SEPTEMBER 2011 $5.00
Hendersonville High School’s
Fran Shelton “A Small School with a
Big Band”
Survey: Back-to-School Rituals Staff Selections: Holiday Music
Contents
September 2011
Features 10
FROM THE TRENCHES Bob Morrison makes the case for all music educators to step up and advocate for their programs, while also providing useful advocacy suggestions and resources.
14
UPCLOSE: FRAN SHELTON SBO catches up with band director Fran Shelton of Hendersonville (N.C.) High School, a small school that has amassed a whopping 60 consecutive superior ratings at N.C. state concert band festivals, dating back generations.
28
10
SURVEY: BACK TO SCHOOL RITUALS SBO readers share their back-to-school rituals, tips, hopes, and fears.
32
32
COMMENTARY: INSTRUCTION Dr. Paul Schilf urges music educators to consider the symbiotic benefits of both individual and ensemble music instruction.
36
GUEST EDITORIAL: WEST SIDE STORY As “West Side Story” celebrates the 50th anniversary of its film debut, SBO contributor Keith Mason takes a look at the origins of the musical and suggests some related classroom activities.
44
TECHNOLOGY: MUSIC TECH WORKSTATIONS John Kuzmich Jr. presents the key ingredients to music tech workstations.
56
STAFF SELECTIONS: HOLIDAY MUSIC Peter Haberman reviews holiday music, both standards and new selections, for high school bands and orchestras.
14
Columns 4 6 63
Perspective Headlines New Products
68 69 72
Playing Tip Classifieds Ad Index
Cover photo by Patrick Sullivan, Hendersonville, N.C.
SB&O School Band and Orchestra® (ISSN 1098-3694) Volume 14, Number 9, is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.
2 School Band and Orchestra, September 2011
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Perspective
Music for a Cause
T
here are many orchestras, bands, and other ensembles around the country that operate under unique missions beyond just playing great music. Some very fine ensembles have a focus on introducing new composers; some are focused on early music utilizing historical instruments, there are those that offer marching opportunities for adults, and there are a wide variety of others that focus on similarly unique specialized areas. Among these are a great many groups whose core raison d’etre is to support charitable causes. One such ensemble is the Longwood Symphony Orchestra, which, based near Boston, Mass., is made up virtually entirely of healthcare workers, including doctors, nurses, physical therapists, and others allied to the field. A look at the Longwood’s website reveals dozens of MDs, PhDs, and other medical degrees next to most of the players’ names. Although this is primarily an amateur orchestra, the level of quality and repertoire that they perform might make one think they are a pro group. Besides the unique aspects of the players, the group has a singular mission, which is “to perform concerts of musical diversity and excellence, while supporting health-related nonprofit organizations through public performances. Their mission puts the Longwood Symphony Orchestra in a bit of a different position than most in that instead of using revenues to fund only itself, it utilizes some of its income to help health-oriented charities in the area. On the Longwood’s website, their principle clarinetist, Dr. Jeffrey Berman states: “I find the unique philanthropic mission of the orchestra to be of particular value in connecting the orchestra to the community.” Although this is a very unique organization that could only exist in a major metropolitan center like Boston, the concept that musical ensembles could be organized around a specific set of charitable needs, while also supporting themselves, is a wonderful idea. Many popular groups have taken up causes over the years, including some very famous ones, including George Harrison’s Concert for Bangladesh, Farm Aid, USA for Africa, and Band Aid. On the classical side there are a few others, including the London Charity Orchestra, The Great Orchestra of Christmas Charity (a Polish organization that raises money for sick children), and the Whitman Walker Health’s World Doctors Orchestra of Berlin, which features hundreds of physician members from over 36 countries. The relationship of musicians to charitable enterprise has always been very strong, and we have even seen this powerful bond at the school level, as groups perform in nursing homes, hospitals, rehabs, and other medical institutions. It is critically important that we instill this sense of giving back to the community in our students, beyond the normal day-to-day lessons, rehearsals, and concerts, as this will provide them with a life-long sense of understanding to lend a hand to those who need it most.
®
September 2011
Volume 14, Number 9 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial Staff
EXECUTIVE EDITOR Christian Wissmuller
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EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Matt Parish mparish@symphonypublishing.com Art Staff
PRODUCTION MANAGER Laurie Guptill
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Member 2011
RPMDA Rick Kessel rkessel@symphonypublishing.com 4 School Band and Orchestra, September 2011
38%
Yes
HeadLines U.S. Military Bands Facing Huge Funding Losses in Congress (56%) About the same number of students (32%) Fewer students (12%)
A
merica’s military bands are facing a potentially devastating cut in the 2012 budget, including slashes to the U.S. Army Field Band, The U.S. Army Band and the United States Marine Band (“The President’s Own”). An open letter from the American Bandmaster’s Association called for support for the nation’s top music makers. “The House of Representatives has voted to limit spending on military bands, reducing by $125 million what the Pentagon originally planned to spend,” the ABA wrote. “It would be the first time that spending on the military’s 154 bands has been reduced by Congress. To take effect, however, the reduction must be approved by the Senate, which has yet to take up the fiscal 2012 Defense Appropriations Bill.” The letter goes on to state that the bill’s recommended 37.7 percent reduction in spending would result in thousands of military musician contracts being terminated while making national concert tours by premiere military bands a thing of the past. The letter concludes: “NAfME urges you to contact your member of Congress, and to encourage all within your realm of influence to do the same. Ultimately, cutting funding for our nation’s military bands will impact us all.” Read more at www.contactingthecongress.org.
El Sistema Treks to Istanbul
T
he 220-member Simón Bolivar Symphony Orchestra of Venezuela visited Istanbul recently for a performance at Turkey’s famed Haliç Convention Center.
The orchestra is made up entirely of members or graduates of Venezuela’s famous El Sistema music education program, including perhaps its most well-known graduate, Los Angeles Philharmonic conductor, Gustavo Dudamel. El Sistema, founded by José Antonio Abreu in 1975, has served over 300,000 children from impoverished areas of Venezuela, and trained them from the age of 2 until they were actively 6 School Band and Orchestra, September 2011
No,
music is with me always!
I need to get away performing and teaching others. The first night of the confrom it for a bit! cert included works by Piotr I. Tchaikovsky, while the second night included music by Igor Stravisnky, Maurice Ravel, Evencio Castellanos and Carlos Chávez. For more info, visit www.elsistemausa.org.
Online Poll Results Compared to last year, I expect my music program this year to have
More students
56%
Same #of students
Fewer students
32% 12%
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.
Two New Board Members at Music for All
T
wo new members have been elected to the Music for All Board of Directors – Sam Laurin (Indianapolis, Ind.) and Kathy Black (Portland, Ore.). Music for All’s mission is to create, provide and expand positively life-changing experiences through music for all. Kathy Black is an attorney for the Bonneville Power Administration (BPA) in Portland. BPA, an agency within the U.S. Department of Energy, is responsible for marketing power generated by over 30 federal hydroelectric projects within the Columbia River basin and for operating the majority of high voltage transmission within the Pacific Northwest. Ms. Black marched with the Guardsmen Drum and Bugle Corps of Schaumburg, Ill. and continues to play drums for various bands in the Portland area. Sam Laurin is a partner at the law firm of Bose McKinney & Evans LLP in Indianapolis, where he chairs the firm’s Litigation Department. He has been recognized in The Best Lawyers in America for commercial litigation and construction law and by Indiana Super Lawyers for construction litigation. He is proud of his daughter who played clarinet in her high school concert band, which won the Indiana State SchoolMusic Association Championship two years in a row. Read more at www.musicforall.org.
Mastering music is about more than what happens in the practice room. It’s also about how you grow as a person. We give you the freedom to experiment, find your own solutions, and evolve. But we also give you a structured and demanding curriculum that will test even the most talented musicians. You’ll be prepared to succeed in the world of music. Wherever it takes you. Learn more at berklee.edu/sbo
WHERE MUSIC TAKES YOU
Walt Disney World
HeadLines
Travel to
®
© Disney
. . . or
Around the World
with Bob Rogers Travel since 1981
MENC Director Butera to Give Keynote Speech at Urban Music Leadership Conference The Urban Music Leadership Conference recently announced the details of its 2011 Conference, including its selection of MENC executive director Michael A. Butera as the keynote speaker. The event will take place this year October 20-22 at Sheraton Station Square in Pittsburgh, Pa. Special visits for the event are planned to include school visits, studies on new trends in curriculum development, discussions on hip-hop in the classroom, and more. The group meets annually to address concerns in public and private school music education programs in urban areas. Throughout the time of a typical conference, there are opportunities for participants to gather in small groups to share experiences, plans, ideas and have collegial exchanges with professionals of similar focus. For more information, visit www.umlc.net.
Sabian Announces Scholarship Winner
Sabian has announced that this year’s Sabian / PASIC Scholarship winner is Noam Bierstone of Toronto, Ont. The scholarship is awarded annually to aspiring young musicians. Winners receive an all-expenses-paid trip to the Percussive Arts Society International Convention (PASIC) in Indianapolis, Ind. Bob Rogers Travel is a proud member of ... Bierstone is a third year student majoring in Performance Percussion at McGill University, where he studBob Rogers Travel is a proud member of ... ies with Aiyun Huang and Fabrice Bob Rogers Travel is a proud member of ... Marandola. He received the Schulich Scholarship upon his acceptance to www.bobrogerstravel.com McGill, where he is currently princi(800) 373-1423 pal percussionist of the McGill Symphony Orchestra. Noam made his orchestral soloist debut with the Orchestre Metro-
• Performance Tours • Festivals • Parades • Cruises
• Clinics • Bowl Games • International • Disney Parks®
8 School Band and Orchestra, September 2011
politain in February, 2011, performing Toshiro Mayuzumi’s Concertino for Xylophone. He was a finalist in the McGill Concerto Competition in February 2011 where he performed Nebojsa Jovan Zivkovic’s Concerto No. 2 for Marimba and Orchestra. Bierstone’s current projects include a marimba/violin duet with Sarah Frank and a five-piece ensemble called The Bombadils. Upon graduation, he intends to pursue percussion performance as a career. For more info, visit www.sabian.com.
Cadets Win 2011 DCI Championship Longtime Drum Corps International favorites the Cadets won their tenth championship recently at the DCI Finals at Lucas Oil Stadium in
Indianapolis, Ind. The group’s program, “Between Angels and Demons,” earned a score of 98.35 and a reported two-minute standing ovation after the finale. The 77-year old corps also earned two caption awards, which are determined by averaging the scores in each area from the Prelims, Semifinals, and Finals; the Donald Angelica Best General Effect Award and the Best Visual Performance Award went to the Cadets, a nod to their method of clothing half the corps in maroon uniforms – the “demons” – and half in cream uniforms – the “angels.” The Cadets were followed in the rankings by runners-up The Blue Devils and first runners-up The Caveliers. For more info on the event, visit www.dci.org.
