SBO September 2010 by SBO School Band & Orchestra

SEPTEMBER 2010 $5.00

Gary Hammer of Bennett Middle School

Foundations First

UpFront Q&A:

Carol Howell, Maryland MEA Report:

A Plan for Success Survey:

The New School Year

Contents

September 2010

Features

UPFRONT Q&A: MARYLAND MEA’S CAROL HOWELL Maryland Music Educators Association president Carol Howell gives some insight to the prospering school music programs in the Old Line State.

REPORT: A PLAN FOR SUCCESS This SBO report examines the back to school rituals of three successful veteran music educators.

UPCLOSE: GARY HAMMER In a recent interview, Gary Hammer, the award-winning band director of Salisbury, Maryland’s Bennett Middle School, discusses the intricacies and importance of connecting students with music before they reach high school.

SURVEY: THE NEW SCHOOL YEAR This SBO reader survey polls educators on their hopes and fears for the new school year.

GUEST EDITORIAL: BAND FACILITIES Godley (Texas) High School has newly installed, state-of-the-art music facilities and contributor Steve Bright of Wenger Corporation details the impact the new equipment is having on both Godley’s music program and the community in general.

TECHNOLOGY: IMPORTING ASSESSMENT FILES John Kuzmich Jr. explores ways for educators to import all kinds of music and music files into assessment programs.

Columns 4 6 52

Perspective Headlines New Products

61 62 64

Playing Tip Classifieds Ad Index

Cover photo by Todd Dudek, Hebron, Maryland. 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, September 2010

Perspective

Pianos, Video Games, & Music Education

n the mid-nineteenth and early twentieth centuries, there were literally hundreds of piano makers in New York City, churning out thousands of instruments to be featured as the centerpiece in the parlors of many middle and upper class households. The piano was considered a primary source of entertainment for family and friends, and there was major effort put forth to learn how to play the instrument proficiently enough to please small gatherings. Fast-forward to the twenty-first century, and it’s the video game that has become the centerpiece of American household activity, while the piano has been relegated to only serious musical households. According to statistics gathered by the electronics software association, video and computer game companies generated nearly $12 billion dollars in increased revenue in 2008. One of the extraordinary facts also compiled in this study states that “the average game player is 35 years old and has been playing games for 12 years.” It would appear that not only is today’s middle-school student playing video games with their friends, but also they are often playing with or alongside their parents. This, of course, leads to the next question: how does this impact the study of a musical instrument, an activity which requires significant effort in order to reach competency? Obviously this is not a new phenomenon, as video games have been around for decades, but the difference is that many parents who have grown up with sophisticated games now factor into the equation. Our cover director this month, Gary Hammer, has a unique background in that he taught at the high school level in a town whose feeder system was simply not functioning at an effective level. Hammer took the challenge of moving to the middle school and rebuilding the program from the ground up. He states that one of his major challenges is “that kids today are less focused on long-term goals because they have so much immediate gratification with everything. Plug in Guitar Hero, and you’re a guitar player.” However, rather than turning the video game into the enemy, Hammer suggests that using “game-like” music-oriented computer programs can help to spur kids’ interest and to keep them motivated to stay in the music program. It appears that Mr. Hammer has been able to overcome many of the obstacles to building a strong feeder system in his town by using some very creative, motivating programs to recruit and retain more students. As he indicates in his interview, “If you’re not getting them in the practice mode and getting them to really enjoy music – then you’re not going to have them at the high school level. Trying to start kids in a band program in the ninth grade is pretty much impossible.” You’ll find many intriguing and practical ideas on how this middle school director is creatively building a quality middle-school program capable of withstanding the onslaught of so many non-musical distractions…

September 2010 Volume 13, Number 9

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

EXECUTIVE EDITOR Christian Wissmuller

cwissmuller@symphonypublishing.com

EDITOR Eliahu Sussman esussman@symphonypublishing.com 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 SALES & MARKETING MANAGER Jason LaChapelle jlachapelle@symphonypublishing.com Business Staff

CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

ADMINISTRATIVE ASSISTANT Popi Galileos pgalileos@symphonypublishing.com 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

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HeadLines SBO 2011 Essay Scholarship Contest

or the 11th consecutive year, SBO’s essay scholarship contest will award $20,000 in prizes, with $10,000 coming in the form of student

Jazz Educators Take New Orleans!

oin the Jazz Education Network (JEN) on January 6-8, 2011 at the historic Roosevelt Hotel in New Orleans, La. for the organizations second annual national conference. Enjoy meeting other jazz educators, attend exhilarating school ensemble performances or enlightening clinics, hear exciting headliners, visit enticing industry exhibits, and jam with the best. Visit www.JazzEdNet.org to learn more.

Music For All Announces New Leadership

usic for All, Inc. has announced that Eric L. Martin has been named the organization’s president and CEO. Previous president and CEO Scott McCormick has resigned his position with the organization. The executive leadership of the organization will be Mr. Martin and Nancy H. Carlson, vice president and chief financial officer. For more information, visit www.musicforall.org.

Online Survey Results scholarships and another $10,000 in music products for the scholarship winners’ school music programs from such sponsors as Alfred Publishing, Sabian, Ltd., Woodwind & Brasswind, Yamaha Corporation of America, and NAMM. The theme for SBO’s 2011 student essay scholarship contest is “How my music teacher has influenced me and my goals in school…” Essays of 250 words or less can be submitted online at www.sbomagazine.com or by mail to:

Will your program’s marching band be taking part in competitions this year?

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ESSAY CONTEST Symphony Publishing 21 Highland Circle, Ste. 1 Needham, MA, 02494. The deadline is December 31, 2010. Additional essay contest posters are available by e-mailing Melanie Prescott at mprescott@symphonypublishing.com. For more information, visit www.sbomagazine.com.

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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.

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KoSA Honors Faculty at 2010 Festival

wo KoSA faculty members were chosen to receive KoSAâ&#x20AC;&#x2122;s Lifetime Achievement Award at the 2010 KoSA International Percussion Workshops and Festival, held in July at Castleton State College in Castleton, Vermont. John Beck was honored â&#x20AC;&#x153;for setting the highest standards in contemporary percussion performance and for his enormous contribution to percussion education.â&#x20AC;? KoSA also surprised faculty veteran, John Riley, with an accolade â&#x20AC;&#x153;for his invaluable influence on generations of drummers and for his great contribution as an author and a performer in the art of swing.â&#x20AC;? During the Festival, the KoSA faculty performed nightly concerts for registered participants as well as the general public. For more information, visit www.kosamusic.com.

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he National Academy of Music is accepting submissions for the International Music Prize for Excellence in Performance & Composition, an international competition for composers, instrumental and vocal performers. The goal of this competition is to encourage and motivate highly talented performers of all ages and levels, from the earliest stages to professional, to persist in building a career in music performance by rewarding them with recognition and honor. The competition is open to performers of all ages and nationalities. Each entry consists of an entry form, a video-recorded audition, and an entry fee. Entrants must submit their performance in a standard DVD video format. The Academyâ&#x20AC;&#x2122;s artistic committee, a team of composers, performers, theorists, and musicologists, will evaluate all submissions and select the winning entries. All entries must be received no later than October 1, 2010. Entry materials will not be returned to entrants. For more information, visit www.musicprizes.com.

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SBOUpfrontQ&A: Maryland MEA’s Carol Howell

Maryland:

Communication is Key

n recent years, Maryland has consistently ranked at or near the top of all U.S. states in median income per household. And the future is bright for the next generation of Marylanders, as nearly 40 percent of the state’s general fund for

2009 was allocated to education, resulting in a $5.5b budget for Maryland schools. Considering both the residents’ relatively high income level and the state’s generous funding for education, it might not be terribly surprising that Maryland has one of the top public school systems in the country.

To gain a greater understanding of how these positive attributes relate specifically to music education in the Old Line State, SBO recently caught up with Carol Howell, president of the Maryland Music Educators Association and general music teacher in Maryland’s Montgomery County, where she has taught for over 20 years. School Band & Orchestra: How would you assess the current state of music education in Maryland? Carol Howell: Maryland was recognized last year as the nation’s number one state public school system and to that end, Dr. Nancy Grasmick, the state superintendent of schools, continues to be a strong supporter of the arts. We are fortunate to have a sound 10 School Band and Orchestra, September 2010

state curriculum that promotes high student achievement while at the same time allowing teachers the flexibility to be creative in the curriculum’s implementation. As the state Music Educators Association, we manage eight all-state groups – Jr. Band, Jr. Orchestra, Jr. Chorus, Sr. Band, Sr. Orchestra, Sr. Mixed Chorus, Sr. Women’s Chorus, and Sr. Jazz Band. Last year, over 6,000 students auditioned for these groups, reflecting the caliber of music programs across the state. This is all due to the work of the incredible teachers throughout the state.

