School Band and Orchectra

AUGUST 2011 $5.00

David Willson of Ole Miss

Lessons in Conviction Performance: Intonation Survey: Fundraising

Contents

August 2011

Features 12

COMMENTARY: BRAIN RULES In this installment of the ongoing series on John Medina’s “Brain Rules,” Joe Allison and Erin Wehr examine the science of shortterm memory as applied to the music classroom and rehearsals.

18

UPCLOSE: DAVID WILLSON David Willson, director of bands at the University of Mississippi, details the keys to thriving amidst increasingly challenging career of band directing in this recent SBO interview.

30

SURVEY: FUNDRAISING Band and orchestra directors nationwide share creative and practical tips on raising funds in difficult economic conditions.

34

PERFORMANCE: INTONATION SBO contributor Si Millican presents the benefits of teaching tuning and intonation without the use of tuning tools.

42

STAFF SELECTIONS: ADVANCED CONCERT BAND Vince Corozine takes a look at advanced works for concert band.

48

TECHNOLOGY: VIDEO RECORDERS John Kuzmich explores the latest options in handheld video devices and their applications in school ensembles.

12 40

18 Columns 4 6 44

Perspective Headlines New Products

46 47 48

Playing Tip Classifieds Ad Index

Cover photo by Nathan Latil, University, Miss.

SB&O School Band and Orchestra® (ISSN 1098-3694) Volume 14, Number 8, 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, August 2011

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Perspective

The Perils of Large Ensembles

A

s we enter the new marching season, many incoming freshman will be amazed by the enormity of the sound coming from their new ensemble. Going from an 8th-grade band into the high school ensemble is often an awe-inspiring journey for the new students. It may be their first encounter with a group that could be as large as two or three hundred members.

As they make the leap, they will encounter older, more experienced students who are not only often better instrumentalists, but play with greater strength, endurance, and of course, volume, especially in the marching band setting. The exposure to higher decibel levels is something that can be very exciting and visceral at first, but it also has the potential to be damaging to their hearing, and most unfortunately, hearing damage is largely irreversible.

Rehearsals and performances of marching bands, particularly indoors, can reach dangerously high decibel levels. In a USA Today article from several years, ago, Brian Fligor the director of Diagnostic Audiology at Children’s Hospital in Boston stated, “It’s the dirty little secret of the halftime show: marching band, which exposes young ears to loud sounds, can “The exposure to higher cause irreparable hearing damage.” The worst decibel levels is some- damage is usually caused by repeated exposure to thing that can be very high sound pressure levels, but sometimes it can happen very quickly. Those students who may be exciting and visceral at in the greatest danger of hearing damage are those first, but it also has the who stand in front of the brass or percussion secpotential to be damaging tions.

According to Audiologyonline.com, the decibel to their hearing.” level of a trumpet, which produces a very directional sound, can be between 110 and 120 decibels, and should only be tolerated for short periods of time. The frightening aspect to this is that many schools don’t teach the students the proper yet simple methods to protect their students’ hearing, which is to wear appropriate earplugs. Even within the concert band or orchestra setting (especially at the professional level), the sound can reach seriously high levels in passages featuring the brass and percussion sections.

Fortunately, there are many inexpensive solutions for students that would still allow them to hear the full range of music. Several companies in the market offer specialized earplugs for musicians that allow for different levels of attenuation, while still allowing the full spectrum of frequencies to be heard without muffling the sound. Though they all modify the sound entering the ear canal slightly, the trade-off, especially in a marching band setting, is certainly worthwhile. Just like wearing a helmet when bicycling, educating students at a young age about their hearing and how to properly utilize hearing protection is essential and will allow them to enjoy a lifetime of music without the potentially ruinous effects of hearing loss…

®

August 2011

Volume 14, Number 8 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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GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising Staff

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CLASSIFIED & DISPLAY SALES Maureen Johan mjohan@symphonypublishing.com

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CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

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

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Member 2011

RPMDA Rick Kessel rkessel@symphonypublishing.com 4 School Band and Orchestra, August 2011

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

HeadLines Arizona High School Gets Mr. Holland’s Opus Grant

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n elementary school in Avondale, Ariz. will be able to provide students with new instruments thanks to a grant from the Mr. Holland’s Opus Foundation.