From Marching and Concert Bands to Orchestras and Jazz Bands, instrumental groups who take part in a Disney Performing Arts program - whether that’s in a performance or a workshop or festivalshare a common bond. And now, Disney Performing Arts is celebrating this bond and commemorating this once-in-a-lifetime
experience with an exclusive badge of honor. So, if you think your instrumental group has Ears for the Arts, then there is no better time to plan your next Disney Performing Arts trip. For more information, contact your travel planner or call toll-free 1-866-715-4095.
DisneyPerformingArts.com
GS2011-5628
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MYASBODPA11
SBOFrom the Trenches
Promoting Your Program is No Longer an Option
It’s a Requirement! By BoB Morrison
W
ow… where did the summer go? It feels like
just
yesterday
school was wrapping
up. Yet here we are facing the start of the new year: new hopes, new dreams, new goals for you and your students. It means plan-
ning your programs, selecting your music, getting your lesson plans arranged, reviewing your student roster, instrumentation or vocal range and… planning your advocacy activities!
10 School Band and Orchestra, September 2011
That’s right: I’m talking about planning advocacy strategy and activities to promote your program. “But Bob, I don’t have time to focus on advocacy” you may say. Well, if you do not take the time to plan how to advocate for and promote your program, who will? Yes, I know this can be time consuming. But fear not! Here are some ideas to help you plan as well as some resources to help get the job done!
Letters to Parents: Everyone should do one. Welcome the parents and their child into your program for the new year. Outline your educational goals for the program and solicit the support of the parents to volunteer. Be sure to include some fascinating facts about the benefits of music education. Every parent wants to know that the decision to enroll their child in an activity or class will be rewarding. Letters to Local Newspapers: Send an open letter to the community about the new school year, outline past accomplishment of the program, talk about your excitement for the coming year and publish dates of concerts or appearances, inviting the public to attend. Teachable Moments: Look for opportunities to educate your administration, staff, parents, and the community with information about the success of your program and the benefits music education provides to students. Some of these moments are: Comments from the stage during a concert. Facts included in your concert program. Facts included in the announcer’s script for halftime performances. Play videos, public service announcements or news clips as people enter the auditorium for a concert.
A S U E h T N i BORN Letter from an American mother... Augus t 31, 20
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adam:
I jus t bought my son a Ble s sing t rumpe t band. Your pr for 6th grade ice s appe ar t o b e v e r y comparable othe r brands with . I support Am e rican made products and work e rs. I ha Ame rican d to f ind a U.S . company m the opt ion to yse lf because buy Ame rica n was not give by my middle n to me scho ol band’s v e ndor. I want k now that I you to bought a Ble s s in g t rumpe t beca ins t rume nts use your are made in t he USA. Thank you fo r k e eping Am e ricans work ing! Ve r y t ruly yo urs, [An Ame rican M othe r]
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Engage Your Students: Over the past year, some of the most powerful video statements about the importance of music education have been developed by students. A great example was created by students from Boyertown, Pa., which has been shared around the country on YouTube [online at: www.youtube.com/ watch?v=tObY7i6qkLo]. Embrace Technology: How do you use technology to promote your music program? Websites? Twitter? Facebook? Blogs? Podcasts? YouTube? Newsfeeds? The new tools developed for the web and for social networking are tools you can use to help promote and advocate for your program. Here are just a few ideas: Twitter: By following some key hashtags, you can follow the conversations of music and arts educators and gain some useful ideas for your program from some of our leading experts! Some of my favorite hash tags to follow are: #artsed (arts education) #musiced (music education) #musedchat (chat on various music education topics) and #mpln (music education professional learning network).
Newsfeeds: This stream of information provides content for websites from reliable sources. Use any newsreader to create your won newsfeeds. Check out our daily arts education news feed at: http://feeds.feedburner.com/QuadrantArtsEdNews YouTube: Do you use YouTube to promote your program and create video for your site? You should. Look on the YouTube website for some ideas how!
PowerPoint-Style
Presentations:
Before every concert or event download and customize a handy dandy presentation to run on a screen while people enter your event. This is a quick, concise, presentation of the case for how music benefits all students.
Concert Inserts: Download and customize concert program inserts for use with any of your concerts, programs or events. Available from supportmusic.com Widgets: These little snippets of code may be added to any webpage, blog, or social network. Use one of ours or create your own! Your students will LOVE these (and you will gain some
“tech cred” in the process (that stands for Technology Credibility… it’s street cred for the tech set).
And if you will only take one action, make it this: The one item that belongs in the arsenal of every music educator is the SupportMusic Community Action Kit. This “Tool Kit” for the music advocate has a wealth of ideas and materials in customizable formats to use in your community. Whether you are just starting your local advocacy campaign or find yourself in a crisis and need help to organizing your efforts, the SupportMusic Community Action Kit is the one tool you cannot afford to be without! You may download it for free at supportmusic.com There you have it – some ideas to help promote and advocate for music and arts education during the coming school year. Within this list is something for everyone. Remember: it is up to each of us in music education to both make the case and empower others to become effective advocates for our programs. Like I wrote at the top of this article: If we don’t… who will? Do you have a tool or resource you would like us to share? Email me at bob@artsedresearch.org, on facebook (bobmorrison) or find me on twitter @bobmorrison.
Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. In addition to other related pursuits in the field of arts education advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Holland’s Opus Foundation. He may be reached directly at bobm@artsedresearch.org.
12 School Band and Orchestra, September 2011
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UpClose: Fran Shelton
Hendersonville
“A Small School with a
Big
14 School Band and Orchestra, September 2011
High School:
Band� By Eliahu SuSSman School Band and Orchestra, September 2011 15
H
endorsonville High School is a music powerhouse in North Carolina. Despite having only 630 students in the school, more than 130 of them (around 25 percent of the student body) participate in the music department, including the current student body president, the starting quarterback of the football team (a clarinetist), eight members of the state champion-soccer team, cheerleaders, and a number of other athletes. In fact, over 80 percent of Hendersonville’s band members participate in at least one sport. The bread and butter of the music department is its concert band, which boasts a ridiculous 60 consecutive superior ratings at state festival, dating back to 1926. Another remarkable statistic is that since the high school began managing its own music program in 1937, there have only been six band directors leading the program. And aside from the first director who founded the school band 74 years ago, all of those that followed have been Hendersonville High School graduates themselves. For the past 24 years, Fran Shelton has been running the show in the Hendersonville High School band room. In spite of her substantial credentials in music education – having served as president of the Western North Carolina Bandmasters Association, the North Carolina Bandmasters Association, and Women Band Directors International, as well as secretary of the North Carolina Music Educators Association – Fran remains humble about her accomplishments. She even jokes that it took her almost 20 years of teaching to realize how little she actually knew. Yet, in this recent conversation with SBO that covers such topics as preparing for the new school year, integrating the student body into the music program, and developing administrative and parental support, it’s clear that Ms. Shelton has accrued a substantial amount of wisdom working in what she calls, “Just a special place: a small school with a big band and a great reputation.”
School Band & Orchestra: Tell me about the program that you walked into at Hendersonville when you were hired. 16 School Band and Orchestra, September 2011
Fran Shelton: The high school was incorporated in 1901, and moved here in 1926. It’s a registered historic site. And in the entire history of the high school, I am the sixth band director. That says a lot right there. SBO: That says it’s a great place to work! FS: It is a great place to work! And it’s a great concert band school. The
tradition of that concert band is pretty remarkable in the state of North Carolina. SBO: What does it take to establish a program like that? FS: In this case, it was one of the first in the state. It was actually started by the Lion’s Club and then the city schools ended up picking up the band program. We’re still a small high school, with only 600 students. We
The Hendersonville symphonic band performs at Symphony Hall in Chicago, Ill.
Band members show off their HHS Band winter hats in the Windy City.
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have 130 students in the band, and I credit that participation to the tradition we have: the band has always been great, and it’s always been well respected in the state and in the community. SBO: It’s one thing to have that history, but what was your game plan to maintain that status when you first took over the reins of the program? FS: As my superintendent told me, “Get on that horse, but turn it around gradually, because we already have a pretty good program.” He wasn’t a band person, but I thought that that was pretty substantial advice. The thing is, except for the first band director, every other one since is a graduate of the high school, so we’re vested in it. What I tried to do was take what was already there – and it was a wonderful program – and build upon that, try to do a little bit more. We developed the concert band program, the level of literature, and the quality of
Hendersonville High School Bands At a Glance Location: 311 8th Avenue West, Hendersonville, N.C. On the web: www.hendersoncountypublicschoolsnc.org/hhs/ Students in School: 630 Students in Band Program: 130 Band Director: Fran Shelton Recent musical accomplishments ★ 60 Consecutive Superior Ratings at N.C. Concert Festival (1926 – present) 2011 ★ Festival of Disney – First Place Band Class AA – Symphonic Band ★ Class A Concert Band – First Place Band Class AA Jazz Band – Gold Mickey Award ★ Top Scoring Band of the Festival – Silver Mickey Award – Jazz Band 2011
the literature. One thing I’ve really tried to do is to expose the students to great literature and great composers, really push them to the upper level of
★ Festival of Gold, Chicago Symphony Hall (Chicago, Ill.) – First Place Band 2010 ★ National Adjudicators Concert Festival (Atlanta, Ga.) – Superior Rating 2009 ★ International Band Festival, Kennedy Center (Washington D.C.) –First Place Band 2008 ★ National Adjudicators Concert Festival (Atlanta, Ga.) – Superior Rating 2007 ★ Festival of Gold Invitational, Symphony Hall (Boston, Mass.) – First Place Band
music. When you play quality literature, your kids get so much out of it – it’s such a great learning experience for them. SBO: Where do you find literature? FS: I listen to everything. I go to the Midwest Band & Orchestra Clinic and attend concerts, and I pick up all the CDs. When I’m getting ready to pick a program, especially a contest program, I am constantly e-mailing directors, primarily at the college level, making sure that we are playing quality literature. I don’t want us to play junk, and there’s a lot of junk out there. SBO: How far in advance do you normally select the literature you’re going to play? FS: I start listening in the summer, because that’s when I have time. And then I look at scores at Midwest, sometimes go to J.W. Pepper to look at scores, and just pick people’s brains for the best music I can find. I’m on the concert festival committee for our state, and we have summer meetings where we pick each other’s brains, too. Our top band plays masterworks, but even with the younger kids, my baby band, they don’t play nearly as well, but it is super important to expose them, too, to great literature.
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SBO: Let’s get down to brass tacks – how is the your program set up? FS: We have a symphonic band, that’s the top group – 75-78 students, and membership is by audition. Then there’s the concert band, which has 55-60 students. We have a jazz band, which is by audition, and then a marching band, which is strictly volunteer. The marching band is curricular – the students get a half a credit for participating – but I can tell you that at a high school
SBO: Some schools seem to struggle with dispelling a negative image of playing in the school band – is that something you’ve experienced? FS: You mean the band nerd? For us, that’s pretty easy. You make marching band volunteer, and that way your athletes don’t have to make a choice. You want to keep your athletes. You want to keep your stars on the various teams participating in music. We had eight kids from the soccer team playing in the band, and they won the
chorus at our high school this year, and it’s terrible when that happens. Thank goodness we have wonderful administration at our school and an extremely supportive principal. And, we’ve got wonderful band parents. If it weren’t for wonderful band parents, who knows where we’d be. We struggle with funding, too, but it’s our band parents who make sure that we have everything we need to be successful. SBO: Would you expand on that – what’s your approach to integrating parents into your program? FS: We try to involve them as much as possible. They have to have a reason to participate. I don’t think we’re beating them up with fundraising too badly. Parents run the away concession stand – and I don’t think that’s anything new, a lot of bands also do that. We try to keep the parents active and involved. We try to make sure that they know that we want them there: we want them at rehearsals; we want them at concerts; we want them on trips. We travel a fair amount with our two concert bands, and the parents are really helpful when we travel. We are constantly keeping them involved and informed about everything we’re doing. SBO: What’s your preferred method of keeping people informed?
