to www.kuzmich.com/ TheALIVEProject.pdf In addition, you will find suggestions for how to structure your own successful videoconferences in these three categories: Preparation, Technology and Delivery. The Big Apple… online was a virtual jazz festival involving the University of Manitoba Faculty of Music in cooperation with the ALIVE Project. Interactive, online clinic sessions were presented live involving leading professional musicians from N.Y.C. and around the world. A student from St. John’s-Ravenscourt School solos as part of the “virtual” element of the 2010 Lehman College Sessions included “Latin Jazz Festival, while adjudicator Mike Steinel looks on from his studio at the University of North Texas. Bass Styles, Leading the Jazz Ensemble, Modal enough and the simplicity of what Improvisation, Improvisation Conwe have done with the technology cepts, Trumpet Styles, and Latin in the ALIVE Project is, I think, a Percussion and Drum-set. big part of its appeal. To paraphrase Live videoconferences have Jamey Aebersold, ‘Anybody can vidThe ALIVE Project has probrought the best professional artists eoconference’’” duced over 100 videoconferencinto classrooms, such as a jazz piano and improvisation master class with Dan Haerle, a conversation with Frank Foster about his musical career, a trumpet master class with Bobby Shew, a discussion with trombonist/arranger Tillmon Galloway about his time in the bands of Count Basie and Duke Ellington, a euphonium master class with Dr. Brian Bowman, a performance and pedagogy tuba master class with Rex Martin, trombone master class with Norman Bolter, and horn master class with Gail Williams. Neal Berntsen, trumpet player with the Pittsburgh Symphony Orchestra and Chairman of the Brass Department at Carnegie-Mellon University, was very impressed with his videoconference experience with Stewart Smith’s music class. He remarks, “I found the entire event to be fascinating. Under Stewart’s direction, both the class and the
Videoconferencing Highlights
44 School Band and Orchestra, March 2011
Closing Comments Just think of the possibilities for classroom use. How about having a composer create an original composition for your ensemble and videoconference in to explain the composition, as well as observe and comment on rehearsals? This was recently done at one of the Manitoba Band Associationâ&#x20AC;&#x2122;s Summer Band Workshops in 2010 with director Darrell Chrisp. Headmaster Dr. Stephen Johnson says, â&#x20AC;&#x153;The online learning sessions that have occurred at St. Johnâ&#x20AC;&#x2122;sRavenscourt School have been a tremendous asset to our music program. Being in direct contact with musicians in some of the finest orchestras and music schools in world is a unique experience for our students, and first-rate professional development for our faculty. These enrichment opportunities have been second to none in the province, and all for a very affordable cost. I would strongly encourage all schools to explore what the ALIVE Project has been doing for the last seven yearsâ&#x20AC;? Videoconferencing technology electrifies how teachers teach and how students can learn and share their music. Classrooms, no longer limited by walls, are opening up a world of possibilitiesâ&#x20AC;Ś which is fitting for the universal language of music.
Do you have suggestions for future articles or areas of coverage?
Share your ideas at www.sbomagazine.com!
summer
technology went very smoothly. I am very impressed that a school is on the cutting edge of such an endeavor. Clearly, these online master classes are the wave of the future and I was honored to be initiated to the process in such a seamless manner. Students will benefit greatly from the myriad of ideas that they will be exposed to in future classes.â&#x20AC;? Allan (amolnar@percussionstudio. com) and Stewart (mstewartsmith1@ mac.com) can be contacted directly for more information. More details and insight about Allan and Stewart and their videoconferencing can also be found in this articleâ&#x20AC;&#x2122;s Web supplement (www.kuzmich.com/SBO032011.html).