conferences held each year. We are able to offer these conference opportunities, which feature national presenters, at a relatively low cost. This is so important as individual school systems are providing less professional development and less opportunity for networking with other music teachers. In terms of NCLB, MMEA has joined MENC in its national advocate efforts to keep music a “core subject” in the upcoming reauthorization of ESEA (the Elementary and Second-

ary Education Act which has replaced NCLB). SBO: Are there any factors that you believe make Maryland’s education situation unique? CH: Maryland is unique in that we have not seen significant cuts in programming in the arts. This is again largely attributed to the strong support of the state superintendent and the strong advocacy efforts here in the

SBO: What are some of the challenges facing Maryland educators today? CH: Like most states, music educators in Maryland are concerned with sustaining quality programs. There are many factors impacting the viability of programs. First, it is getting more and more difficult to maintain the high standard that teachers are used to when they are asked to do more with less. Many teachers, particularly those who teach applied music courses, are being asked to take on additional classes and responsibilities. As a result, they are unable to take the time to recruit students and build strong programs which in the end means that performing classes are cut due to lack of enrollment. Also playing a part is the effect of NCLB, as the arts are getting pushed aside for the sake of additional reading and math, particularly at the middle school level. In addition, the increasing number of available electives means that performing arts classes have to compete with other classes for students. We constantly need to advocate the important role that music plays in the education of the whole child. SBO: What are some of the MMEA’s current initiatives intended to meet these concerns? CH: Even in this sluggish economy, we have been able to maintain our strong programming for teachers and students. We have been able to continue all of our all-state groups. This is important because it not only continues to set the bar for band/chorus/orchestra programming statewide, but also requires schools to maintain programs. We have also been able to continue providing high quality professional development opportunities for our teachers, through our two state School Band and Orchestra, September 2010 11

state. There are some states where entire programs have been cut. SBO: As music educators across the country grapple for survival in a still-difficult economic climate, do you have any advice for them moving forward? CH: It is imperative that educators ask for help and communicate their needs. There are so many incredible resources available, particularly from state MEAs and MENC. Attend conferences and

network with other professionals. Build the love of music with students – they and their parent are our best advocates to maintaining and building strong programs. One of the most effective ways to maintain that support is to make your program visible. Have students perform at every opportunity. SBO: Are there any specific facets of Maryland’s educational system that you would like to see other states attempt to emulate? Does it all start at

the top or are there specific things educators in the trenches should start doing to build from the ground up? CH: Having a successful program takes working both ways – from the top down and from the ground up. MMEA is the intermediary between the two. Communication is the key on all levels. We are fortunate to have government officials who care about the arts. At the same time, we have terrific arts advocacy organizations that stay on top of the political scene. The Fine Arts coordinator for the State Department of Education sits on our board. We are also fortunate that as a small state, we are able to stay on top of what is happening in local school systems fairly well. However, we rely heavily on teachers and administrators at the local level to voice concerns. It’s tough to comment on other states because each state’s situation is unique and, certainly, size has an impact. It is imperative that teachers continue to communicate to their community and local school officials the value of music and what it does for children. We need to emphasize the work that MENC is currently conducting regarding the role of the arts in developing 21st century job skills. SBO: Do you have any advice or words of wisdom regarding the beginning of the new school year?

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CH: Establish open lines of communication between yourself and parents and students. Get students excited about your program. Outline high standards and expectations for the year. Make contact with fellow music teachers, especially of the programs that you articulate students to and from. Scope out opportunities to perform. SBO: With many teachers coming into classrooms with increased responsibilities and fewer financial resources, is there a particular approach or step-by-step process that you would recommend be used to prepare for a successful school year, even as so many are facing increased adversity? CH: Do the best with what you have. Be creative and resourceful. Stay organized – it’s easy to become distracted when pulled in so many directions. Prioritize tasks and don’t be afraid to ask for help; seek out the support of other teachers.

“The President’s Own” United States Marine Band 2011 CONCERTO COMPETITION FOR HIGH SCHOOL MUSICIANS A P P L I C A T I O N D E A D L I N E : N O V. 1 5 , 2 0 1 0

“The President’s Own” United States Marine Band, in conjunction with the Marine Corps Heritage Foundation and The National Association for Music Education (MENC), is pleased to announce its annual concerto competition for high school musicians. The winner(s) will appear as a guest soloist with the U.S. Marine Band and receive a $2,500 cash prize from the Marine Corps Heritage Foundation. Who is Eligible? The 2011 competition is open to high school musicians (grades 9-12) enrolled during the 2010-11 academic year. Performers of woodwind, brass, or percussion instruments may apply. Immediate family members of U.S. Marine Band members and previous competition winners are not eligible. Where Do I Get an Application? Application packets can be obtained by visiting www.marineband.usmc.mil or by calling (202) 4335809. Application Guidelines Applicants must select one of the works listed for their instrument in the application packet and submit an audio recording of their performance of that selection accompanied by piano, band, or orchestra. A complete list of guidelines is included in the application packet. Applications must be postmarked by Nov. 15, 2010, and mailed to the following address: MENC Attn: The Marine Band Concerto Competition 1806 Robert Fulton Drive Reston, VA 20191

Final Round Based on the application materials, finalists will be selected and invited to Washington, D.C., to compete in a final round that will be open to the public. All finalists will be notified by Jan. 1, 2011. The finals will be held at 2 p.m., on Saturday, Feb. 19, 2011, in the John Philip Sousa Band Hall at the Marine Barracks Annex in Washington, D.C. Finalists will perform the same selection submitted with their application materials. The Marine Band will provide a pianist to accompany each contestant for the final round. Contestants will have the option to be coached by a Marine Band soloist during their rehearsal with the pianist What Does the Winner(s) Receive? The winner(s) will be invited to perform their solo selection in concert with the Marine Band in the Washington, D.C. area, during the 2011 concert season and will receive a cash prize of $2,500. Travel will be provided for the winner(s) and one guardian for the final performance in Washington, D.C. About the Marine Band The Marine Band is America’s oldest continuously active professional musical organization. Founded in 1798, the band has performed for every U.S. President since John Adams. Known as “The President’s Own” since the days of Thomas Jefferson, the Marine Band’s primary mission is to provide music for the President of the United States and the Commandant of the Marine Corps.

Applications mailed directly to the Marine Band cannot be accepted. “The President’s Own” United States Marine Band, Marine Chamber Orchestra, Marine Chamber Ensembles Colonel Michael J. Colburn, Director Marine Barracks 8th & I Streets, SE - Washington, DC 20390 - (202) 433-5809 - www.marineband.usmc.mil

SBOReport: Back to School

A Plan For Success BY

ELIAHU SUSSMAN

n the often solitary world of school band and orchestra di-

First Things First

rectors, the steps taken in preparation for a new school year

“For me, preparation for the new school year usually begins in early May of the previous school year,” says George Edwin Smith, long-time band director at Gustine High School in Gustine, California. “I have a large band for a very small high school, so most of my students are also involved in at least a few other activities, including seasonal sports, school government, and on-campus clubs. Because of this, I meet with all of the various coaches, advisors, counselors, and administrators to glean as much of their schedules as I can while others are just trying to wrap up the school year.” Scheduling is one challenging aspect of the planning process, and choosing performances and travel destinations is another element that needs to be cleared well in advance. “I meet with my band council – student officers – for their input regarding next year’s performance and travel schedule,” says Smith. “If they help select the venues, they are most likely to get their peers excited about the upcoming season. The next step is to submit entry forms and fees to the events we have chosen as early as possible so we are guaranteed a ‘slot’ in the lineup. Then, during the last week of school while we are preparing our graduation music, I make a complete inventory of all school-owned instruments and evaluate the condition of each. We have a very meager budget, so after graduation, I set aside those instruments that I am able to repair, and work on them during my summer break so they’re ready to use by band camp.” And that’s just the beginning. In June and July, Smith writes stand arrange-

can vary greatly. Between selecting and preparing music, planning trips and performances, assessing incoming stu-

dents and setting goals, and even making sure that instruments are available and ready for another year of wear and tear, regardless of the process one takes, there is an awful lot of work to do. For most directors, these preparations begin many months in advance.