The K-8 school says it is committed to music education even as budget cuts force students to pay for instrument use. The grant, valued at $35,700, paid for about 30 new instruments for the school.

Principal LeeAnn Aguilar-Lawlor said students who can’t afford to rent or buy an instrument will be able to use the new instruments for free.

The foundation, inspired by the 1995 movie “Mr. Holland’s Opus,” donates musical instruments to underfunded music programs throughout the country. Last year, the foundation donated $1.7 million to 97 schools, including three other Arizona schools.

Accordinding to AZCentral.com, the school offers general music courses, guitar, strings, band and choir to its 850 students.

Read more about the foundation at www.mhopus.org.

Online Poll Results Are you going to take some time away from playing, performing, teaching, and thinking about music this summer?

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Communities for Music Education (BCME) survey acknowledged 179 communities in 32 states – including 172 school districts and, for the first time, seven individual schools for their strong commitment to teaching music.

The detailed BCME survey covers funding, graduation requirements, music class participation, instruction time, facilities, support for the music program and other relevant components of district or school music education programs. In interviews with six of the 2011 designees, each talked about how

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Two first-year BCME designees, the Ferndale Public Schools (MI) and the Brooklyn Center Junior Senior High School (MN), show that it’s not always large urban or suburban music education programs that shine. Chris Porter, director of bands at Brooklyn Center, found out about the BCME via Twitter feeds. Despite a small budget, over the past nine years, Brooklyn Center’s band program has grown from 17 to about 185 students.

Letters

For Music Ed, the CTEL Exam is a Failure

On June 11th, 2011, I, along with hundreds of schoolteachers in California, walked into testing centers throughout the state to take an excruciatingly long and difficult test called the CTEL (California Teachers of English Learners, formally called CLAD) Exam. The CTEL Exam is based on the mechanics of learning English language skills as taught in a regular classroom. After spending nine Saturdays attending six-hour classes, along with hours and hours of study just to prepare for this one test, I walked out of the test center feeling angry, humiliated, hurt, frustrated, and, worst of all, disheartened.

With 37 years in education under my belt, I was being tested on a subject area I very seldom – if ever – have had to consider in my music classrooms. From my perspective as a high school band director, this was the worst example of educational testing I have ever witnessed. Why? Music classes, including every one I took after college, are based on performance, not testing.

In fact, it was the first written exam I had ever taken in 37 years (except for the DMV test).

I’m sure many might say, “It really wasn’t that bad.” However, what if the subject you have been teaching is not based on English language skills? What if comprehension is taught before mechanics? For example, if an Auto Shop student who speaks little or no English can put a carburetor together correctly in shop class, language is not the issue. If a music student can perform the music correctly, language is not the issue.

The purpose of the CTEL training is to train teachers how to teach ELD (English Learning Deficient) students, when they are mainstreamed into their classrooms. I have no problem with that. CTEL Training is a long and extensive program. However, for those teachers whose subject areas do not include extensive language skills in reading and writing, (for example, vi-

8 School Band and Orchestra, August 2011

Elon Jamison, performing and fine arts coordinator at Ferndale, had thought about completing the BCME Survey for a few years prior to 2011. “Financially, a lot of our families are in kind of rough shape for a variety of reasons: we’re just north of Detroit, but we’ve done a lot with not a lot of resources. I tell people that this is ‘a little district that could’.” The 2011 BCME survey was conducted between January 14 – March 14, 2011 in collaboration with The Institute for Educational Research and Public Service For more information and full list of award-winning schools, visit www.nammfoundation.org

sual and performing arts, vocational education, physical education, and so on), the CTEL class and exam can be quite a challenge. Most educators will say there is nothing wrong with CTEL training for credential certification. To some extent I would agree. I actually found the subject fascinating over the nine six-hour Saturday classes. I learned so much. Therefore, I thought there was nothing wrong with CTEL training; it was the six-hour test that so many question. It is so difficult even those trained in classroom reading and writing find it challenging. After the exam, I saw teachers who were frustrated, furious, some even in tears. Many expressed that it could be a career-ending disaster.

The certification for ELD is not new. Teachers have been doing this since the mid-‘80s.

However, lately, many school districts have put deadlines that all their teachers be certified in ELD. This is where it all breaks down. Some tests are black and white; this test is just plain fuzzy. Of all of the materials I studied for the exam, 75 percent of those were not on the test.

