SBO May 2010 by SBO School Band & Orchestra

MAY 2010 $5.00

Rick Moffit

of Reno, Nevadaâ&#x20AC;&#x2122;s McQueen High School

Creating a Haven for Music Commentary:

Conductor Couture

Performance:

Ensemble Intonation

Contents

May 2010

Features

GUEST EDITORIAL: CHOOSING REPERTOIRE EKU’s Joe Allison ponders the importance of looking for something “different” when selecting repertoire for competitive performances.

COMMENTARY: CONDUCTOR COUTURE SBO contributor Marian Stewart provides some insight into appropriate apparel for both male and female conductors.

UPCLOSE: RICK MOFFIT In a recent SBO interview, Rick Moffit, director of Reno, Nevada’s McQueen High School Marching Lancers, discusses the importance of making the band room a “safe zone” for students, which he credits as critical for the 12-time state marching band champions to continue to thrive.

PERFORMANCE: INTONATION Dr. Wesley Broadnax presents five easy steps to improving the intonation of any ensemble.

REPORT: UNIFORM SHOWCASE SBO unveils the newest and hottest marching and concert apparel from some of the leading designers in the industry.

SURVEY: FOOTWEAR Band and orchestra directors nationwide chime in on the latest trends in performance footwear.

TECHNOLOGY: TI:ME John Kuzmich profiles the Technology Institute for Music Educators, highlighting how this organization can keep music teachers on the cutting edge.

Columns 4 6 56

Perspective Headlines New Products

61 62 64

Playing Tip Classifieds Ad Index

Cover photo by Gail Gonzales, Sun Valley, Nevada 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 © 2010 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

2 School Band and Orchestra, May 2010

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Perspective

Bully-Free Zone

May 2010 Volume 13, Number 5

GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com

wo recent events from SBO’s home state of Massachusetts involving bullying have caught the national news. Tragically, in two separate incidents, a 15-year-old and an 11-year-old student recently committed suicide after being bullied by other classmates, succumbing to months of relentless emotional pressure and torment. In one of these instances, according to the New York Times (March 29 edition), “The prosecutor brought charges Monday against six teenagers, saying their taunting and physical threats were beyond the pale and led the freshman, Phoebe Prince, to hang herself from a stairwell in January.” This horrendous tale is something that many believe may have been prevented had the administration acted on information that was brought to their attention prior to its devastating conclusion. Although these, along with other recent suicides, are extremely rare, the longterm psychological and emotional devastation of bullying has continued to be a well-documented problem. Rick Moffit, SBO’s UpClose director this month, has built a highly successful, championship band, yet has made one of the critical underpinnings of his program the establishment of a safe and welcoming place Rick Moffit has for his students. Moffit’s focus has not only been on the high made one of quality educational experience, but also on the environment the critical and culture of the program. He has gone so far as to make underpinnings of his band room into a safe-zone, where “no one is allowed to say anything negative about another band member within his program the these walls.” Students are welcome in the band room prior establishment of a to the school’s opening, after school, and during their lunch safe and welcoming period. It could be considered, by Mr. Moffit’s description, a place for home within a school, and one in which students simply are not allowed to bully others, providing students who are being his students. harassed a safe haven to get out of the heat and be a part of a team that cares about them. This obviously cannot resolve all of the issues that are involved in an insidious case of bullying that include not only direct physical and verbal abuse, but also cyber-bullying and other types of tormenting behavior, but it certainly is a thoughtful step. According to www.safeyouth.org, a frightening statistic shows that “almost 30 percent of youth in the United States (or over 5.7 million) are estimated to be involved in bullying as either a bully, a target of bullying, or both.” Anecdotally, it is my understanding that students who are involved in music programs are generally less likely to be the bullying types; however, this does not mean that it doesn’t happen. Although it may be nearly impossible for a teacher to know everything that is happening among all of the students within a band or orchestra program, providing a positive and safe environment and listening closely to students cannot help but have a positive effect in reducing the potentially harmful – and even deadly – effects of bullying.

PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff

EXECUTIVE EDITOR Christian Wissmuller

cwissmuller@symphonypublishing.com

EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Denyce Neilson dneilson@symphonypublishing.com Art Staff

PRODUCTION MANAGER Laurie Guptill

lguptill@symphonypublishing.com

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

ADVERTISING SALES Iris Fox

ifox@symphonypublishing.com

CLASSIFIED SALES Maureen Johan mjohan@symphonypublishing.com Business Staff

CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com WEBMASTER Julie Gibson julie@peepscreative.com Symphony Publishing, LLC

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

www.sbomagazine.com

Member 2010

RPMDA Rick Kessel rkessel@symphonypublishing.com 4 School Band and Orchestra, May 2010

Commitment is what got us here.

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HeadLines Summer NAMM Welcomes Educators & Students

he NAMM Foundation is inviting music educators to attend “Music Education Days” being held this summer during the 2010 Summer NAMM Show in Nashville, Tenn., from June 18-20. Music educators are encouraged to see and try the many instruments and products on display and to participate in the “Best Tools for Schools” recognition program, nominating those products most relevant and useful to today’s music classrooms. Symphony Publishing, developers of the program, will announce these selected products on Sunday in the Idea Center on the trade show floor. Music Education Days events will also provide teachers an opportunity to interact with each other and industry professionals, and address mutual concerns about access to music education for all children. NAMM has announced a continuation of its recent efforts to broaden attendance at Summer NAMM, by inviting and allowing its members to invite more music students, parents, music advocates, and enthusiasts to the 2010 event. Called “Wanna Play Music Sunday,” NAMM will open its show floor on Sunday, June 20, for these groups to see demonstrations of the latest products, watch unique live musical performances, attend valuable workshops taught by known professional musicians, and talk with music products industry insiders. Proceeds from “Wanna Play Music Sunday” at Summer NAMM will support music education through the Wanna Play Fund. For more information, please visit www.namm.org.

U.S. Department of Education Arts in Education Surveys

he U.S. Department of Education’s National Center for Education Statistics (NCES) and the Office of Innovation and Improvement (OII) have collaborated to conduct seven surveys on arts education. The current study was requested by Congress to provide a status update on arts education across the U.S. The seven surveys are currently being administered this school year (2009-2010) and address topics in arts education at the elementary and secondary levels. School and teacher surveys are being conducted with school principals, music specialists, visual arts specialists, and elementary classroom teachers. The elementary and secondary school surveys and teacher surveys were initially mailed out in the fall of 2009 and January 2010, respectively. Both the school and teacher data collections are still ongoing but will be coming to a close within the next several weeks. Those sampled for participation are strongly encouraged to do so. For more information, visit www.nces.ed.gov.

6 School Band and Orchestra, May 2010

Online Survey Results Do you use Youtube as a teaching tool in your classrooms?

yes 56%

no 44%

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.

Music Educators To Save Historic Lowell Mason Home

usic educators and the Medfield, Mass. Historical Society have joined together to form Friends of The Lowell Mason House in an effort to save the home that Lowell Mason was born and raised in. Most music educators know Mason as the “father of music education,” as well as for his arrangements of “Joy to the World” and as composer of “Nearer, My God to Thee,” the hymn a string ensemble allegedly played as the Titanic sank. A church music director in Boston, he introduced the concept of school music education into Boston schools, the first in the United States to have music studies. Mason was born in the Medfield Mass. house in 1792 and lived there until he was about 21 and then visited there during the summer for many years. A developer purchased the Mason and initially discussed the possibility of demolishing the historic structure to build a two-family house in its place. The developer has agreed to give the group up to a year, and has offered to assist in moving the house to a different The Friends of Lowell Mason House are working to raise the $40,000 necessary to move the structure. For more information, visit www.lowellmasonhouse.org.

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Keepin’ HeadLines

Midwest Clinic Conference Schedule to Change in 2010

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he Midwest Clinic Board of Directors announced a change to the 2010 conference schedule. There will be full integration of the string program into the band and jazz events. This year, The Midwest Clinic will offer orchestra concerts and string clinics throughout the conference, without cutting programming from any area. This will create a stronger sense of fellowship among all instrumental music educators, and will allow the organizers to begin the conference one day later than in the past, on Wednesday. The 2010 Midwest Clinic will run from Wednesday, December 15 through Saturday, December 18, in McCormick Place West in Chicago, Ill. For more information, visit www.midwestclinic.org.

McCormick’s Named Title Sponsor for Two MFA Symposiums

cCormick’s Enterprises has announced that it is the title sponsor of the Music for All Summer Symposium’s Directors’ Academy, Color Guard Instructors’ Academy (student Color Guard Division), and a sponsor of MFA’s Bands of America Championships. For more information, visit www.mccormicksnet.com.