14 School Band and Orchestra, September 2010

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tion literature, which ments for the marching will cover three etudes band specific to their of various technical individual ability levstrengths,” she says. els, which helps make “This information is the band sound as good given to my feeder as possible at football school directors, who games. The Gustine then give the mateHigh School Marching rial to the students Band also marches in around the beginning the local Fourth of July of March. Auditions of parade every year. “I beall incoming students lieve that it is important George Edwin Smith and current students to let my community take place during the first two weeks know we support them,” Smith says. “In of April. Once students have auditurn, our town provides a major source tioned, they are placed in the approof funding especially during these lean priate performing group for the next years.” year. The lists of these students are Late in the summer, Smith meets with then given to our counselors so that his band boosters and enlists their assisthe school master schedule can be set. tance in planning fall fundraisers and In May, we set up the student inforpreparing the uniforms for the upcommation in CHARMS, a ing year. He explains, “This includes database program that taking them apart, delivering them to our district uses. We also the drycleaners, returning them and have a Fine Arts faculty reassembling them. Then, we have stucalendar meeting to set dents come in for fittings the last week performance dates for of summer. After that, the parents alter the new school year.” those that need, and bag and label evBefore the end of erything. The last week of summer, we the school year, Thomalso run Band Camp, concentrating on as selects and prepares marching and preparation of the first set several pieces so that of stand music.” the students can begin Betsy Thomas, director of orchesworking on them on the Betsy Thomas tras at Plano East Senior High School first day of school. “I in Plano, Texas, begins her preparaalways make sure the music is bowed tions over the winter. “Usually around and fingered before it is handed out; the end of February, I choose audi-

16 School Band and Orchestra, September 2010

this saves a great deal of rehearsal time in class. I will also make copies of my handbook, and have that ready. Our school year ends the first week of June, so student scheduling is double-checked that week.” With an eye towards recharging proverbial batteries, Betsy Thomas takes at least a month away from school after the end of the year. “Summer break is precious to me,” she admits, “so I will not come back to school until the middle of July. Once I start coming back, I create a checklist of things that need to be set in place before the first day of school, and I will work on that list for a few hours each day. During this time, I also make final plans for our spring trip, choosing locations, going over costs and other details. I do not have any extra contract days during the summer, so I try to be as efficient with my time as possible. But let’s face it: we all go back to work before contract days, or else our programs would suffer.” In Elko, Nevada, Walt Lovell is beginning his 44th year in education and 32nd as the director of Elko High School’s Marching Indians. Like both Betsy Thomas and George Smith, Walt starts his preparations long in advance. “My preparation

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for the new school year actually begins at the end of the previous marching band season,” says Lovell. “At that time, we begin putting together a number of ideas to be used in the next fall season’s competition and football performances. This process includes me and any staff members we plan to use, as well as, cheerleader advisors, parents, and students.”

In March, that committee begins the budget determination process and assesses needs for the following school year, including music purchases or arrangements for the marching season and drill writing costs. Factors for consideration include whether or not the group will use published music and drill or commission arrangements, use new music or exclusive drill writing.

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18 School Band and Orchestra, September 2010

The condition of instruments is also assessed to determine estimated repair costs or the need for new acquisitions. Elko High School band’s summer fundraising activities are formulated in March. “In April,” says Lovell, “we begin approaching those that we might have teach in any pre-school camps or rehearsals to check for availability and cost. Many times we are able to save a good deal of money by the early booking of instructors. This is also the time to pick drum majors and section leaders and find leadership camps for them to attend. In May we establish as much of the fall calendar as possible by contacting the athletic administrator and the athletic director and determining what competitions will not conflict with football games and other athletic events. We build a summer and fall calendar and distribute it to both students and parents as early as possible. We also have a calendar on our Web site that is kept as up-to-date as possible and as far into the future as we can project. We schedule the use of fields and other facilities that we may use prior to the opening of school. It is also essential that lodging for guest instructors is reserved.” June finds Lovell writing orders for new equipment, field paint, flags, color guard uniforms, student shoes, gloves, and so forth. “Our students order and pay for their own marching shoes and gloves and it is essential to start reminding them and their parents to order early. We reiterate this idea as often as is convenient,” Lovell explains. “June is also the time to get our instruments to the repair shop. We do this as early as possible. In late July, we start submitting our district transportation requests for August, September, October and November. This is also the time we clear all of our fundraisers through the proper administrator. We try to pick up our summer repairs late in July or early in August.” Lovell rechecks pre-school rehearsal instructors to assure their participation and confirms facility availability in August. At that time, he and his staff also teach the drum majors how to paint lines on practice fields and start formulating

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and ordering music for holiday performances. “The week before preschool rehearsals we make sure we have the rooms reserved and get purchase orders issued,” continues Lovell. “We duplicate drill sheets and once again make sure that our rehearsals do not conflict with athletics Walt Lovell or teacher meetings anymore than is necessary. We contact students who may have conflicts and try to alleviate as much of the tension caused by conflicting athletic tryouts, practices and band rehearsals as we can. It’s critical to remain flexible at this point.”

Remember This! As music programs come in all shapes and sizes, there is no single right way to prepare for an upcoming year. Yet, there are a few things all music directors should keep in mind. Betsy Thomas recommends that all directors maintain some flexibility in their programming. “Don’t set in stone any literature that you feel you have to perform,” she counsels. “Students move in and out all of the time, and your group’s instrumentation may change unexpectedly. Have several back-up pieces in mind.”

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George Smith advises that music teachers pay particular attention to the quality of the instruments themselves. “Whether you repair instruments, send them out to a repair shop, or require students to be responsible for their own repairs, it is important that they all be ready to play the first day of school or band camp,” he says. Walt Lovell suggests that the key to good preparation lies in attention to detail. “Don’t overlook any of the details,” he recommends. “Treat all of them as equally important; the details can be overwhelming if they are allowed to pile up.”

For the Inexperienced Walt Lovell, George Smith, and Betsy Thomas have careers that, when combined, add up to well over 100 years in the classroom. Yet, they, too, were once inexperienced directors, and they’ve each helped many educators embark upon successful careers. For those younger, less experienced directors, Lovell suggests making a list and checking it over and over. “Be patient, make lists – lots of lists – and don’t be afraid to accept

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20 School Band and Orchestra, September 2010

help from parents, administrators, and others who have been through the process before,” he says. “Make a plan, work the plan, and evaluate your success, then repeat the process. It really does work. Oh, and the more successful the program, the more you have to stay on top of the planning phase, even if you have been doing it for 20 years. ‘Adapt, overcome and improvise’ is not just a motto; it is a necessity.” Patience, one of the key traits of most successful educators, is especially important for young band and orchestra directors. “Don’t expect change overnight,” cautions George Smith. “Educators who are working in a new position, especially in a new town or district, should meet with administrators, student-body advisors, senior musicians, any existing parents’ club, and possibly varsity coaches to ascertain the events at which ensembles are expected to perform, which events were successful and which were not, and which events are considered to be tradition and/or the most enjoyed by the students. Then, build a schedule and repertoire around the best of these. Unless a teacher was hired because he or she is radically different from an unsuccessful predecessor, it is best to not change too much the first couple of years; then, gradually add performances, venues, and musical selections that will be beneficial to the students, the school, and the community.” The other element one must keep in mind is that a little help can go a long way. “Befriend the school staff,” suggests Smith. “Check with the school secretary for any regulations and necessary forms required for music activities, bus or facilities requests, field trips, and so on. Ask the custodian responsible for your facility what his or her needs are and how you can help make his or her job easier when cleaning your room. If you are expected to play at football or basketball games, talk to the head coaches about ways you can enhance their event and ways to avoid hindering the team’s play.” Betsy Thomas also recommends making friends in the area. “Don’t

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be afraid to seek out advice from other teachers in your district,” she notes. “There is a wealth of knowledge out there, and most teachers are quite happy to share their experiences with others. Go out and visit rehearsals at other schools to see how their rehearsals are structured. Encourage private teachers to come to your school; nothing beats that one-on-one experience a student

Eyes on the Prize While perhaps cliché, the role of preparation in success cannot be overstated. Yet, it’s also important to avoid becoming overwhelmed by to-do lists and anticipatory obligations; these preparations are simply one big step towards a most fulfilling goal. “After 31 years in the classroom, I still get excited about starting another year,” says Thomas.

“I have absolutely the most amazing job in the world,” concurs Walt Lovell. “I am a band geek and I get paid to be one. Enjoy what you do while you can, enjoy every day, every minute. After 43 years of being a band director, the only thing that I know for certain is that I will have a new challenge and a new reward every single day.”

“The more successful the program, the more you have to stay on top of the planning phase, even if you have been doing it for 20 years.” gets with a private teacher. Attend as many professional development workshops as you can. If you are unfamiliar with the literature, go to other schools and browse through their libraries. Also, try to establish a good relationship with the music vendors in your area.”

“What better vocation can there be than one that allows us to share our passion for music with others? We are blessed with the ability to challenge, motivate, and encourage our students to learn a skill that can be kept for a lifetime. Let’s all be an inspiration for our students this year!”

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SBOUpClose: Gary Hammer

Foundations

1st

By Eliahu Sussman

o have any chance at instilling a love and appreciation of music in young people, it is critical to have inspired and inspiring teachers at every step of the process. Great high school bands simply wouldn’t

exist without the sweat and tears of music educators at the elementary and middle school levels, and this is something that Gary Hammer, the 2009 Maryland Music Teacher of the Year, understands as well as anyone.

24 School Band and Orchestra, September 2010

Ěş School Band and Orchestra, September 2010 25

At the outset of his career in education, Gary was the band director in a fine program at Bennett High School in Salisbury, Maryland, which featured a marching band of about 120 students. Things were great for seven or eight years, but then the number of students entering his program began to dwindle; a few years later, only about 50 students were left in the high school band. The trouble was traced back to the middle school down the street, where personnel in the band room were in an overwhelming state of flux, and, consequently, students were losing interest in music. “I was faced with either not having a band left at the high school level or going down and trying to do something at the middle school,” Hammer recalls. When the middle school band director fell sick midway through the school year, the district supervisor asked Hammer to take over the middle school. Gary fell in love with teaching at the middle school level; that summer he requested a transfer and has never looked back. In a recent SBO interview, Gary Hammer elaborates on what it is about teaching younger students that he finds so rewarding, while also touching on a number of issues that are vital to the success of music educators today. School Band and Orchestra: What is it about teaching at the middle school level that you find so appealing?