Questions are based on everyday classroom scenarios. However, the answers are so similar, if you miss one hidden word, you might select the wrong answer easily. That is, of course, if you really know what the word means in this situation.

When CLAD (now CTEL) training and certification was first introduced, many teachers were told they did not need to take this because they were not directly involved with ELD learners.

Also, school districts weren’t pushing everyone to take this training because the districts were paying for the instruction and paying the teachers for each day they attended the class. Now there are no school funds to pay the more than $2,000-cost per teacher. This is where this exam takes a bad step. The subject area teachers who were originally told they would not have to take

the training and exam must now study a subject area they have little use for in the classroom.

CTEL Training is based on regular classroom or subject areas that require a lot of reading and writing. Therefore all the CTEL test questions are based on a regular academic classroom scenario. (Not a shop class, music class, dance class, PE class, and so on.)

Performance or demonstration (also called “Hands-On”) courses do not base their classes heavily on reading and writing. It’s not that language skills are not used in those classes – it’s just that they aren’t the focus. The big question is not whether these teachers should have to be certified in instructing ELD students, but whether it is even necessary. Most good performancebased teachers who have taught a few years have already figured out how to deal with their ELD students through physically demonstrating class content.

Yes, we were warned. But we were also made to feel some of us did not need to study for this, or worry about the exam. It’s just like the people who were encouraged to buy a home, without fully realizing monthly payments would eventually go up. We got conflicting advice.

So why are school districts pushing this. Is it for money and bragging rights? Maybe? There are even rumors it is not even mandated by the state. Then who is mandating it? Is it the California Commission on Teacher Credentialing, or special interest groups? I believe most teachers support CTEL training, but not the huge amount of class time, and most certainly not the final test.

D.L. Johnson North Monterey County High School Castroville, Calif.

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Clarinetist and Educator D. Stanley Hasty (1920 – 2011)

Tireless music educator and renowned clarinetist Donald Stanley Hasty passed away this June. Born February 21, 1920, Mr. Hasty pursued a long and distinguished career as a clarinetist and teacher. From 1943 until 1955 he served as principal clarinetist and soloist with the National Symphony Orchestra, Indianapolis Symphony Orchestra, Cleveland Orchestra, Baltimore Symphony Orchestra, and Pittsburgh Symphony Orchestra. During that time he also taught at Indiana University in Bloomington and Peabody Conservatory of Music in Baltimore. In 1955 Mr. Hasty joined the faculty of the Eastman School of Music and the Rochester Philharmonic Orchestra, where he served as principal clarinetist and soloist until 1970.

During this time he also taught at the Juilliard School and the New England Conservatory of Music. Mr. Hasty retired from the Eastman School of Music in 1985 and continued to travel throughout the United States, Canada, and many other countries as recitalist, lecturer, clinician, and adjudicator.

Well-known Boston Symphony Orchestra clarinetist Tom Martin once said of Hasty, “He certainly had high expectations and his kind of Hasty’s Law was in this order: to be a good human being, a good musician and then a good clarinet player.”

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SBOCommentary: Brain Rules

Brain Rules for Rehearsals:

Rule #5 “Repeat to Remember” (Short Term Memory)

By Joe Allison And erin Wehr

H

ave you ever experienced something in your life where you could later remember every detail – what you wore, who you were with, what you had for dinner, and each conversation you participated in? Paradoxically, have

you ever forgotten where you put your keys, or your password for an online account? How many times in a given week do you have to remind students of a particular F#, or to pay attention to the crescendo going into the B section? And why is it that learning seems so tedious leading up to a concert, but there is a sudden leap in the learning curve right after a concert?

12 School Band and Orchestra, August 2011

In his best-selling book, “Brain Rules: 12 Principles for Surviving and Thriving at Home, Work, and School,” Dr. John Medina speaks of encoding as the brain’s intellectual process of collecting and organizing information.

There are different types of encoding one uses to process new information, and the specific type has much to do with recall later. Structural encoding is considered the simplest form, and involves identifying shapes like naming notes, rhythms, or musical expressions. That’s how we recognize a “C,” an eighth note, or a crescendo. Semantic encoding involves being aware of the definitions of words, such as understanding what a crescendo means. Phonemic encoding involves comparisons of how words sound.