2011 Music for All National Festival Auditions

usic for All has released applications and audition packets for the 2011 Music for All National Festival, presented by Yamaha, to be held March 17-19 in Indianapolis, Indiana. High school and middle school concert bands, percussion ensembles and orchestras may apply, as well as youth orchestras. Individual high school-aged musicians also may apply for the 2011 Honor Band of America, Honor Orchestra of America or Jazz Band of America. The Music for All National Festival is a national showcase of the finest instrumental scholastic music. The festival comprises the National Concert Band Festival, the Orchestra America National Festival, the Sandy Feldstein National Percussion Festival, and the Middle School National Music Festival, as well as three national honor ensembles. Richard Clary will conduct the 2011 Honor Band of America and Larry J. Livingston will conduct the 2011 Honor Orchestra of America. The conductor of the Jazz Band of America will be announced later this spring. The deadline for school ensembles to submit their application and audition is June 14, 2010. Individual student musicians auditioning for a spot in an honor ensemble have until June 30, 2010 to submit their application and audition for an early bird discount or until Sept. 1, 2010 for the final application deadline. Honor ensemble audition recordings are due by Sept. 15. For more information or to download the application and audition packet, visit www.musicforall.org.

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SBOGuest Editorial:

Choosing Repertoire

Choosing Repertoire:

Is Different Better? BY JOE ALLISON

n the competitive assessment arena of festivals and contests, the use of “questionable” literature should be less of an issue than it is for other school music performances. An objective, “controlled” environment where the substance and merit of the music performed is regulated by a professional governing body would seem to ensure adequate and effective quality control. However, as most music educators know from experience, this isn’t always the case – as noted in the Guest Editorial feature on competitive “outdoor music” that was published in the January 2010 issue of SBO. In fact, it turns out that efforts to maximize potential scoring and evaluation may limit the variety and depth of the material performed, as counter-intuitive as it may seem. In actual fact, the problem of literature quality and depth may be as much or more of a problem in assessed events as in “normal performances.” How could this be? 10 School Band and Orchestra, May 2010

Upfront Korg’s Annual Dealer Awards Korg USA recently announced the winners of its 2009 Key Note Awards. The annual distinction “recognizes and commends those retailers who have excelled in a variety of categories and have demonstrated their commitment to Korg USA’s brands.”

• • • • • •

Best New Dealer: Recording Services & Supply, Salina, KS Overall Growth: Kraft Music, Franklin, WI Overall Commitment to Excellence (3 Winners): Sweetwater Sound, Ft. Wayne, IN Pianos & Stuff Music, Pittsburgh, PA Portland Music Company, Portland, OR Customer Relations: Buckdancer’s Choice, Portland, ME Marketing and Promotions: J.B. Hart Music, Grand Junction, CO Merchandising: Redbone Guitar Boutique, San Antonio, TX

Pictured from L-R: Doug Nestler, Korg USA National Sales Director; Mike Lundin, Korg USA District Sales Manager; Chuck Surack, Sweetwater Sound President; Diana Cecchini, Korg USA VP Finance; and Mitch Colby, Korg USA Executive Vice President/CMO, as Sweetwater Sound is presented with Korg USA’s Key Note Award in the category of “Overall Commitment to Excellence.”

Hendrix ‘Rock Band’ Though neither MTV Games nor Harmonix Music Systems, the publisher and developer of the ‘Rock Band’ gaming franchise, respectively, have confirmed the news,

Janie Hendrix, who controls the estate for the late Jimi Hendrix, has announced that there will be a Hendrix edition of ‘Rock Band’ before the end of 2010.

This would follow the recent release of the Beatles ‘Rock Band’ and the forthcoming Green Day version of the game.

Dealers’ Choice Award Winner: Peavey

Last issue we inadvertently omitted a photo of Hartley Peavey receiving the MMR Dealers’ Choice Award for the Amplifier Line of the Year, the Peavey Vypyr. Peavey Electronics has been the recipient of a Dealers’ Choice Award each year since the Awards’ inception in 1992. 10 MMR

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A focus on the competitive aspects of musical performance brings a tendency to manipulate the variables of suitable material to “accent the positive and eliminate the negative,” to quote a classic tune. Most of us as spectators, judges, and even performers have experienced the sensation at festival events that “everything sounds the same.” In his second piece on music criticism for The Washington Post, Stephen Budiansky quotes an experienced music judge/educator who feels that what is played at competitions “all has the same formula: a grand, dramatic opening; then a fast section with lots of percussion activity; next comes the slow, emotionally draining section; then the fast section returns with a slammin’ ending.” From an educational perspective (as opposed to an aesthetic, entertainment, or consumerist view), however, is this really a problem? Is it illogical or inappropriate that groups seeking to maximize their comparative potential

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would choose materials with specific attributes that have been proven successful? Furthermore, what responsibilities beyond their own showcase of skills does each individual group have to the overall flow, continuity, and audience appeal of an entire judged event? Why should they have any? Is it a different case when an event is marketed to attract an audience of consumers who are charged for admission? This dilemma peaks directly to the “Law of Origin”: is the event primarily for the benefit of the per-

ture, and pacing of musical theater productions? Opera? Cinema? Even though these commercially produced cultural events are not intended to be experienced in a back-to-back-to-back series, one can easily imagine that similarities of construction might be more self-evident in a lengthy sequential experience. Let’s consider competitive dynamics: Does a similarity of musical materials put any particular groups at a disadvantage? It might be logical to suggest that after hearing the “same”

Does a similarity of musical materials put any particular groups at a disadvantage? formers (students) or the audience? Is entertainment in the commercial sense a principal consideration? Tough choices. In a related vein, are there not similar commonalities in the form, struc-

devices and effects repeatedly, adjudicators and audience may tire of the repetition, therefore groups appearing later in a series of performances might then be at a disadvantage. Members of the audience may-come-and-go at

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will (some choosing to move during performances, unfortunately), while the judges must persevere and provide equal consideration to all performers. After all, just as with the comparative commercial media listed above, major works for band and orchestra are not composed with the idea of being experienced in a continuous series with several hours (or even days) worth of other similar works. Most artistic compositions have a goal of self-sufficiency. Compare this variable with established competitive scoring dynamics that tend to limit potential maximum scores to the final appearing groups in a series. One wonders if these two opposing dynamics might work to cancel each other’s effects? I’m also reminded that for many of us, saturated experiences with most any artistic media have a relatively short attention span; “sensory overload” is a real phenomenon. The question persists: “who’s to blame?” “The problem is not just the publishers and the composers. Publishers

are in business to make money, and composers write what band directors will buy and play. Thus, the third part of the triangle – the conductors – are equally, if not more responsible, than the other two,” notes Dr. Leon J. Bly, the president of the World Association of Symphonic Bands and Ensembles (WASBE) As with other current cultural issues, it is tempting to first point a finger toward the provider – in this case, the publishers and composers. Still, in our free enterprise system the suppliers simply provide what the consumer wants to purchase. Caveat emptor? (Let the buyer beware.) Do the creators and distributors of the literature have any responsibility of educational quality oversight? Comparatively, do the publishers of other educational texts (math, science, et cetera) have to contend with these responsibilities? If so, how do music houses exercise this oversight? And how much responsibility do they have? In an American freemarket, doesn’t the musical cream al-

ways rise to the top anyway? A significant contributing issue related to publishing is the common-practice guidelines in place for the grading and marketing effectiveness of new band and orchestra music. Technical demands, keys, ranges, rhythmic complexity and variety, and even the length of works are subject to restrictive formulas. Just as in other more high-profile commercial media, economic constraints limit risk-taking. Ken Snoeck, recently retired director of the outstanding Lake Park (Ill.) High School Bands, suggests that instrumental publishing houses may need to take a cue from the American legal industry. He proposes that publishers promote and release 2-3 pieces a year on a “pro bono” basis that do not fit “the mold” of the current commercial model. These could be electronic-only publications that eliminate the extensive expense of elaborate editing, printing, and distribution costs. Just like the artistically thriving independent film industry, high quality

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success can emerge from frugal means! As Snoeck, an active composer and winner of a compositional prize from the College Band Directors National Association, says, “This would be a way to open new doors of expression and create opportunities for new experiences.” Moving closer to my own professional home, schools of music have been repeatedly urged for a number of years to provide more and better

guidance and oversight for directorsin-training. In fact, this has been a historical constant in the evolution of the band world. From the collegiate perspective this means that an instrumental music degree, already in practice a five-year course of study, needs even more specialized content and effort. This is in direct conflict with the current push in public universities to limit required undergraduate curricula, due mostly to

financial constraints. In the interest of full disclosure, I must admit that undergrads at my own institution are not required to take any band literature course toward an instrumental music education degree whatsoever. They are, however, obligated to take an orchestral literature class. When you consider the percentage of graduates of the program who eventually teach in the band field as opposed to the orchestra, you have a significant paradox. Sadly, there are hardly any public school string programs in our traditional service area for graduates to seek employment! It would appear, then, that there is more than enough “blame” to share for all those involved in the pentagonal equation: the colleges who instruct, the directors who select and purchase, the composers who write, the publishers who market, and the audience who listens. The process appears cyclical, and any emergent solutions will necessarily involve and affect all five points of this “musical pentagon.”