Bennett Middle School at a Glance Location: 200 East College Ave, Salisbury, Md. Number of students: 868 Grades: 6-8 Number of students in music program: 162 Band Director: Gary Hammer Instrumental Ensembles: Symphonic band (grades 7 & 8) Concert band (grade 6) Wind ensemble (6, 7 & 8) Jazz ensemble/combo (7 & 8) Percussion ensemble (7 & 8) BMS Viking Marching Band (7 & 8) Gary Hammer: In sixth grade, many of the students can only play about eight notes and then by the time they move on to high school, after having them for three years, they’re playing some music: they’ve got some style, tone quality, and musicianship. You see a lot of growth there in that three-year period. Naturally, there’s growth at the high school level, too – hopefully a freshmen will play much better three years later, once he’s a senior. But that middle school level is a very influential stage in young musicians’ development. If you don’t get them there – getting them in the practice mode and getting them to really enjoy music – then you’re not going to have them at the high school level. If you don’t have it all the way down the line, from the elementary level on, there is no high school band. I don’t

care if you’re the greatest band director in the world; trying to start kids in a band program in the ninth grade is pretty much impossible. SBO: What are some of the musical skills that you try to bestow upon your kids before they move on to the high school? GH: I try to have them playing about grade 2 or grade 3 literature. For this area, that’s pretty good; high school bands play somewhere around 4 and 5. That’s a little down from 20 years ago, but we’re competing for a lot more now – dollars for funding and against other activities available to students. Twenty or 30 years ago, the Eastern Shore [of Maryland] was more rural and there weren’t that many activities for kids to do. Now, in addition to band, we’ve got all kinds of sports and recreational activities, from travel soccer to dance teams to karate. Those things take time away from music, to a certain degree. I used to have band practice after school five days a week and never had a complaint. Now we try to keep it to about once a week after school. SBO: Have you had to change what you’re doing to accommodate new time constraints? GH: Kids in general are now more time pressed than ever, as are their parents. Getting that dedication and practice time in has become an issue, but I think within my band program and in the county, we’ve really been using a lot more technology that helps us cover the same amount of material in a shorter time frame.

26 School Band and Orchestra, September 2010

SBO: What specific tools do you use? GH: We use a little bit of everything. I’ve really been getting into using SmartMusic with an LCD projector as a teaching tool for groups. I don’t have much time to give individual lessons as there are somewhere around 30 kids in each class. By putting SmartMusic up on the screen and having them clap along with it, sing along with it, visualize it, and then play along with it, it’s been a big plus. Then I get the students to buy it at home to practice with, and that’s been great. The only area we’ve been hurt with that is the economy, as it’s been really tough to get anybody to buy anything in this day and age. I have some student copies that I can distribute and we’ve set up some programs to help kids get or keep instruments, as needed. We’re trying to do the best we can in these economic times, and under the time pressure. We’ve lost instructional time in our county, probably like in most of the other states in the country, due to

“The middle school level is a very influential stage in young musicians’ development.” the increased emphasis on math and reading. Once that federal money carrot got dangled in front of everybody, that’s pretty much led the horse to wherever that carrot goes, and it hasn’t been towards the arts. In light

of the financial burdens and time burdens on both parents and kids, as well as the financial burden on the district, we’re doing pretty well in terms of holding our numbers. We’re a little down now from a few years ago. Our

School Band and Orchestra, September 2010 27

low was two years ago, right when the recession hit. We had a few kids who just came in and packed up their horns because they couldn’t make payment or whatever it was. We do everything we can to keep the cost and the time factors down. I’ve made a deal with the parents and kids that has helped keep them motivated. We have an incentive program that kids work towards with practice, performance, and rehearsal

attendance, and that helps really keep their interest up. SBO: What incentives do you offer up? GH: Students have to keep a B average in band, they have to be able to play all the performance material up to a certain standard, have to attend all of the rehearsals and performances, and, at the end of the year, we take the entire band out to a theme park or

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something like that. For middle school kids, they work pretty hard for that. I might tell them they aren’t going to make the concert because they can’t play this one part, and they have a choice: either go home and practice or you won’t be going to Hershey Park. [laughs] For a middle school kid, that’s a biggie, because all of their friends will be going. Any of those little things can help keep a kid’s interest in the program. Do I think that kids today are a little too instantly gratified and can’t see the value of practicing an instrument over five or six years? Sure, that’s been a problem. But we are trying to meet that any way we can to keep that interest there. Kids today are less focused on long-term goals because they have so much immediate gratification with everything. Plug in Guitar Hero, and you’re a guitar player. SBO: Do you think that that games like that are beneficial or detrimental to the goals of music education in general?

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GH: I think it’s good that there is a music emphasis to video games and that sort of thing, but I’m still waiting for someone to invent Trombone Hero or Tuba Hero, where the kid actually has to play the horn into the thing to practice. But I do use a lot of musicoriented programs in schools, in the computer lab, that teach notes and rhythms but are kind of game-like, so I don’t think it’s a detriment. The key is you have to use it to your advantage, not as something to just keep the kids occupied. Anything that spurs an interest in music is a good thing. Maybe [Guitar Hero] will even lead to some guitar players. SBO: How would you describe your teaching style?

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GH: Well, it’s kind of changed over 34 years. As a person with that many years going in, I think I’m a little mellower. I’ve become a little more patient with children and a lot less patient with adults that I have to deal with. If you’re going to teach middle school for as long as I have, you have to have some patience, but if you deal with adults that don’t understand the value of the program, or the value of a

particular student attending a performance, I can be a little short because I think they ought to know better. The only way band programs are going to be successful in this day and age is everybody from the head custodian to the superintendent of schools has to understand its value; otherwise, you’re going to have a problem somewhere down the line. I really try to involve that whole gamut. When I go on trips, I try to take other teachers, administrators, guidance counselors, and parents so that they can see the value of what we’re doing. Having that value seen by everybody in the building is so important in this day and age because with NCLB, and Race to the Top is probably going to be worse, it’s such a struggle to keep music programs in the schools right now. Having the involvement of all those people is key. When it comes down to a school board vote or a superintendent making a decision, when you can bring that support in, have all these people say, “Look, we do not want this to change,” that’s what keeps your program there. SBO: Do you do a lot of work to keep parents in the loop about what’s going on in your program and what they can do to help keep it moving forward? GH: We have a monthly newsletter

that we send out, both online and in print, and we do try to keep them in the loop. Here at the middle school, we do not have an official band parent organization like there was at the high school. I run what I like to call a “benevolent dictatorship” as a way to deal with my parents. In lieu of all the fundraising a lot of programs do, I made a deal with my parents. I tell them, “Here’s my deal: you come to my concerts – we have two concerts a year, one in the winter and one in the spring – and I’m going to charge you two dollars per ticket. If you do that, I will live off what we get from the ticket receipts.” We don’t sell BBQ chicken or light bulbs or Christmas wrap. I may ask for volunteer help or parents to chaperone trips, but all I ask from them financially is two dollars per ticket at each of our concerts. It helps that we do have some parents that will buy 10 tickets at a time to our concerts.

gotten a little better than it was before. That may change the more things hit financially; I think we’ll see some reductions in the next year or two. The high school does a lot of fundraising, but I try to live within the budget that I have. I get about $400-$500 a year for materials of instruction, which includes music and other things, and I’ll usually get one or two instruments that I request. After that, that’s it! We’ve been living on that for 34 years!

SBO: What about the district support – has that been consistent even in hard economic times? GH: I’ve been fortunate. A band director that I started out teaching with – he taught at a high school just down the road – moved his way up to become our supervisor. In the last 10 or 15 years he’s done a great job at getting some things funded that in the past had not been funded. We have been fortunate that our funding has actually

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all of the cutbacks taking place in schools all over the country. What advice do you have for young music educators who are passionate about the field, but perhaps not quite prepared for all the challenges of dealing with limited funding and intense performance pressures?

Gary Hammer works with his recently graduated 8th-graders at the Bennett HS band camp.

