SBO May 2008

MAY 2008 $5.00

Jeremy Earnhart

The View from the Top

Survey: Uniforms & Footwear Technology: Non-Traditional Classes

Contents 38

May 2008

Features

18 22

18

FROM THE TRENCHES: FINDING THE GROOVE Bob Morrison sheds some light on a new music initiative in the state of Indiana.

22

UPCLOSE: JEREMY EARNHART SBO checks in with Jeremy Earnhart, the director of the Bands of America Grand National Champion, L.D. Bell High School Band.

35

SURVEY: UNIFORMS & FOOTWEAR To put a finger on the pulse of music performance apparel, this latest SBO survey asks over 1,000 band directors about their uniform and footwear purchasing and maintenance habits.

38

PRODUCT SPREAD: PERFORMANCE APPAREL

44

REPORT: RPMDA SBO was on hand at the recent Retail Print Music Dealers Association convention seeking attendees’ observations on the current trends in educational print music sales.

48

TECHNOLOGY: CREATIVE ALTERNATIVES FOR NON-TRAD. CLASSES Dr. Kuzmich shares how two band directors used technology to come up with unique solutions for teaching non-traditional music classes.

Columns 4 6 56 61

Perspective Headlines New Products

62 64 64

Classifieds Calendar Ad Index

Playing Tip

Cover photo by Darrell Fife, Fort Worth, Texas

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 © 2008 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

2 School Band and Orchestra, May 2008

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Perspective

IAJE Files for Chapter 7 Bankruptcy

T

he world of jazz education is mourning the loss of the one organization that was dedicated to this specific field of music as the IAJE (International Assn. of Jazz Educators) has officially closed its doors. According to a letter from Chuck Owen, the President of IAJE on Friday, April 18, “the board voted to file for bankruptcy under Chapter 7 of the Federal Bankruptcy Law.” This leading music education association, which had over 8,000 members, an international convention, a bi-monthly journal, and a history of over 40 years has been crushed under a mountain of debt according to an article in the Seattle Times, April 18, 2008. The Times article indicated that the organization is rumored to have been over $1 million in debt according to Greg Yasinitzy, an IAJE division “The loss of the coordinator. It is difficult to pinpoint the exact reasons for this IAJE is not only a unprecedented downfall, but there were obviously festering financial difficulties which were not specifically addressed by powerful blow to either the paid management team or the elected board. the 8,000 members According to the Web site Guidestar.org, which provides ... but also to the information for charitable organizations, IAJE’s 2005-2006 greater music edu- tax return indicated a negative asset value of approximately $90,000. The timeline regarding the financial difficulties is cation community.” unclear from this point on, as this was the last publicly available statement filed with Guidestar.org. Indications are that due to a combination of poorly attended conventions, increased costs of publications, and other increasing expenses, the group continued to lose money until there was no further way to control the debt. According to Owen’s letter, there was a late effort made by the board to raise funds to alleviate the financial problems, but this too failed far short of raising the necessary funds. It’s difficult to understand how the debt levels were allowed to increase so dramatically from ’05-’06 to the present without dramatic steps being taken earlier in time in order to reverse the cash outflow and perhaps save this venerable Association.

In the field of music education, there are many well-run associations that are an integral part of many music educators’ career enhancement and training… The lectures, performances, networking opportunities and trade shows that organizations provide offer a wealth of benefits for serious educators. The loss of the IAJE is not only a powerful blow to the 8,000 members who invested their time and money into supporting the association, but also to the greater music education community which benefited indirectly from the efforts of this group.

We have been told that there is an effort by highly respected educator and former IAJE board member, Mary Jo Papich, that she is working towards creating a new jazz association that will hopefully take the jazz education community to new heights. We’ll look forward to hearing more from her soon.

Rick Kessel rkessel@symphonypublishing.com 4 School Band and Orchestra, May 2008

®

May 2008 Volume 11, Number 5

GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff

EDITOR Christian Wissmuller

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ASSOCIATE EDITOR Eliahu Sussman esussman@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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Member 2008

RPMDA

HeadLines Håkan Björkman Wins Lindberg Solo Competition 2008

T

he second International Christian Lindberg Solo Competition 2008 was held in Valencia (Paiporta), Spain April 2-5, 2008 and was won by Håkan Björkman playing on a CONN88HY Symphony Trombone with the CL2000 Valve. He recently also won Pricewaterhouse Cooper´s soloist competition, is currently a solo trombonist in Chamber Orchestra of Europe, the Royal Stockholm Opera Orchestra, and a professor of trombone at the Royal Stockholm Academy of Music.

The judges for the contest consisted of well known artists such as Christian Lindberg, chairman, Joe Alessi, Solo Trombone New York Philharmonic, Michel Bequet, Lyon Concervatory of Music, Jörgen van Rijen, Solo Trombone Concertgebouw Orchestra, Amsterdam, Salvatore Tarraso, Solo Trombone, Valencia Symphony Orchestra, Daniel Perpinan, Solo Trombone Bilbao Symphony Orchestra, and Justo Romero, Dramaturg Valencian New Opera Orchestra. The finalists in this competition had to play a specifically written trombone concerto for the event by Ferrer Ferran, who also conducted the final concert.

First prize for Håkan from the Christian Lindberg Solo Competition is 6,000 Euros, a brand new Christian Lindberg trombone (the Conn 88CL), three solo concerts in the Valencia region, plus subscription series solo concerts with the Nordic Chamber Orchestra and the Swedish Wind Ensemble conducted by Christian Lindberg.

For more information, please visit www.conn-selmer.com.

Berklee Bestows Honors

B

erklee College of Music President Roger Brown presented Philip Bailey and Maurice White of Earth, Wind & Fire; Steve Winwood; composer and Berklee alumnus Howard Shore; and Brazilian artist Rosa Passos with honorary doctor of music degrees at Berklee College of Music’s Commencement on Saturday, May 10, at the Agganis Arena at Boston University. Commencement speaker Philip Bailey addressed more than 800 Berklee graduates and invited guests at the 7,000-seat venue.

This year’s honorary doctorate recipients are being honored for their achievements in the world of music, and for their enduring contributions to American and international culture. Past recipients include Duke Ellington (the first, in 1971), Dizzy Gillespie, Patti LaBelle, Steven Tyler, Aretha Franklin, Tito Puente, Nancy Wilson, David Bowie, Michel Camilo, Chaka Khan, Loretta Lynn, Quincy Jones, Bonnie Raitt, and Ahmet Ertegun.

Steve Winwood, a pioneer of rock whose music has influenced generation of musicians, performed a special concert of his career-spanning hits, in the Berklee Performance Center on Thursday, May 8. Please call (617) 747-2261 or visit www.berklee.edu for more information.

6 School Band and Orchestra, May 2008

HeadLines Bill Ludwig, 1916-2008

Bill Moffit, 1926-2008

illiam F. Ludwig II, the patriarch of the Ludwig Drum Company and son of its founder, passed away on March 22nd, 2008.

Respectfully known as “The Chief,” Bill was 91 years old and has been in declining health for a few years.

The Chief lived a long and productive life and was a mentor to percussionists and many others in the music industry. A leader in the development of percussion products and marketing concepts to promote music and percussion education, Bill Ludwig furthered the advancement and development of percussion instruments and performance throughout the world.

r. William C. Moffit died on March 5th in Jacksonville, FL at the age of 82. The former marching band director for Michigan State, the University of Houston and Purdue University was an exclusive arranger for Hal Leonard in the heyday of marching bands, from the mid-1960s to the early 1980s.

Moffit arranged more than 450 marching band pieces published in the Hal Leonard Soundpower series. These works collectively have sold more than one million copies, and several titles remain in print.

Moffit was also internationally regarded for his bestseller Patterns of Motion. The book outlined the most often-used field drill designs for marching bands, based on a system of four-person squads moving in kaleidoscopic patterns. Patterns of Motion ushered in a brand new style in marching, and college and high school bands across the nation readily adopted its concepts.

W

D

www.bariwoodwind.com

Great Mouthpiece. Great Price. Great Band.

ESPRIT - DURABLE HARD COMPOSITE MOUTHPIECE PROVIDES A RICH, VIBRANT TONE. Bari Woodwind Supplies, LLC, 1805 Apex Road, Sarasota, Florida • (941) 371.0016

8 School Band and Orchestra, May 2008

The National Association of Music Education officially endorses Festival Disney.

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HeadLines Conn-Selmer Adds Online Catalog

ABA Convention 2008

he Educational Resources section of the Conn-Selmer Institute Web site now has available on-line the “Conn-Selmer Band Director’s Catalog.”

The catalog highlights from an historical perspective how American Band music has played an important part in the design and development of band instruments. Great masters including Vincent Bach, Alexander Selmer, George Bundy, C.G. Conn and William Ludwig were all involved in the original sound development that distinguishes American-made instruments from foreign-made copies. This tradition continues to honor the “concept of sound” that only American-made instruments truly provide.

The music educator or director can utilize the catalog for instrument selection to complete an entire band or orchestra, then easily take that information and create a “wish list” on the Conn-Selmer Web site to get further details on how to obtain the instruments for his or her organization. All of the products offered in 2008 are contained in the catalog with complete specifications, and options available for each of the instruments.

This music director’s resource is one of many available at no charge on the Conn-Selmer Resources Web page, which is a clearinghouse of the most requested technical information, manuals and student education aids that are available through Conn-Selmer. To access this information on the Internet, go to www.education.conn-selmer.com.

The American Bandmasters Association met in Miami, Fla. from March 5-8, 2008 for the 74th annual national convention, “Sounds of Sand and Sea.” Amidst the festivities and meetings, performances were given by bands from the University of Miami, Florida A&M University, Tennessee Tech University, University of Florida, and the U.S. Army Field Band, “The Music Ambassadors of the Army.” The bands performed at the University of Miami’s Gusman Hall.

The event was hosted by Gary Green, director of bands for the University of Miami, and his wife Peggy.