Dr. Joseph H. Allison is currently professor of Music at Eastern Kentucky University, serving as the director of bands and Graduate Conducting Activities. He taught in the public high schools for 18 years, where ensembles under his direction regularly appeared in regional and national settings. His Sumter (S.C.) High School Bands were the first internationally to be awarded both the Sudler Flag and Sudler Shield for concert and marching excellence. Dr. Allison is in demand as an adjudicator, clinician and consultant for concert, marching and jazz events throughout North America, Europe, and Japan.

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SBOCommentary: Conductor Couture

Conductor Couture BY

MARIAN STEWART

he rather obvious response to the question “What does a conductor wear?” is, of course a tuxedo. This answer however becomes much less apparent when the conductor is female. There is no real standard of dress for fe-

male conductors, which may be the reason that some women abide by, or feel obligated to conform to the only standard that exists, by donning a tuxedo. Women in male dominated fields can often feel obligated to sacrifice certain aspects of their femininity in order to better earn respect and success. Also, most female conductors are mentored by men who, rightfully so, may feel uncomfortable or incapable of addressing the issue.

18 School Band and Orchestra, May 2010

At first glance, this topic may seem superficial. However, this article is not intended to be fashion-oriented. Rather, the justification for all of these guidelines is that the music must at all times be the focus, and most important aspect of any concert or rehearsal. Inappropriate dress can be a distraction from the ultimate goal of making music. Lasting impressions should be made by the music that is performed rather than the conductor’s attire. The 2007 appointment of Marin Alsop to the Baltimore Symphony has brought much warranted attention to women in the field of conducting. It is interesting to note that Marin Alsop and JoAnn Falletta, conductor of the Buffalo Symphony Orchestra, share a similar concept of appropriate concert attire. Older pictures of Marin Alsop show her donning what seems to be, essentially, a male tuxedo. Newer photos reveal that her tastes have evolved to include a dark, femininely tailored suit with brightly colored cuffs. This

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is also what JoAnn Falletta prefers to ensemble, it is vitally important the dress wear. The author had the privilege of not hinder the potential for comfortable corresponding with Ms. Falletta via emovement. The conductor’s apparel mail, and when asked to elaborate on should serve as a backdrop to the white her preference, she specified that it was baton and bare arms might cloud the inher feminine take on the standard suit. tended focal point. Large and flashy jewIt is the responsibility of currently elry can also draw attention away from successful women conductors to set the baton, and would be best left for antrends. While conducting remains a other occasion. This might be especially male-dominated field, there are many true for bracelets, large pins, and neckwomen conductors who are accomlaces. Certainly, modest and tasteful jewplished and well respected. This is elry might help to enhance rather than particularly true with wind ensembles distract from the conductor’s image. where many women lead some of the nation’s most highly recognized school and university groups. Who Personal comfort is an essential better then, to answer the question at consideration when choosing proper hand, “What should women conducconcert attire. Mallory Thompson and tors wear?” Paula Thornton find conducting in a suit Interviews of Mallory Thompson, jacket to be restrictive and uncomfortdirector of bands at North Western able while Linda Moorhouse and Paula University, Paula Crider, professor Crider have found jackets that work emeritus at The University of Texas, well for them. The importance of wearPaula Thornton, past president of ing comfortable shoes should be stressed the Florida Bandmasters Association, Linda Moorhouse, associate director of bands at Personal comfort is an essential Louisiana State University, and Paula Holcomb, Di- consideration when choosing rector of Bands at Fredoproper concert attire. nia reveal surprising and considerable agreement as well. Most of the women who were with regard to guidelines they would interviewed for this article stated perrecommend for female conductors. sonal comfort as the main concern with foot apparel. Paula Holcomb however, finds that high heels push a woman’s One needs to be aware that apparel balance forward, and therefore should may possibly cause distraction not only be avoided. A woman who wears high to the audience, but to the performers heels daily would likely feel comfortable as well. While a conductor’s appearin them on stage. Certainly, a concert ance is important to the audience, it setting would be a poor time to try out should not be overly emphasized. Garfour-inch stilettos for the first time. Such ish clothing might draw negative ata public experiment could result in an tention to the conductor rather than embarrassing and awkward entrance to the artistic qualities of the music. rather than the confident persona most Undergarments which show lines or conductors strive for. are ill-fitting can certainly cause an embarrassing distraction. Tight or revealing clothing might not only be Effective conducting requires confiuncomfortable for the conductor, dence and poise so it is important that but quite distracting to the audience. one feels good in whatever she chooses Whether the conductor’s arms are to wear. One should consider potential jiggly or toned, whether her legs are distractions to the conductor as well. muscular or flabby, both attractive and Dr. Moorhouse recalls occasions when unattractive distractions are precisely she lost buttons from a jacket and even that, something to avoid. clips from her hairs. She recommends Because the baton and left hand are reinforcing buttons with safety pins as so important in communicating with the

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20 School Band and Orchestra, May 2010

Guidelines for Women Do’s Black Long skirt or dress Something that looks good from the back Conservative apparel Comfortable clothing and shoes 3/4 to full length sleeves Hair up or in a neat manner

Don’ts: Flashy or colorful clothing Short skirts or dresses Restrictive or tight clothing Large or flashy jewelry Sleeveless tops or dresses Skirts or dresses with slits up the leg Low cut blouses or dresses Undergarments that show lines

Guidelines for Men Do’s A well tailored tuxedo Formal shoes An alternative to the standard white shirt

Don’ts White socks Casual shoes Ill fitting slacks or jacket Pants that show socks Bulky watch or jewelry Tails before 5pm well as securing any hair-do with backup bobby pins. This is wise advice, if for no other reason than piece of mind for the conductor herself. She should concern herself with the matters of music rather than worrying about a potential wardrobe mishap.

Rehearsal Attire Many conductors are also careful about what they wear during rehearsals. The basic guidelines are the same as for concerts without the formality. Most wear darker colors so that the baton is more apparent on a dark background. It is also important to wear shirts that are long enough to raise one’s hands up without baring the midriff. Dr. Moorhouse recommends removing any

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jewelry that might be distracting to the ensemble such as large bracelets or earrings. She also suggests avoiding dark nail polish for the same reason.

Be Appropriate Conservative, covered, formal, black attire is most appropriate. Attire that is low cut, too tightly fit, slit up the leg, short, or flashy can be distracting to both the audience as well as the musicians. Paula Thornton and Linda Moorhouse stressed the importance of having friends whose opinions they valued. Appropriating a second opinion is always sound advice, particularly when what you wear will be most prominently viewed from behind. It is also wise to consider the occasion and what the ensemble is wearing. When a man wears a tuxedo, a woman should be equally formal. For slightly less formal occasions, men might wear a suit. In such instances women who feel comfortable in one, might don a suit as well, however Dr. Thompson finds tea length dresses to be most appropriate. On the other hand, if the ensemble is wearing matching polo shirts, a gown would be rather inappropriate. While a gala type of concert may call for clothing flashier than what is customary, less formal attire would be more appropriate for an outdoor or afternoon concert. Some women feel uncomfortable wearing the same outfit in public multiple times. None of the women I interviewed were opposed to wearing the same concert dress multiple times, after all, men wear the same tuxedo time and time again.

Attire for Men A few of the women interviewed were eager to point out that men are not without fault where concert attire is concerned. There are standard rules of etiquette that apply. Men should of course, wear a tuxedo that fits properly. This includes the appropriate hem length on the trousers, accompanied by dark socks, and formal shoes. While tails are appropriate for evening concerts, standard guidelines indicate that tails are inappropriate for any event that begins earlier than 5pm. While the subject of concert attire remains much simpler for men, there are 22 School Band and Orchestra, May 2010

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some considerations beyond the standard tuxedo. For instance, most conductors make a point of wearing dark colored shirts to rehearsals so that the baton is clearly visible. After placing such emphasis on the importance of providing a dark background, it seems odd to then wear a white tuxedo shirt for performance. There are several solutions to this, the simplest of which would be to wear a black long tie and vest instead of the standard bow tie and cummerbund. Many of the current trends in tuxedos would also solve the problem at hand. A black tuxedo shirt, and a multiple button tuxedo jacket that covers all but the shirtâ&#x20AC;&#x2122;s collar are currently readily available and very fashionable. While some conductors do not care for natural wood colored batons, it certainly makes sense that one would provide more contrast in front of a white tuxedo shirt and therefore serve as acceptable in lieu of the standard white baton. There is also much debate over whether a manâ&#x20AC;&#x2122;s tuxedo jacket should be buttoned while conducting. Some men find the movement of an unbuttoned jacket to be an unwanted distraction, while others feel inhibited by the tighter feel of a buttoned one. If a buttoned jacket pulls in an unattractive manner, or restricts motion, then certainly, this should be avoided. The solution here lies with the individual fit of the jacket as well as personal comfort and preference.