SBO: Are the students generally responsible for their own instruments, then? GH: The students are responsible for the small ones; the school system provides the large ones: percussion, tubas, baritones, French horns, bassoons, oboes, and a tenor sax. Every-

30 School Band and Orchestra, September 2010

thing else is the students’ responsibility, including the textbook. I’ll also run around to music stores to see if they have any rentals that they’re getting ready to sell for cheap. SBO: As I’m sure you well know, getting into music education can be especially challenging with

GH: We’ve had a few new band directors recently come on board here on the Eastern Shore, and I feel for their frustration. I’ve even had them come in and watch me for a day. I think it’s important that they seek out a mentor, someone who is familiar with the system – particularly if they’re coming into an area or a state they’re not familiar with. Every place is different. You try to seek out the programs that are making it happen and ask them, “What are you doing?” The most important thing is you need to go in and understand that it’s not an overnight process. When I took over the Bennett Middle School band, it had 68 kids. It was just horrible. My first year’s goal was to just to try to

instill pride in the group and make kids want to be a part of it. That was a whole year’s goal. And after five or six years, we were up to about 200 kids in the program. Success and the vision of success on everybody’s part helps build the program. And that goes back to getting everybody in the school involved. You don’t want to pick too many battles. You don’t want to go in screaming at the guidance counselor. You don’t want to go in screaming at the principal. Not that I haven’t done that [laughs]. Getting everybody to understand and want a band program within a county is important. And once you have the students ready to play, get them out in the public and get them playing. There are some really great band room bands out there, but nobody ever hears them or sees them. You have to make yourself a valued part of the community and you have to make yourself a valuable part of the school. That’s not something that’s going to happen in one, two, or three years. It may take a decade. You also have to be very creative because every situation is different.

pect people to help you out. It’s kind of a one-man job when you’re first going in there. SBO: Speaking of the long hours, obviously, that’s just a part of the gig to a certain extent, but how do you balance a personal life outside of school with all of the demands of running a band program? GH: I think you’ve got to find a special person in your life who understands that, and that’s not easy

to find. It’s just about impossible to have a great band program if you’re only working 8-3, five days a week. Finding a person that understands your job is a big part of that. It’s also drive thing. Going into being a band director, you have to have a little bit of an ego and pride in what you do. What you put out there for people to listen to and people to see is going to be how they judge you. But you do need to find the right balance

SBO: Creative in what way? GH: If your parents are griping about fundraising, then you have to do like I did, and make a deal with them where they know how much money your program needs and you work together to make sure you get that somehow. You can also ask the kids for advice. I have kids do all the work in the band room. You get your resources and you use them as best you can, but you can’t sit around and complain about it. It might mean that you’re going to work a lot of hours when you first start out. I put in a lot of hours. When my current supervisor and I were starting out, we would actually call each other up and swap broken instrument parts to make instruments so that kids could have them in their hands. We spent a lot of hours doing things like re-covering old drums with contact paper so they all matched, just doing what we had to do to get the program going. And once you get the ball rolling, it will grow, but don’t exSchool Band and Orchestra, September 2010 31

the people I work with, and I enjoy working with the kids. I feel like I’m enthusiastic and I try to keep up-todate and current, and that keeps me going. The minute I think to myself that I don’t want to go to work, that’s going to be the end of it. The other thing that keeps me going is I play in my own group. I love Wednesday night and Saturday night practices with the guys I play with, because we’re all good friends. That love of music in a place other than the classroom helps keep me going. It really is a release for me. Being a band director is a hobby and a job; it’s your life. If music is your life – whether you’re a performer or an educator or something else – it’s a lifestyle, not a job. of a personal life and your work, or else one of those two will suffer. You might have a super-duper band program, but you have to remember that the day you walk out of that office, someone else will walk in. Your family is going to be with you your entire life, so you have to keep a balance, but you also have to find someone who understands your job. I guess it’s like being married to a fireman or a policeman.

SBO: What are your personal dayto-day goals as a music educator? GH: I’ve always said that when it stops being enjoyable and I stop getting along with the kids and it becomes a job, I’m going to go. I think a lot of people hang on and end up hurting a program because they’re kind of burnt out, but in the summer time, I don’t do a lot with my kids. I like to have two months off so I’m fresh coming back. I have fun. I enjoy

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SBO: I know what you mean! Last question: do you have any tips for beginning a new school year on the right foot? GH: I don’t know if this is preparing for the new school year or not, but one of the things I do is keep a running list all year round. This can include ideas that come to me about teaching a lesson or preparing something in a certain way, or making something more interesting. That includes logistical items, too. Right now, I have 15 or 20 items on the list that I want to do for this year coming in. Reviewing that list of things I want to try or do differently is my first piece of business. Some may work and others may not, and they’ll go on a new list. The idea is to keep what you got that’s working, and tweak the rest of it until it also works the way you want it to. That’s another part of making a successful program. Review last year, don’t be scared to try new things, and go with the newest technology out there – anything that makes your job easier or the kids’ job easier is a good thing. Be organized and plan everything way ahead of time. I have my kids playing by the second day of the year. And we play right up until the very last day of school. There’s no such thing as free time in the Bennett Middle School band program!

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SBOSurvey: The New School Year

Hopes and Worries for 2010-2011

he arrival of the 2010-2011 school year is accompanied by renewed enthusiasm, vigor, and dedication, as well as lingering concerns over how to cope with ongoing finan-

This recent SBO reader survey takes a closer look at how this school year compares to years passed, while gauging specific areas of excitement and concern for music educators nationwide.

cial shortfalls. As schools and counties across the coun-

try continue to scramble for funding, the good news for many

Relative to last year, my student population this year will be:

teachers is that the time of uncertainty over cuts and reductions has passed, what’s done is done, and plans for how to best utilize time and resources to create another exciting year of instruction

Larger

21%

About the same

are well underway. Smaller

24%

55%

“We went from 88 to 115 in the marching band program this year thanks to a good middle school feeder situation.” Rich Stichler Lakeview-Ft. Oglethorpe High School Ft. Oglethorpe, Ga.

34 School Band and Orchestra, September 2010

“Our feeder programs are helping us grow our numbers slightly. I’d love to see more retention, but we are moving in the right direction.” George Dragoo Stevens High School Rapid City, S.D. “We have declining enrollment overall for years to come. My one feeder program is not doing well at retaining students, in addition to the general population decline. This is worrisome.” David Ahrens Bear River High School Grass Valley, Calif.

My budget this year will be:

Larger

Smaller

42%

Same

54%

poration or Band Boosters to keep up with the instrumentation or technology needs.” Kevin Christenson Heritage Junior/Senior High School Monroeville, Ind. “I am most concerned about the constant adding of programs (advisory, collaboration, et cetera) that take time away from actually teaching curriculum to our students.” Patrick J. Kearney Johnston High School Johnston, Iowa

What are you most excited about for this coming year? This year, I will have:

More help

Less help than last year

26%

The same amount of additional staffing in the classroom

65%

“With the budget cuts we went through this past year, while they didn’t cut any of the music positions, they cut other ‘exploratory’ positions at the school so we now have fewer teachers for the same amount of students. This is going to affect some of my band classes because instead of seeing them in two classes per grade level, they are cutting it back to one class per grade so that I can also teacher general music classes.” Chris Nunes Westport Middle School Westport, Mass.

What are your most pressing concerns about the new school year? “The economic status with many families in our community is very unsettling. My concern is that the families of beginning students will be able to afford an instrument for sixth-grade band.” Randy Young Coosa High School Rome, Ga. “Making sure that we are able to run the same music classes with our current budget crisis. As of now, the school has cut back elementary music. Students used to receive general music once a week for a half hour. Now it is down to once a week for only half the year.” Ted Rausch Portsmouth High School Portsmouth, R.I. “We survived attempted cuts last year. We need to keep the program strong and visible this year in order to avoid cuts for 2011-2012.” Rodney Mueller Centennial High School Champaign, Ill.

“Less time for elementary band students due to a reduced staff. And not enough money from the school cor-

“Our county has a voice in the county office for the first time in thirty years. I am curious to see what this will do for the arts in my county. I have a great group of beginners coming in this year – to watch their progress each year is lots of fun.” Jason Carter North Davie Middle School Mocksville, N.C. “Starting an after school jazz ensemble and knowing that this style of music will make more proficient concert band players. It will help students become more confident in their playing and will increase their reading and listening skills.” Patrick Ross Perry Elementary School Erie, Pa. “Challenging every level of string player beginning in fourth grade all the way through middle school and into high school with quality string literature and teaching and reinforcing the basics from quality LH position to RH bow hold. Teaching vibrato every year to more string players is always enjoyable. Finally, in the spring I look forward to going to music contests and seeing how the students respond to the experience!” Joel K. Jank Hastings Middle School Hastings, Neb.

School Band and Orchestra, September 2010 35

“The students this year are especially enthusiastic about the program, and they have me fired up to do great things.” Jay Kahn Maquoketa Middle School Maquoketa, Iowa

Additional thoughts on the new school year? “It’s important to keep things consistent from year to year, even though we have huge financial issues facing the schools in California. Many programs have terrific parent support and we will be leaning on them more this year than in years past. “We must strive to keep a positive attitude in the classroom and around the campus and community. That positive attitude will transfer to the wonderful kids and community during these tough times. How we handle this situation will define us as music educators and as human beings.” Norman Dea Acalanes High School Lafayette, Calif. “My goal is to make every effort to be a fantastic advocate for my music program and the programs in the district. I hope to do a better job with my repair and music funds. I hope to finally get my music library organized and also look forward to teaching valuable lessons to my students about character, as well.” Dave J. Moss Fremont Academy Pomona, Calif.

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36 School Band and Orchestra, Septemebr 2010

SBOGuest Editorial:

Band Room Facilities

Small Texas High School Band Thinks Big BY STEVE BRIGHT

ow can directors successfully nurture their schoolâ&#x20AC;&#x2122;s music program? For one band director

at a 2A high school in Texas, increasing participation and providing facilities to support this growth have gone hand-in-hand. It all started with a conscious effort to integrate the band into school life.