There are many other types of encoding processes, but they share common characteristics among them. Three of these characteristics germane to our discussion: 1) The more elaborate the processing at the time of learning, the stronger the memory is.

2) The parts of the brain that process the initial stimulus also appear to store the new information.

3) Memories might be strengthened by replicating conditions of the initial understanding.

First, a more elaborate or unique experience usually creates a more memorable one. Toward that end, we often employ clinicians to work with a group before a festival or contest to heighten the performance level of the group. Students experience a new person with a new voice and inflection, different conducting style – often more animated – and maybe with a new interpretation. It’s very evident that the stimulation provided by a “fresh” experience logically leads to enhanced learning and retention.

Another successful processing technique is to apply a narrative story to a musical work. This device is also used by composers as an organizational tool in their writing process. Sometimes the “story” is revealed, and sometimes

not. Regardless, the story has the potential to create a more heightened experience. This detail-enhanced process brings new meaning to the students and creates more memorable rehearsals. If you could create this type of memorable experience when a work is first introduced to the students, then every teaching moment can be tied into the story. Soloists become lead actors, and sections become the chorus. The F# is an event in the story, the crescendo the entrance of a storm, the attacks and releases representing choreographed ensemble dance, the musical style representing script, and tone color depicting elaborate costuming. The students not only learn quicker and at a higher level, they retain the knowledge better and longer.

The second characteristic of neural encoding is that the brain’s processing of an initial stimulus appears to guide subsequent new information. Presenting a descriptive narrative at the onset of learning a new piece will guide everyone’s learning and interpretations of the work from the first note.

Using a consistent story to guide the learning of the work, rather than trying different stories on different days or presenting a story after the work is learned, will help students build memories based on pre-established neural pathways, strengthening previously learned material by connecting it with new ideas.

If it is a goal for everyone to share the same vision of a composition for ensemble unity and cohesiveness, what if visual images were shown to the players prior to beginning rehearsals on a new work? The pictures could exist separately from or with a story.

A single image could be used for an entire work, or a different visual for separate movements. Pictures include colors and textures that can be represented in music, and they provide students with a shared vision for new information to connect to, physiologically and conceptually. The images could be printed and handed out, or projected in front of the group during rehearsals. Perhaps you have done or seen a concert where interpretive visuals were projected as part of a performance for the audience to enjoy.

How often in the concert preparation process were those pictures presented to the students to guide their learning and memory? Unfortunately, in most all cases it has been more common to show them days before the concert, if at all. Thanks to neurological advances shared in “Brain Rules,” we now know these pictures could also be an effective tool to learning musicianship and retaining information by providing a physical process for organizing new information. When that notorious F# becomes the note sung by the bluebird in the tree on the mountain in a memorable picture, then more immediate success and longer retention is the result.

The third encoding characteristic we might leverage comes from the idea that memories are more easily retrieved and recalled when the conditions of the initial processing are replicated. We all know that feeling of déjà vu when we hear certain tunes that are significant to our personal experiences.

Consider how an unfamiliar environment such as a performance space that is different than our rehearsal facility can affect memory recall. This is an example of context-dependent learning. Since we can’t always perform in our rehearsal space (nor would we want to), having ways to recreate normal conditions might help with memory recall. The aforementioned use of a story or image(s) that has been used to guide the learning of a work from the first rehearsal can certainly serve as a familiarizing condition. Conducting patterns and gestures that are similar to those consistently used in rehearsal

Medina’s 12 Brain Rules • Rule #1: EXERCISE • Rule #2: SURVIVAL • Rule #3: WIRING • Rule #4: ATTENTION

• Rule #5: SHORTTERM MEMORY • Rule #6: LONG-TERM MEMORY • Rule #7: SLEEP • Rule #8: STRESS • Rule #9: SENSORY INTEGRATION • Rule #10: VISION • Rule #11: GENDER • Rule #12: EXPLORATION

can also be a contextual consistency. If at all possible, having students practice in the performance space at least once, and also visualizing practicing in the space prior to performances can create another familiarizing condition. If the ensemble seating in rehearsal has to be different in any way in the performance space, then the opportunity to practice in the way the students will actually perform becomes important for retaining instructional concepts and practices.