For more information, please visit www.aba2008.org.

T

Marshall Donates Amps to Little Kids Rock Marshall Amplification donated 33 of its MG30DFX amplifiers to Little Kids Rock (LKR), a national non-profit organization providing instruments and music instruction to students in underprivileged elementary schools. Marshall also cosponsored a recent Little Kids Rock fundraiser event, held at the House of Blues in Los Angeles, the proceeds of which have allowed LKR to open a new facility in Dallas. As the event was also a tribute to the late “Dimebag” Darrell Abbott of Pantera fame, Marshall convinced LKR to increase the number of new instructor trainees from 30 to 33, one of Abbott’s favorite numbers.

Nick Bowcott, Marshall’s US Product Manager, was a long time friend of Darrell’s and in addition to writing the best selling Guitar World Presents Dimebag Darrell’s Riffer Madness guitar method book together, Bowcott also regularly performs a 15-minute “TribL to R: Little Kids Rock’s David Wish and Marshall USA Product Manager Nick Bowcott ute” medley of Dimebag’s most well-known riffs and solos at memorial concerts and fund raising events in honor of the late guitarist.

Founded by former elementary school teacher David Wish, the Little Kids Rock organization’s mission is to enhance elementary education through music. Focusing on students in schools whose music programs have been jettisoned due to budget cuts, LKR uses popular music forms such as rock, rap, blues and hip hop to inspire children to express themselves through music, building the creativity, confidence and self-esteem that are critical to success in school and beyond.

For more information, please visit www.littlekidsrock.org.

10 School Band and Orchestra, May 2008

Online Survey Results 1) How often do you dry clean your bands' uniforms?

36% 52% 12% Never Annually

2x a year

2) Do you have you uniforms cleaned locally?

20% 80% No Yes 3) To whom do you take your uniforms to be laundred?

24% 60% 16%

A “specialist” Regular I do it neighborhood myself cleaners

Visit www.sbomagazine.com and let your voice be heard in the current online poll – results to be published in the next issue of SBO.

HeadLines Student Jazz Solo Winner Jams in New Orleans

Meredith Donates Book Proceeds

s part of the prize package for winning the Jupiter XO Student Jazz Solo Competition, saxophone player Adam Larson received the opportunity to jam onstage in the heart of New Orleans. A regular fixture in jazz clubs around Normal, Illinois, this high school senior took full advantage of his chance to shine while playing onstage with the Dirty Dozen Brass Band in historic Lafayette Square Park on April 23rd.

Larson was presented with a new XO model 2089 tenor saxophone on April 15th in front of his concert band classmates at University High School. Local music store owner Randy Wood, of The Music Shoppe in Normal, Ill., and Dan McCaffrey, District Sales Manager of Jupiter Band Instruments, Inc., were on hand to congratulate Larson for the accomplishment of winning the 2nd Annual XO Student Jazz Solo Competition.

At 17 years old Larson has already established himself in local jazz clubs playing regular gigs with his quartet, quintet and trio most weekends. He was selected as a member of the 2008 Gibson/Baldwin Grammy Jazz Ensemble. He also performed with the 2007 Monterey Jazz Festival Next Generation Jazz Orchestra and the 2007 Inaugural Jazz Band of America. After graduating as valedictorian of his high school this spring, he plans to attend the Manhattan School of Music in New York on a full scholarship.

To find out more about Adam Larson, visit www.adamlarsonjazz.com.

Thanks to the generosity of 342 authors from six Meredith Music publications, thousands of dollars have been donated—and will continue to be donated—to the American Music Conference (AMC), American String Teachers Association (ASTA) and the Percussive Arts Society (PAS).

Royalties from The Music Director’s Cookbook: Creative Recipes for a Successful Program and 5 other “Cookbooks” for Brass, Chorus, Woodwinds, Strings and soon-to-be released Drum and Percussion, each with 57 authors, are being donated to the aforementioned organizations.

Each book in the series is a collection of unique concepts on becoming a successful teacher/performer by many of today’s most outstanding music professionals. Individual cookbooks contain tothe-point, thought-provoking ideas proven successful by master teacher-performers. Problem-solving tips, philosophical concepts, and technique-building exercises, all in easy-to-read collections.

For more information, please visit www.meredithmusic.com.

A

12 School Band and Orchestra, May 2008

HeadLines PAS To Induct Roy Burns And Dame Evelyn Glennie Hall Of Fame

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he Percussive Arts Society has announced the names of those selected to be inducted into the PAS Hall of Fame, the society’s highest honor given to individuals whose careers have had a significant impact on percussion performance, education and research. Drummer, educator, clinician and manufacturer Roy Burns and famed solo percussionist, Dame Evelyn Glennie, will be honored this November at the Percussive Arts Society International Convention (PASIC) in Austin, Texas.

Roy Burns’ musical career has touched almost every facet of the music industry. His playing landed him gigs with Woody Herman, the Benny Goodman Orchestra and Lionel Hampton. His days of studio work included the Merv Griffin Show, the Tonight Show and a number of television quiz shows, radio and TV commercials, and recordings. The success he experienced as an author of instructional drum books led to his career as a prominent clinician, and he pioneered the role of drummer as clinician as it is known today. As an artist for Rogers Drum Company, Burns presented clinics in Europe, Australia, Canada, Scandinavia and New Zealand from 1968 through 1980. He started the Aquarian Accessories Corporation in 1980, where he currently devotes most of his time. Burns is a past board member of the Percussive Arts Society and has performed at PASIC. Dame Evelyn Glennie is often regarded as the first percussionist to successfully create and sustain a full-time solo career. The New York Times praised “…her musicianship [as] extraordinary. One has to pause in sheer wonder at what she has accomplished.” An active performer, Glennie gives more than a hundred performances annually around the world, appearing with the most respected ensembles and orchestras. She has significantly increased the solo percussionist’s repertoire, having commissioned over 140 new works from many prominent composers. She received a Grammy® award in 1988 and was recently honored as a Dame Commander in the British Empire for her continued service to music. Glennie first performed at PASIC in 1985 and has made five additional appearances, the last in 1999.

PASIC will take place November 5-8, 2008 in Austin, Texas at the Austin Convention Center and Austin Hilton. Both Burns and Glennie are expected to be present for induction into the PAS Hall of Fame on Friday, November 7.

More information can be found at www.pasic.org.

NSPC Receives $60K in Grants The National String Project Consortium has received over $60,000 in new grants from the Dana Foundation and the Talty Foundation, which will enable three new String Projects to be created at Cleveland State University, East Carolina University, and the University of Nebraska at Kearney.

The NSPC is a coalition of Sting Project sites based at colleges and universities dedicated to increasing the number of children playing stringed instruments and addressing the critical shortage of string teachers in the United States. There are currently 32 String Projects sites in the NSPC, and the ultimate goal is to have at least one Project in every state. To date, the NSPC has been responsible for the stringed instrument education of over 7,000 children.

For more information, please visit www.stringprojects.org, or contact Robert Jesselson at rjesselson@mozart.sc.edu or by calling (803) 777-2033.

School Band and Orchestra, May 2008 13

HeadLines Juilliard’s Joel Smirnoff to Head Cleveland Institute Of Music

The Global piccolo by Burkart & Phelan combines the reliability, reputation and quality of a Burkart instrument with a very competitive price.

Retail Price $2,295 Please contact your local Burkart-Phelan dealer for information on price and delivery.

www.globalpiccolo.com 978-425-4500 14 School Band and Orchestra, May 2008

Violinist Joel Smirnoff, a member of the Juilliard String Quartet since 1986, will become president of the Cleveland Institute of Music, made official and announced on April 30, 2008, by that conservatory.

At Juilliard, where he has also been a faculty member since 1986, Mr. Smirnoff will continue to teach and perform with the Quartet throughout the transitional 2008-2009 season.

Since its founding as Juilliard’s resident string quartet in 1946 by thenJuilliard President William Schuman, the Juilliard String Quartet has come to define the ‘American Sound’ in string quartet and chamber repertoire.

The current membership includes Joel Smirnoff and Ronald Copes, violins; Samuel Rhodes, viola; and Joel Krosnick, cello. The current membership of the Quartet has been together since 1997, when the founding violinist of the Quartet, Robert Mann, retired after 50 years, and Joel Smirnoff assumed the position of first chair, with Ronald Copes added as second.

All of the members of the Juilliard String Quartet, including founding member and former first violinist Robert Mann and former second violinist Earl Carlyss, are active and popular teachers on the string and chamber music faculties at Juilliard. Mr. Rhodes and Mr. Krosnick are the chairs of their departments, as is Mr. Smirnoff.

For more information, visit www.juilliardstringquartet.org or www.cim.edu.

¨ For additional music education articles, please visit the School Band and Orchestra archives at: www.sbomagazine.com/ sbomag/sbomags.html

Get OnBoard™ Flexible transport carts for marching band.

Every marching band could use a good set of wheels.

Extreme exibility and great mobility, indoors or out — that’s what make OnBoard™ transport carts perfect for marching bands. Load up the Cargo Carts with instruments, uniforms, or a combination of both. The Uniform Cart is a safe, easy way to transport uniforms in under-the-bus storage. Marching bands and drum corps will love the ergonomic design of our Percussion Cart, as well as its mobility and storage capabilities. Finally, move the electronic keyboard onto the ďŹ eld, set it up, play it and store it — all with one cart. So get OnBoard — because every marching band can use a good set of wheels.

Cargo Cart

Uniform Cart

800.4WENGER s WWW WENGERCORP COM /N"OARD

Percussion Cart

Keyboard Cart

We’ve GOT it all ...

Pyware 3D and all that goes with it!!

Now Released in THREE EDITIONS Basic, Interactive and Professional “This 3D Ver. 4.2 is a Major Upgrade. It has many very important improvements. It also now allows you to “Copy and Paste” forms from our New GeoMetric Library and Transitions for Marching Band Books, Volumes 4 &5, Dan Ryder, Drill Designer

3D (Basic) is a lower cost edition with all of the advanced features for designing and printing developed in the new Version 4.2. Refer to comparison chart for this version.