Band students display their Micky Mouse Awards.
like this, by making the marching program all volunteer, the numbers in the concert program will increase because the kids aren’t having to make a choice. Eighty percent of our concert band kids are athletes. That’s how we can have those numbers at a small high school. Our emphasis is not on marching band. We compete and that sort of thing, but it’s not our bread and butter, so to speak. Like I said, 80 percent of our concert band members are athletes, and this year the starting quarterback on the football team plays clarinet in the band. We have a running back, linemen, cheerleaders, basketball players, soccer players, cross country athletes, the student body president – and having all of those people participating just makes your band healthy! 20 School Band and Orchestra, September 2011
Hendersonville Band members at Disney World in the spring of 2011.
state title last year. That’s real important! And it means that there simply isn’t that stigma here. I do understand that that is a problem at some other schools. SBO: Speaking of problems many music programs are facing, what’s your take on the difficulties everyone seems to be having in terms of funding and support? FS: Those problems aren’t caused by the band programs; it’s school boards and state legislatures. They’re cutting up here like crazy, too. We cut
FS: We do everything over e-mail. We have a web page maintained by one of our parents, we send out regular emails, and our parent group also sends out regular emails. We are constantly asking for help, and because we have such a large pool of parents to draw from, we don’t have to beat the same people up over and over asking for help. Our parents chaperone, they make props, they work in the concession stands, they help with fundraising – they really do so much for us. SBO: What sorts of fundraisers do you do? FS: We sell fruit at Christmas, we do discount cards, we do some yard sales, we do concerts – we did a big Memorial Day concert where we had all the veterans in. SBO: What have you found to be most effective?
FS: Probably our fruit sale. We’ve been doing that for years, so people plan for it and count on it. Special concerts can pull in pretty good funds. We have the state playhouse in town and every other year we go out there and play. That opportunity is great because it is a chance for us to reach a different clientele than our normal audiences. SBO: To change gears for a moment, what do you do to prepare for the school year? What steps do you take, so that everyone is ready hit the ground running as soon as school starts?
ing end of it. I’ve had the students do more and more of that over the last five years, and it’s been great. A lot of times the senior section leaders will re-write parts, assign parts to play for concerts, and more. I have to be willing to give up that responsibility and let them have that leadership role, but that’s worked quite well for us. Every once in a while you have a dud class that isn’t into it. But when that happens, you just give the respon-
sibilities to the juniors, and then the seniors step up right away! They run the rehearsals, get the others in line, give out music – they really do it all. They’re better than having a student teacher because they know the program inside and out and they know the younger students. It’s also a respect issue, where the older kids have more respect for the younger kids because they work with them and they get to know them faster.
FS: I do most of my preparation before the school year ends in the summer. As soon as our last concert let out, we started listening to music and stuffing a folder full of material that we might look at throughout the year. The kids have had that music all summer, and a lot of them take a look at it before the year starts. During the summer, many students check their horns out to start going through the new material. It gets pretty frantic at the end of the school year. We have our kids help with everything, and that gives them something to do over the summer. Some of them might never open their horn cases, but others will. SBO: Do you have a system of student leadership in place? FS: Absolutely. We have student officers, who are voted on by the other students, and we put a lot of responsibility on our senior class. For the most part, our officers are usually seniors, and they’re responsible for almost everything. It’s their band, and they have to run it. They’re constantly setting up stands and chairs, running rehearsals, running sectionals… we do a lot of sectionals, where we break up into small groups, and the students are responsible for running those. The older students are also responsible for working with the younger students as well. The older kids come in before school or stay after school to work with the younger students and help bring them up to speed. SBO: Like a peer mentoring program? FS: We give our seniors a lot of responsibility, especially in the teachSchool Band and Orchestra, September 2011 21
The Hendersonville HS drum line.
SBO: You’ve been teaching for almost three decades – in that time, what are the most important lessons you’ve learned about being a successful music educator? FS: Well, I didn’t know anything when I started teaching, and it took
22 School Band and Orchestra, September 2011
me about 20 years to figure that out! [laughs] After about 25 years of teaching, I finally started figuring some things out. It’s only dangerous when you don’t know that you don’t know anything. Once you realize how little
you know, that’s when you can start learning. Going back to your question about starting the year on a positive note, only about four years ago, I started putting all the material together before the end of school. By the time school starts up again, the marching band students have already met and read their music. We also do that with the concert band and the jazz band. Perhaps the most important thing to surviving in this field is asking for a lot of help. Once you start doing that, life gets a lot easier. You also have to be extremely organized. I have my calendar out for the next year by the beginning of June. That calendar includes everything we’re doing in all of our bands, except for the jazz band, which will sometimes play out in the community on short notice. The students know all the extra rehearsals, concerts, and everything else far in advance. That’s been a big help because our kids are all involved in so many different activities. You can’t
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put an ultimatum on the child, you have to get those schedules out and then go talk to the coaches and teachers of other activities. You never want to put the children in the middle of scheduling conflicts. It doesn’t always work as well as you want it to, but you have to try. Our athletic director has all of our calendars in June, so he also tries to prevent having to put the kids in a bind. If the kids know when they walk in the first day that they’re going to have to be ready to play, that sets the tone. We send out emails that say, “Bring your horns, we’re starting on day one,” so they do know that we’re just going to dive right into the material. We have a concert for 9/11 and we have a Labor Day parade that we march in, so we don’t have time to waste. SBO: Music educators have to wear so many different hats these days. Do you have any tips for staying sane and preventing burnout?
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FS: I ask for help. I delegate a lot to the kids and I delegate to the band booster organization. I go to my principal a lot, too – we talk all the time. I don’t make any major decisions without involving him. My principal goes with us on all of the trips. We talk about funding and fundraising – he won’t let the kids go door to door, because we feel it’s just not safe. We don’t beat the community up with fundraising. My principal and I don’t always agree, Fran Shelton fills in at the last minute for a sick drummer. but that’s okay. I’ll keep going back to him until we reach get most of my work done at school, an acceptable compromise. I am very and then leave it there when I leave lucky to have someone who I can go the building. If you’re not having to to talk out any issues or binds facing fight your administration – if your the program. administration is behind you and Running a band program is a lot your principal knows what’s going of work, but when I get home, I try on – it makes life so much easier. If to take a break from it. I might lissomething comes up, then it’s much ten to music at home, but I try to
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easier to deal with because you know you have some support. This year we’re flying the band out to Los Angeles, and our principal has been in on this project every step of the way – talking plane tickets, busses, hotels, and so on. It’s so important to keep your administration involved. SBO: Do you have any other advice for band directors around the country, perhaps something you’ve learned over the years in your own classroom that other band directors might want to do more of? FS: We all need people to come in and listen to our band during rehearsals. Directors have to be prepared to unzip the defenses and listen to feedback. A lot of directors don’t like to do that because they think they know it all. I have people every year come in and rip my kids up – but we do that so we can get better. I want to get better at conducting, too. I see things going on and I just think, “Golly, they need to ask for help!” The older you get, the less cocky you become about all of this. The longer you teach, the more you figure out that you just don’t know anything. Like I said, the light bulb clicked on for me at about year 25. I’ve been figuring it out slowly, and I think I’m getting better at it. I learn a lot from those kids every day. It’s a great motivator, having to keep up with the kids. These kids today are smart and savvy – they have all these technology skills. If I don’t know a piece inside and out, I’m in trouble, because my students will have already listened to four or five different performances of it on YouTube. SBO: What is the most rewarding aspect of being an educator? FS: Most days, I love it! [laughs] I go into the eighth grade every day to work with those kids and assist their band director. When you see them that young, watch them progress and mature into ladies and gentlemen, go on and graduate high school and you just know they’re going to be successful, that makes all the difference in the world. Hopefully music and band is only one small part of what I’m teaching; hopefully I’m also teaching them to be good human beings who will do the right thing. Some of these kids may never play music again, but at least they will be able to go to a concert or a show at the theatre and have an appreciation for what they’re seeing and hearing. The other thing is when you have one of those magical moments where the kids are playing and everything is going just great – that’s enough to keep you in it. Also, where I teach is just a special place: a small school with a big band and a wonderful reputation. Really, our school is strong in many areas, not just band, and all of those different areas work together. It takes all aspects of the high school to make a strong band program.
SBOSurvey: Back to School
Back to School Rituals
T
he key to starting the new
Let’s hope that the 26 percent of respondents who indicated that they weren’t ready for the new school year have since gotten up to speed!
school year on the right note lies in preparation,
Are you ready for the new school year?
and it seems that every ed-
Okay “Next year will be my 40th year in education 2% and I’m as excited to ucator has his or her own unique start this year as I was my first year. I have great kids and I work in a methods for getting the most out fabulous school in an amazingly Goodsupportive community.” of the first few days of school, 29% Dave Hanke Slinger High School while also setting the tone for Slinger, Wis. Excellent
No
26% Yes
74%
“I am a 69% middle school band director and I have been assigned to deeper into the specifics of exactly also be in charge of the elementary band lessons this year. I am what music educators around the really excited about this and am really looking forward to getting started!” Seeing my returning students Jim Miller One month country are doing to start the year Laurel Highlands Middle School Several days Uniontown, Pa. 5% New musical adventures
year-long success. To probe a little
off right, and what they’re excited
9%
24%
“We are still under a very widespread construction project, and I am or worried about for this comnot able to have access to my building at this point.myPaperwork and comMeeting incoming students Two weeks munications aspects are progressing as usual, but the physical setup will 23% be ing school year, SBO sent out this a very, very last-minute rush!” 25% A fresh start Robin Linaberry reader survey in early August. Maine-Endwell Senior High 16% School One week Endwell, N.Y. 28 School Band and Orchestra, September 2011
61%
New non-musical adventures
3%
31%
29%
Yes
74% Excellent
69%
Have you developed any unique tricks or rituals for preparing to start the school year strong?