Final Thoughts In a male-dominated field such as conducting, it can be a natural inclination for women to emulate the only

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standard that exists. A few of the accomplished women the author interviewed admit to having felt pressure to conform to male standards early in their careers, all of them now prefer a conservative, and very feminine approach to concert attire. If a woman chooses to wear a tuxedo because she feels most comfortable in it, that of course is appropriate. She should not however feel obligated to do so in order to emulate her male colleagues. Male or female, a conductor should wear attire that is conservative, appropriate for the occasion, and comfortable. One should always hold music making as the focus of any rehearsal or performance, and take necessary steps to avoid shifting that focus to more superficial matters.

Marian Stewart is a DMA conducting student and a part-time lecturer at Rutgers University. She holds a Bachelor of Music from the College of New Jersey and a Master of Music from Rutgers University. Ms. Stewart was conductor of the Manhattan Wind Ensemble in 2007-2008, and has eightyears of public school teaching experience. She has been published in the WASBE Journal and the Brass Herald magazine. Ms. Stewart can be reached at MissStewart@aol.com.

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26 School Band and Orchestra, May 2010

UpClose Rick Moffit

Creating

A Haven for Music Reno, Nevadaâ&#x20AC;&#x2122;s McQueen High School Lancer Band boasts both a 12-time state champion marching band and an indoor concert program that has 27 consecutive years of first division superior ratings. The school had already achieved a great deal of musical success before current director Rick Moffit arrived in 2001, but the veteran educator has managed to effectively maintain that level of performance and student success while also placing his own stamp on the personality of the band room.

By Eliahu Sussman School Band and Orchestra, May 2010 27

Rick Moffit took a circuitous path to McQueen High School. Even though Moffit’s father, Bill, was a pioneer in the industry who directed bands at several prominent universities, Rick first studied physics in college and graduated with a degree in geology – which he jokes only helps him with “rock” concerts – before a love of kids, music, and teaching drove him back to school, where he completed a degree in music education. After gaining experience at several high-profile schools and working with a number of notable music educators, Moffit has settled in at McQueen, where he has been for almost a decade. In a recent conversation with SBO, Moffit talks about some of the lessons he’s learned about teaching music, including the need to create a safe, welcoming environment in which his band students can thrive. School Band & Orchestra: You’ve had the opportunity to work with some great directors at a number of different schools, and your father was also very accomplished music educator. How have these people influenced your career? Rick Moffit: Mentoring is an important component of a teacher’s success. My teaching career started as an assistant for a large high school in Texas, where John Rucker was the 28 School Band and Orchestra, May 2010

band director. Like many new teachers, I made mistakes and thought I knew more than I actually did. He guided me, asked questions of me, and helped me through those first important years. He was a great mentor to me. Here in Nevada, we do not have assistant directors so many future music educators coming out of college here do not have that opportunity to learn from someone more experienced. These band directors will have a much more difficult first few years than I had.

“For our kids, the band room is their home.” In the early 90’s, I was teaching high school band in Texas. My mom, who was living in Nevada, was diagnosed with cancer. It was important to be close to her and to help in anyway I could. The problem was that the only job open in the state at the time was a junior high position in Elko, Nevada. I said to myself, why would I want to teach at a junior high? Then the high school band director, Mr. Walt Lovell, told me that our band was going to the Tour-

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nament of Roses Parade that year. I asked, “Where do I sign?” Elko is four hours from the nearest mall. It had one McDonalds and no Walmarts. Our nearest league football game was in Reno, 300 miles away. You can drive from New York City to Washington, D.C. or Cleveland to Cincinnati and still not go as far as we had to for an away football game. Outside of Elko there are signs that say, “Next Gas, 105 miles.” We were isolated. But I knew I was in the right school when during the first evening rehearsal, Walt and I both said the same exact words at the same time regarding the exact same part of the show. Our philosophies of teaching, kids, music, and show design matched up. My weaknesses were matched with his strengths and visa versa. It was a great professional musical relationship. While in Elko, we traveled to two Tournament of Roses Parades, the Orange Bowl Parade and the Macy’s Thanksgiving Day Parade. Walt is a super teacher who creates music and teaches kids in one of the most isolated places in this country. He is truly the “Music Man” of Northeast Nevada. The greatest influence on me was my father. When your dad invents a system of marching, is an amazing arranger of music and is a fabulous teacher, it cannot help but change your life. My earliest memories were of music and his bands. I was going on high school band trips before I entered school. I grew up meeting people like Bill Ravelli, John Paynter, Leonard Falcone, George “Red” Bird, Frank Bencriscutto, James Matthews, Harry Begian, Al Wright, Henry Mancini, and Doc Severinsen. I did not inherit all my Dad’s talents. However, I did gain a love for music, for science, math and technology, a huge insight into how to teach and an appreciation for the people (both adults and kids) involved in music, teaching, and schools.

do a little bit of tweaking and maybe change the direction of the program slightly. SBO: How so? RM: My objectives were to have a little less emphasis on competition and more on the environment of the program. I wanted to make sure that the band room was a positive place for the students. To be honest, when I started teaching, I was basically holding on to the tiger by its tail. Then over the course of your career, you develop certain philosophies. I wanted to be sure the program I worked in would treat kids in a positive and respectful way. With experience, I developed goals for our ensemebles, both short and long term. When I came to McQueen, we had goals for the next week, the next month, and the next year. We even had five-year goals.

RM: We approach playing on the field and on the concert stage in a very similar manner. The kids have to have play with a good characteristic sound and the ensemble has to have balance; basically, we do all of the same things we do inside, outside. We change the literature but the approach is the same. The other concept that may be different from some schools is our emphasis on the basics. During concert season we will spend up to half our class period working on tone production, intonation, balance, and scales.

SBO: What were some of those objectives? RM: One long-term goal was to be able to participate in national performances in order to get the students exposure, including televised events. A continuous goal was to be able to perform at a very high musical level in all of our ensembles. SBO: Your program is quite accomplished in both indoor and outdoor ensembles. Do you employ a similar approach to teaching both marching and concert band?

SBO: What was McQueen High School music program like when you first arrived on the scene? RM: Steve Schiferdecker was the band director and he ran a fine program. I did not come in here intending to overhaul things by any stretch of the imagination. I was just hoping to School Band and Orchestra, May 2010 31

We use the Claude Smith “Symphonic Warm-Ups” book along with the Fussell book, among others. Outdoors, we may spend 40 minutes on marching warm-ups before we even begin working on the show. For our band, the emphasis on basics pays off during the performance. SBO: Where do you feel that competing against other programs fits into the role of music and music education these days?

RM: We embrace competition if it helps elevate our level of performance. I never talk about winning. We talk about achieving a high level at every event we perform at, whether it’s a pep band performance or at a significant competition. Because we never talk about winning, we’ve had great success. In fact, the less we talk about winning, the more we win. It’s paradoxical, but it’s the truth. The competitions help us achieve success.

My kids know that I will be happy with them regardless of the placement at a contest as long as we perform well. They also know that they will see another side of me if we do not perform at our best, even if we win. We strive to achieve excellence in whatever we do, and then just let the judges do what they do. SBO: Speaking of judges, do you generally keep them in mind when choosing a program, or do you select your material based primarily on your students’ needs, strengths, or weaknesses? RM: When designing a competitive show, my priorities are students number one, the audience number two, and finally the judges. I am from the old school, where I still believe we should entertain the people who come to the football games on Friday evenings. We definitely take the audience into consideration when we have our design meetings with the staff. The students’ needs are the most important factor. Will the show achieve this band’s educational goals? Will the students “buy into” this show? Will the show be able to meet the requirements of each section of the band, woodwinds, brass, soloists, guard, battery and pit? A few years ago the band had three wonderful trumpet players. We were able to take advantage of their talents by installing a jazz show of “Ya Gotta Try,” “Pegasus,” and “One More Time Chuck Corea.” The kids had great success that year. Later, two of the trumpet players not only were members of the Concord Blue Devils, but were actually soloists for the corps. Two years ago, the band strengths were woodwinds. We featured flute, clarinet and saxophone solos for the show. This past year one of our soloists was a young lady who had just finished the summer marching mellophone for the Santa Clara Vanguard. The other soloist was an extremely talented young man who was the first chair trombone player in the all-state band as a junior. We also had a hot drum section, so we did “The Wind and the Lion” and had great success. One of those percussionists just made the Santa Clara Vanguard drum line right out of high school.

32 School Band and Orchestra, May 2010

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McQueen High School Lancer Band at a Glance Location: 6055 Lancer Street, Reno, Nev. On the Web: www.mcqueenband.org Students in School: 1,900 Students in Band Program: 154 Director of Bands: Rick Moffit Years in Education: 28 Years at McQueen: 9

Recent Distinctions

This year’s show will be completely different. We had seven students in the 2010 Nevada All-State Band, but four of them are graduating, including all the soloists from last year. This year’s show must fit the talents of this year’s students. If I do my job as a band director and program coordinator, and keep the students’ needs and abilities first, the success with the judges will come.

Marching Band Nevada State Champions: 2002, 2003, 2005, 2007, 2008, 2009 2009 Tournament of Roses Parade 2007 Fiesta Bowl Parade and Field Show 2005 Presidential Inaugural Parade 2003 Hollywood Christmas Parade Concert Band First Division Superior Ratings: 27 Consecutive Years

SBO: Are there specific elements that you look for when selecting and arranging music for marching band? Is there a single formula that you’ve found to be successful?