Price $349 - 3D Basic + Free Transitions CD for Vol. 4 ($35 value) 3D Interactive Version 4.2 includes 3D (Basic) as well as the interactive features of 3D Online Accounts to seamlessly upload/download drills to clients, students, performers and potential drill design customers worldwide, This also includes the Interactive software 3D Performer’s Practice Tools which includes: • Performance Simulator • Drill Explorer • Personal Drill Book Printer • Personal Coordinate List Printer • Personal Thumbnail Chart Printer • Leader Board Manager • New Drill File Format 3D Production File Price $599 - 3D Interactive + Free Transitions CD for Vol. 4 ($35 value) 3D Professional includes all the features of 3D Interactive, 3D (Basic) as well as all of the

Plug-ins offered by Pygraphics including the Floor Covers, Traditional Design Tools , Spiral Tool and an extra installation (3 total) . Refer to comparison chart for more additions in the version.

Price $999 - 3D Professional + Free Transitions CD for Vol. 4 ($35 value)

Version 4.2 includes many new features for designing and teaching drill as well as ALL of the features of the previous updates.

New in Version 4.2

• Figurines in perspective view. You and your students will be amazed!

• A Figurine Editor used to colorize figurines to match your uniforms and costumes, with over sixteen different figurines and three figurine sets.

• Different figurines can be assigned to each performer in a drill.

Figurine sets can be customized or set to a default coloring that matches your standard uniforms.

Dan Ryder’s 3rd Annual Marching Band Workshops at Southfork Ranch, Dallas, Texas

“Texas Style” at the Southfork Ranch, Home of “JR”, filming location of the TV series Dallas

• Pyware 3D Workshop Monday June 16, 2008 • Drill Designing Workshop June 17-20, 2008 presented by Dan Ryder

• NEW Guard Instructor Workshop, June 17-20, 2008 presented by Richard Lopez for more information/ www.danryderfielddrills.com

New Digital Props & Flags Create your own Digital Props & Flags to reflect the Theme of your next Show. Just send us your digital photos and we can have it printed. Photos must be a minimum 300 dpi and 500 kb. If you can create the image design, we can print it.

Prices:

$5.25 per square ft. for unsewn props $5.95 per square ft. for pole hems Add $1.50 per square ft. for plain back (Pillow case style, to simply slide the prop over the frame) $300 minimum order + $35 setup fee.

Dan Ryder Field Drills 3607 Barberry Wylie, TX 75098 / 1-800-727-7889 www.danryderfielddrills.com / email: ryderdrill@aol.com

SBOFrom the Trenches

Finding the Groove

BY BOB MORRISON

L

ast month I wrote about the power of music in the column “What Music Really Means.” Through the stories of people more than 30 years removed from school and in careers far removed from music, this diverse group of “regu-

lar people” gave voice to the power music has to change lives.

In a related article, back in October of 2006, I wrote about this great new series from HBO called “The Music in Me.” This documentary showcased a series of young musicians (12 and under!) who demonstrated their musical ability while also speaking to the important role music played in each of their lives. At the time I wrote:

Bob Morrison is the executive vice president and chairman emeritus of Music for All Inc. He can be reached via e-mail at bob@musicforall.org.

18 School Band and Orchestra, May 2008

“From the very start I was captivated. There were times I caught myself with my mouth wide open. It was without question the most inspiring program (television, film or radio) focusing on music and kids that I have ever seen (and I have seen most of them). It was so moving that I immediately called my good friend and partner in advocacy, NAMM’s Mary Luehrsen, insisting that she see the show. Her response was the same as mine.”

Well, the visionary behind the HBO series, Leslie Stifelman – who generated not only the above response from me, but from positive feedback from thousands of viewers around the nation (and earned her a Peabody Award to boot!)

– has now created a new project designed to pick up from where the HBO series left off and to showcase the power of music to transform lives.

The project is called “Finding the Groove™.”

Finding the Groove is a virtual world where kids aged seven to twelve, from diverse cultural and regional backgrounds, and who are instrumental musicians, composers, singer songwriters and vocalists of all styles or genres, will be able to come and share their musical stories

by uploading and sharing videos on a safe network designed for them.

A handful of those kids who submit the most exciting videos online will be chosen to be part of the Finding

the Groove concert series. This will feature the musical performances and stories of these young musicians who are making connections between their music and the world

Hot New Shows for 2008! º Connexus (Gary P. Gilroy/Shawn Glyde/Nate Bourg) º I Believe (Richard Goss/Steve Martin/Aaron Hines/Jon Brill) º Chess (Gary P. Gilroy/Kohei Mizushima/Nate Bourg)

School Band and Orchestra, May 2008 19

around them. These multi-media events will be presented in conjunction with major symphony orchestras, symphony halls, and university and community arts organizations from around the country.

Here is how it works: Between now and June 15th encourage your students or friends who live in Indiana ages seven to twelve to: 1.

2.

3.

4.

5.

6.

Log on to: findingthegroove.com Create an account Fill out your profile Create your video Upload your video Share with your friends

It is almost like YouTube for young musicmakers!

Children will be invited to join the Finding the Groove world premiere concerts based on their comments and musical passion and will be given the opportunity to perform live onstage with the Indianapolis Symphony Orchestra and the Indiana University Philharmonic Orchestra. Some children will also be invited to perform solo, or with their

ana’s youth including the Indiana Arts Commission, Indiana Music Educators Association, Indiana State School Music Association and the Indiana PTA. Finding the Groove marks the first statewide collaboration between one of America’s major orchestras, one of the world’s most highly respected music schools, and one “This could be a wonderful new way to of the nation’s most celebrate and advocate for the importance prominent music education organizations, of music for everyone.” all of which call Indiana home and are uniting to celebrate the important be hosted by the Indiana University role music plays in the educational Jacobs School of Music, the Indiadevelopment of Indiana’s youth. napolis Symphony Orchestra, and If Finding the Groove has anywhere Music for All in September and Ocnear the impact the original HBO setober 2008. ries had, this could be a wonderful new The world premiere of Finding way to celebrate and advocate for the the Groove is an Indiana statewide importance of music for everyone. initiative in partnership with the Visit www.findingthegroove.com Indianapolis Symphony Orchesnow through June 15, 2008 for tra, the Indiana University Jacobs more details, and see first-hand that School of Music, and Music for All. music is alive and well, and living This program is made possible by in the hearts and minds of children the generous support of the NAMM everywhere!

Foundation with a special thanks to MusicCrossroads. The Finding the Groove partners will work closely with many other Indiana organizations that understand the importance of music in the lives of Indibands or musical friends or families.

Video clips from other amazing submissions will also be shown during the program, all illustrating how every child is on a path towards finding their own “groove.”

The world premiere of the Finding the Groove concert series will

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20 School Band and Orchestra, May 2008

© News

For Additional News in School Band and Orchestra, please visit www.sbomagazine.com

¨ For additional music education articles, please visit the School Band and Orchestra archives at: www.sbomagazine.com

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UpClose: Jeremy Earnhart

The

View from the Top

B

By Eliahu Sussman

eing named the Bands of America Grand National Champions is no small feat. And achieving that honor with a largely economically disadvantaged student body, where about one-third of the students participating have been playing music for less than three

and none have been marching for more than two, is downright astonishing.

22 School Band and Orchestra, May 2008

B

eing named the Bands of America Grand National Champions is no

small feat. And achieving that honor with a largely economically disadvantaged student body, where about one-third of the students participating have been playing music for less than three years and none have been marching for more than two, is downright astonishing.

School Band and Orchestra, May 2008 23

On the other hand, Hurst, Texas’ L.D. Bell High School is no stranger to the podium at BOA’s Grand Nationals, having placed in the top three each of the past three years, so one might have figured that an eventual breakthrough to the top of the field was inevitable.

For Jeremy Earnhart, the director of the Blue Raiders band, the bottom line is about maximizing his students’ achievement. In this recent SBO interview, Mr. Earnhart details his own musical upbringing and the methodology by which he has lead the L.D. Bell band to such great heights.

School Band & Orchestra: How did you first become interested in music?

Jeremy Earnhart: My father was a

band director, so it was a little hard to avoid. [laughs] In fact, my parents met at the University of Michigan because they both played French horn.

SBO: Tell me a little bit about your music education growing up?

JE: I started playing the trumpet in summer band before my fourth-grade year. At that time in Long Island, where I was raised, to play music you sat in an elementary school band for three years and middle school band for three years.

When I got to high school and was able to start traveling and seeing the larger world of music education, it became a broader interest of mine.

Also, as I started to practice more I was able to feel the rewards that come from the time spent on an endeavor — the individual benefits that come from working hard and achieving, and being able to do that with multiple people.

SBO: By “multiple people,” you’re referring to an ensemble setting?

JE: Yes, the concept that the whole is greater than the sum of its parts.

This was something that was particularly appealing to me.

SBO: Were you playing primarily concert music? Were you playing jazz as well?

JE: Our high school had a comprehensive band program. I was actually in my father’s high school band for a year. Of course we started with marching band, because that’s what happens, then into concert band and then jazz band.

SBO: What kind of music did you listen to when you were a teenager?

JE: That’s tough. I liked Chicago, De La Sol, and Maynard Ferguson.

SBO: Sounds pretty eclectic. You played under your father’s direction for a year? What was it like being in your own dad’s class?

JE: I was only in his band for one year because he moved over into administration. I think the hardest thing about it was the first day when I raised my hand and had a question, and I had to think about how to address him. [laughs] SBO: Did you blurt out “Dad”?