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Selections
Essential Works for Chamber Groups BY
VINCE COROZINE
O
riginally, chamber music referred to a type of classical music that was performed in a small space
such as a house or a palace room, and typically featured smaller ensembles that played without a conductor. Today, chamber music is performed very similarly in terms of both venue and instrumentation. A chamber orchestra is usually composed of 40 or fewer musicians and because of the limited number of instruments in the group, each instrument plays an equally important role. Generally speaking, chamber music is performed by only one player per part. The following chamber music pieces should be a part of every string teacherâ&#x20AC;&#x2122;s repertoire and library. 46 School Band and Orchestra, March 2011
Pastorale for Flute, Cello Obbligato, and Basso Continuo Opus 13, No.4 by Antonio Vivaldi (Kalmus, dist. by Warner Bros.) A pastorale is an instrumental or vocal piece written in imitation of the music of shepherds, their shawns, and pipes. This song is typical Vivaldi: the warm, sonorous lines meld together to create a masterpiece of tranquil chamber music. It is written in 6/8 or 3/8 meter, marked Larghetto, suggestive of a lullaby â&#x20AC;&#x201C; a tender flowing melody with sustained notes in the key of A major. This gradethree level piece will delight students and listeners alike. The cello gently imitates the motive stated by the flute in numerous places throughout. A talented bass player can play the cello part. Most proficient players will rise to the occasion when attempting to play this obbligato part. The Basso Continuo is played by the piano. The solo may be performed with flute, oboe, or violin. The articulation is well marked for the flute, and the phrasing is carefully allocated for the cello. The cello remains in bass clef throughout the piece. This selection offers a wonderful change of pace during a full orchestra concert, and would highlight the ensembleâ&#x20AC;&#x2122;s most talented students. Renditions for
flute and piano, and for flute, cello and piano may be viewed on YouTube by typing “Pastorale by Vivaldi.”
Sonatine by Maurice Ravel (18751937) arranged by Philip Gordon (Carl Fischer) Although the piece is titled “Sonatine” rather than “Sonata,” its diminutive title refers to its modest length. This challenging piece is an arrangement for strings of the first movement of this piano work. It is rated grade four, which requires careful listening in order to negotiate the dissonant harmonic treatment and tonal color of this master composer. This colorful work is scored for three violins, viola, cello and string bass, with an optional piano accompaniment that generally doubles the viola, cello, and bass parts throughout, thus reinforcing the low register. The third violin part plays divisi, meaning that two players are assigned to that part. This charming piece is marked moderato, is in 2-2 meter and is in the key of F# minor (Aeolian mode), and is in sonataallegro form. The opening theme of the first movement is subject to variations and transformations in the second and third movements – a technique refined by Liszt. This song is not to be played too fast. The inner voices are quiet and slightly held back. The tender melody is played legato and dynamics must be carefully observed. Characteristic throughout is the importance given to the accented upbeats and the crescendos and diminuendos. Use this wonderful piece to teach expression and tone color. There are numerous dissonant chords or unexpected chord progressions such as: the use of minor 7th with a flatted fifth, ninth chords without the fifth (a compositional technique favored by Debussy and other impressionists, especially when these ninth chords move in parallel motion), numerous chromatic progressions, and D major triads moving to C major triads. An occasional major seventh chord places the root and the major seventh in adjacent voices creating a minor second dissonance. Intonation
can be a problem for fledgling string players who have not yet heard or played these types of dissonances. Perform this with generous amounts of rubato and with a slight pause before the restatement of the main theme. It can be used as a “color” piece to add variety during a concert. A piano version of this piece can be found on YouTube. Highly recommended for moderately advanced string players.
Suite and Light (Stringsets): Four Jazzy Originals by Tony Osborne (Faber Music Limited) A string section is enhanced by providing opportunities to explore syncopation and rhythmic contrast. These four movements are written with a jazz feel and employ numerous syncopated figures. The set is scored for two violins, viola or violin three, cello and an optional bass part. The four sections are as follows: 1. “Thoroughly Modern Varnish”(in the key of C major). This is a bright and cheerful piece that projects the feel and style of the 1920s Charleston style. It uses the following syncopations: (Ex. 1) Example 1
2. “Soap on a String” (in the key of F major and modulates to Bb major) is to played sensitively and with expression. The beautiful, tender theme is developed during the seventy-five measures. The inner parts contain smooth voice leading and have interesting moving lines. The syncopated figures are: (Ex 2) Example 2
3. “Woody Waltz” (in the key of G major) is in lilting three-four meter in the mixolydian mode and should be performed in a flowing and rhythmic style. It uses the following syncopated figures: (Ex 3) Example 3
School Band and Orchestra, March 2011 47
4. â&#x20AC;&#x153;Groovy Stringsâ&#x20AC;? (in the key of C major) should be played with power and movement. Two very effective grand pauses (GP) occur early in the movement and add an element of surprise and tension. This movement is in the mixolydian mode and has a bluesy feel. It uses the following syncopated figures: (Ex 4) Example 4
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Students are challenged at any level due to the jazz syncopations and use of the keys of C and F. It should be placed in grade level three for these reasons. Syncopated jazz figures are best taught through physical movement and vocal expression. Here is a useful approach to the teaching of syncopated rhythms: â&#x20AC;˘ Write the rhythmic patterns on the board and ask the students to clap and sing the patterns. The â&#x20AC;&#x153;ear to eyeâ&#x20AC;? approach works well when learning syncopated figures. â&#x20AC;˘ Have the students play each rhythmic pattern in unison or in octaves, and keep repeating the rhythmic pattern until the students grasp the concept of the pattern. Have them play rhythmic patterns on the scale tones of the key of the composition. â&#x20AC;˘ Scramble cue cards and ask students to clap, sing, and play whatever cue card is in view. Students should aim for quick and spontaneous recognition of common syncopated rhythmic patterns. Stringsets is highly recommended for teaching jazz style and common syncopated patterns.