Offering Support, Flexibility “Our band’s first priority is supporting our school – period!” exclaims Jeff Henry, Band Director at Godley High School in Godley, Texas, located 60 miles southwest of Dallas. During 2007, Henry’s second year at Godley, the band started a new tradition of celebrating student accomplishments, whether athletic or academic, individual or team. Whenever any student reaches a state-level competition, the band leads a rousing send-off attended by the entire school body of 400 students. “The team or student walks through a double line of band members playing our school’s fight song,” explains Henry. “Everyone cheers as they get in their bus or car and head to state.” Activities like these pep fests have helped weave the band into the fabric of the high school, and band enrollment has risen accordingly. When Henry started, the band included 36 kids; three years later that number had almost tripled to 106 students. This fall Henry expects more than 130 band students. All district sixth graders, approximately 120 students, take band and spend the first ten weeks in the fall trying out five basic instruments – trumpet, trombone, flute, clarinet and percussion – for two weeks each. “We meet daily for 42 minutes, with 30 students all playing the same instrument,” explains Henry. “It sounds counter-intuitive, but I think this approach actually accelerates their musical development.” It certainly fuels interest: 86 percent of last year’s sixth-grade class elected to take band in the fall of 2010. When selling this idea to the district administration, he cited the correlation between music participation and high math test scores. Henry also fosters band involvement by offering options to suit every interest. “Marching band is the most fun for kids – it just is,” he observes, adding that Godley’s pep band was started for students who like playing that type of music year-round. Other students prefer Godley’s concert band. “Providing School Band and Orchestra, September 2010 39

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these options takes a little more work but itâ&#x20AC;&#x2122;s worth it,â&#x20AC;? Henry says. He is aided by two associate directors: Taylor Cathey focuses on percussion and Carly Endres on brass. Henry focuses on woodwinds, noting, â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;ve got all the bases covered.â&#x20AC;? Band schedules are convenient for student-athletes: marching band practices during regular class periods and Monday evenings, which minimizes conflicts with athletic games or practices. â&#x20AC;&#x153;Students donâ&#x20AC;&#x2122;t have to choose between sports and music; they can do both,â&#x20AC;? says Henry. â&#x20AC;&#x153;Weâ&#x20AC;&#x2122;re suiting the kidsâ&#x20AC;&#x2122; schedules, not mine.â&#x20AC;? Godley ISD Superintendent Paul Smithson praises this cooperative atti-

tude among his music faculty, coaches and other teachers. â&#x20AC;&#x153;To compete at the level we want, we have to share students,â&#x20AC;? says Smithson. â&#x20AC;&#x153;And this is Texas, where we compete in everything!â&#x20AC;?

Improving Environments The $28 million bond package that passed in May 2008 was earmarked for new construction or renovation projects to benefit all 1,600 students across the districtâ&#x20AC;&#x2122;s four campuses. â&#x20AC;&#x153;We took this opportunity to help extracurricular activities like music and athletics while also improving our facilities and learning environment,â&#x20AC;?

explains Smithson, who encouraged Henry to visit the band halls of nearby 4A/5A schools for ideas. Recalls Henry, “I was told not to cut corners – I had one shot to get it right.” During his school visits, Henry was most interested in what other band directors didn’t like about their facilities – what they would have done differently, what wasn’t working. Common complaints included ceilings too low, inadequate room size and storage, not enough large practice rooms, and poor traffic flow. Based on site visits and research, Henry created a detailed PowerPoint outlining every aspect he wanted in the new facility – cabinets, drawers, everything down to the last measurement. “I detailed everything exactly – and the school board approved my plan,” says Henry. The completed Godley High School music suite, which opened in the fall of 2009, totals approximately 15,000 square feet, with the main rehearsal room comprising one-third of this space. Designed to accommodate 225 students, this room measures 60’ x 74’ – or 4,800 sq. ft. – and features 23’ high ceilings. Henry knew ceiling height was crucial in obtaining adequate cubic volume; reducing the ceiling height by ten feet would halve the total number of students the room could accommodate. For optimal acoustics, Wenger designed the placement of acoustical diffuser and absorber panels on the walls and ceiling.

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Optimizing Form, Function To maximize utility, Henry planned for dual-use spaces. Large locker rooms for girls and boys each contain 100 lockers, so students can quickly get dressed instead of crowding into bathrooms or practice rooms. Because these rooms also feature ample open space and acoustical treatments on the walls, they can double as ensemble practice rooms. In fact, all the storage and locker rooms are designed large enough for this purpose; Henry says the school board valued this versatility.

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Jeff Henry, who repaired instruments professionally before becoming an educator, works on a flute in Godley High School’s musical instrument repair shop.

To aid traffic flow by dispersing students, the instrument storage room is located across the band hall from the main entrance. It features enough cabinets to hold 300 instruments. Large double doors and nine feet of aisle space provide plenty of room. Throughout the band hall, single four-foot doors facilitate the easy movement of timpani and other large instruments. Instead of carpet or tile floor, the band hall features rubber flooring that’s primarily intended for weight rooms. “I didn’t want carpet or a hard surface like tile,” recalls Henry. “My

research found this flooring has the same noise-reduction coefficient as carpet, it’s impervious to valve oil and most liquids, and it resists abrasions.” He tested a sample for four months before deciding. Adding a commercial-grade washer and dryer was a much easier decision; they are installed in the uniform storage room conveniently located between the locker rooms. “We’re now saving a ton of money on dry cleaning,” explains Henry. “We deliberately purchased washable uniform pants, and we wash them weekly.”

Henry’s “pride and joy” is an instrument repair workshop on par with the professional facility where he worked in his prior career. Its features include an in-floor tub large enough to submerge a sousaphone, a sealed lacquer room with a negative airflow fan and full workbenches and tools for both woodwinds and brass. Henry already owned almost $12,000 worth of tools. “Along with repairing our own instruments, we’ve started earning money by repairing for neighboring schools,” remarks Henry. In the spring of 2010 he began offering a credit course in instrument repair to a half-dozen students. “We’re fixing some junk instruments we have, and also old or damaged instruments I buy on eBay,” comments Henry. Once these instruments are fixed, Henry sells them to students at a minimal cost because he believes ownership teaches responsibility.

Enhancing Practice In developing his facility plan and wish list, Henry considered modular, sound-isolating practice rooms as non-negotiable items. “I didn’t want a new facility without them,” he recalls. The architect wanted to also bid built-in practice rooms, but Henry had visited too many schools where the built-in rooms lacked adequate sound isolation. “I proposed an apples-to-apples comparison to the architect, evaluating the sound-isolating properties of the modular practice room I wanted and a built-in room, using decibel meters inside and outside each,” Henry says. When the architect replied that constructing a built-in room with equivalent sound isolation would be very costly, Henry recalls asking, “So which alternative is really less expensive?” He also wanted the ability to reconfigure or relocate the practice rooms later, which is impossible with built-in rooms. MENC facility guidelines recommend one practice room for every 20 students, as an optimal number, with a 1:40 ratio minimum. “Our district doesn’t like to do the minimum if they can afford the ideal,” says Henry, adding, “and they embrace new technology.” Godley High School features nine new modular practice rooms. Wenger’s active-acoustics technology is currently installed in one room; the other eight rooms are wired for it. “Students hear a realistic sound like they’ll experience in an actual performance and this is great for practicing,” notes Henry. The record/ playback feature enables students to save and download their own recording, as well as upload accompaniment music. School Band and Orchestra, September 2010 43

The nine practice rooms each feature a laptop computer with SmartMusic software installed and networked to the computer in Henry’s office. Two computers also have Finale notation software. “I’d like to eventually equip more than half the rooms with the active acoustics technology because the students really find it helpful,” explains the band director, who adds that the school board received a demonstra-

tion and is enthusiastic. “The board also appreciates our gradual approach,” he notes.

Getting Results In explaining the board’s overall support for the new band facility, Smithson also credits Henry’s proactive, enthusiastic attitude. “Jeff ’s been realistic in advocating for what he needed for his pro-

gram, not just what he wanted,” contends Smithson. “He’s also been creative in funding the extras – whether through boosters, fundraising, or other means.” For example, school uniforms – whether for band or athletics – are mended by sewing classes in the home-ec department. “This crossover just makes sense, and saves us money,” explains Smithson, who also cites the valuable revenue Henry earns for the band program by repairing instruments for other districts. “Jeff also never plays the victim,” observes Smithson. “As superintendent, I don’t want a teacher coming into my office telling me why he can’t do his job. I want to hear how he’s going to get the job done,” he says, adding that this positive attitude also works better with students. “I’ve watched positive band directors and negative band directors in my career, and the positive ones get all the results,” Smithson concludes. While he doesn’t have a music background, Smithson’s respect and appreciation for music programs has grown over the years. “I like watching students accomplish things – that’s how you become a winner in life.” With a new facility, growing enrollment and dynamic band program, it’s clear that Jeff Henry and Godley High School have found a winning formula for success.

Based in Bedford, Texas, Steve Bright is a senior regional sales manager with the Wenger Corp. of Owatonna, Minn., a manufacturer of specialized equipment and furniture for music education and the performing arts. To request a copy of Wenger’s free Planning Guide for Secondary Music Facilities, call (800) 733-0393 or visit www.wengercorp.com.