L.D. Bell Marching Band at a Glance Location: 1601 Brown Trail, Hurst, Texas On the Web: www.ldbellband.org Students Participating: 260 Recent Accomplishments: • 2007 Bands of America Grand National Champions • 2006 Bands of America Arlington Regional and San Antonio Super Regional Champions, placed second at Grand Nationals and in UIL State Marching Contest • 2005 Placed third at Bands of America Grand National Championships • 2004 UIL 5A State Marching Band Champion • 2004 Recipient of the Sudler Shield • 2004 Bands of America Arlington Regional and St. Louis SuperRegional Champions • 2003 Bands of America San Antonio Super Regional Class Champions and recipient of Outstanding Performance caption award at each Bands of America contest attended; placed fifth at Grand Nationals • 2002 Bands of America Arlington Regional Champion, Bands of America San Antonio Class Champion, and the 2002 Texas UIL 5A State Silver Medalist • 2001 Placed fourth at BOA Grand Nationals Championship, winning award for Outstanding Music Performance; BOA Regional Champions in San Antonio and Arlington • 2000 Texas State Champion in Class 5A and BOA Regional Champions in San Antonio and Houston 24 School Band and Orchestra, May 2008

JE: Right, what do you say, “Mr.

Dad”?

SBO: That’s funny. So you were cruising through high school, did you play in touring ensembles?

JE: I did the local circuit of the allcounty and all-state groups and I also played in the St. John’s University pep band. That gave me another level of travel on NCAA tours and seeing what was out there.

SBO: While you were in high school? How did you manage that?

JE: My dad was the band director there, too. I hate to make that a common theme here, but it’s true. My freshman year of high school, they were going to go on tour and one of their trumpet players couldn’t go, so I went, played well enough, and that was that. I stayed with them for the next three seasons.

SBO: Was there a defining moment when you knew you were going to dedicate at least the immediate future to music education?

JE: Let me put it this way. I think that once you’re in band, you’re just in band. When people would come to do recruiting for us when I was in junior high, it was like, “Why would you do anything else?” And again in high school, “Why would you do anything else?” So I just kept going through college.

SBO: You went to the University of North Texas, correct?

JE: Yes. It was terrific to be a small fish in a big pond and have to work my

way up the ladder. It was like real life.

SBO: I guess that was a little different from your high school, where you had that lifeline with your father.

JE: Right. One of the experiences I really enjoyed coming down to Texas was being able to make my own way without having family members that could have been part of that achievement process.

SBO: So you studied performance and education. Tell me about your first teaching experience?

JE: My first teaching experience was at the Brewer High School and Middle School, where I taught every single grade level as an assistant band director. I did beginning instruction. I worked with the second middle school

“The groups that we have been able to assist in getting along the best have been the ones to attain the highest level of achievement.”

School Band and Orchestra, May 2008 25

band. I helped with the middle school jazz band. I helped with the marching band. I taught the second concert band and the high school jazz band.

SBO: It’s interesting that you bring up the competitive angle, because that is sometimes a controversial element to music education. Some have said that, in many ways, music isn’t inherently competitive —

SBO: Sounds like a full plate. What were those ensembles like?

JE: Tell that to the guy that didn’t get the job with the Philadelphia Orchestra. [laughs] What I think is great about competition is that that is just the day we all decide to be our best. That’s all it is.

JE: I’ll say this: It was a terrific experience to help start building a program.

SBO: Well, it’s rare that a young band director’s first position will be running a world-class band. It’s taken you a few years, but that, in fact, is where you’ve ended up.

You’ve now been at LD Bell High School for 10 years, and your band has garnered some rather extraordinary honors, including being named Grand National Champion at the Bands of America National Championship last November.

JE: One of the things that I like about the Bands of America process is the ability to get real assessment and feedback in a positive and improvement-based manner. Each year we’ve participated in their competitions, we’ve been able to make improvements in our program based on what it is that their competitive process through ad-

SBO: How did you first become involved with Bands of America?

“It’s a terrific example of competitive education.” judication allows. I think it’s a terrific example of competitive education.

JE: LD Bell had been to a few Bands of America competitions over the years, including 1997, the year before I arrived here. So when I came in, we continued that tradition and gradually increased our level of participation because we could see that the experience that they give to our kids and community is fantastic. We quickly stopped going to local events in favor of attending festivals that had a little bit more of a national achievement appeal. That national flavor has allowed for us to have the proverbial carrot for the kids

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in the community about achievement. It’s not about placement; it’s about achievement.

I talk to the kids about making a great DVD, because that’s something that is permanent, something these kids will show their grandkids one day: “This is what I did when I was in high school.”

SBO: How did get your feet wet in the pageantry element of a field show?

JE: You just study what other

“It’s not about placement, about achievement.”

great organizations are doing both in the pageantry field, being of course marching band, drum corp, and winter guard, but past that into what makes a great production, what makes a great movie, what makes a great Cirque du Soleil show, and you surround yourself with people that can make that happen.

SBO: How do you select repertoire?

JE: That’s always a challenge. We try to come up with a theme — a concept.

Sometimes that’s musical, sometimes it’s

visual, and sometimes it’s just a feeling.

Then we try to find the other components to go into that because we need the musical, the visual, and the emotional elements to make a show engaging.

SBO: In order to grasp that engaging element, what specifically do you look for? What are some of the things you’ve found to be successful?

JE: That’s a tough question to answer because what we look for is a little intangible. I guess if you take a look at the difference in Jim Carey’s performance in Eternal Sunshine for the Spotless Mind versus anything else he’s done, there’s an intangible quality to the writing and the performance, which are inseparable. That’s one of the things that is very important that we understand: in the marching acit’s tivity, the design of what we are going to do is as important as the performance, and the performance is as important as the design. It’s no different in a concert band setting or orchestral band setting where you will only accept “quality” literature, so too is it here; only a neat aspect of this genre is that here you get to create it.

SBO: You get to create it, but the students have to perform it. How do you prepare 14-, 15-, 16-yearold kids for this level of execution on such a grand stage?

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SEE US AT TMEA BOOTH 1241 School Band and Orchestra, May 2008 29

JE: Interestingly, we don’t begin band here until the seventh grade, and we don’t start marching band until 10th grade. So our most experienced band member has only been marching for two seasons.

SBO: Really? There’s not an elementary or middle school feeder program?

JE: Nope. It starts in junior high, and that’s it. More than a third of our kids have only been playing for three years.

SBO: So how do you do it?

JE: I guess that’s the trick. [laughs] We do a vertical teaming with the junior high school. Every one of the high school band directors also teaches junior high classes, so there’s an investment there. Also, the kids and the community attach themselves to what it is that we’re achieving because, although the idiom is marching band, we would teach them no differently if the idiom were karate.

It’s all about the musicianship, musical achievement, academic achieve-

ment, and citizenship building that goes into it. We would be unable to sustain a program at the highest level for years and years without making sure that it was done in a healthy manner. It’s incredibly important to me that our kids our doing well in their academic classes, so that marching band isn’t seen as a distraction from what they are really here to be studying.

Another wrinkle is that 41 percent of our students are economically disadvantaged. Of the highest achieving programs, we’re by far the most “in need.”

LD Bell band members with the Bands of America Grand National Champion trophy.

es because our socioeconomics have shifted that much.

SBO: So how do you manage to keep up your funding?

JE: Over the years we’ve been able

to study, define, and refine what we’ve been doing and trim out some of the unnecessary cost. Years ago we’d fly to grand nationals, but now we take bus-

SBO: Fundraising must take up a lot of your time.

JE: Fundraising is an exhausting endeavor, but thankfully we have a fabulous booster organization that over the years has been able to do what we’ve been doing with our show design, and that is to continually define and refine

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how best to get results. Whether it’s marching band or fundraising, it just boils down to effect. It doesn’t have to be complicated to be effective. Whatever you can do to get the most bang for your buck, that’s what we’re looking to do.

And in the past five years, we’ve grown by over 50 percent. We have gone from 190 students to where we’ll have over 300 members next year, including color guard.

More than half of the 50 students in color guard are also in band, they just don’t perform an instrument during the field show. Wind and Percussion is at about 200 people. So the total program is at about 260, and that’s out of 1,900 students in the high school.

JE: Texas schools are only allowed eight hours outside of the school day.

Therefore, proper instruction and design are paramount. Those eight hours per week also include changing into uniform and other tasks, so it is not all instructional time. Students also have one 70-minute period during the day for band.

SBO: That’s an astonishing rate of participation, considering how inexperienced your students are when they begin in your band.

SBO: What’s the biggest challenge that you face as a music educator?

JE: If we had a ninth grade, we’d have over 450 people in the program.

SBO: That’s incredible. What kind of hours do you keep to prepare the students?

SBO: Do your students still have time to participate in other extracurricular activities?

JE: We have kids in just about every conceivable activity, except for the ones that conflict directly with our schedule, and those are varsity football and varsity volleyball. Those two sports happen at the exact same times.

JE: In an increasingly “a la carte” society, we are trying to do the one thing that can only be done as a group and can only be done the same way it was done a hundred years ago. This is a muscle memory

activity and you have to play the trumpet the same way it has been played forever. There is not a download to assist in the process. There is not a podcast that can help kids learn, they just have to practice.

Also, band is just good old-fashioned teambuilding. The groups that we have been able to assist in getting along the best have been the ones to attain the highest level of achievement.

SBO: Is reaching that level of achievement something that motivates you as a teacher?

JE: For me, it boils down to student achievement and watching kids grow. I have the unique opportunity to see my kids grow from seventh grade until they go to college. The achievement that I’m talking about is not competitive achievement; we are the Statue of Liberty of marching bands: give us anybody who wants to be here, and we’re going to figure out how to make it happen and we’re going to figure out how to pay for it.

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SBOSurvey: Uniforms & Footwear

Keeping Up Appearances

O

n the football field or in the concert hall, first impressions are made before the opening note is struck. A well groomed

and uniformed ensemble conveys a sense of cohesion and professionalism to the audience.

And for students,

donning unique apparel often imbues young musicians with a special sense of pride and import, creating an atmosphere of heightened expectations and results.