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RM: If there is a single formula, I haven’t found it. It takes a lot of time and effort to create a show that will

work for a particular group of students. Even after the staff, you, and the kids put a huge effort into prepar-

“The less we talk about winning, the more we win.”

ing and performing a show, sometimes you still realize that a show just didn’t quite have it. With the way competitive shows are now judged, you must present a superior product to the audience. The written book must be top notch and then it must be performed not only technically correct, but with enthusiasm, excitement, and passion. One of my roles as the band director is to give the students a quality show, where if the kids, the staff and I all do our jobs correctly, we have the opportunity to achieve success during the season. SBO: As far as maintaining the same levels of expectations from year to year, what do you to keep your program fresh and constantly reaching for new goals? RM: We spend time in the spring with the student leaders doing role playing on how we want to interact with our new members the following year. The kids are very good at teaching the new students the culture of the band and passing on the pride that

36 School Band and Orchestra, May 2010

we have in ourselves. Consequently, the new people become a part of our organization very quickly. In fact, we do a mini-camp in June, followed by marching in the Reno Rodeo Parade, so new members feel like they are integrated into the band at the very beginning of the summer. SBO: And having the students take such a large role bestows them with a sense of ownership of the program, too.

RM: Over the years Iâ&#x20AC;&#x2122;ve learned to delegate responsibilities much better than I did at the beginning of my career. Part of it is utilizing the students so that they will take responsibility for the program rather than me just assuming every aspect of the job. From that, I gain some free time and, often, they will do the job much better than I would have done it. The students really take ownership. Itâ&#x20AC;&#x2122;s a tough balancing act because if anyone is going to

have a successful program, he or she is going to have to put time in, and thatâ&#x20AC;&#x2122;s time away from family. Itâ&#x20AC;&#x2122;s a matter of delegating the jobs that must be done in order for your ensembles to be successful. Teaching for me is more exciting, fulfilling and fun than anytime in my career. My school schedule includes a zero period or 7 am class. I get up everyday enthused about going to school and seeing my stu-

RM: Thatâ&#x20AC;&#x2122;s what it is. Itâ&#x20AC;&#x2122;s their band, not my band. When I talk, it is about we or us, never I or me. SBO: Considering all of the many accomplishments you have been a part of over the years, what do you hold up there as the crowning achievement, the one you are most proud of? RM: Creating a positive and respectful environment in which the students can achieve success would be number one on that list. For our kids, the band room is their home. Theyâ&#x20AC;&#x2122;ve found a little niche where they can fit in. Every student coming into high school needs some place where they feel welcome, where they can be a part of something bigger than themselves. For many of the kids, our band provides that. Literally, the kids are in the band room before school, at lunch, after school â&#x20AC;&#x201C; this is where they feel very comfortable. We have very few rules in our band, but one of those rules is that the band room is a safe zone: no one is allowed to say anything negative about another band member within these walls. Consequently, we have kids from all parts of our school who find band to be a very welcoming place. Being very selfish, my number two is the Tournament of Roses Parade. When the band turns the corner from Orange Grove Boulevard onto Colorado and you can look down the hill and see people lining both sides of the street for miles, thatâ&#x20AC;&#x2122;s pretty exciting and very special. SBO: We all know that being a music educator is a tremendous time commitment. How do you balance the hours needed to build and maintain a successful program without compromising your own personal and family life?

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School Band and Orchestra, May 2010 39

dents. I have super kids, wonderful parents, a great administration and fabulous colleagues to work with. When I walk outside my band room I look at mountains with snow on them. This is a great place to live and teach. Do I sometimes get tired? Absolutely. During the fall, on Monday and Wednesdays I am at school at 6:30 am and depart at 9:45 pm. Do not get me started about talking

about the schedule during the musical. Yet the kids keep me going. They are the ones who keep pushing me to continue to raise the standards we set for ourselves. SBO: Having directed bands at many levels and in many different settings throughout your career, are there any universal truths you’ve learned about teaching music that remain consistent regardless of circumstance?

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RM: Over time I have learned that the job of being a band director is very complicated and extremely challenging. I have great respect for any director who has taught for more than a few years and achieved any level of success. The number of skills a director must have to be successful is amazing. Most of these are not taught in college. Student leadership is a prime example. Thank goodness for people like Tim Lautzenheiser, Fran Kick, and Scott Lang. They not only taught me about student leadership but about teacher-student interaction. I cannot thank them enough. If there are any truths, it is that kids are kids, but parents, administrators, schools and communities are very different. Teaching band at a school is very much like a marriage. You can have a great teacher and a fine school, but if the match up of teacher and school is poor, sometimes the interaction does not work. For a situation to be successful, you need the right teacher, with the right school, at the right time. Most successful people will approach each job differently depending on the individual circumstances. I study successful college basketball and football coaches. Some people may know about John Wooden, who coached basketball at UCLA. His Gail Goodrich and Walt Hazard teams were completely different from his Lew Alcinder teams. Joe Paterno continues to achieve success because each of his teams is different, depending on his personnel. Any success I have achieved is because I have tried to create an individual program for a particular group of kids and community. If I were to change schools in Reno, I would not take everything I do at McQueen and impose it on another group of kids. I would strive to find what works for this new group of students, parents, administrators, and community.

SBOPerformance: Intonation

Ensemble Intonation: Five Strategies for Long-term Improvement BY DR. WESLEY BROADNAX

usic educators face many challenges when conducting and administering large ensembles. We have to worry about scheduling rehearsals, formulat-

ing a rehearsal plan, programming for concerts and festivals, and effectively recruiting for our programs. However, our most important duty, teaching, must be kept in the forefront. The content of a conductorâ&#x20AC;&#x2122;s teaching and how he or she prepares an ensemble will determine the degree to which the group can deliver a performance that inspires both the audience and performers.

42 School Band and Orchestra, May 2010

Tone, balance, blend, rhythmic precision, and interpretation are among the concepts that large ensembles seek to master at the highest level; yet, intonation, is even more important, and it also happens to be one of the most difficult aspects of music for conductors to teach and players to learn. We hear evidence of poor intonation in many performances by public school and college-level ensembles through octave passages that are not quite in tune, chords that are not tuned well, and long, sustained notes containing numerous waves. The human ear tends to be more forgiving if other areas of the music are less than perfect; however, the listener is very unsettled whenever something is â&#x20AC;&#x153;out of tune.â&#x20AC;? In order for the teaching of intonation to produce positive results through performance, conductors should consider five strategies related to daily rehearsals and planning that will result in long-term improvement.

Individual Intonation vs. Ensemble Intonation Players in our ensembles should be aware of what the word “intonation” means and that we conductors have our respective ways of relaying this to them. The root word for intonation is tone, and there can never be good intonation without good tone. There is a difference between “individual” intonation and “ensemble” intonation. Individual intonation refers to each player knowing how to tune his or her instrument. This not only includes knowledge of how the tuning slides work, but also knowledge of certain notes that are inherently out of tune on the instrument. Each player should be familiar with these notes and know how to address their specific tuning concerns. Ensemble intonation refers to how each particular instrument aligns with a specific tuning generator such as a tuba or oboe, or within an entire section. When tuning in an ensemble, the player is not only listening for a particular note, but also trying to match tones. I refer to this as “getting into one’s sound.”

Developing a Good Ear The importance of a good ear cannot be overstated. It is easy to rely on tuners for pitch references, but while they are essential in building good intonation, they should not be used as a substitute for one’s own ears. We have all heard the saying “if you cannot hear the pitch first, you will not be able to produce it on the horn,” and there is a lot of truth to this statement. Singing should be incorporated in daily rehearsals, as it is the most proven way to build internal ears for players. In daily scale warm-ups, conductors should not only play scales, but also have the players sing the scales using solfege syllables. Conductors may wish to divide the ensemble into two groups while singing. An example with concert bands would be to have the brass and percussion players hold “do” while the