44 School Band and Orchestra, September 2010

SBOTechnology: Assessment

How to Import Files into Assessment Software BY JOHN KUZMICH, JR.

recently received an e-mail from Dan Franke, the principal of a private school in Audrey, Texas. Mr. Franke was requesting information on how to find software with which he could import music notation and audio files into an ap-

plication for comprehensive assessments of his son’s daily practice. He explains, “My young son, 11, is mastering piano using the Soft way to Mozart. It will import songs in the future, but it doesn’t now. It uses MIDI, gives instant feedback, and is like a game to teach musical reading and piano. I have come across Heavenly Harmony, a game 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.

46 School Band and Orchestra, September 2010

to teach a couple of songs where an individual sings the high harmony and gets instant feedback of pitch recognition, but I cannot import other songs or sing the other parts.” This request challenged me to find solutions for music educators. The obvious choice is to recommend SmartMusic, because its assessment accompaniments answer Dan Franke’s needs by allowing him to create assessable music for his son and other students. SmartMusic’s repertoire of 30,000 songs is impressive, but music educators also need to be able to customize the song catalog. Another solution, converting Finale scores into SmartMusic, is great, but not all music educators and private music studio teachers are advanced Finale users.

After some of analysis of software applications, it became obvious that Sibelius, Encore, CuBase and other notation/sequencing software with Music XML file-exporting capabilities can import nicely into SmartMusic.

But music scanning techniques may be the fastest way to create a score from scratch with high accuracy. And as for

48 School Band and Orchestra, September 2010

working with a nearly limitless audio library, there are several applications that convert audio files to MIDI files. The SmartMusic customization process does require some access to Finale for those who want to create their own accompaniments. While SmartMusic’s low price is attractive, as are its powerful assessment capabilities, not everyone has experience using Finale. But the initial arrangements can be created in a variety of ways outside of Finale and then simply saved as SmartMusic accompaniments within Finale. In this process, the only element of Finale that needs to be used is its file conversion from the widely available Music XML file type into SmartMusic’s proprietary SMP file format. For samples of playable, finished scores in file formats mentioned in this article, visit www.kuzmich.com/ SBO092010.html. It’s incredibly fulfilling to produce customized assessment files for your students’ specific practice needs, with which they can record, assess, and share their results.

SmartMusic assessment files can work wonders for: • Adjudicated contests • Uniform grading • Special curriculum needs • Fast and simple seating auditions • Marching bands competitions • All-State auditions • Honor band auditions • Solo and ensemble contests, especially at the high school level While Finale is required to create assessable SmartMusic accompaniments, there are alternatives to simply creating the music in Finale. You could scan exiting sheet music, or generate music using any program that can create MusicXML or MIDI files. Scanning printed music using PhotoScore, SmartScore or SmartScore Lite (included with Finale) can be an accurate and productive way to enter music. Or, music notation scores from Sibelius, Encore or other programs can be saved and exported as Music XML or MIDI files, which can then be

Once opened in SmartMusic, the SmartMusic accompaniments (SMP files) can be used by both instrumental and voice students to practice with accompaniment and assessment of both pitches and rhythms.

Case Studies I contacted several teachers who are successfully creating customized assessment repertory in SmartMusic. They were happy to share their methods, along with a few tips on how to best use them.

Tom Zimmerman

opened in Finale. Upon opening these files in Finale, the music can be easily saved as a SmartMusic accompaniment file for practice and assessment that can be used anywhere, anytime.

Tom Zimmerman teaches instrumental music, grades 5-12, at Columbus Catholic School in Marshfield, Wisconsin. He notes, â&#x20AC;&#x153;While I am still in a learning curve of how best to utilize the combination of Finale, SmartMusic, and others for the betterment of the Columbus band students, I will state that the more I learn, the more I understand and appreciate the edu-

cational value of these programs for both the students and for myself.â&#x20AC;? Zimmerman advises that anyone interested in this software first take a course in how to use it. His program uses customized SmartMusic files with the following: â&#x20AC;˘ Writing out the difficult rhythms of a composition on a single line, and then having the whole band learn them through counting, clapping, and so forth. This is done with the full band via overhead projector, in small groups, and in lessons. â&#x20AC;˘ Similarly working with the melodic, harmonic themes, as well as any counterpoint, pedal-point, and other compositional devices. He says, â&#x20AC;&#x153;With the ease of Finale able to transpose keys, it is easy for everyone to learn all the parts of the music and not just their own parts. As you may guess, this really opens up the ears.â&#x20AC;? â&#x20AC;˘ Using Finale and SmartMusic with jazz improvisation, with written out chord sequences, modes, et cetera.

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“Most of the students really take well to this method of learning,” asserts Zimmerman. “They have grown up with computers and expect to use them with everything. To many, the challenge of seeing how many ‘right’ notes and rhythms they achieve is a very good challenge. We have found that the brasses have

Phil Gray Phil Gray is a K-6 instrumental music/brass teacher from Cold Spring Harbor School District in Huntington, New York. He uses SmartMusic and Finale in two elementary schools. “First, let me tell you about our SmartMusic journey.” Phil says. “I am the SmartMusic coordinator in our dis-

“This creates an unparalleled use of technology to administer assessments and track data, which is an essential facet of today’s education scene.” improved with partials as they now hear the correct notes as they play. Some of the more aggressive students will move ahead on their own and see the other items SmartMusic has to offer. There are, of course, some students who prefer to learn the ‘old fashioned’ way – and that is fine, too. My goal is to have them play their best music regardless of the road they take.”

trict and we are going into our second full year of providing SmartMusic and Microphones to all of our fifth, sixth, and seventh grade instrumentalists. The band and orchestra directors in our two elementary schools utilize the SmartMusic program in creative ways: we have scanned music from our file cabinets into Finale and made assignments for students to practice along with; we have also scanned parts into Finale that have been rearranged by the teachers to fit our

instrumentation. Having the ability to send a SmartMusic file with an accompaniment to our young students has been an invaluable part of our teaching.” Phil continues, “The impact of having SmartMusic along with the ability to scan any piece of music into Finale has been tremendous in our district.” With the students having the capability of instant assessment: • Students gain valuable feedback for how to solve problems. • Parents get involved in the learning process of the young musicians. • Students have more fun practicing at home with the added accompaniments. • Teachers are able to accurately measure the progress of students’ at-home practice time. And the results have been noticed beyond the band room. “The district’s superintendent came up to me in the last two weeks of school last year and said that SmartMusic was working as evidenced in our concerts throughout the year,” says Gray. “Due to this, the district passed our budget and I put another order in for 350 SmartMusic licenses for next school year.”

Phil deRosier

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Phil deRosier is the band director at Salk Middle School in Elk River, Minnesota. Phil explains, “I have used SmartScore 5 to scan the ensembles that my entire 6th grade band performs in the spring as part of our Solos and Ensembles Night. I scan the ensemble music into Finale using SmartScore. I find that I get about 98 percent accuracy with the scan, and it doesn’t take very long to clean up the rest of the score using Musitek’s built-in software. It usually takes a half-hour to scan and clean a trio of about 36 measures. From there, I import it directly into Finale. There’s a pretty natural interface for doing this. Once I have it in Finale, the rest of the job is a snap because Finale has really streamlined the process of creating SmartMusic assignments. Then I simply make my part assignments for the kids through SmartMusic and I’m done. I can then use SmartMusic Impact to track and grade my students’ progress.”

Phil deRosier has been doing this for five years and has found that the increasing compatibility between Finale and SmartMusic has made his job easier. “The kids really value having this music at home to practice, and they have told me so,” he states. “When I give the students their self evaluation after the Ensemble Night, many students say that it was the single most important part of their preparation for the event.” National teaching standards and state and district assessment tests have held teachers accountable for the quality of instruction, based on how well their students learn. Consequently, with the decline of student enrollment and school budgets, music educators can be pressed to validate the excellence of their instruction with accurate documentations beyond aural recordings. Unfortunately, many administrators are driven by numbers. Therefore, music performance-orient-

ed teachers cannot be exempted from the rigors of assessment, even though this often intensifies responsibilities and increases the time commitment beyond classroom rehearsals. SmartMusic is the most complete assessment package that works seamlessly between the classroom and home practice providing data assessment and of students’ music performances without undue burden. Three significant technological improvements make it easier for music educators to create and customize SmartMusic accompaniments. First, significant improvements in scanning programs have made score entry a quicker way to create a score for import into Finale to convert to SmartMusic accompaniment files. Second, Music XML has become a powerful conversion tool for importing notation and some sequencing data files into Finale. Notes, rhythms, time and key signatures along with music nuances like text, lyrics, dynamics,

articulations and chord symbols are more accurate. And last but not the least, Finale 2011 converts scores to SmartMusic easier than ever before, making it possible for even the most novice Finale users to easily produce SmartMusic accompaniments. So feel free to create and edit with your own favorite software application, including Sibelius, Encore, or over 80 other programs. Don Ed Long of Independence, Missouri summarizes his success with SmartMusic’s assessment capabilities like this: “SmartMusic’s integrated Grade Book is helping music educators make the most of assessments. Not only do student musicians have the option of performing assessments at school or at home, but all of the data collected is accessible online by the director, the students, parents, or school administrators.” This creates an unparalleled use of technology to administer assessments and track data, which is an essential facet of today’s education scene.