The nuts and bolts of

keeping up appearances, however, is not always so glamorous.

This latest SBO survey asks over 1,000 band directors about their uniform and footwear purchasing and maintenance habits in an attempt to gauge the current trends in music performance apparel.

School Band and Orchestra, May 2008 35

“an impressive step-up flute for a young player.” ~ Trevor Wye

How old are your current uniforms?

49%

0-5 years

26%

6-10

20+

27%

School district

18%

Boosters

21%

11-20

Who provides the funding for apparel purchases?

Donations & sponsors

4%

16% 29%

We fundraise

10%

Other

Our district has a 10-year cycle for uniforms, however in budget messes like this year for California, they suspend it for one year. This is the second time this has happened, making it now 12 years since we’ve bought new uniforms R. Andrew Nelson West Hills High School Santee, Calif.

How often do you purchase uniforms or performance apparel?

Once every year or more Every 2-5 years Every 6-10 years

26% 9%

Students fund raise and others buy their own uniforms. Since they buy them, the kids have greater incentive to take care of the uniforms.

Mel Byron Waterford-Halfmoon High School Waterford, N.Y.

Who is responsible for purchasing footwear?

Students buy their own shoes Footwear is included in the budget

4%

There is limited funding, students pay the rest

3%

26%

Every 11-20 years

39%

We buy a few new ones every year and throw out the worst ones every year.

Daniel Coyne Ponaganset High School North Scituate, R.I.

Do you have any advice for keeping students who must stay on their feet for long periods of time comfortable?

Teach streching/exercises Inserts/socks

What is your budget for marching and concert apparel?

69%

No Budget <$1,000 for the growing flutist

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36 School Band and Orchestra, May 2008

$1-5,000/ year >$5,000

15% 9% 7%

Other

36%

25%

Encourage proper posture

™

93%

32%

7%

Actually, all of the above. I, too, as a teacher and musician must stand for long periods of time. All three techniques above are very useful.

Minnie Eichele Hamilton & Monroe Elementary Schools Stockton, Calif.

Remind students not to lock their knees when standing for long periods of time in one position. This will keep good circulation throughout their lower body. Some companies will send out a sample pair of shoes and then I have a student test them out for comfort and get his or her thoughts.

Andy Micciche Windsor High School Windsor, Va.

What are the most important factors to consider when purchasing uniforms?

20%

Ease of care

13%

Comfort Durability

Design/appearance

26% 20%

Price Other

19%

2%

There should definitely be a trailer rigged up with hanging rods for the uniforms. Leaving it up to the individual students is not a good idea. Good quality garment bags is also the only way to go — heavy duty with cedar chips in the bottom of bag helps against odor and also keep moths away.

Janis Bowden Des Moines Elementary Schools Des Moines, Iowa Dry clean uniforms after each performance. That will keep bad odors and mildew out from the sweat. Clean shoes after each use.

Alyssa Liquori Pine Ridge High School Deltona, Fla. We are fortunate to have the same lovely lady managing our uniforms for the past 20+ years. She and her crew of assistants are remarkable in what they do to care for our uniforms.

Everything from fitting to altering, mending and setting up the dry cleaning to handing out and collecting the uniforms at each event! We love you Mrs. Proctor!

D. Thomas Busch Pulaski High School Pulaski, Wis.

§

What suggestions do you have for maintaining uniforms and/or footwear to prolong usefulness, appearance, and comfort?

We have worked out an agreement with a local cleaners who will pick up uniform jackets on Mondays during marching season and return them on Thursday at no cost to the band. We do, however, give them some free advertising in as many ways as we can —even announcements at halftime. We use pants that can be machine washed and easily replaced.

Eddy Williams Trinity Presbyterian School Montgomery, Ala.

We have a band mom and home economics classes (now “Family and Consumer Science”) repair our uniforms.

Terry Guynes Lundahl Middle School Crystal Lake, Ill.

Surve

y

If you are interested in participating in upcoming

SBO

music education surveys, please contact Editor Christian Wissmuller at cwissmuller@symphonypublishing.com

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for the growing flutist

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School Band and Orchestra, May 2008 37

SBOProduct Spread: Performance Apparel

Sneak Peek:

Performance Apparel Band Hall: Shako Hats

By taking the design of the jacket up onto the shako, the design team at The Band Hall has found a way to enhance the overall ensemble and make the performer look taller and more impressive. The effect can be boosted with a custom-dyed plume in the dominant color of the jacket. www.thebandhall.com

Band Shoppe: Insignia Band Uniform

Insignia Marching Jackets are built utilizing precise pattern grading and construction, leading to enhanced appearance and comfort, and a longer life span for each uniform. All patterns are mathematically proportioned to ensure that every band member receives the perfect fit. In addition, every Insignia Jacket is constructed using superior materials, such as 14 oz. Polyester, Genuine DuPont速 Mylar, Brass YKK Zippers, Rivet-Back Buttons and Isacord Embroidery Thread. www.bandshoppe.com

38 School Band and Orchestra, May 2008

Demoulin Bros. & Co.: Sub Dyed Fabrics

Demoulin Bros. & Co. now offers a wide range of garments and accessory products featuring the subtle use of graduated shading of color that goes from dark to light across the fabric. This technique is used to create everything from custom school logos to field banners, staging props, gauntlets, shako hats and the main band uniform components. The fabric can be washed or dry cleaned with no loss of color or diminished effect over significant time. www.demoulin.com

Dinkles: “The Spin” Color Guard Shoe This past fall Dinkles introduced the Spin, a new all-leather shoe designed expressly for color guard. The Spin has all the function of a split-soled dance shoe, but keeps the foot fully protected for indoor and outdoor use. www.dinkles.com

Director’s Showcase International: Viper Marching Shoe The Viper from DSI has been one of the hottest new marching shoes to hit the market. Its distinctive twin-sole design, extreme flexibility and rugged durability make the Viper the best footwear choice for hardcore marching on any surface. www.dshowcase.com

School Band and Orchestra, May 2008 39

“Great uniforms should possess great energy, embodying the essence of musical and visual performance.

The combination of performance excellence and a great uniform can achieve tremendous visual impact and yield competitive success.”

– Brent Becker

Brent

Becker

We are proud to welcome Brent Becker to the Stanbury team. Contact us today to nd out more about how your band can wear one of Brent’s exciting original designs.

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Photo: ©2007 Drum Corps International

Stanbury is a Corporate Partner of Drum Corps International.

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Drillmaster’s 2008 Rolled-Heel marching shoe introduces two new added-value features to boost student performance and extend durability. The athleticshoe-grade arch support will now incorporate a more advanced structural foam and rigid polymer for enhanced stability to facilitate complex moves on the field. A brand new, superior, upper material delivers flexibility yet remains wear-resistant while retaining the original look. www.drillmaster.com

Gateway Shoes: Formal Footwear

Gateway Shoes offers formal shoes in a variety of styles, from classic oxfords in black, white, or ivory patent to sassy black and white spectator squaretoe shoes. Direct-attached soling ensures long wear and easy cleaning for years of reliable use. www.gatewayshoes.com

Fred J. Miller: Cesario Fade Effect

First it was machine-washable uniforms, and now FJM Inc. and designer Michael Cesario have added a new stunning “fade effect” (or Ombred) for band uniforms to their ever-growing list of inventive apparel advancements. www.fjminc.com

School Band and Orchestra, May 2008 41

McCormick’s: Maielli Collection

McCormick’s is introducing a made-toorder costume collection by Diane Maielli of Effects by Design. This collection will be offered in six styles, in any color combination. All costumes are priced under $100 and shipped within 3 weeks. www.mccormicksnet.com

Stanbury Uniforms: Becker Collection

Stanbury has a new portfolio by designer Brent Becker. In addition, Stanbury offers custom designs based on a combination of Becker’s creative ability and input from the client, with whom Stanbury and Becker work during the development stage.

The end result is a fusion of the organizations creative ideas and Brent’s design expertise. www.stanbury.com

StylePlus: Ready Wear Collection

Ready Wear by StylePlus is a simple and quick delivery costume program designed for groups who want little stress in the most demanding time of year. Their collection, starting at $29.95, offers in-stock, oneweek and four-week shipping options in many color choices. www.styleplusband.com

School Band and Orchestra, May 2008 43

SBOReport: RPMDA

in School Print Music W

ith a shaky economy and continued turbulence in the wake of “No Child Left Behind” and other legislation, the school music retail market continues to present challenges to

both educators and suppliers.

The Retail Print Music Dealers Association (RPMDA) is a trade organization that represents and serves the print music industry, spearheading a number of initiatives – amongst them a strong emphasis on encouraging and supporting music education. While at the recent RPMDA Convention held in Boston April 23-26, School Band & Orchestra took to the show floor to ask attendees for observations on the current trends in educational print music sales.

“What trends have you noticed in the school print music market, recently?”

“Things seem to be pretty stable right now, and I don’t foresee any real changes. One thing I’m excited about is that some publishers are coming up with these “easy mix-and-match” ensembles for smaller schools that don’t have complete instrumentation, but now have music without going to the step of re-arranging everything for their schools. I think that’s going to be a really good product.”

David Zimet Hickey’s Music Center Ithaca, N.Y. 44 School Band and Orchestra, May 2008

“Most of the material considered ‘educational’ — geared toward younger kids — I deal with is on a foottraffic basis, and that’s been pretty steady for me.”

Rob Bethel Cambridge Music Company Cambridge, Mass.

local programs over the past year or two.”

Kyle Patrick West Music Co. Coralville, Iowa

“We’ve been selling a lot more play-along products. Kids are just more interested

in music that they can practice along with.”

Daryl Robbins Strike Up the Band, Inc. Natick, Mass.

“I’ve seen schools and districts engage in more group-buying. School music

“Recently I’ve seen school print music sales go up.

This is largely due to personal contact and the service we offer.”

Phillips Langlois Langlois Music Modesto, Calif.