What are you most excited about in terms of the new school year? Seeing my returning students
31%
One month “I planSeveral the first daysday in detail, even
5% writing a script to be sure I cover 9% the procedures, expectations, and
paper work. I try to imagine what a ‘new kid’ sees and feels coming into Two weeks 25%my class for the first time, walking through every part of that first class.” Martha Giarratano One week Austin Middle School 61% Okay Beaumont, Texas
2%
“I get my orchestra room setup as well as the first several orchestra Good pieces selected the week before mandatory teacher workdays commence, 29% so I feel empowered and energized to teach when stringers arrive in my orExcellent chestra room!” 69% Joel Jank Hastings Middle/Senior High Schools Hastings, Neb. One month“In my partial retirement years, Several days
5%I have learned to ‘go with the flow’ 9% all I teach are beginners more. Since
now, the start of the year is focused on getting the kids on quality horns that Two weeks don’t hurt family budgets. Sometimes 25% it’s hard to convince parents to spend a little more for better instruments. week RentalOne plans seem to be the best way 61% as long as the rentals are to get started also quality equipment.” Harlan Yenne Chandler Intermediate School Chandler, Texas
“I enjoy the process of getting the classroom ready – cleaning parts of the room that usually don’t get cleaned, preparing instruments and music, and setting up the classroom. It’s nice to go in a few days before the year starts and work at your own pace, knowing full well you’ll never get ahead of the game, but trying nonetheless.” Bill Martinez Hollencrest Middle School West Covina, Calif.
New musical adventures
Meeting my incoming students
A fresh start
24% 23%
16%
New non-musical adventures
3%
Other No
26%3% Yes
Comments in 74% response to “Other” “Our brand new High School building Funding and music area.” John Stetler 36% Elida High School Scheduling Elida, Ohio
28%
Student interest/talent level Seeing returning students “A my new Principal that has already 23% 31% set a better tone.” James Porter Making it through another school year New musical adventures Springville 24% Elementary 4% Springville, La. Other my incoming students Meeting
“We continue to go through budget issues in our state that force us to justify our place in the budget without staffing reductions. We also have issues with instrumentation and retention coming up from the middle schools. This is a continued challenge to find the avenue to attract the best and brightest.” George Dragoo Stevens High School Rapid City, S.D. “As with most states, Wisconsin is going through a major change in school funding. Cuts have diminished the amount given to public school districts and schools are scrambling to find solutions without affecting programs that are offered to students. The elective courses seem to be the first area that is decreased. These classes which include the performing arts are important to the school curriculum. Students are more likely to achieve a higher level of success and will stay in school if there is something there that will attract their interest. We need to be concerned about meeting the needs of all students and learner types.” Tim Meinholz Columbus High School Columbus, Wis.
9%
23%director “As I am the only band grades 7-12, I will be learning to say A fresh start ‘no’ a lot more this year to administra16% tor and people that want more of my New non-musical adventures time.” 3% Matthew Taton Other Mt. Pleasant High School 3% Mt. Pleasant, Mich.
“I had about 10 students who were great musicians move out of our area to another city, neighboring state, and some across the country because that was where their families could find work or a more affordable place to live. Some of these families were our biggest financial supporters. Some of the other families were some of our most consistent parent volunteers. With the lawsuit my district went through last year about What are your biggest worries or a ‘free’ public education as well as our concerns? lingering [troubled] economy, we are Funding definitely seeing it affect our program’s 36% financial status. We are doing all we can to try to drive home that if we as a Scheduling group are unable to come up with the 28% required funds we need for the school Student interest/talent level year, we will be unable to participate 23% in some events that we really should be a part of, like marching band contests, Making it through another school year concert band festivals, and so on.” 4% David Lesser Other Clovis North Educational Center 9% Fresno, Calif. School Band and Orchestra, September 2011 29
Is there anything you’re planning to do differently from last year?
Mark Webster TK Stone Middle School Elizabethtown, Ky.
“I’ve already started doing different things this year. I’m going to focus more on the positive and less on the negative, and let the batteries recharge when they need to be recharged. I’m ready to meet my challenges and face them, rather than try to hide them.”
“I plan on implementing the use of SmartMusic in the classroom and encouraging its use with all my students. I will also be using it for assessment so that I no longer lose a week of rehearsal time for testing.” Jeff Canter Thorne Middle School Port Monmouth, N.J.
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Additional thoughts on the coming school year?
“I’m finally ready to step out and present at music conferences. I’m really excited. I think that I have good ideas and a better perspective that can help other educators in the field.” Juan Aguilar San Marcos High School San Marcos, Calif.
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“Be more of a stickler. I think I give up before the kids do what I really want, and I plan to keep at it until I get my way!” Margaret Cancino John Hanson Middle School Waldorf, Md.
“I worry about the big picture. Numbers have been decreasing the past few years and the new 8-period schedule has had an impact this year, and it will continue to impact us. Unfortunately, I see more changes in the program down the road. We don’t seem to have or get the support we once had both, department-wide and district-wide.” Allan Deitz Walt Whitman High School Huntington, N.Y.
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SBOCommentary: Instruction
The Necessity for Individual and Ensemble Instruction in Secondary Public Schools By Paul R. Schilf, Ph.D.
W
ith budget cuts, staff reductions, physical plant limitations, and general lack of vision for comprehensive music education by many administrators and some music educators, individual performance has taken a backseat in many instrumental programs. Across the country, we have seen a reduction in the number of students participating in solo and small ensemble festivals. This
unfortunate situation has left a void in public school instrumental music education. Regardless, as champions for quality music instruction, we can’t ignore the emphasis we need to place on each individual student. Individualized instruction is pertinent to the stability of any instrumental program. Attention given to solo and ensemble participation in today’s schools can provide greater success of the larger ensembles. Historically, emphasis on individual and group participation in instrumental music has been the foundation and often the development and expansion of music education in secondary school programs. At present and in the very recent past, there has been the focus in which the main group activity tends to eliminate all but the most competent from participation. Fewer and fewer school districts have the position in the ensembles for the “recreational” individual performer. These “recreational” players are often the core of our main ensembles. It is the band, the orchestra, the larger ensembles that count, and the individual student is of importance only as he or she contributes to the group. Therefore, it is only logical that we need to develop individuals to the best of their ability so that they fill our ensembles as high caliber players. In music education, the organization itself has great value, but
32 School Band and Orchestra, September 2011
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34 School Band and Orchestra, September 2011
build our programs. In justifying our the greatest worth is the influence the programs within the community and large ensemble has upon the students to our administration we often stand as individuals. To refute Mr. Spock, alone instead of aligning our programs when it comes to music, the needs of with what has already been set forth as the many do not outweigh the needs important components of instrumenof the few: each individual, as an indital music education. Individualized vidual performer, is important to each instruction is unique ensemble and hence to music instruction. the program. As mu- “Instrumental music edsic educators, we are ucators can further their We don’t need to be ashamed or embarcreating life-long inrassed that we work dividual learners, not programs by addressing with individuals. Too life-long bands or or- the needs of the many chestras. We strive to through the needs of the many programs are justified by the catercreate individuals who individual.” ing to the masses. Inare artistically and mudividualized instrucsically sensitive, indition permits music educators to really viduals who are life-long consumers connect with their students. This is and supporters of the arts. Moreover, something that, as administrators and just as other academic areas attempt to building disciplinarians have been telljustify their role in school programs, ing us for a long time, keeps kids in music education must stem from a school and reduces many forms of disprogram broad-based enough to serve cipline problems. the needs of the individual through The highest quality secondarythe emphasis on the individual as well school music programs have become as on the group. and remain strong because of the In curriculum planning for today’s emphasis of a well-rounded and wellsecondary schools, much thought balanced curriculum, programs that must be given to the continuing benserve the individuals and the group efits for the students as they practice as parts of the comprehensive school individually at home and in school. program. Instrumental music educaIn school or out of school, each stutors with vision, working with school dent will be a producer of music, a administration and teachers in other consumer of music, and often both. It areas of academic instruction, can furis impossible to escape music in life. ther their programs by addressing the Our aim as music educators must be to needs of the many through the needs help individual student, become more of the individual or few. In the light discerning consumers and performers of today’s educational environment, of music. A key way to assisting this there has never been a greater opporprocess is through students engaged tunity offered to music educators than in solo and small ensemble literature. to provide small group and individual Individualized instruction via solo and instruction and opportunities. small ensemble literature is critical to preserving and enhancing music education in our schools. Our National Standards for music Dr. Paul Schilf is education clearly outline the need for associate professor group and individual performance. of music educa“Performing on instruments, alone tion and associate and with others, a varied repertoire director of bands at of music,” is the second of the nine Augustana Colstandards with which we need to lege in Sioux Falls, S.D., where he align our curricula and philosophy teaches music education courses of instruction. Clearly the emphasis and supervises instrumental stuof performing begins with each indent teachers. Dr. Schilf directs dividual within our ensembles. This the Northlanders Jazz Ensemble, standard of instruction is what many the Brass Choir, and the College & of us use to continue to justify and Community band.
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SBOGuest Editorial: “West Side Story”
“West Side Story”: Fifty Years of Cinematic Magic By Keith Mason
“W
est Side Story” is one of the great films of all time. Premiering on October 18, 1961 at the Rivoli Theater in New
York, it celebrates the 50th anniversary of its film debut this year. To mark the occasion, a special Blu-Ray edition of the film will be released in November. Earlier this year, “West Side Story” was voted one of the top five favorite musical films of all time on an ABC-TV special entitled “Best in Film: The Greatest Movies of Our Time.” This article commemorates the 50th anniversary of the motion picture version of “West Side Story,” providing background about the original conception of the Broadway stage musical. It then traces the creation of the motion picture version and outlines activities that focus on the “West Side Story” music and libretto that can be utilized with both vocal and instrumental music students. The film version of “West Side Story” garnered 11 Academy Award nominations, winning 10. While the original 1957 Broadway musical was, in retrospect, innovative, some reviewers believe it may have been ahead of its time. A musical about gangs was very different from the typical musical comedies of the same era; by the end of Act I, two main characters are dead; another main character dies by the end of Act II. This was quite different from themes and characters found in the traditional musical comedy. Scott Miller, author of “From ‘Assassins’ to ‘West Side Story’:
36 School Band and Orchestra, September 2011
George Chakiris (middle) performs as “Bernardo.”
Rita Moreno (Anita) sings and dances “america” with the Sharks and their girlfriends.
The Director’s Guide to Musical Theatre,” observed that, “ ‘West Side Story’ is the American musical theatre’s only great tragedy, a story in which a happy ending is not possible, a musical about hatred and prejudice, a musical that says that love cannot triumph over all. It is also a perfect blend of the many disciplines that make musical theatre. More than in most musicals, the book, music, lyrics, and staging come together as a perfectly unified whole, speaking with one voice.”