School Band and Orchestra, September 2010 51

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School Band and Orchestra, September 2010 53

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Dwayne Sagen, Assistant Dean of Admissions Blair School of Music, Vanderbilt University Nashville, TN 37212-3499 PHONE: (615) 322-6181 WEB: www.vanderbilt.edu/Blair E-MAIL: dwayne.p.sagen@vanderbilt.edu

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School Band and Orchestra, September 2010 55

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NEW MANHASSET® Harmony Stand Model # 81

The Harmony Stand is designed for impressive functionality and, with its oor stacking base, amazingly convenient storage. The Harmony Stands’ “V-shaped” bases conveniently stack in an incredibly small amount of oor space. This stand is perfect for environments demanding a very stable and rugged stand, and locations where storage space is limited. The stand incorporates the time-proven MANHASSET shaft with its “Magic Finger Clutch” no-knob height adjustment.

fills from explanations and recorded examples. The book includes two play along CDs with 143 tracks recorded with a live big band. The fills in the book have been divided into easy and difficult levels. The play-alongs are divided into different tempos.

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Warburton Ultimate Sax Neck

The Warburton Ultimate Sax Neck System is a modular system and consists of one neck body with a satin finish raw brass (satin finish silver plating is optional), one initiator made of polished silver plated brass, and one tenon made of polished silver plated brass. Additional initiators and tenons are available as desired to maximize flexibility. Initiator and tenon sizes come standard and can be produced in any size needed to fit the occasional oddball sized instruments or mouthpieces.

Ask your dealer about the new Model #81 stand and the full line of quality Manhasset Products Four rubber o-rings have replaced the cork for a solid mechanical and acoustical connection to provide the transfer of sound energy from the mouthpiece into the initiator. The inside shape of a traditional neck tenon is cylindrical, thus inter56 School Band and Orchestra, September 2010

NewProducts rupting what would otherwise be a continuously tapered instrument. The Warburton Sax Neck features a slight taper from smaller to larger. The inside shapes of all Warburton standard tenons are tapered. By choosing from easily interchangeable tenons, the Ultimate Sax Neck can be compatible with all makes of saxophones.

Korg’s Wi-Tune

The Wi-Tune consists of two pieces: the transmitter module and the tuner itself. To use the Wi-Tune, the user attaches the clip-on transmitter module to their instrument and turns

Levy’s Drumstick Bag

Levy’s new extra-large polyester drum stick bag features eight internal

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Eastwood’s Doral Electric Jazz Guitar

Eastwood’s Doral is a full size archtop guitar, featuring a laminated spruce top with curly maple sides and back as well as a three piece rock maple neck. The coil tapped humbucking pickups offer the opportunity to switch between vintage voiced humbuckers and

it on. The Wi-Tune picks up the signal and displays the current tuning information in the large, backlit display. Users can place the tuner module anywhere, with no cable limitations. The Wi-Tune can also be used as a traditional tuner using the built-in microphone. In addition to visual tuning, it can generate reference tones for tuning by ear. Two Wi-Tune systems are available: the 01: Wireless Multi Instrument Tuner; comes standard with two transmitter clips for attaching directly to the instrument WR-01S: Wireless Saxophone Tuner; comes standard with a specially-designed tuner strap.

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Fund Raising P90 voiced singled coil pickups. Another feature of the Doral is the longer scale length (25.5”), this feature affords the player the option to use lighter gauge strings and still get some string tension. The neck pickup is spaced slightly away from the neck – an idea that was used on several Gibson one pickup models in the 50s and 60s. This gives the front pickup a bit more of a low mid voicing.

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stick sleeves, two exterior accessory pockets, shoulder strap, and elastic fastening system. Interior dimensions are 24” wide X 19” high.

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Peterson StroboClip Tuner

Peterson Strobe Tuners has added a clip-on style strobe tuner to their Virtual Strobe series line-up. The StroboClip is designed for acoustic instruments and contains many new features not found in traditional clip-on tuners. The large strobe display maximizes the Strobo-

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School Band and Orchestra, September 2010 57

NewProducts Clip’s screen area by moving the strobe bands horizontally, rather than vertically as in previous strobe tuner models. Exclusive Sweetened Tuning presets for banjo, mandolin, and ukulele offer dedicated settings for players of these instruments to facilitate tuning. A variety of

other presets including Dobro, lap steel, and settings for the violin family come standard in the StroboClip. Settings for eclectic instruments such as lute, bagpipes, and oud are also covered along with additional eastern temperament settings for instruments of the like.

The StroboClip also features an exclusive Sustain mode. In Sustain mode, the StroboClip can be set to hold the tuning pattern for a short time after the note has decayed so that instruments with short voices, such as banjo and mandolin, can be tuned quickly. For regular tuning, the Sustain mode feature can be turned off. The StroboClip is encased in a brushed aluminum shell and comes with a metal carrying case. Soft, rubber pads in the jaws of the StroboClip protect the instrument’s finish while providing a firm grip for maximum signal conductivity. The retail price is $89.99.

www.petersontuners.com

iKEY Handheld Digital Recorder

“The Westwood Wind Quintet has a standard of ensemble playing that is nothing short of breathtaking.” (International Record Review) “Top-notch playing that can only be envied by lesser ensembles. Exceptional recordings.” (Fanfare) “Magnificent American group” (Gramophone)

ANTON REICHA Woodwind Quintets performed by the Westwood Wind Quintet The Westwood Wind Quintet has completed recording all 24 of Reicha’s monumental quintets. Now available are 9 CDs with 18 of the quintets (2 on each CD): CD263, CD264, CD265, CD266, CD267, CD268, CD269, CD270, & CD271. "Those who ignore this legacy are missing out not only on some terrific wind music but on some of the finest music ever penned. These pieces are symphonies in miniature." (Audiophile Audition)

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CDs $16.95 ea. Add $2/order US shipping. Visa, MC accepted. Send for free catalog

CRYSTAL® RECORDS — Free CD: Order 4 & pay for only 3.

28818 NE Hancock, Camas, WA 98607 phone 360-834-7022, fax 360-834-9680; www.crystalrecords.com 58 School Band and Orchestra, September 2010

iKEY Audio’s new portable digital recorder, the HDR7, is pocket-sized and can digitally record anything from MP3s to WAV files (up to 24-bit/96kHz). The HDR7 features on-board condenser mics in X/Y configuration; an SD/SDHC slot that will accept up to a 32GB card; a mic sensitivity switch (L/H); adjustable record level with VU meter; mic and line input jacks; headphone and line out jack; auto-compression/ Limiter/AGC (Auto Gain Control); a USB port to connect the unit to a PC to transfer and edit files; and AA battery or AC operation. The HDR7 features a full color LCD screen and allows for direct recording to a USB thumb

�� drive. A tripod stand, AC adaptor, wind screen, four AA batteries, cloth carrying case, USB cable, and a one GB SD card are all included.

www.ikey-audio.com

Gibraltar’s iPod/MP3 Stand Mount

Gibraltar’s iPod/MP3 Stand Mount secures an iPod or MP3 player to stands. The mount’s heavy-duty nylon clamp fits stand tube diameters from 5/8” to 1-5/8”, ideal for placement on cymbal and hi hat stands, thrones, and even some L-rods. The Stand Mount can also be used as an accessory for singers and guitarists to secure to their mic, music, or accessory stand. The mount also features a nine inch gooseneck and is fully

��

padded with adjustable clamping arms that accommodate most sizes and styles of iPods or MP3 players. Simply adjust the mount to any position and lock into place. Protection is guaranteed by a security tether.

www.gibraltarhardware.com

Planet Waves’ Piezo Tuning Clip

The Planet Waves Piezo tuning clip aids in the tuning of acoustic instruments with or without electronics. Simply attach the Piezo tuning clip to a vibrating surface of the instrument, such as the headstock or bridge, and plug the ¼” plug into the input of an electronic tuner. The Piezo tuning clip will transfer the vibrations directly from the instrument to the tuner.

www.planetwaves.com School Band and Orchestra, September 2010 59

SAVE THE DATE!

2nd Annual JEN Conference January 6-8, 2011 New Orleans, LA Historic Roosevelt Hotel – Famed Blue Room Details online NOW! • Exciting Headliners • Enlightening Clinics/Panels • Exhilarating School Ensemble Performances • Enticing Exhibits – 20,000 sq. ft.! All under one roof, two blocks from the French Quarter! Registration, Housing, Exhibitor & Volunteer Applications available online NOW!

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

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Keep the Count “Students need to be counting in their head. I quiz them by stopping the music at random times and asking what beat or subdivision they are on. I also encourage toe tapping. Not to a level of distraction, but as a tool to keep a steady beat and allow for subdivision.” George Dragoo Stevens High School Rapid City, S.D. 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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