Music for Piano Quartet (Hal Leonard)
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This is an Editio Musica Budapest collection containing music by Mozart, Beethoven, Schubert, Pleyel, Gebauer, Mazas, Hauptmann, and Weber. A piano quartet is a musical ensemble consisting of a piano and three other instruments. These other instruments are usually a string trio consisting of violin, viola, and cello. These delightful arrangements of the classical mastersâ&#x20AC;&#x2122; works are advertised as written for string beginners and the parts are all written in first position. The parts are for violin, viola (violin 2), cello and piano. The grade three level is realistic since the songs contain syncopated rhythms, sixteenth notes, slurred eighth notes, dotted eighth notes followed by a sixteenth, and a few double stops in the violin parts, with one or two double stops in the cello. The keys used in this collection are G,C, A, Gm, and D. Any departure from the key of D major provides a challenge for most developing string players. Some of the piano parts are a bit more complex than the string parts. These pieces are enjoyable to play and the musicality of the pieces will challenge most players.
Other Selections for Chamber Groups Album of Easy String Quartets, Volume One (Kalmus Music) The composers represented in this collection are Haydn, Mozart, Beethoven, Mendelssohn, Cherubini, Bach, Handel, Masse, and Schumann. Even though the collection is entitled, â&#x20AC;&#x153;Album of Easy String Quartets,â&#x20AC;? in actuality, they are not so easy. This collection is at grade level three to four, with most being grade level four. The keys represented in the quartets are C, G, Eb, Gm, Bb, F, and A, and the pieces include off-beat syncopations, single and double grace notes, and dotted quarter followed by two sixteenths. How-
ever, this collection of string quartets is a â&#x20AC;&#x153;Golden Oldieâ&#x20AC;? that every string teacher should have in his/her library.
Vince Corozine has served as director of Music for the Peekskill, New York City schools, associate professor of Music at
Easy Pieces for Three Violins, Volume One (Belwin Mills Publishing Co.) The four pieces in this collection are Kinder Suite, Intrada in alla breve meter, with a Gigue in 6/8, Fugue, and Finale in 6/8. These pieces are in the keys G and E minor with occasional excursions into A, C, and D minor. The first violin is the most rhythmically active of the three violin parts. The first violin part will provide a challenge for the more mature players. Grade level three.
the Kingâ&#x20AC;&#x2122;s College in Briarcliff Manor, N.Y., and director of Music Industry Studies at Elizabeth City State University in Elizabeth City, N.C. He performed and arranged for the USMA Band at West Point and served as music director for the annual Thanksgiving Day Parade in Philadelphia, Pa. for WPVI-TV (ABC-Disney) for 10 years. Vince is the author of Arranging Music for the Real World, (Mel Bay). He records professionally in New York, Toronto, Philadelphia, Hong Kong and China, and currently teaches 12 usic arranging courses online. www.vincecorozine.com
12 Little Duets for Two Violins by Mazas Op 38 (Ed. by Henry Schradieck, Schirmer) These interesting and challenging duets are in the keys of C, G, D, A, F, Dm, and Bb. There are some bowing indications to assist the players. Players must deal with double stops in both violin parts, and a few triple stops and a quadruple stop in the first violin part. Articulations are carefully done. Grade level three.
Sonata in A Minor by Antonio Vivaldi This challenging piece is for solo cello (or viola) with piano. For extra accompaniment, a string quartet or string orchestra may be used. The sonata is in four movements and some passages extend in the tenor clef; the cellist must be able to navigate in this clef. This is a superb, demanding piece for any cellist. The cello part is a grade level five and the other string parts are at grade level four.