Background: The Stage and Screen Versions The four creators of “West Side Story” were Jerome Robbins, Arthur Laurents, Leonard Bernstein, and Stephen Sondheim. “West Side Story” was originally conceived as “East Side Story” in 1949, and it was to be a conflict between Jewish and Catholic families. Instead, the creators decided to capitalize on the huge Puerto Rican immigration of the 1950s. The Sharks represent the Puerto Rican immigrant gang while the Jets were the
New York gang, forming the main conflict in the musical. The conflict is increased when the New York character of Tony falls in love with a Puerto Rican woman, Maria. The concept for “West Side Story” was to stage Shakespeare’s “Romeo and Juliet” as a ballet, an idea that legendary choreographer Jerome Robbins came up with in 1947. Robbins had worked with Leonard Bernstein on the musical “Wonderful Town” and thought Bernstein, Sondheim, and Laurent would be ideal for the music and libretto of the Romeo and Juliet musical. Bernstein, Robbins, and Laurents discussed this musical treatment between 1949 and 1955, yet the project remained on the back burner for several years. On August 25, 1955, Bernstein and Laurents crossed paths. They discussed how they regretted that nothing had come of the Romeo project. They talked about gang wars between Chicanos and Caucasians in the Los Angeles area. Laurents was not comfortable with a city and people not part of his consciousness and suggested Manhattan, and the tension
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between Puerto Ricans and whites as the main theme. Laurents was set as librettist but Bernstein was so occupied with conducting in New York and guest conducting elsewhere that he preferred to share the workload. Laurents saw Stephen Sondheim at a party and brought up the Romeo project. Sondheim wanted to be involved, yet he wanted to create both music and lyrics and was reluctant to accept the position as lyricist. Oscar Hammerstein, II, Sondheim’s mentor, believed that Sondheim should not pass up the opportunity to work with Bernstein and Robbins. The Laurents libretto was atypically brief compared to other musical libretti because so much of the story was told through dance and songs. All the main characters of “West Side Story” derived from Romeo and Juliet characters. Miller maintains that, “The drama and power of “West Side Story” lies as firmly in the choreography as in the words and music. Though Bernstein’s music, Sondheim’s lyrics, and Laurents’ dialogue are laid out carefully for anyone producing
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School Band and Orchestra, September 2011 37
the show, Jerome Robbins’ choreography is not.” Originally called “Gangway!,” the title “West Side Story” was reinstated prior to the out-of-town tryout in Washington, D.C. staged on August 19, 1957. A Philadelphia tryout followed, and then the Broadway run began on September 26, 1957. Seven Arts Productions was the leading contender for film rights of “West Side Story,” which they bought for $350,000 in July of 1958. The Mirish Company, comprised of four brothers, entered the scene to produce the film. They were instrumental in getting Jerome Robbins, choreographer of the original Broadway stage production, as director. Because he had little film experience having only choreographed the 1956 musical film “The King and I,” they secured Robert Wise as a co-director. Wise had never directed a musical but was a big fan of them. He commissioned Ernest Lehman to adapt the show to the silver screen. Lehman was famous for his screenplays, including Executive Suite, Sabrina, “The King and I,” and “North by North-
38 School Band and Orchestra, September 2011
west before “West Side Story.” He would later go on to write such blockbusters as “The Prize,” “The Sound of Music,” “Who’s Afraid of Virginia Woolf?,” and “Hello, Dolly!” For the film, the “Prologue” was filmed on location in Manhattan from 61st to 68th Street. Abandoned housing was located in this area in anticipation of the construction of Lincoln Center. A playground was used at 110th Street between Second and Third Avenues. Parts of Maria were also filmed on location. The rest of the film was shot on sets within seven soundstages at the Samuel Goldwin Studios in West Hollywood. The production company used the majority of the studio space from September 1960 until the film’s completion in 1961. The opening of the film used aerial shots using bird-eyed views capturing New York City landmarks such as the Empire State Building, the United Nations, Columbia University, and Yankee Stadium. Robbins put shooting so behind because of his perfectionism and desire for multiple takes that he was released from his directorial duties in late October of 1960.
Print Materials
Finstad, Suzanne. Natasha: The Biography of Natalie Wood. New York: Three Rivers Press, 2001. Keenan, Richard C. The Films of Robert Wise. Lanham, MD: Scarecrow Press, 2007. Laurent, Arthur. Original Story By. New York: Knopf, 2000. Miller, Scott. From Assassins to West Side Story: The Director’s Guide to Musical Theatre. Portsmouth, NH: Heinemann. Monush, Barry. Music On Film: West Side Story. Milwaukee: Limelight, 2010. Nixon, Marni, with Stephen Cole. I Could Have Sung All Night: My Story. New York: Billboard Books, 2007. Peyser, Joan. Bernstein: A Biography. New York: Beech Tree Books, 1987. Secrest, Meryle. Stephen Sondheim: A Life. New York: Delta, 1999.
Co-director Robert Wise invited Robbins to view footage done in his absence so that he could still provide feedback. They must have done something right; Miller explained that: “It wasn’t until the release of the 1961 film version that the [‘West Side Story’] finally captured the hearts of the public.” Natalie Wood (Anita) and Richard Beyher (Tony).
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I Hear a Waltz?” (with Richard Rodgers), “Company,” “Follies,” “A Little Night Music,” “Sweeney Todd,” “Sunday in the Park with George,” “Into the Woods,” “Assassins,” and “Passion.” What makes “West Side Story” so phenomenal? Many have argued that the songs in the jazz-influenced score are its strength. Most of the songs from “West Side Story” are considered standards and familiar to so many universally. Some of the most recognizable songs of any musical are found in the “West Side Story” score: “The Jet Song,” “Something’s Coming,” “Maria,” “I Have a Love,” “One Hand, One Heart,” “Somewhere,” “Quintet,”
Leonard Bernstein composed and conducted classical music, as well as musicals and operas. Bernstein not only composed the music for “West Side Story” (and lyrics, although uncredited) but also for the musicals “On the Town,” “Wonderful Town,” and “1600 Pennsylvania Avenue.” He also composed the operas “Trouble in Tahiti,” “Candide,” and “A Quiet Place.” Stephen Sondheim has been a prolific contributor to Broadway for numerous musicals as both composer and lyricist. Some of his most famous musicals include “Gypsy,” “A Funny Thing Happened on the Way to the Forum,” “Anyone Can Whistle,” “Do
“Cool,” “Gee, Officer Krupke,” “A Boy Like That,” and “I Feel Pretty.” Certainly, the musical score greatly contributed to its status. Miller believes that: “Bernstein’s music is heavily jazz inspired and, here and there, borderline rock.” An interesting fact about the film “West Side Story” is that several of the principal actors had their singing parts dubbed by professional singers, at the insistence of associate producer Saul Chaplin. Natalie Wood prerecorded the songs sung by “Maria,” yet in the final film, famous ghost singer Marni Nixon looped in the singing voice of “Maria.” Interestingly, Nixon also dubbed Rita Moreno’s vocals in the song “Quintet.” Betty Wand did the singing for “Anita” for the song “A Boy Like That” because of the very low register to very high range required by the song. Jim Bryant dubbed Richard Beymer’s singing, and Russ Tamblyn’s lead vocal in “The Jet Song” was done by Tucker Smith (who played “Ice” in the film). Nixon is also famous for doing the singing for Deborah Kerr in the 1956 movie musical “The King and I” and for
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Audrey Hepburn in the 1964 movie musical “My Fair Lady.” The “West Side Story” soundtrack was the best-selling U.S. album of the 1960s. It spent 54 weeks at #1 on Billboard’s album charts and won a Grammy Award for “Best Sound Track Album Original Cast.” Monush observed that the music of “West Side Story” appealed to both adults and teens. The soundtrack also created newfound interest in the Broadway cast album, which also leapt in sales and returned to the Billboard charts. Monush maintains that the “West Side Story” soundtrack held the number 1 position “longer than any other soundtrack album or album of any kind in recording history.”
Score and Libretto Activities The jazz-style music of “West Side Story” can undoubtedly enhance the vocal and instrumental music curriculum. A number of interesting activities are possible that treat the “West Side Story” score and libretto outlined below. • Keeping score: Students listen careful-
• Choreographer and co-director Jerome Robbins demonstrates dance moves for the actors during “the Prologue.”
•
ly to the background score. Students identify what melodies they hear in the background score that Irwin Kostal and Sid Ramin so carefully utilized in various scenes in the film version (see Miller 1996 for further discussion). • Identify the tune!: Using the film’s overture and the closing title music, students identify the melodies they hear from the “West Side Story” score. • Who’s Really Singing?: Besides using ghost singers in “West Side Story,” a number of musicals used
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the same approach. Students could investigate to see who really sang for the actors and actresses. A relevant tie-in is the MGM movie musical Singin’ in the Rain, all about the emergence of talky films in the late 1920s, and the need for voice doubles for non-singing actors. Act it out!: Working with the Laurents libretto (script), students act out select scenes. Hit it!: Students perform “West Side Story” songs with piano or other accompaniment or a cappella or instrumental versions. And now for our feature presentation: Students view the film in class or at a special screening. Now on stage: Students see a stage production of the show. Write it down: Students write about their favorite song from “West Side Story” or some other aspect of the show or score. Rapping: Students discuss the show’s score in cooperative groups. Each group could analyze a different song
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or compare different versions of the same song. • Musical Analysis: Using Scott Miller’s analysis of “West Side Story,” teachers can help walk students through the music of “West Side Story.” For example, Bernstein used many minor chords and the lowered third and seventh scale degrees, common to jazz and blues music. He also used “hemiola,” setting a duple time melody against a triple time accompaniment, or three against four, etc. Bernstein also based his entire score on the tritone (the musical interval of a raised
fourth). Bernstein, “to great advantage” according to Miller, uses the use of this dissonance that often indicates danger or evil. The tritone is used in almost every song of the “West Side Story” score, but especially in songs that reflect Tony and Maria’s romance (“Maria,” “Somewhere”). • Vocal versus Instrumental: In “West Side Story,” in addition to the songs with lyrics, much instrumental music is used and could be analyzed by students. Thus, both vocal and instrumental music teachers and students can analyze the score.
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• “Tonight” and Balcony Scene: “Tonight” is staged on a fire escape in “West Side Story.” In “Romeo and Juliet,” a balcony is used. Students could undertake a comparison of these two key scenes. • “America”: Students could investigate the Puerto Rican immigration wave in 1950s United States and analyze aspects of Puerto Rican culture, music, and dance. • “Quintet”: Students could analyze the “Quintet” song involving the Jets, the Sharks, Tony, Maria, and Anita. How does this song fulfill the role of a turning point in the story? • Compare and Contrast: Students could compare various recordings of the “West Side Story” score, especially the Broadway cast, London cast, film soundtrack, the 1985 Bernstein studio recording, and The Songs of “West Side Story” recorded by popular recording artists such as Selena, Phil Collins, Aretha Franklin, and Little Richard. Specific songs could be assigned to individuals or groups. Students could consider the key signature (are any songs in a different key?) and orchestration (is it similar or different? How so?) A few songs in the stage version are positioned differently in the film. Why was this done?
Conclusion “West Side Story” is both one of the most popular movie musicals of all time and one of the most popular stage musicals in history. The stage and screen versions deserve attention within the music curriculum, especially in terms of the musical score. Keith Mason, Ph.D. teaches world languages at New Providence High School in New Providence, New Jersey. Dr. Mason received eight Rising Star Awards for educational impact from the Paper Mill Playhouse for integrating his school’s musicals into the high school curriculum. He has authored several articles about using musicals in the interdisciplinary curriculum. All photographs from United Artists.