“My business is primarily schools and churches, so it’s institutional.

Although it varies quite a bit by region, generally the band programs are fairly healthy. We’ve gone through a few budget scares over the years, with programs being cut back, but right at the moment it’s not too bad. I think my numbers over last year are probably just slightly better, so there’s been a marginal improvement in sales.”

Cameron Willis Northwest Music College Services Vancouver, Canada

“We haven’t been seeing as much in the way of large ensemble music sales – I think there’s a lot of recycling of older music. Part of this is likely due to the noticeable decline in student enrollment in our School Band and Orchestra, May 2008 45

programs are spending all of their budget at once because they feel it might disappear later.”

Georgia Millsap Senseney Music Wichita, Kan.

“One trend I’ve noticed is that schools seem to be going with a lot of CD playalongs, fun books for the kids and method books that have the interactive CD or DVD ‘intro to the instrument’-type accompaniments.”

Amy Moe Heid Music Co. Green Bay, Wis. “What we’ve seen is clearly two different seasons. Where you have more of the traditional choral programs in

the fall and in the early spring, and you see a lot more pop and Broadway in the later spring, maybe the final concert. That’s kind of what we’re seeing in the school side. We’re also starting to see a shift in our geographic area in show choirs, and a lot of the younger teachers are looking to us to help them develop a solid library.”

Wes Hazelrigg American Music Company Independence, Mo.

“As a Steinway dealer, we’re very connected to higher education throughout the state of Michigan, but we we’ve moved away from school print music. We haven’t seen any cuts in our music education sales — that’s been a strong market for us. We have

somebody who’s dedicated to that area fulltime.”

Alex & Linda Hanway Hammell Music Commerce Township, Mich.

“School programs are more and more strapped for cash. So a lot of what they are doing is looking for alternative sources to find their resources, either through trading with other schools or looking to buy used music. It’s really been a scale of economy thing to try to preserve the program, period. Everything that they can do they do to raise money, because funds aren’t coming directly from government agencies or the school districts.”

Bob Kohl Long & McQuade Limited Vancouver, Canada

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If you are interested in submitting an article to School Band and Orchestra, please visit www.sbomagazine.com and click on Submissions Info.

46 School Band and Orchestra, May 2008

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SBOTechnology:

Non-Traditional Classes

Creative Alternatives for Non-Traditional Music Classes

BY JOHN KUZMICH, JR.

M

ore often than not, music educators are being asked to teach classes beyond the traditional band program, such as required music appreciation classes for non-music students. Success teaching students

who are not in class of their own volition is a challenge for even the best of us, but with the right tools, it is possible. With music technology, these situations can be turned around and you can â&#x20AC;&#x153;rockâ&#x20AC;? these students with real world instruction, creating and performing music electronically.

Dr. Kuzmich is a nationally-known music educator with more than 30 years of teaching experience. He has certification from TI:ME (Technology Institute for Music Educators) to serve as a training instructor throughout the country. His academic background also includes a Ph.D. in comprehensive musicianship.

As a freelance author, he has more than 250 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S. and several foreign countries. For more information, visit his Web site: www.kuzmich.com.

48 School Band and Orchestra, May 2008

Consider creating music with a seJohn Kuzmich: What was it like to teach this class? quencer that doesn’t require music theory or music reading skills, but does Wiley Cruse: At first I felt overstimulate musical ears by mixing and whelmed. I was starting the semester adding creative special effects. Or how with a middle school class that I had about learning performance skills on a never taught before, no teaching maharmonica, where “chops” aren’t a critterials, and no curriculum that I knew ical factor? Or perhaps studying hipof. I experienced a wave of frustration. hop or pop music from the contempoOnce I calmed myself down, I recalled rary music scene rather than “ancient” my successes teaching general music music history? There are tools and in elementary school and high school. resources out there waiting for you.

Let me introduce “We are living in the 21st century, teaching two music educaa new breed of computer-savvy students.” tors who have found success with difficult teaching assignments by embracing music technology and I decided that with a little ingenuity, innovative materials. Wiley Cruse, I could put together a well-rounded a middle school instrumental music middle school program that would educator in Lakewood, Colorado, and be fun. I also have to give credit to Zig Wajler of Nashville, Tennessee are my school’s administration and othtaking action in teaching situations in ers who worked with me to make this which they were not formally trained. class successful for my students. All of These two teachers are reaching out us working together made this a fun and inspiring students in creative ways and worthwhile teaching/learning exbeyond traditional instruction. perience.

Ten Days Notice and A Cloud of Smoke Imagine starting a new teaching position in the fall and you suddenly learn that you are also assigned to teach a music appreciation class with no budget or materials. Wiley Cruse experienced this ten days before the first day of school, and quickly developed a sophisticated, engaging one-semester general music class with harmonicas, which he taught in conjunction with the history of Black Music. He also incorporated composition with a sequencing program for students with no music performance background.

With ten days notice, Wiley Cruse designed his music technology appreciation curriculum focusing on using Teaching Music With Reason published

by Propellerhead Software (www.propellerheads.com) and an on-line class, “The History of Black Music” published by Steven Chetcuti (www.theradiohour.net).

I recently asked Wiley how he structured a course that so successfully rocked his students.

JK: How did the students feel about your class?

WC: Right out of the gate, I asked my students what they thought a music appreciation class would be about.

They had no clue what the title meant or what to expect in the class. After explaining the definition of “music appreciation,” the students said that they thought this would be the most boring class ever. But I planned on doing interactive projects using the best technology and updated music concepts for non-musical students I could find.

At our back-to-school night, I watched how focused and excited the parents became. When I explained my new curriculum and showed examples of what the students would be learning, I had parents who wanted to take the class. It was then I knew I had an exciting project on my hands. I’ll never forget one of my students saying to me, “This can’t be education, it’s going to be too much fun!”

Without being confined to conventional rules, my students felt free to experiment. One of the few rules I had them follow was form, (Intro, A, B, A, Outro). The rest I left to their

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School Band and Orchestra, May 2008 49

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imaginations. The results were contemporary, amazing, and fun.

I’m often amazed at how focused my students became, even without deadlines for their work. Once I let go of my ego and just let the music happen, I started having fun — and so did my students. This class really played into my greater teaching strengths of adaptability, relater, positivism, and activator.

JK: What was it like working with Steven Chetcuti’s materials and Teaching Music with Reason?

WC: In a word, easy! Both programs are so easy to understand and implement. They both came with such excellent setup and teaching materials, I was up and running the same day they arrived.

Using the harmonica to teach performance skills is actually a very freeing experience, and they were only $4.00 each. Students experimented and figured out what worked for them and their partner. I had parents calling me, telling me how wonderful it was

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that their child has found a new form of expression and was having fun with their music studies.

JK: How much did the computer lab add to the course?

WC: We are living in the 21st century, teaching a new breed of computer-savvy students. The computer lab was a Godsend. The scheduling worked out so our class fell during the lab’s free period, which really enhanced the class for all of my students. The lab and software materials shortened my students’ learning curve in studying music. The computer lab has Macs running the most current Mac OS of Tiger. I also used my own Apple MacBook Pro with iTunes and GarageBand.

JK: What equipment did you use for this course?

WC: Each student had a harmonica, a notebook of reproducible printouts, a computer with an Apple iTunes account with podcasting capabilities for musical examples from Mr. Chetcuti and Apple’s GarageBand for recording abilities. I also used the video games “Dance, Dance Revolution” and “Guitar Hero II” to teach students how to interact with rhythm. I used a Sony Playstation 2 to run this software.

I’m investigating the new video game “Rock Band” to further enhance my music technology class.

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Mr. Zig Wajler is a free-lance artist who has traveled extensively to help music educators create teaching scenarios for students who have no music prerequisites. In his innovative music technology classes, students use sequencers to create their own compositions.

Zig created and conducts “Literacy, Music, & Technology” workshops to help students from all walks of life find self-expression and individuality in music. He has developed a series of lessons that focus on real-world application. His “Mixcraft for the Classroom” lessons integrate Mixcraft software into the classroom as a technology-learning tool for student-driven activities. Some of the student-based projects include:

A new collection of 7 easy drum cadences for full battery percussion. The package includes score, complete set of parts (with optional 2, 3, & 4 bass drums) as well as a performance CD with each cadence played through 3 times! If you loved Bag O’, Bucket O’ & Box O’... you’ll be a winner grooving down the parade route with “Barrel O’Cadences”!

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Even more easy cadences – a collection of 7 fun pieces for your drum-line. Scores for battery percussion, these cadences add a bit more in the auxillary percussion and novelty area. Great material for parade or pep rally. Item #8017 / Retail: $35.00 Your source for the best in Marching & Concert Percussion Literature...

School Band and Orchestra, May 2008 51

Experience Learn

Travel and

2009 National Invitational Band & Orchestra Festival Friday April 10, 2009 National Invitational Band & Orchestra Festival I Frank Battisti, Craig Kirchhoff, H. Robert Reynolds, Charles Peltz - Adjudicators

Saturday April 11, 2009 National Invitational Band & Orchestra Festival II Frank Battisti, Craig Kirchhoff, H. Robert Reynolds, Charles Peltz - Adjudicators

Orientation session upon arrival Three nights hotel accommodations in quad rooms All hotel taxes, both city and state Hotel baggage handling upon arrival and departure (one bag per person) Attendance at a Broadway show Admission to the Statue of Liberty / Ellis Island National Park Dinner at Sardis for all directors and adjudicators Percussion rental Certificate of achievement for each student Commemorative plaque for your school Commemorative T-Shirt Professional photo of group performance for each participant Audio CD of your performance (one CD per school) Field Studies escorts to accompany group on one day of sightseeing All Carnegie Hall expenses One chaperone free for each 20 paying participants Adjudicators tapes for all groups Transportation to Carnegie Hall on performance day 481 8th Avenue, Suite 750 New York, NY 10001 212-564-1343 800-445-7074 fax: 212-564-1497

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original songs in a variety of styles; instrumental; play; jingle; podcasts; scripts; TV commercials; beat-box poetry; and classroom themes. And by creating an atmosphere for experiential learning, the students become more active participants in the classroom setting. Another key benefit of integrating technology, music, and engaging lessons is that doing so increases student motivation by presenting them with tasks they can accomplish. It also brings about increased student/teacher interaction and cooperation.