Even if the members of the ensemble woodwinds sing the scale against it. have their own individual tuners, The roles can be switched by havthis can help to verify their tuning ing the woodwinds hold “do” while from another device. This concept of the brass and percussion players checking with a strobe tuner before sing the scale against it. This activrehearsal is also very helpful – for ity helps the players not only hear short-term purposes only – to those individual pitches well, but also inmiddle and high school ensembles tervals. Another tuning activity for that may have players that cannot the ensemble would be to have all afford their own tuners. players sing each note of the scale Most large ensembles have some using solfege. Have them sing do, sort of “tuning ritual” for each retell them to think “re,” then sing hearsal, which usually consists of a “mi,” and so on. This helps students designated player serving as the tuninternalize the pitches before proing generator on a concert Bƌ , A, or F ducing them. (depending on the conductor’s prefSinging should be incorporated erence). This activity could include in some facet of every instrumental having a tuba player play the speciensemble’s daily rehearsals. Most fied note – the ensemble hums the groups do not make enough use of pitch – then everysinging and, beone plays that pitch, cause of this, the or having individual players tend to “The importance of a good sections match the shy away from vo- ear cannot be overstated.” tuba pitch, buildcal activities, feeling from the lowing very insecure est instruments to the highest. about singing in general. Whatever method is chosen, Singing warm-up choeach ensemble section should rales and various chords also be assigned certain notes can also be a great help. that they should check on a daily basis. These assigned notes usually address most – but not all – of the overall instrument’s tuning concerns. For example, I Playing and singing usually recommend my clarinet scales can provide a good players to check the following foundation for developtwo notes: thumb F and top line ing internal ears and this G. The thumb F usually addresswill also help build strones the throat tone (barrel) and ger individual intonation. lower register of the instrument, In addition to scales, conwhile the top line G addresses ductors should encourage the middle joints of the instrueach member of the enment. As a rule, clarinet players semble to possess his or should check these notes daily, her own tuner. I strongly and I spot-check each player recommend that the tuner one at a time in rehearsal. Hopebe used only as a guide or fully, the students are engaged in reference. A strobe tuner weekly private lessons, as those is a useful device that can can help reinforce be placed in the front of the tuning concepts rehearsal room so stutaught in daily dents can visually ensemble retrack their tunhearsals. ing progress. Chamber ensemble participation should be encouraged and

Building Good Ensemble Intonation

School Band and Orchestra, May 2010 43

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included as part of a large ensemble’s curriculum. The benefits of chamber ensembles are many, including better interpretive and teamwork skills, but intonation is developed quite rapidly in ensembles of fewer players, since there is no way to hide or mask poor pitch and there is little room for error.

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When conducting large ensemble rehearsals, time is a crucial factor for all conductors and the way in which we manage it determines the effectiveness of the rehearsal. The tuning process tends to be arduous, as it requires a high level of discipline from all players in order to allow the process to be effective. Oftentimes, the normal procedure that most conductors use when tuning an ensemble is to tune each instrument one at a time, which proves to be ineffective on a number of levels, most notably creating boredom for some players while not keeping other players on task. Conductors should avoid this type of tuning procedure, as it shortens the overall rehearsal time and places the accountability of individual tuning on the conductor, when each player should bear that responsibility to some degree on his or her own. Utilizing the concepts of singing and interval exercises are beneficial to the entire ensemble. To minimize the time factor associated with mass tuning of an ensemble, consider choosing one or two instrumental sections per rehearsal and spot check those players only, using the specified notes for those instruments as described earlier. Conductors should never assume that players know how to tune their instruments. In my 17 years of teaching and conducting concert bands at all levels, I have often made the mistake of assuming that all of my players knew how to tune and listen. Because each player’s ears work differently in various ensemble scenar-

ios, it is imperative that conductors always teach their players not only the mechanics of tuning their own instrument (tuning slides and poor notes inherent to the instrument), but also how to listen and match pitch. Older players need this more than younger players. If pitch is not improving daily, the conductor has to make a constant evaluation of his or her tuning procedures and how best to improve it. It is a daily quest and cannot be ignored.

Perfect Pitch vs. Relative Pitch Research has shown that most players in an instrumental ensemble possess more “relative” pitch than absolute or “perfect” pitch. Of course, one can only imagine how incredible it would be if every musician had perfect pitch – it would be the greatest gift to many ensembles. The fact is that even with the special gift of “perfect” pitch, the human ear is still on a sliding scale and can be influenced by many external sounds that can cause deviations in pitch levels. I know this for a fact because I have perfect pitch, yet I regularly check A440 and just to make sure that I am always there! In my daily rehearsals, I still utilize the tuner and singing as a means of keeping my ears in check.

tinue the daily task of tackling such a difficult, yet critical element of all large ensemble performances. While never in the history of the world has there ever been a perfectly in-tuned ensemble or performance, the goal is to come as close to it as possible with our players!

where he also served as assistant director of bands and conductor of MUSIQUE 21, a new music ensemble. He is very active as a guest conductor, clinician and adjudicator, and is a bass trombonist with the Silicon Valley Symphony and the Mission Chamber Orchestra, both based in San Jose, Calif.

Dr. Wesley Broadnax is currently director of bands at California State University, East Bay in Hayward, Calif., where he conducts the Symphonic Band, Chamber Winds, and teaches courses in Instrumental Music Education. He holds a Doctor of Musical Arts degree in Wind Conducting from Michigan State University,

Aim for Perfection Intonation will always be a crucial concept for both large ensembles and conductors to master. Audiences and critical listeners not only deem performances to be excellent in terms of their ability to inspire, but that the music is also pleasing to the ear through good intonation from all players. While each player is responsible for his or her own individual intonation, conductors are responsible for aiding in the process of improving ensemble intonation. The five teaching strategies described are a suggested guide for conductors to consider as they con-

School Band and Orchestra, May 2010 45

Uniform Showcase SBOReport: Uniforms

The proper attire on the parade route, football field, or in the concert hall can instill an air of confidence and professionalism that will benefit any performing ensemble. To help keep your group on the cutting edge of the visual element of the presentation, SBO has compiled some of the newest and hottest looks from uniform suppliers and manufacturers nationwide.

6. 10.

11. 1.

The Band Shoppe’s Insignia Marching Band Uniform Jacket IN9038. 2. Bandmans’ UC013 Marching Band Uniform. 3. Algy’s Variety Boy Cut. 4. DeMoulin’s custom design for Citrus High School. 5. New sketches from DeMoulin designers Chad Duggan and Rob Depp. 6. Algy’s Bold Capri. 7. McCormick’s Silver Band and Guard Uniform. 8. Southeastern Performance Apparel’s Alixandra Dress. 9. Southeastern Performance Apparel’s 4-piece Vest Ensemble. 10. Bandmans’ J2x200 Guard Uniform. 11. Fred J. Miller’s custom design for the Boston Crusaders.

SBOSurvey: Footwear

Happy Feet

ermit the Frog, covering the great Cab Calloway, famously sang:

Those weary blues canâ&#x20AC;&#x2122;t get into my shoes Because my shoes refuse to ever grow weary. I keep cheerful on an earful of music sweet; Just got those hap-hap-happy feet!

Kermit, and Cab before him, were singing about dancing, of course, but they might well have also been referring to the key to comfort for a number of different performing ensembles in the junior and high school levels. Whether on stage or on the parade route, few distractions rival the discomfort caused by unhappy feet. As most music directors already know, proper footwear can help musicians at all levels perform at their peak. This SBO reader survey explores the latest trends in performance footwear, as they pertaining to school music ensembles.

48 School Band and Orchestra, May 2010

Does your program provide marching or specialty performance shoes for your students?

“While comfort and durability are part of the discussion, cost and how the shoe can compliment the uniform is tops for me. If the shoe looks clumsy, the band will also look clumsy.” Robert Starrett Red Land High School Lewisberry, Penn.

40%

“We only do parade marching, so I do not see the need to spend top dollar for a marching shoe.” Joe Obermark Bourbon High School Bourbon, Mo.

Yes

60%

“Students purchase black shoes through the band boosters association so we all have the same style. There is a scholarship fund to help students in need.” Eric Anderson Keene High School Keene, N.H.

If yes, who provides the funding for the shoes?

Parents/Students Program Boosters

“I feel comfort and design of the shoe are equally important. The design should be what works best for the marching style your band performs.” Theresa O’Canas Aransas Pass High School Aransas Pass, Texas “The thing I look for most in a marching shoe is that the shoe provides comfort and yet provides an athletic base for the marchers to allow them to just focus on the marching.” David Ratliff Madison Southern High School Berea, Ky.

80%

11% 9%

What is the most important criteria when considering footwear for your ensembles?

Appearance

24%

Comfort

22% Cost

22% Other Durability

18% 14% School Band and Orchestra, May 2010 49

Which color shoes work best?

Black

71%

Depends on rest of uniform

22%

Other

White

“I have noticed that more organizations are moving to a more uniformed style of shoe from one supplier rather than have the students provide their own shoes from a given criteria.” James Shaw Gompers Junior High School Joliet, Ill.

Where does your program typically buy marching/ performance shoes?

Sales Rep Local store Other

“Since our kids have to purchase their own shoes, I consider the cost, wearability, function, and years of service. If a company can provide a solid quality shoe that is modestly priced, I feel that they will sell more shoes of this type. Quantity over quality at a higher price, but the quality is still reasonable.” Todd Hunter Dallas High School Dallas, Penn.

51% 20% 20%

Internet

“We use a local full service music retailer, who has a road rep that visits every week. We could get them cheaper elsewhere, but want to support our local music store.” Mark Philgreen West Delaware High School Manchester, Iowa “We order from a catalogue, usually from the company carrying the brand we choose for the lowest cost.” Frank Ibero Scottsbluff High School Scottsbluff, Neb.