42 School Band and Orchestra, September 2011
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hether building one’s first student workstation or thinking of updating or adding to existing modules, it’s a good idea to enlist the help of a solid music technology specialist. I recently talked with a few mu-
sic tech experts who have offered great advice and suggestions for designing and building music workstations: Mike Klinger of The Synthesis Midi Workshop (midiworkshop.com); Kelly Demoline of Kelly’s Music and Computers (kellysmusicandcomputers.com); Jim Frankel of SoundTree (www.soundtree.com); Chris Rutkowski of Sweetwater Sound, Inc. (www.sweetwater.com); and Peggy Morales of Romeo Music (www.romeomusic.net).
Before making any concrete plans, Peggy Morales suggests first answering several questions to determine specific needs. Consider what the music workstation will be used for. Will it be used: • To compose original music or arrange music for band or orchestra, create student exercises and worksheets, and transposing? • To use the workstation with interactive software such as Smart Music, AudiGraf, and Strobosoft, and as a resource to teach music fundamentals with software such as Auralia and Musition?
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• To record music – concerts or rehearsals, accompaniments to make practice music files, assessment recording for grading and charting student growth? Will the students to also use the workstation to record their ideas and do projectbased learning? • To work with videos and be able to edit, combine with music and create quality music videos?
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An honest reality check will help establish the facts needed to make the magic happen. Educators should be realistic about their experience and comfort level with technology. Other factors to consider include how much space there is work with in the classroom, as well as how much money has been budgeted for this project. “One teacher’s dream workstation is another’s nightmare,” warns Peggy. “Keep it simple. Whatever you choose, make sure it can grow and change with the ever-changing technology world, yet be simple enough that a new teacher next year would also be able to understand and use it.”
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• A well-designed music workstation includes: • A MIDI keyboard connected to a computer; • An audio interface to play and mix acoustic instruments; • A General MIDI sound module for enhance playback sounds beyond the limitations of the computer’s sound capabilities; • Instructional software; • Technical support. And that’s not including critical extras such as microphones, headsets, speakers, furniture, cables, and more. While newer computers allow more powerful software applications, older computers can deliver great performance if the components are well planned. Because we have so many interesting variables to mix and integrate, care needs to be given to planning, especially when combining new and old components. With that in mind, the best way to get started is to first develop a master plan that ensures the entire system is compatible, within
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budget, and has the appropriate level of technical support. Over and over again, modular component devices were recommended by our panel of experts due to the ease of upgrading such systems. “Classcompliant” was another highly recommended consideration. This is also referred to as “plug in-play,” which means drivers are automatically installed and fully compatible with the entire workstation system. This is valuable because it means applications
can be used right “out-of-the-box,” with no special installations requirements – just a USB port connection to the computer. Jim Frankel says that class-compliant hardware is a safe standard for beginning and intermediate level workstations, adding, “As you know, this is almost never an issue with Macs, but does pose a problem with most PCs (especially in terms of what operating system it is running). It is safest to assume that most PCs will require some type of driver to connect.” Class-compliant hardware alleviates this situation. Frankel also mentions the advantages of defining music workstations in terms of how they’ll be used. He asks, “Recording/audio editing? Sequencing? Ear training/theory software? Notation? Keyboard skills development? Identify your needs for each music workstation and look at what products/applications are pertinent. The main thing is to design a workstation intelligently so that it can serve the teacher and students without the need to upgrade constantly, yet remains reasonably affordable. Modular appears to be the answer because upgrading is easier than a fixed workstation.” Chris Rutkowski of Sweetwater
Sound, Inc. agrees that the best solution is often a modular system that is class-compliant and open-ended for expansion. He notes that there are three workstation levels: entry-level; most bang-for-the-buck; and advanced. “It’s important to first teach educators concepts before simply selling a sophisticated advanced-level music workstation,” Chris says. Some schools, like Carmel High School in Indiana, which has an incredible orchestra that can play Stravinsky, can support advanced level workstations. “Advanced level workstations could also be geared toward specific needs of the music teacher,” notes Chris. “For example, advanced audio recording or elastic audio to fix rhythmic problems, the making of CDs for sale, video editing for making promotional DVDs or editing a clip to send to YouTube, or using marching band software. At the advanced level, the emphasis is on specialization.”
Digital Keyboards A major advantage of a classcompliant MIDI keyboard is it has no sound latency from the keyboard input to the sounds produced by the computer; the keyboard simply connects to the computer with a USB cable. If the MIDI keyboard doesn’t have a USB port, consider purchasing a MIDI-to-USB converter, which connects older MIDI keyboards with game-port connections to the computer. This will also eliminate latency between the keyboard’s input and the computer’s sound card, enabling playback output with no sound delays. But a USB-to-MIDI converter is not required in most cases, since most of the newer recommended keyboards all have USB port connections and are class compliant. Just plug them in and they will work. Dumb keyboard terminals or keyboard controllers (without speakers and amplification) are recommended instead of units with speakers and amplifier because amplification is not required in a classroom situation when students primarily use headphones.
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These can result in significant cost savings. Kelly Demoline recommends the GarageKey 37 keyboard by Miditech with desk stands that place the keyboard above the alphanumeric keyboard. Kelly gives due consideration to the furniture situation, especially for those working with a limited budget. He says, “It makes sense to try to avoid spending money on furniture. While most people look to purchase large MIDI keyboards with 49, 61 77, or even 88 keys, consider a smaller keyboard that might fit alongside a
50 School Band and Orchestra, September 2011
Jim Frankel SoundTree
Chris Rutkowski Sweetwater Sound
computer keyboard on a regular desk. These are also cheaper, meaning that money saved can be spent on more important things, such as software or hardware.” Another model Kelly recommends for school use is the MidiStart Music 25. “A bit smaller than the GarageKey, and it uses aluminum construction, making it very durable – a great solution for schools that need to put the keyboards away instead of leaving them out in the computer lab. It is also class-compliant and, unlike most USB MIDI keyboards these days, it also
Peggy Morales Romeo Music
has standard game-port MIDI connections. This is important because it means it can be used without a computer, for those that have a MIDI sound module. It also can be used as a MIDI interface with computer to connect other MIDI devices, such as a MIDI sound module.” Mike Klinger at the Synthesis MIDI Workshop recommends the M-Audio KeyRig 49 keyboard, with its professional feet and excellent touch response. It is class compliant and probably the most ergonomic keyboard on the market, and priced right. He says, “I know a lot of
teachers who get the 25-key version, but then they call back and wish they had gotten the 49-key instead.” Mike uses the M-Audio KeyStudio 49i in his workshop lab. It is the first keyboard with a built-in audio interface. It also has two headphone “outs” for students to share or teacher to listen. It even has a built-in Steinway Grand Piano sound.
Audio Interface By connecting a microphone, guitar or any line-level device through an audio interface for recording vocals, guitar, voiceovers, or more, a music workstation can be considerably enhanced when combined with digital sequencers and MIDI keyboards. Kelly Demoline likes the AudioLink II, a great example of an audio interface designed for schools. He says, “It is a class-compliant USB audio interface made from aluminum instead of plastic, so it should fare much better in a school situation.” He recommends using it with GarageBand for Macs and Mixcraft for PCs.
General MIDI Sound Module and/or Virtual Instruments A General MIDI Sound Module will completely eliminate latency and allow you to use your MIDI keyboard without a computer, pro-
vided it has a MIDI out. Mike Klinger thinks external sound modules are a thing of the past, and says there are not many, if any, left on the market. His rationale is that the current trend in making music with a computer is to buy the appropriate sound library of virtual instrument software that suits the desired style: classical, jazz, pop, rap, and so on. By using virtual instruments to avoid the latency issue, it is easier to connect with the software. Kelly Demoline recommends the Pianobox, an affordable General Music sound module made of aluminum that also has some built-in drum patterns and an audio input. He suggests, “You only need one set of speakers or headphones – take the audio-out from your computer and use the audio in on the PianoBox, plus the outputs from the PianoBox to headphones/speakers – no other MIDI module has this feature, so you don’t end up having to use a
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mixer. While it doesn’t sound nearly as good as Roland’s SD-50, it is much less expensive and is General MIDI compatible. This means it will work with anything and there’s no programming required. Those who might want to go beyond the 128 GM sounds, such as those in the SD50, will have to start programming software or hardware to access the additional sounds.” More information can be found at www.miditech. de. Important note: neither Finale nor Sibelius requires a powerful CPU or a lot of RAM if being used with the built in synths; this means that teachers can use older computers when using a General MIDI sound module. Newer computers can go in either direction for their playback sounds: hardware driven with a sound module or softwaredriven with abundant RAM and CPU power to successfully play virtual instruments.
Software Applications The most versatile component of a music workstation deals with software applications. The wide array of applications – and pricing – allows budgets to be used efficiently and effectively. Popular software options to consider for workstation are applications for: • Notation: the basics from freeware to Finale and Sibelius • MIDI sequencing and digital audio: Audacity to Mixcraft, GarageBand • Music theory and aural training: Auralia, Musiton, Essentials of Music Theory • Film scoring: from entry-level to intermediate • Performance: Band-In-A-Box, SmartMusic • General Music: Avid Groovy Music (Elementary), MIDIsaurus, Sibelius Instruments, StarClass and a host of others such as OGenerator Learn to Compose, O-Generator World Music, and Secret Composer. For younger students, consider Morton Subotnick’s titles. For more software suggestions, go to www.kuzmich.com/SBO092011.
Technical Support “An all too common scenario is playing the ‘pass the buck’ game when it comes to solving technical support problems,” cautions Jim Frankel. “For example, you start experiencing drop outs when using a great new plug-in. You contact the support team for the plug-in developer and they claim the problem must be with the Digital Audio Workstation (DAW) or host you are using. So you check with them, and they never get back to you, but you read on a forum that it could be a problem with your audio interface. You pay for a support ticket with the manufacturer of your audio interface and they blame it on the chipset on your motherboard. You fire off an email to Taiwan and a few months later the reply is that Microsoft is at fault. You finally reach someone at Microsoft that knows what they are talking about – and guess what, they blame it on your plug-in!” No matter how new or powerful a workstation may be, it is essential to have good tech support readily available for both hardware and software. Unfortunately, most computer manufacturers can’t provide knowledgeable support and assistance on music-related technology. For this reason, Kelly Demoline recommends Rain Computers, which were specifically designed for music. Rain Computers offer a threeyear extended warranty and support contract, which means there is only one number to call for all hardware and software assistance. Here is what Kelly posted on his blog about the value of their technical support: “Rain can be found at the RainCare Encompass Support. For an extra $300, you get a three-year hardware warranty, plus a three-year support contract. Rain helps you get to the bottom of the issue and back to work quickly. By taking accountability for the complete creative computing solution, Rain becomes a single point of contact – no more getting passed around by tech support from differ-
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ent companies. The RainCare Support network is uniquely designed to solve issues common to audio and video production. By email, phone, and RainCare Remote Login Support, they will help diagnose the issue, solve it, and let educators get back to what’s really important. With the RainCare Encompass there is only one number to call, and they solve the problem – well worth the $100 a year!”
Kelly also suggests seeing what the in-school IT department can handle. “Either you meet their requirements and they support you or you go your own way.”