Concerto in B Minor, Op 3 No. 10 by Antonio Vivaldi, (Arr. by Ralph Matesky, Wynn Music) This piece is for four violins with piano accompaniment and is also playable by string orchestra. Vivaldiâ&#x20AC;&#x2122;s violin parts are usually difficult and this piece merits a grade level six rating.
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Call Maureen 1-800-964-5150 ext. 34 mjohan@symphonypublishing.com
GIFTS
BandGifts.com
FOR SALE ESTATE MUSIC SALE
Arrangements (Dedrick, Leeds, Stocks, Combo). Music for piano, guitar, band instruments, Karaoke tapes and CD’s. List available
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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. Salary: Negotiable based on experience All inquiries will be kept condential. Send resumes to: John Jarvis Music Man 2309 N. Dixie Hwy West Palm Beach, FL 33407 or via email to john@musicmaninc.com
54
School Band and Orchestra, March 2011
STANDS, PODIUMS, FOLIOS, & MORE @ DISCOUNT PRICES! FREE MUSIC EQUIPMENT CATALOG
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Classifieds
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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
School Band and Orchestra, March 2011
55
Classifieds
SHOW DESIGN
REPAIR TOOLS
Warren Creative Designs Let me help bring your group to life with one of my designs! Some of the best prices in the country on products!
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Advertise in the Classifieds!
www.warren-creative-design.com One stop dealer for Show Design, Musical Instruments, Guard & Band Uniforms, Supplies, & Concertwear ed.warren@comcast.net 800 947-5877 • 517 592-3997
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AdIndex
COMPANY NAME
E-MAIL/WEB ADDRESS
Alfred Music Publishing
www.alfred.com/dealer
25
Jamey Aebersold Jazz Aids
All American Music Festival
www.allamericanmusicfest.org
14
Jupiter Band Instruments, Inc.
www.jupitermusic.com
AMerican Way
info@americanwaymktg.com
51
KMC Music, Inc
J.J. Babbitt Co. Inc.
www.jjbabbitt.com
28
www.kmcmusic.com; www.kmconline.com
24
Music Publishers Association
www.mpa.org
50
Northeastern Music Publication
www.nemusicpub.com
52
Pearl Corp.
www.pearldrum.com
Pro-Mark Corp.
www.promark.com
43
Pygraphics-Pyware
www.pyware.com
39
Skidmore College
www.skidmore.edu
45
Sonare´ Winds
www.sonarewinds.com
Band Shoppe
www.bandshoppe.com
Bari Woodwinds
www.bariwoodwinds.com
PAGE #
5 48
Berklee College of Music
www.berklee.edu
11
Bob Rogers Travel
www.bobrogerstravel.com
10
Cannonball Music Instruments
www.cannonballmusic.com
15
Cascio Interstate Music Company
www.interstatemusic.com
13
Charms Music Software
www.charmsmusic.com
Colonial Williamsburg
www.colonialwilliamsburg.com
42 8
Colorado State University
www.CSUSchooloftheArts.com
32
EMD Music Inc.
www.staggmusic.com
27
EPN Travel Services
www.epntravel.com
Festivals of Music
www.educationalprograms.com cov2-1
Five Towns College
www.ftc.edu
George Mason University
www.gmu.msuic.edu
cov4
36 6
Good for the Goose Products
www.chopsaver.com
52
Hawaiian Music Festivals
www.himusicfest.com
49
Hunter Music Instrument Inc.
www.huntermusical.com
51
InterCulture Association
www.ica-us.org
44
J.L. Smith & Co.
www.JLSmithCo.com
32
56
School Band and Orchestra, March 2011
COMPANY NAME
E-MAIL/WEB ADDRESS www.jazz.books.com
PAGE # 49 7
3
9
Super-Sensitive Musical String Co.
www.cavanaughcompany.com
38
The Tuba Exchange
www.tubaexchange.com
37
Vento Music
www.musicfactorydirect.com
45
Vic Firth, Inc.
www.VicFirth.com
22
Vic Firth, Inc.
www.VicFirth.com
23
Woodwind & Brasswind
www.wwbw.com
35
Wristies, Inc.
www.wristies.com
27
Yamaha Corporation of America
www.yamaha.com
19
Yamaha Corporation of America
www.yamaha.com
33
Avedis Zildjian Co.
www.zildjian.com
29