Have you noticed any recent trends in music performance footwear? “We have seen them more ergonomically designed to accommodate the stress of marching on students feet. I also think they try to make them as comfortable and as lightweight as possible while maintaining a reasonable price.” Douglas Rutan Morristown High School Morristown, N.J. 50 School Band and Orchestra, May 2010

Additional Thoughts? “We buy the same shoes every year so that students don’t always have to get new shoes unless theirs wear out or their feet grow.” Cynthia Napierkowski Salem High School Salem, Mass. “Comfort and durability are very important, but if you are going to go wear a uniform and shako for the overall appearance on the field, why wouldn’t you complete the uniform and have ‘good looking’ shoes which match?” Kenneth F. Vignona Eastport South Manor High School Manorville, N.Y.

If you are interested in participating in upcoming SBO magazine reader surveys? Log on to www.sbomagazine.com

Surve

SBOTechnology: TI:ME

TI:ME Seminars:

Diving into Technology BY JOHN KUZMICH, JR.

he most effective way for music educators to dive into the exciting world of technology is to attend a Technology Institute for Music Educators (TI:ME) conference. For 11 years, TI:ME has collaborated with state MEA

conferences providing top-notch in-service opportunities. I recently had the good fortune of attending two three-day TI:ME regional and national conferences. The variety of clinics offered at each of these conferences is a knockout, with a huge number of seminars presented by the very best clinicians in the industry. I was amazed at the plethora of topics and instruction that was Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America. For more information, visit www.kuzmich.com.

designed to put educators in the driverâ&#x20AC;&#x2122;s seat of cutting edge music technology.

Attendees playing Wii Music at a recent TI:ME conference. 52 School Band and Orchestra, May 2010

The Midwest regional conference had nearly 50 clinic sessions and the national had over 80. Each conference is a three-day technological feast. For a quick overview of these conferences, you can view the topics covered and some of the clinic abstracts by visiting www.ti-me.org and clicking the “conference” tab. Keeping up with the latest technology hardware can feel like taking part in a race. Yet, our students are hungry for creative opportunities and cutting edge ideas made available by new products like handheld digital recorders, the wireless body beat metronome, podcasting kist, and the XLR to USB microphone interface.

Hardware & Software Clincs One of the TI:ME clinics I recently attended focused on using a specially designed cart with a mobile recording studio. This multi-media “Computer-Assisted Music Instruction Center” contained a laptop, music keyboard, microphones, speakers, software and audio interface, all designed to enhance students’ learning. For educators who are looking for new performance music technology opportunities, the latest versions of Akai’s versatile wind controllers offer a vast palette of new instrumental colors to explore. For percussionists, TI:ME clinics extensively cover truly complete electronic options available with the basics of drum programming, triggering, pads, and so on. Whiteboard technology is advancing in classrooms faster than our bag of tricks can keep up with. Have you been wanting to use the SmartBoard and the Notebook software in your music classroom, but didn’t know where to start? TI:ME clinics have you covered, as relevant seminars discuss setting up the page, adding interactivity (revealing, cloning, et cetera), using multimedia, and adding links. Music notation software has long dominated music educators’ lesson plans. Two things on this front are

TI:ME president-elect Amy Burns with TI:ME president Tom Rudolf.

immediately evident: the standard products have continued to become more powerful and easier to use; and new products are changing how we approach music notation with our students. Noteflight is a free Webbased piece of software for creating, sharing, and performing music entirely within a standard Web browser.

while Mark Lochstampfor’s clinic focuses on looping with PCs, providing a hands-on opportunity to testdrive these programs. Because smart phones are essentially computers disguised as mobile telephones, there is a vast library of teaching software applications available for music educators. Each TI:

Squeezing technology into your curriculum is often the first challenge, especially when having to negotiate with administrators for funding and staffing. Finale has been growing since 1988 and continues to become increasingly user friendly with a host of educator-oriented tricks. TI:ME clinicians presented tips on keeping up with new releases and the fastest, easiest ways to learn Finale, enter notes and lyrics, transpose, scan, and combine multiple tasks into one, create percussion parts, format scores/ parts, and gain the best sounding play back. Tips & Tricks for Working with Sibelius, a clinic by Robin Hodson, explores six or seven unique ways to use Sibelius in the classroom. Looping with Creativity by Michael Fein is a prime example of how using Mac computers to create simple and powerful sequencing with loops can enhance your classroom,

ME conference offers several smart phone clinics. Although MIDI is 28 years old, it still is the backbone of music synthesis in today’s music education market. MIDI: Still the Cornerstone of Music Technology by V. Keith Mason breaks down the “Bits and Bytes” of Midi from music notation to the digital audio workstation with an emphasis on the role and function of MIDI in creating music.

Recording Pro Tools is the industry standard pro audio recording and mastering solution, but educators tend to not use it. Robin Hodson’s Audio recording in Education with Pro Tools for School Band and Orchestra, May 2010 53

Teachers provides a guided tour of Pro Tools. His session covers how to record an ensemble using Pro Tools, start a broadcasting, podcasting, or soundtrack course, and how to use it with a multi-track digital recorder. Several clinics on the free program Audacity taught sound recording, audio editing, sampling, digital effects processing, mixing and remixing, classroom karaoke, composition, form, CD creation, and collaborative work.

The title of George Litterst’s clinic, Demystifying Live Sound Reinforcement, says it all. If the world of audio gear puzzles you, thank George for helping to provide the background knowledge you’ll need to choose and use PA Systems, mixers, speakers, and microphones. Audio System Set-up Basics by Dave Mendez addresses often-overlooked techniques of sound reinforcement (PA) system, from microphones to loudspeakers, and how

“The Sound”

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54 School Band and Orchestra, May 2010

to optimize it for your next performance.

Implementation Squeezing technology into your curriculum is often the first challenge, especially when having to negotiate with administrators for funding and staffing. Scott Watson’s Using Technology to Unlock Creativity clinic demonstrates how he teaches students to compose, improvise, arrange, and produce music projects with technology. He shares great ideas using podcasts, student-produced CDs, notated compositions, and much more. Tom Rudolph’s Music Technology Electives that Work at the Secondary Level shows how music technology electives around the country are enhancing the curriculum at the secondary level. Some school districts have doubled enrollment in their music courses by adding keyboard, digital audio, song writing, theory, and production courses. Teaching Music Tech Full-time Parts 1 and 2 by Will Kuhn is a double-session that demonstrates how the Lebanon High School music technology program has grown to serve over 200 students every year. It highlights student projects to start a music technology program at your school. Although national standards have been around since 1994, integrating them can sometimes be tedious. Jay Dorfman, in his Considering “Standards” for Music Technology, coordinates technology as it relates to standards. He even raises questions about a separate set of standards for technology-based music instruction. There’s no better technology assessment tool for music performers than SmartMusic. Leigh Kallstad shows in his SmartMusic Gradebook clinics how to set up classes and enroll students, create different types of assignments, and then send them to an entire class, or just selected students, in a matter of seconds! Barbara Freedman’s Teaching Music Through Composition with Technology: Beginning Lessons that Work presents a wealth of tips for those

who don’t quite know where to begin. She informs attendees on good places to start teaching, especially to students with little or no background in music sequencing either on Mac or PC.

Ensembles

Using Technology in Your Secondary String Rehearsal by Joseph Brennan demonstrates how to improve students’ playing skills and make rehearsals more effective and efficient.

Useful Technology in the Private Lesson Studio, demonstrates how to make private lessons more effective using laptop-based hardware and software. From audio apps and metronomes to databases and personal organization software, there are many free and low-cost tools to energize private lessons and keep your students on track. Multimedia is today’s catch phrase for incorporating the Internet, especially with podcasts and

Advancements in hand-held electronics have made an impact on how a teacher can infuse performance skills in the classroom with non-traditional instruments. Devices covered include a computer and a camera, as well as various software applications – such as PowerPoint, photo display software, freeware metronome, freeware tuners, Quicktime, iTunes, Tune Assistant, Audiation Assistant, and Sibelius – and Web sites that can be used directly in rehearsals. Computer-assisted drill design has revolutionized how marching band field shows are created and taught. Computer-assisted Drill Design for the 21st Century Marching Band by Brian P. Timmons covers recent advancements in software development that have made it possible to streamline the design and teaching process for maximum efficiency and learning. Advancements in hand-held electronics have made an impact on how a teacher can infuse performance skills in the classroom with non-traditional instruments. One cuttingedge clinic called nanoBands: Live Performance and Demonstration featured the Greenwich (Conn.) High School students of Barbara Freedman, who formed nanoBands and performed their own compositions on hand held-devices.

blogs. Floyd Richmond’s clinic reveals existing podcasts, wikis, and blogs useful to every kind of music teacher, as well as tips on creating your own. In Douglas Hicks’ Creating Instructional Video clinic, he teaches

how to create instructional videos for your students, as well as recording and editing techniques. Distance learning is no longer restricted to college courses. With Skype and other free conference software, music educators can bring colleagues and professionals directly into their classes. Exploring the World of Video-Conferenced Music Teaching by Patricia Riley illustrates teaching music over the Internet through video-conferencing bringing together teachers and students over vast distances.