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can run on batteries. This speaker delivers high-performance sound that defies its size. The speaker system contains a digital stereo amplifier that drives four 6.5” stereo speakers and two tweeters for wide stereo projection. Microphones are also important for recording acoustic instruments and voices. Mike likes the Yeti Pro microphone because it is the first USB microphone combining 24 bit/192 kHz digital recording resolution with analog XLR output. It features three custom condenser and four different pattern settings. And best of all it can capture digital audio with up to four times the clarity found on CDs.
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When music workstations are tailored for instructional needs, they can help create experiences that students will never forget. These tools help teachers and students explore learning in exciting and creative ways and, most importantly, have fun learning something new. Thanks to Peggy Morales, Jim Frankel, Kelly Demoline, Mike Klinger and Chris Rutkowski for sharing their expertise!
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Holiday Selections
for the High School Band or Orchestra By Peter J. HaBerman
B
alancing musical quality, technical difficulty, and fun is the challenge as we turn our attention to the holiday season. The lighter selections are plentiful, but with so much time spent preparing music for the December concert, it’s not
easy to find music that propels the curricular aims forward at the same time.
Here are both standard and new selections that would be great for the next holiday concert. The difficulty range is mostly grade 3 and 4, and some of the works are available for either orchestra or band.
Christmas Day Gustav Holst Band: Arr. by Larry Daehn (Daehn Publications); String orchestra: Arr. Douglas Wagner (Alfred Publishing/Belwin Division) Grade: 4 Duration: 6:15 This work, originally written in 1910 for choir and orchestra, has been reworked for both band and orchestra. Holst masterfully blends variations on In dulce jubilo with God Rest Ye Merry Gentlemen, Come Ye Lofty, Come Ye Lowly, and The First Nowell. The textures are wonderful; he jumps between carols and even stacking them atop each other! The work is in 3 flats, yes even the string orchestra version, but it is worth the effort. If the above work is too difficult, there is also a grade 3 work entitled A Holst Christmas also arranged Visit SBO online at www.sbomagazine.com for previews of these pieces, as well as direct links to publisher websites. 56 School Band and Orchestra, September 2011
by Douglas Wagner which has a version for band, and string or full orchestra. Though a completely different piece, it is worth listening to as well. Publisher link: (Band) jwpepper.com; (Orchestra) www.alfred.com Audio Link: www.alfred-music.com
A Christmas Festival Leroy Anderson (Alfred Publishing/Belwin Division) Grade: 4 Duration: 6:45 This is a must have for the library. The medley is enjoyable for students and an audience favorite. A Christmas Festival is available for band or full orchestra (though in different keys), and each ensemble publication has optional SATB choral parts. A larger work which can challenge an ensemble’s endurance, it includes all of the following tunes: Joy To the World; Deck the Halls; God Rest Ye Merry Gentlemen; Good King Wenceslas; Hark! The Herald Angels Sing; Silent Night; Jingle Bells and Adeste Fideles. If the work is too demanding or there is not a full orchestra to work with, there
are also several grade 3 arrangements for band and string orchestra. Publisher Link: www.alfred.com Audio Link: www.alfred-music.com
Coventry Carol Richard Saucedo (Hal Leonard Corporation) Grade: 3 Duration: 3:30 This work for band is a slower and melodic setting with a medieval feel. Saucedo’s arrangement of the English carol features the upper woodwinds throughout the work with prominent melodies, counter-melodies, and more technical demand than the rest of the ensemble. There is even an optional part for recorder to add to the ancient sound. Publisher Link: www.halleonard.com Audio Link: www.halleonard.com
Dance of the Tumblers Nicolai Rimsky-Korsakov Band arr. Terry Vosbein (Neil A Kjos Music Co)
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Orchestra arr. edited by Carl Simpson (Masters Music Publications Inc) Grade: 5 Duration: 4:30 This excerpt from Rimsky-Korsakov’s opera “The Snow Maiden” will be a great showcase work for a top orchestra or band. Unison technical demand is required for all sections, especially the low instruments. The work can take a variety of tempos from upbeat to burning fast and be used as an opener or closer. Every section in the ensemble will enjoy this musical and technical challenge. Sandra Dackow has two arrangements for grade 3 string and full orchestras available through Tempo Press for younger orchestras as well. Publisher Link: jwpepper.com Audio Link: jwpepper.com
Festival of Lights Bud Caputo (Alfred Music Publishing) Grade: 3 Duration: 5:30 This string orchestra arrangement of six Chanukah songs is so well done; every orchestra should program it on the next holiday concert. The medley of: Maoz Tsur, Oseh Shalom, Svivon, Mi Yamaiel, Chanukah, and My Dreydl was written with younger players in mind, however even advance groups will enjoy the musical experience this set-
ting provides. The piece will help develop all aspects of an ensemble’s musicality with its wonderful moments of lyricism, harmonic tension, and upbeat joy. This work is a great way to make a winter concert inclusive of multiple holiday traditions. Publisher Link: www.alfred.com Audio Link: www.alfred-music.com
Greensleeves Alfred Reed (CL Barnhouse Company) Grade: 4 Duration: 3:45 A standard in the band repertoire, the Alfred Reed setting of Greensleeves will provide both reflective beauty and grandeur to a December concert. The piece is technically a grade 3, and is approachable by younger ensembles, but is worth rehearsing with the most mature musicians as well. Publisher Link: www.barnhouse.com Audio Link: www.barnhouse.com
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Imani Sean O’Loughlin (Carl Fischer LLC) Grade: 3 Duration: 5:30 Imani, which means “faith,” gets its name from the seventh day of Kwanzaa. This work for band features great percussion writing and a piccolo solo, and the ensemble has the opportunity to sing! The piece travels from serious and reverent to a joyful and celebratory dance. It is a work that is on the upper end of grade 3 and will require the attention to detail of any festival selection. Balance, rhythmic awareness, and musical arrivals are all tools on which a director will be able to work. Imani is a great opportunity to include multicultural awareness on a winter concert. It will be well received by the audience, pose a musical challenge to an ensemble, and be worth the effort required.
grammed any time of year, but is a serious addition to the holiday concert that will give a director many weeks of deep musical material to access with their students. Lauridsen’s colorful harmonic palette and long vocal lines will challenge the ensemble both technically and musically. Audio Link: jwpepper.com
Russian Christmas Music
Publisher Link: jwpepper.com Audio Link: jwpepper.com
Alfred Reed, transcribed by Clark McAlister (Sam Fox, Inc.) Grade: 5 Duration: 15:45 After being transcribed for orchestra, this epic work is available for both mature bands and orchestra. Using liturgical music from the Eastern Orthodox Church and an ancient Russian Christmas Carol, Reed has produced a monumental work that features an extended English Horn solo and all brass players. This powerful masterwork pulls out all the stops at the end and is a perfect way to close a holiday concert!
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Publisher Link: www.alfred.com Audio Link: www.alfred-music.com
Morten Lauridsen, arr. Sandra Dackow (Peer Music Classical) Grade: 4 Duration: 6:15 Now available for strings, this choral masterwork is a “must-do” experience! The beautiful piece can be pro-
60 School Band and Orchestra, September 2011
A Vaughan Williams Christmas Douglas Wagner (Alfred Publishing/Belwin Division) Grade: 3 Duration: 4:30 Get the entire music department involved in this one!
Visit SBO online at
www.sbomagazine.com for previews of these pieces, as well as direct links to publisher websites.
Bands, orchestras, and choirs can all participate in the performance of these carols harmonized by Vaughan Williams. Forest Green (O Little Town Of Bethlehem); Wassail Song and Sussex Carol have been beautifully set in flowing pastoral, and simple yet elegant ways. Douglas Wagner has arranged each ensemble’s part to be performed separately or in any combination. Publisher Link: www.alfred.com Audio Link: www.alfred-music.com
A Winter’s Carol Mark Williams (Alfred Music Publishing) Grade: 4 Duration: 3:45 This wonderful arrangement for band sets O Come, O Come Emmanuel in a way that will leave everyone impressed. The audience will love the new, yet tasteful counterpoint of this classy setting. The students will enjoy the many moods they have the opportunity to explore, from somber and respectful to heroic and grand. And the director will have a piece to work on expression, sound, and beauty. Publisher Link: www.alfred.com Audio Link: www.alfred-music.com/player
School Band and Orchestra, September 2011 61
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Row-Loff Productions has just rereleased Scott Johnson’s Progression, a rudimental snare drum book containing 15 graduated solos. With 11 DCI High Percussion Championships under his belt, Scott is no stranger to writing a definitive rudimental snare drum solo. The included DVD contains the complete performances by Scott as well as informative mini-lessons discussing the nuances of each solo. .
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Micro Clip lights. The 2-packs are the newest addition to Mighty Bright’s line of portable music lights, which are portable, convenient LED lights with countless uses. The lights are travel-sized to fit in the palm of your hand. The lightweight polycarbonate Keychain features both press-on and constant-on switches for added utility and hands-free capabilities. The sturdy, lightweight Carabiner emits a beam visible from up to one mile away and can clip almost anywhere. The MicroClip features a rotating bulb and clips-on or sits on any flat surface. The new 2-pack combines two of five popular colors. The LEDs last 100,000 hours and each light comes with 2 lithium batteries.
ing and can be calibrated anywhere from 430-450 Hz.
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Dream Cymbals MBAO Tuned Gongs
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GoGo TT-1 Tuner
The TT-1, a clip-on tuner that features both piezo and microphone
Meisel MPT-70 Pocketuner™ is one of the smallest on the market, but will tune any instrument and has features typically found on larger and more costly tuners. The Meisel Pocketuner is fully chromatic and features a range from B0 to B7 – suitable for all instruments. The large display is easy to read and changes color from blue to green when a note is in perfect tune. The Pocketuner weighs less than an ounce and features a built-in stand and key chain so it can always be kept handy.
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Mighty Bright Micro Light 2-packs
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tuning methods. The main concept for the tuner is that the backlit LED screen has two colors, displaying red when you are out of tune and green once you are in tune. The side of the tuner also glows red when you’re off pitch, so you can easily see in a dark room. Adjustable via a 360 swivel mount, the TT-1 has five settings: Chromatic, Bass, Guitar, Violin, and Viola. It also has settings for drop tun-
middle C, they can be purchased individually or in sets. Standard tuning is A 442 but any other calibration is available free of charge. The MBAOPENT sets. These are pentatonic sets, with chroma-colour coded ball and string handles. Each comes with a beater and are perfect for use in educational settings such as drum circles, and Orff ensembles. Chau gongs and Tam Tams come in a variety of sizes from 6” to over 60”. These tam tams offer incredibly loud fortissimos with long balanced decays, while still providing projection at pianissimo volumes. Feng gongs, great complements to the Chau gong, also come in 6” to 60” and offer a faster response and attack but also a quicker decay. Jin ban gongs are Chinese opera gongs that bend up in pitch in a unique characteristic swoop. Tiger gongs are 10-14”, with a longer downward bend in their pitch when struck. A custom bag is also available.