By integrating technology and music, Zig noticed a change of student attitude, increased trust, respect, and a nervous energy to want to learn. His greatest reward is seeing students’ faces and their reactions during the creative process. Zig has heard numerous anecdotes about how his workshops have had a positive impact on individual students. One story about a student named John stands out. In Zig’s own words:

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This was John’s third year attending my series of classes hosted by an organization that serves at-risk youth. I became aware of John’s background and his unstable home life and welcomed his commitment to attend the workshop. He loved Rap and Hip-Hop music and could easily interpret and recite many of his favorite rhymes. It was amazing to me because John was a special needs learner and had great difficulty with spelling, writing, and speaking. However, this middle school student easily made a connection with the task at hand using original words, music and technology that gave meaning and purpose to his own life.

John partnered with another student who also loved music.

Calvin had a gift of speaking (flowing) and improvising with an identifiable and commanding voice.

John noticed Calvin’s talents and asked if they could work together.

He also asked Calvin to write and record a featured “rap” section for the song. As I listened to John’s lyrics, I noticed he was quick to follow directions and chose to use a form of personal and reflective writing. He wrote about what he knew and called his song “The Living Nightmare.” As I read through his rough draft, his words brought on an emotional torrent. The words were the honest truth and had a common powerful meaning with all the other students in this particular class.

Unfortunately John’s health and family circumstances became a major issue later that week. His writing partner noticed something was wrong and encouraged John to not give up. As the class listened to John’s music, more students began to rally around John and asked to be part of his project. There was something musical and lyrical that struck a chord with several of the students and they wanted to be part of John’s song.

At this point something special

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The Choice Of Todays Professionals ST.PETERSBURG RUSSIA Specifications: Size: Valve Type: Bell Dia.: Bore Dia.: Height: Finish:

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“ When considering the purchase of a tuba, I look for consistencyconsistency in sound, resonance, intonation, and easy response in all registers. The six St. Petersburg tubas we have at Loyola University New Orleans are extremely consistent. The many St.Petersburg tubas I have tried for band 202N directors have also been consistent. I know exactly what to expect when I play on or purchase a St.Petersburg BBb, 202N tuba. This is the reason why I highly recommend the St.Petersburg tuba to schools and professionals.”

-Joe Hebert

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happened. The students exemplified an elevated level of excellence filled with urgency, desire, and commitment.

When John realized what was happening, he took on the role of a producer and began taking ownership of his project. His lyrics came alive with a sense of conviction and purpose. More students asked to be part of his song and kept encouraging John not to give up because they believed in his song and rhymes.

There were now students of all races and ages asking to be part of something special. Two students even asked permission to play their saxophones on the intro of John’s song and proceeded to immediately practice their idea on their instruments.

During the process of recording the voices, John took great pride in hearing and seeing his song come alive. He looked at Calvin and his fellow students as though they were doing the greatest thing in the world at that moment in time. Then one of the students noticed that John did not want to record his own voice. The room became silent and John became nervous and wanted to give up again. In their own unselfish way the other students inspired him to just try and record his own rap since he was the main writer.

At that point John took a step forward and followed through by not giving up. He was very self-conscious about his reading ability, but he did his best. The other rappers and guests in his song were supportive and encouraging.

John’s rap started with the line “The living nightmare, it catches you, it catches me, you can run but you can’t hide.” Everyone had a better understanding and respect for John and his life after hearing his song. Each student stood a little taller, beaming with pride and a willing eagerness to continue this positive learning experience.

Here are some of the responses to Zig’s work melding technology with music: “Thank you for giving me and the others the opportunity to experience music in a level I never experienced before and for taking the time to work with us.” – Brandon W. “Mr. Zig showed how we could express ourselves through music.”

– Billydia E. “I really love this class. Mr. Zig made things easy and fun, this class will really help me fulfill my dreams.” – Volanda M. “It was fun hearing ourselves, I want to do this again.” – Kimbria T. “The students, of course, loved their jingles. They were really good; my favorite is still Joker Joe’s! The students went on to evaluate the jingles from their own class and one other class and were able to recall and apply the information. That’s what this teaching thing is all about!” – Brandi S. “Many things, including but not limited to; give the kids a brief insight into the music industry and all possibilities, strengthen their communication, grammar and writing skills, empower them with positive activities showcasing their talents, give them a creative outlet for emotion, expression, etc.” – The Youth Ranch.

Youth and technology go hand-in-hand in today’s world, and music technology can make a real difference when used effectively.

School Band and Orchestra, May 2008 55

NewProducts Melton/Meinl-Weston Compact Tuba The new Meinl Weston BBb 2011RA completes the “Heritage Howard Johnson Gravity” tuba line. Like the model 2011TA (Top Action) and 2011 FA (Front Action), the 2011RA (Rotary Action) was developed with Howard Johnson and is based on his Belgian Mahillon tuba of the 1960s. At this time, the Meinl

Weston Company already supplied tuba body parts to the Mahillon factory. Mr. Johnson has a colorful career in jazz, which includes playing with Gil Evans and Charles Mingus and playing the baritone sax and bass clarinet chair of North German Radio’s NDR Big Band.

Johnson’s jazz tuba band begun in 1968

and is now called “Gravity,” the first alltuba ensemble.

As all the tubas in this line, the 2011RA is a small instrument with a big sound, not too heavy and easy to handle. It has a 0.669” bore, a 17.3” bell diameter and a 35.8” height. The relatively small bore of 0.669” compared to the big body gives a true turbo effect to its sound and improves the response.

www.melton.de

Mike Balter Mallets: The Chorale Series

Mike Balter Mallets has introduced “the Chorale,” a new series of marimba mallets that feature extra long birch handles with heads wrapped with durable microfiber, making them ideal for playing indoors or out. The overall length of 17 5/8” enables players to reach any interval and the unique head covering will produce both the warmth of yarn-covered mallets and the articulation of a cord covered mallet. The series is available in a range of six hardness levels, from Extra Soft to Hard.

www.mikebalter.com 56 School Band and Orchestra, May 2008

NewProducts König & Meyer Sax Stands

Connolly Music Company, the US distributor for König & Meyer, is introducing two new saxophone stands, Models 14330 (Eb Alto) and 14335 (tenor), made in Germany. The new stands feature solid aluminum legs with integrated rubber feet, and protective rubber surfaces at all points where the instrument contacts the stand.

Using the central screwlock mechanism, the stand folds easily and compactly, and slips into the included velour bag for convenient, safe in-bell storage. The weight of the Eb alto stand is 10.5 ounces, and of the tenor stand is 14 ounces.

www.connollymusic.com

Ron Vaughn Woodblocks

Ron Vaughn has re-introduced the original, classic Wide Slot, Solid Body Woodblocks, which he originally developed in the 1970s. Previous production runs of these woodblocks are found today all over the world in many different performance mediums.

Ron’s classic woodblocks are made from handpicked, select hardwoods from around the world. During production, each block is tuned to a specific target pitch. Then each block is further tuned for the ‘color’ or ‘tone’ of the pitch. This vital secondary tuning is where Ron’s signature sound is created.

Today, the collection includes all of the original sizes and pitches. Additional new sizes and pitches are completed, and will be released in the immediate future, expanding the collection further.

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Hear the Excitement!

ANTON REICHA Woodwind Quintets performed by the Westwood Wind Quintet

A Bundle of Joy: a practical handbook for the bassoon

Maarten Vonk has announced the worldwide release of his latest publication, A Bundle of Joy: a practical handbook for the bassoon.

This 120page musicians guide is illustrated with drawings and pictures in black and white and in full color and is designed by one of Netherlands top designers, Harald Slaterus. Translation from Vonk’s native Dutch is done

by Bruce Gordon, and the title is edited by Christine Davies.

Now Available: 5 CDs with 10 of Reicha’s monumental 24 quintets.

CD264: op. 91, nos. 1 & 2; CD265: op. 91, nos. 3 & 4; CD266: op. 91, nos. 5 & 6; CD267: op. 99, nos. 1 & 2; CD269: op. 99, nos. 5 & 6.

“The players seek, find, and reveal the numerous qualities that have kept this repertoire alive for almost two centuries...performances radiate affection for the music and technical virtuosity. Top-notch playing that can only be envied by lesser ensembles. Exceptional recordings.” Fanfare “The Westwood Wind Quintet has a standard of ensemble playing that is nothing short of breathtaking.” International Record Review Anton Reicha (1770-1836) CDs $16.95 ea. Add $2/order US shipping. Visa, MC accepted. Send for free catalog

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www.fagot.nl School Band and Orchestra, May 2008 57

NewProducts For the Serious Player from Beginner to Pro

Pearl Concert Snare Drums

The new Pearl Philharmonic Brass Concert Snare Drums offer depth, tone, and. Brass is the latest voice in the Philharmonic snare family, completing the harmonic spectrum of this professional line of drums with a bright projecting tone that speaks easily through all dynamics. Features include the SR500 Triad Strainer, vintage

The Woodwind Player’s Cookbook snare beds, graduated tension snares for seamless timbrel overlapping, and depth options in 4”, 5”, 6” and 8”.

Beautifully finished in glossy Black Nickel over a 14”-diameter beaded brass shell, classic tube lugs, and single flange counter rims combine to finish off the Pearl Philharmonic Brass for a professional stage presentation.

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The Woodwind Player’s Cookbook: Creative recipes for a successful performance is a collection of quick-to-read yet deeply insightful strategies.