Closing Comments There’s power in networking with TI:ME, and their conferences are exceptional learning opportunities. Plan now to attend the 2011 national conference, which is being held in conjunction with the Ohio Music Educators Conference in Cincinnati, Ohio, from January 27-29, 2011.

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Out-of-School Educational Tools Most of us also teach private music lessons, and these are often void of technology. Scott Phillips’ clinic,

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School Band and Orchestra, May 2010 55

NewProducts Musicmaide Stand Clip & Holder

Musicmaide Stand Clips are designed to help to keep sheet music in place. The transparent clip attaches onto the shelf of any music stand to secure sheet music and books, while still allowing for the pages to be turned. The Musicmaide Playlist Holder is a device that attaches to the shelf of a music stand and helps keep play lists visible at all times.

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SKB Cello Soft Case

Quality Instruments

SKB Corporation has expanded their soft case offerings with the introduction of the 1SKB-SC344 full size soft case for cello. The 1SKB-SC344 has a lined EPS shell that is custom fit for the 4/4 sized cello. The outside of the case is wrapped with ballistic nylon with double pull, heavy-duty

That Your School and Students Can Afford

zippers. There is an external accessory compartment located behind the neck. Backpack straps and anchor points are included to make for easy hands free transport. The EPS interior is based on the 1SKB-344 hardshell cello case. The neck is secured with a vacuum formed padded neck tray that provides superior neck protection in transport. Storage is provided under the next tray and there are padded locations for two bows in the case lid.

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Planet Waves Lubrikit and RENEW String Cleaning System

Lubrikit is a new lubricant from Planet Waves designed to provide tuning stability by removing friction. A drop of Lubrikit is applied to the nut and tremolo/bridge to optimize tuning stability, combat string breakage, and end premature wear of the bridge and nut of the instrument. Lubrikit comes with one syringe of lubricant and two application swabs. Planet Waves’ RENEW String Cleaning System “squeegees” both the top and bottom of the strings, removing dirt and build-up that that can prematurely make strings sound lifeless. Used regularly, RENEW is said to deliver new string tone and longer string life. RENEW comes with two cleaning tools, one cleaning solution, and 12 replaceable cleaning pads.

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We are one of the leading suppliers of band and orchestra instruments to schools and music dealers throughout the United States. We offer a full line of brass, woodwind, orchestra and percussion instruments designed and crafted to educational standards. For a list of dealers in your area, or a catalog contact: schools@huntermusical.com by email or call. We respond to all school bids through local dealers. Samples are available for evaluation.

Hunter Music Instruments

3300 Northern Boulevard, Long Island City, NY 11101 (718) 706-0828 Fax: (718) 706-0128 www.huntermusical.com

56 School Band and Orchestra, May 2010

Knilling’s J. Rémy Carbon Fiber Bows

J. Rémy all-carbon fiber bows are available in both solid and braided carbon fiber, and feature nickelsilver winding. They also feature a leatherette grip and come with nickel-silver mounted ebony frogs with Parisian eye, pearl slide, and a three-part button. They are available for 1/2, 3/4, 4/4 size violins, violas, and cellos, and 1/2 and 3/4 size basses (French and German style).

www.usbandsupplies.com

NewProducts Trophy Music’s Maestro-Lite Baton

Phaeton’s Flugelhorn Models

Phaeton’s new flugelhorn models are made of which is said to improve volume control, projection, and focus in all ranges. Pistons are interchangeable for quick cleaning/lubrication, and solid brass machined finger but-

tons are coupled with heavy weight top/bottom caps. Phaeton flugelhorns are available in black onyx and matte silver plate. Designed to make it easier for musicians to see in dark situations and to create a visual effect on stage, Trophy Music’s Maestro-Lite features a sturdy Lexan polycarbonate shaft and a textured easy grip handle. The entire shaft is illuminated by LED’s that will last 100,000+ hours. The light concentrates at the tip, further allowing musicians to better follow the tempo and includes extra batteries.

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Reunion Blues Merino Wool Sax Strap

ment. A coated metal hook is twisted to make it easier to attach and detach the instrument during a performance, and the strap comes folded in an display box designed to hang on a pegboard hook.

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Alfred’s Meet the Great Jazz Legends

Reunion Blues is expanding their accessory line with the introduction of a natural merino wool saxophone strap. The new strap features a full grain leather band stitched to soft merino wool webbing, with a coated smooth-glide cord and custom plated logo button for easy length adjust-

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Alfred Publishing has re-released Meet the Great Jazz Legends, now available with a CD addition and lesson workbook. Dr. Ronald McCurdy illuminates stories about the lives, times, and music of great jazz musicians spanning the entire twentieth century, from early New Orleans jazz

Keep Music Education Strong Learning to play music is so much more than memorizing notes and scales. It helps a child develop creativity and instills self-discipline, commitment and conﬁdence. Your leadership in the community assures that music is a part of quality education for every child. Keep music education strong—go to supportmusic.com.

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NewProducts through the Golden Age of Swing plus the avant-garde and jazz fusion eras. Lessons include biographies of jazz greats such as Louis Armstrong, Duke Ellington, Ella Fitzgerald, Billie Holiday, Dave Brubeck, John Coltrane, Charles Mingus, Herbie Hancock, and more. A new CD addition allows students to listen to examples of recordings. For use in the classroom, the book is also available with reproducible activity sheets that reinforce the information in each chapter. Meet the Great Jazz Legends is available in the following packages: as a 72page book and CD package for $26.95,

book only for $14.95, CD only for $14.95, reproducible activity sheets for $12.95, book and activity sheets for $21.95, and a deluxe classroom kit with all components for $39.95.

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RS Berkeley’s Mozart Cellos

RS Berkeley’s Mozart from Meisel Cellos are reasonably priced, and include D’Addario Prelude strings, padded bag, wooden bow, and are available in 4/4 to 1/10 sizes.

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Grover Pro’s New SilverFox Models

Grover Pro adds two new models to the SilverFox line of sticks and mallets. The Nitestalk is a 16” long multi-rod with 25 nylon bristles secured to a 5/8” diameter high impact plastic handle. Nitestalks have a balanced, natural feel on both drums and cymbals. Each rod features a firmness adjustment band that controls the feel and flex of the nylon bristles. SilverFox’s Thrasher is a beefy double ended stick (16.25” length x .605 dia.), designed for high impact situations. Like all of SilverFox’s drumsticks, the Thrasher is manufactured from select grade straight-grained hickory. The stick is coated with SilverFox’s exclusive Duracrylix finish that is said to enhance durability and provide a smooth, easyto-grip surface. The Nitestalk retails for $30 and the Thrasher for $15.

www.groverpro.com

Oxford’s Teaching Piano in Groups

Teaching Piano in Groups provides a compendium of information related to all aspects of group piano teaching. Motivated by an ever-growing interest in this instructional method and its widespread mandatory inclusion in piano pedagogy curricula, Christopher Fisher highlights the proven viability and success of group piano teaching, and arms front-line group piano instructors with tools for practical implementation of a system of instruction in their own teaching. Teaching Piano in Groups is accompanied by an extensive companion Web site, featuring a multi-format listing of resources as well as interviews with several group piano pedagogues.

www.oup.com 60 School Band and Orchestra, May 2010

Brought to you by EPN Travel Services

“Flat is First, Sharp is Second” When I started teaching band, a good friend and mentor (Dale Mikkalson) gave me a hint which has been valuable on many occasions over the years in helping students to remember their fingerings: “Flat is first, sharp is second.” Reminding students of this little phrase has helped them to correct B/Bb and F/F# fingerings on the clarinet and trumpet, as well as other wind instruments. I refer to it often with my young players. Cindy Shirk Dakota Meadows Middle School North Mankato, Minn. Submit your PLAYING TIP online at www.sbomagazine.com or e-mail it to editor Eliahu Sussman: esussman@symphonypublishing.com. Win a special prize from EPN Travel, Inc. Winning Playing Tips will be published in School Band and Orchestra magazine.

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Expert Articles & much more! School Band and Orchestra, May 2010 61

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AN ONLINE COMMUNITY BRINGING TOGETHER JAZZ EDUCATORS, PERFORMERS, STUDENTS, AND FANS! JazzPlayer.com is live – visit www.JazzPlayer.com to sign up and create your individualized proﬁle and start connecting with fellow jazz aﬁcionados and scholars. Brought to you by the publishers of

School Band and Orchestra, May 2010

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School Band and Orchestra, May 2010

SAVE THE DATE! The Jazz Education Network Annual Conference is moving to January!

2nd Annual JEN Conference January 6-8, 2011 New Orleans, LA Historic Roosevelt Hotel – Famed Blue Room Details on line soon! • Exciting Headliners • Enlightening Clinics/Panels • Exhilarating School Ensemble Performances • 20,000 sq. ft of Enticing Exhibits! All under one roof, two blocks from the French Quarter! Details following soon. Submission guidelines and applications available online May 1-June 15.

Check the website often for updates as they materialize! www.JazzEdNet.org your portal to the global jazz community!