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School Band and Orchestra, September 2011 63
NewProducts The Flute Scale Book: A Path to Artistry from Theodore Presser
This book includes the teacher’s and performer’s dream list of scale studies along with practice guides featuring hundreds of rhythms and articulation patterns and sample practice plans which provide an organized curriculum with weekly practice suggestions. The Flute Scale Book is designed for a lifetime of use, with embouchure development and scale exercises perfect for younger players, as well as advanced exercises for professional players, including audition scales, phrasing studies, major and minor scales, thirds, arpeggios, seventh chords, modal scales, chro-
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Pearl Maracabasa
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Zoom H2n Portable Recorder
The new Maracabasa combines the functionality of a maraca and a cabasa in one hand-held instrument. With the mold of a standard maraca, the ribbed fiberglass body is wrapped in shekerestyle beads, which gives the Maracabasa a vibrant and versatile sound when played. This shaker comes com-
NEW MANHASSET® Harmony Stand Model # 81
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64 School Band and Orchestra, September 2011
plete with stylish foam handles for a comfortable playing experience, and is sold in pairs. Simply shake to use as maracas or twist to use as a cabasa.
The Zoom H2n the only portable recorder with five mic capsules onboard. This design enables it to offer four unique recording modes: MidSide (MS) stereo, 90° X/Y stereo, 2-channel and 4-channel surround sound. The H2n is the first handheld recorder to offer Mid-Side stereo recording, a technique used for many years in film and broadcast, where ambiance and surrounding noise are crucial. Mid-Side recording combines a uni-directional Mid mic that captures sound directly in front of you and a bi-directional Side mic that captures sound from your left and right. By increasing or decreasing the level of the Side mic, you can control the width of the stereo field, which allows for incredible flexibility over your recordings. If you record in RAW mode, you can even adjust the stereo width after recording. Using the H2n’s Mid-Side and X/Y mics together, you can create stunning 360° surround sound recordings. Choose between 2-channel mode, which combines the Mid-Side and X/Y mics, and 4-channel mode, which records two separate stereo files, allowing you even more postproduction capability. The H2n also houses an arsenal of comprehensive functions, including Auto-Gain, a compressor/limiter,
NewProducts time stamping and more. The H2n provides over 20 hours of continuous operation on just two standard AA alkaline batteries. Steinberg’s WaveLab LE 7 can be used for audio editing and professional-quality mastering.
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Rozanna’s Designer Violins
A wide range of designs are now being offered by Rozanna’s Violins, featuring handcrafted designs such as “Butterfly Dream,” “Flower Power,” and “Sunflower Delight,” with others like “Mystic Owl” and “Noble Ninja” on the way. The company offers violins in sizes 4/4, ¾, 1//2, ¼, 1/8, and 1/16. Models come with solid spruce tops, highly flamed and aged maple backs, sides, and scroll. Other features include a custom transparent varnish, ebony fittings, fine quality strings, Brazilwood octagonal bow, a lightweight oblong case with silver velveteen interior and an attached music pocket and backpack straps.
D’Addario Zyex Double Bass C-Extended-E String
This Zyex C-extended-E string will augment the standard Zyex set. Like the standard set, the string uses a synthetic Zyex core that provides gutlike rich and complex tone, combined with power and clarity. Pitch stability is excellent after minimal break-in time, and a thicker string diameter and an overall lower tension make this set ideal for baroque, jazz and free styles.
Zyex bass strings were developed primarily to offer outstanding pizzicato attacks and sustain, as well as superb bowing response. Zyex Double Bass sets and individual strings
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School Band and Orchestra, September 2011 65
NewProducts are available in Light and Medium tensions and ¾ size. All strings consist of Zyex core with the G string (DZ611) titanium wound, D string (DZ612) stainless steel wound, and the A string (DZ613), E string (DZ614) and C-Ext string (DZ615) tungsten wound. The Zyex Double Bass Set (DZ610) consists of standard tuning strings.
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Gemini’s GTX Loudspeakers
The new GTX series features four configurations: the GTX-1000 houses a 10-inch woofer and handles 100 watts RMS; the GTX-1200 sports a 12-inch woofer and handles 125 watts RMS; the GTX-1500 contains a 15inch woofer and handles 185 watts RMS; and the GTX-2150 boasts dual 15-inch woofers and handles 315 watts RMS. Audio quality and impressive power handling make the new GTX speakers suitable for PA applications in schools and houses of worship, while lightweight, roadworthy construction makes them ideal for DJs and musicians.
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Anything Goes, the Broadway revival based on the 1987 rewrite, returned to Broadway this spring. Alfred offers a 13-song piano/vocal selections folio to the hit Broadway revival, which includes additional original Cole Porter lyrics to match revisions applied to several of the songs during major Broadway revivals in recent decades. “Catch Me If You Can” is the musical comedy based on the DreamWorks film and the fascinating true story that inspired it. Memorable tunes from the high-flying musical include “Jet Set,” “Fly, Fly Away,” “Don’t Be a Stranger,” and the energetic order “Don’t Break the Rules.” “The Book of Mormon,” the hit Broadway musical led by South Park creators Trey Parker and Matt Stone in their first Broadway foray, is a religious satire about comically mismatched missionaries and their expedition into an impoverished, diseased, and warlord ravaged town in Uganda. The musical’s wild and raucous songs include such instant classics such as “Hello,” “Man Up,” “All American Prophet, “Baptize Me,” “Tomorrow Is a Latter Day.” Alfred will begin releasing piano/vocal products with songs to “The Book of Mormon” in early fall 2011.
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Tycoon Percussion Black Pearl Series Cowbells
Tycoon Percussion’s Black Pearl Series cowbells are professional quality bells with an outstanding combination of sound and finish. This popular lineup is made up of four different styles - the Cha-Cha bell, Mambo bell, LowPitched bell, and Low-Pitched Hand bell. Each cowbell is constructed with premium quality steel, which allows for a focused fundamental pitch with moderate overtones. The Black Pearl series is designed with a rounded surface for easy playing and a sign designed for live performances as well as studio recordings. Collectively, these bells create a full range of high to low tones with an appealing black pearl finish. All Tycoon Percussion series cowbells are individually handmade and tested to ensure superior sound quality and durability.
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Toca’s new Synergy Fiberglass congas have been introduced to complement those congas while offering the unique acoustic qualities of fiberglass shells. The new fiberglass congas feature 28”-tall shells with 10” and 11” head
NewProducts diameters. The drums come fitted with natural rawhide heads that combine with the shells to produce penetrating projection and high, bright tones that are ideal for live performances. Additional features include EasyPlay style hoops for player comfort, chrome tuning lugs, and black powder-coated hardware. Synergy Fiberglass Congas are available in
Guitar Apprentice offers 15 levels for each song provided, guiding the student through a non-intimidating environment that shows chords and strings on the screen.
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two finishes: Deep Yellow and White. They’re sold with a heavy-duty, fully height-adjustable, double-braced, double conga stand, making the total package an even greater value for beginners, hobbyists, and budget-conscious pros alike.
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Guitar Apprentice by Legacy Learning Systems
Award-winning multimedia and new technology company Legacy Learning Systems recently unveiled Guitar Apprentice, a new product that combines the technology and interactivity of video gaming with the use of each student’s own guitar, set to different levels of skills. A beginner player can now plug in a guitar and learn how to play while engaging in an onscreen environment that supplies a fast, easy, and fun instructional platform. Some of the world’s best known songs are included in Guitar Apprentice,
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AdIndex COMPANY NAME
Alfred All American Music Festival American Way Marketing BandToday.com Bari Woodwinds Berklee College of Music Bob Rogers Travel Burkart-Phelan Cascio Interstate Music Company Charms Office Assistant Columbus Percussion Crystal Records D’Addario & Co. Disney Performing Arts OnStage Distinguished Concerts International EMD EPN Travel Services Executive Systems West Festivals of Music/ Fiesta-Val Music Festivals Five Towns College Fobes Clarinet Products Full Compass Gator Cases Good for the Goose Products Hawaiian Music Festivals Hunter Music Instrument Inc. InterCulture Association Jazz at Lincoln Center KMC Music, Inc KMC Music, Inc Korg Krispy Kreme Donut Corp. Ludwig MusicMasters Manhasset Specialty Co. MarchingBandPlumes.com McCormick’s Ent. Inc. Mighty Bright MusicFactoryDirect.com North American Saxophone Alliance Pearl Corp. Performing Arts Consultants Peterson Strobe Tunerstants Rada Mfg. Co. Rivar’s Rovner Products Row-Loff Productions Super-Sensitive Musical String Co. United States Marine Band Vanderbilt University Vandoren Vandoren Verne Q. Powell Flutes, Inc. Vic Firth Company Vic Firth Company West Music Woodwind & Brass World Strides Perf. Div World’s Finest Chocolate Inc. Avedis Zildjian Co. 72
School Band and Orchestra, September 2011
E-MAIL/WEB ADDRESS
www.alfred.com www.allamericanmusicfest.org www.americanwaymktg.com www.BandToday.com www.bariwoodwinds.com www.berklee.edu www.bobrogerstravel.com www.burkart.com www.interstatemusic.com www.charmsmusic.com www.columbuspercussion.com www.crystalrecords.com www.daddario.com www.DisneyPerformingArts.com www.DCINY.org www.benz-reeds.com www.epntravel.comm www.quickhornrinse.com www.educationalprograms.com info@fiestaval.com www.ftc.edu www.clarkwfobes.com www.fullcompass.com www.gatorcases.com www.chopsaver.com www.himusicfest.com www.huntermusical.com www.ica-us.org www.jalc.org www.kmcmusic.com www.kmcmusic.com www.soundtreeinstitute.com www.krispykreme.com www.ludwigmasters.com www.manhasset-specialty.com www.MarchingBandPlumes.com www.mccormicksnet.com www.mightybright.com www.musicfactorydirect.com www.saxalliance.org www.pearldrum.com www.usafest.org www.petersontuners.com www.RadaCutlery.com www.rivars.com www.rovnerproducts.com www.rowloff.com www.cavanaughcompany.com www.marineband.usmc.mil www.vanderbilt.edu/blair www.dansr.com www.dansr.com www.sonarewinds.com www.VicFirth.com www.VicFirth.com www.tjflutes.com www.wwbw.com www.heritagefestivals.com www.WorldsFinestFundraising.com www.zildjian.com
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SAVE THE DATE
THE 3RD ANNUAL
LOUISVILLE, KY
JEN CONFERENCE January 4-7, 2012 Developing Tomorrow’s Jazz Audiences Today! In the immortal words of one of jazz’ most notable innovators, LOUIS Satchmo Armstrong…
To Jazz or not to Jazz… There is no question!
Call it what you want, but by chance, through karma, serendipity, destiny, fate, providence, or luck…we are proud to announce the Third Annual JEN Conference in yet another city with LOUIS in the title... LOUISville, Kentucky… We think Three’s a CHARM! Come experience all Louisville has to offer, as we will be collectively Developing Tomorrow’s Jazz Audiences Today!
The Jazz Education Network
is dedicated to building the jazz arts community by advancing education, promoting performance, and developing new audiences. For complete membership information/benefits please visit us at: www.JazzEdNet.org