Edited by Charles West, this publication is like finding expert trade secrets all placed in one easy, quickto-read source. Contributors to the book were even eager to get a look at each other’s ideas. With outstanding records of performance, workshop clinics, recordings, research, composition, leadership, and teaching, the 57 authors provide their favorite “recipes” that range from overviews of successful programs to specific topics that will inspire all levels and types of ensembles and performers.

www.meredithmusic.com

Roland RMP-12 Rhythm Coach

Roland’s new RMP-12 marching percussion instrument will be the latest addition to the Rhythm Coach line of products. It will offer enhanced playability, expressiveness, and versatility for practice and performance applications.

The RMP-12 is the world’s first electronic marching percussion instrument to incorporate Roland’s patented multilayer mesh head technology, designed to allow drummers to practice longer with less stress and fatigue. The 12-inch pad with rim triggering connects to a newlydesigned module that has 128 different sounds and effects, including a wide va-

58 School Band and Orchestra, May 2008

NewProducts riety of marching, concert, and world percussion instruments.

easily navigate recordings with its larger, wider high-contrast LED screen.

The R-09HR also comes with a wireless remote controller for convenient operation from a distance. It offers advanced features like speed control, variable low-cut filter, limiter, A-B repeat, record pause, time and date stamping, power save and more.

The R-09HR records to SD/SDHC media cards up to 32GB, and includes

Cakewalk’s Pyro Audio Creator LE software for simple audio editing functions.

Slightly taller than its predecessor and featuring a new rubberized-grip body, the battery-powered R-09HR allows over six hours of recording with Alkaline batteries, and over 8 hours of recording with NiMH rechargeable batteries.

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MARCOS SANTO S - PA RT O F

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The battery-powered RMP-12 is lightweight and portable, and can easily attach to standard marching carriers or concert snare stands. Its variety of I/O options include an audio output for a wired or wireless connection to any amplification system, a mix input, and a headphone output for quiet practice.

The RMP-12 also includes the Rhythm Coach, a practice tool for improving timing, accuracy, speed, and stamina through a series of effective drills and exercises.

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Band Shoppe’s Air Blade

Band Shoppe is introducing the Air Blade for color and winter guard. Designed with strength and durability in mind, the Air Blade is constructed of high impact abs plastic. At 39” long and weighing 2.35 lbs, it does not exhibit the weight variances seen in traditional wood rifles.

Each Air Blade is perfectly balanced for tossing and offers a multitude of handhold positions.

LP SAMBA BRAZILIAN PERCUSSION Introducing LP’s new Brazilian Percussion line there are two surdos, two repiniques and a caixa.

They are light weight with tuning heads below the rim, for hand comfort. The surdos and repiniques have curved rims for comfort and strength. Get authentic Brazilian sound and high quality found only in an LP. Embraced by the world’s best players, they’re new, but instantly classic. What else would you expect from LP? Get into it. Get LP.

www.bandshoppe.com

Edirol Digital Handheld Recorder

Edirol by Roland’s R-09HR features ultra high-quality condenser microphone elements and new low-noise preamp circuitry for professional quality recordings on the go. Users can record in WAV or MP3 formats with resolution up to 24bit/96kHz, and can

©2008 Latin Percussion A Division of KMC, Garfield, NJ

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School Band and Orchestra, May 2008 59

NewProducts dB10 and dB12 Direct Boxes from dbx®

ther versatility is added with its selectable polarity invert and high-cut filtering functions.

Chrome toggle switches and a gold-plated Neutrik® XLR output jack, as well as a custom dbx mu-metal-shielded isolation transformer, ensure

The dB10 Passive Direct Box includes all the basic features expected from a work horse direct box – 1⁄4” input and parallel “thru” jacks, transformer isolation, balanced XLR output, and ground lift switch – but also provides a 3-position pad switch, which easily accommodates instrument, line level and speaker level signals. Fur-

Record & Listen & Improve Order a Free Demo DVD online Dual Drives from $799 &

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CD Recorders for Music Practice

Record. Make great sounding CDs. Create custom mix CDs. Listen. Change the tempo on any CD without affecting the key.

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Record on the Go

Use the built-in stereo mics to record concerts, marching bands & spontaneous moments when the action won’t wait for you to set up. &

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Records on SD Cards for easy transfer to your PC. Add Clip-on Instrument Mics from Superscope to isolate soloists.

Record Lessons & Podcasts as MP3 files for easy sharing on the Web.

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the signal path. All switches are recessed to provide protection from accidental operation or damage.

The dB12 Active Direct Box includes all the features of the dB10, but in an active version. Driven by phantom power supplied by a mixing console’s mic input, the dB12’s active circuitry operates from 20V to 48V. A green power LED is included to show status of the phantom power source.

The dB12’s high input impedance and low-noise buffered active circuitry faithfully preserve the tone and signal characteristics of the instrument source. It also includes a custom dbx mu-metal-shielded isolation transformer, tailored to complement the active circuitry and provide a clean balanced output signal.

In addition to their rugged design, a unique feature of these direct boxes is the heavy-duty molded rubber skid pad which not only provides a solid, non-skid surface, but is contoured to mate with the tiered surface of the chassis top, making stable stacking of multiple boxes possible for a cleaner, compact arrangement.

The dbx dB10 Passive and dB12 Active Direct Boxes are available for an estimated price of $99.95 and $129.95 respectively.

¨ www.dbxpro.com

For additional music education articles, please visit the School Band and Orchestra archives at: www.sbomagazine.com/ sbomag/sbomags.html

60 School Band and Orchestra, May 2008

Brought to you by EPN Travel Services

Accelerated Drumming When practicing drumming, find a surface with little to no rebound and play two eighth notes with each hand, accenting the second note. Find a comfortable speed, and slowly accelerate until you find it difficult to play evenly with the accent. This will greatly help with balance of the double stroke, and build chops.

Kyle Wolfe Cuba City High School Cuba City, Wis. Submit your PLAYING TIP online at www.sbomagazine.com or e-mail it to editor Christian Wissmuller: cwissmuller@symphonypublishing.com.

Win a special prize from EPN Travel, Inc. Winning Playing Tips will be published in School Band and Orchestra magazine.

School Band and Orchestra, May 2008 61

Visit the Classifieds on the Web: www.SBOmagazine.com

ACCESSORIES

ARRANGEMENTS

INSTRUCTION

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

COMPOSERS

Standing ‘O’ Marching Arts Specialists www.standingomarching.com

Standing ‘O’ is your one-stop marching band resource! We specialize in customized original compositions and arrangements to highlight the capabilities of your performers and make your band sound great. We have shows ready for immediate purchase, or will customize your book to fit your students perfectly. We also offer percussion writing, drill and clinics.

Composer Mark Winchester

Marching Band; Brass Band; Brass Quintet; String and Chamber Orchestra Contact: toll free 1 877-249-5251 Or Noel Jones@frogmusic.com www.frogmusic.com/mw.htm

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We have helped groups like yours raise funds since 1948. The key to our success is “products that sell themselves!” Your group will be selling useful items that people want and need at manufacture direct prices. These top quality, Made in the USA items include Rada Cutlery, Soy Wax Candles, Recipes Books, and Stoneware. Working with the manufacture ensures that your customers will receive and incredible value for the merchandise they purchase while supporting your cause! Call 800-311-9691 or email money @radamfg.com today to receive you FREE Fund Raising Packet so you can get started! www.radamfg.com

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Call Maureen 1-800-964-5150 ext. 34 mjohan@symphonypublishing.com

MERCHANDISE

CASES CASES CASES

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Any ATA Case For $99 Mixers, Amps, Heads, or Keyboards www.discount-distributors.com

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Visit the the Classifi Classifieds eds on on the the Web: Web: www.SBOmagazine.com www.SBOmagazine.com Visit

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SPECIAL SALE PAGES ON OUR WEBSITE CONTACT US FOR CATALOG INFORMATION IMPRINTED FOLDERS ~ STAGING ~ FILING BOXES/ SUPPLIES ~ MUSIC STANDS & ACCESSORIES ~ PIANO BENCHES, COVERS & LIGHTS ~ COMPUTER MUSIC PROGRAMS ~ PODIUMS, MALLET MOVERS, BAND WAGONS ~ CONDUCTOR’S STOOLS & CHAIRS ~ COMPUTER SOFTWARE

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School Band and Orchestra, May 2008 63

TEACHING RESOURCES Find Your Next Private Teacher

EventsCalendar June

www.LessonPortal.com

Flag Day June 14

Teachers Sign Up FREE, Forever

Father’s Day June 15

TRAVEL

Colorado:

EARN FREE AIR MILES! When your Group Travels with

American Tours & Travel Travel anywhere throughout the world

National Performing Arts Convention June 10 – 15

Nevada:

National Systems Contractors Association Expo/InfoComm Annual Tradeshow June 18 – 20

Tennessee:

NAMM Summer Session June 20 – 22

Wisconsin:

American School Band Directors Association Convention June 17 – 21

800-243-4365

Every attempt has been made to provide accurate data, though readers should note that all event dates and information listed are subject to change.

If you have information on any relevant future events that you’d like to see included in next month’s calendar, please e-mail SBO editor, Christian Wissmuller: cwissmuller@symphonypublishing.com

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If you are interested in submitting an article to School Band and Orchestra, please visit www.sbomagazine.com and click on Submissions Info.

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School Band and Orchestra, May 2008 64

DENNIS DELUCIA “LEGEND”

PWDC20W Oak Marching Model

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When you think of Drum Corps, you think of DeLucia.

And when you think of perfection, you think of DeLucia.

Dennis has become the country’s most respected percussion teacher, arranger, author, clinician and judge.

He’s also the premier color commentator on televised DCI championships. His drum lines have won sixteen championship High Percussion titles, including the only Triple Crown in drum corps history. So why does he depend on us to help maintain his almost mythological career accomplishments? Because when you spend a lifetime in pursuit of perfection, you have to start with the best.

And anyone who can spell DCI could surely tell you that.

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