The more a student focuses on the actual meaning and context of new information (higher-order thinking), the more elaborate the processing is and the better the information is retained.

There are risks with using this powerful information. If a student doesn’t

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truly understand meanings, the memories will take “incorrect” neural paths that students will nonetheless remember. This can be problematic, obviously. It doesn’t require cutting-edge research to know that it’s more difficult to unlearn-and-relearn skills and concepts than it is to learn them correctly in the first place! So if you are using associations (narrative, metaphor, simile, and so on) to help teach, you need to become a good storyteller, and your

tales should make sense to the students in the context of their own experiences. If you are using graphic images, then they should be clear and visible to all involved - literally and figuratively.

It is essential to create scenarios relevant to the learners, and not just the director. It’s so easy to forget that the students do not have the background experiences of the conductor and can easily “get lost“ in anecdotes of adults’ experiences. Real-life examples, sto-

ries, or pictures used to stimulate the physical processing of memory are most useful when they have direct associations with information already in the learner’s brain.

Joseph Allison is the director of bands and coordinator of Conducting Studies at Eastern Kentucky University. He is also a cofounder of The Marching Roundtable (www.marchingroundtable. com). Prior to these positions, Dr. Allison was the director of Bands and Orchestras at Sumter (S.C.) High School, where his program became the first internationally to be honored by the John Philip Sousa Foundation as laureates of both the Sudler Flag of Honor for concert excellence and the Sudler Shield for marching achievement. Allison maintains an active international schedule of clinics and adjudications in the concert, marching, and jazz activities. He can be reached directly at joe.allison@eku.edu or joe@ marchingroundtable.com

Erin Wehr currently teaches music education at the University of Iowa, and has also taught at Eastern Kentucky University and The University of Missouri. In addition, Ms. Wehr has directed elementary and secondary instrumental music programs in Iowa and Illinois, taught general music, and holds Orff certification. She has served as a clinician, adjudicator, and guest conductor for elementary and secondary music programs; drum and bugle corps; and adult and community music groups.

14 School Band and Orchestra, August 2011

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UpClose: David Willson

“I Won’t Give Up if You Don’t” Lessons on Conviction with Ole Miss’s David Willson

By Eliahu Sussman

J

ust about everyone involved in music can trace their career back to one decisive moment when something happened that made them realize that music would be a major part of their

lives. For educator, author and director of bands at the University of Mississippi, David Willson, that moment came as a high school band student, when he recognized the potential that music had to create a community where everyone could contribute and, what’s more, everyone’s contribution was necessary for the community. He saw that, “Without the band, I wasn’t much on my own; and without me, the band wasn’t as strong.”

18 School Band and Orchestra, August 2011

“I don’t give up on people, because nobody can predict if somebody’s going to flourish.”

School Band and Orchestra, Augsut 2011 19

For the past 36 years, professor Willson has been making music stronger throughout Mississippi and the Southeast United States, leaving an indelible mark first in the state’s public school systems, and then as the director of bands at his Alma Mater, Ole Miss. Willson estimates that he has over 120 former students of his teaching band in and around Mississippi. A colleague and recently appointed director of the Ole Miss marching band (and, of course, a former student of Willson’s) Dr. Bill DeJournett estimates that 85 to 90 percent of the band directors in Northern Mississippi have been directly influenced by Mr. Willson, either as his former students or through his mentorship.

Although David Willson’s legacy will undoubtedly be carried on through future generations of educators, he credits a grasp of the most basic fundamentals of teaching music for his success in the classroom: before students will learn, they have to want to learn. And it is up to the teacher to instill and foster the desire, confidence, and sense of community that will reward the students for those hours, days, and years of musical training.

In this recent SBO interview, David Willson talks about the critical issues facing music educators today, as well

The Pride of the South takes the field.

20 School Band and Orchestra, August 2011

as the key to thriving in an increasingly challenging profession.

School Band & Orchestra: Let’s talk about your early days in music education. What were some of the early experiences that got you hooked on teaching?

David Willson: When I went to do my student teaching, I was playing in a rock ‘n’ roll band and I had long hair. I had this huge inflated ego and I thought, “I don’t have to [teach], I’m just going to play.” So, I got to school and was asked to teach clarinet lessons. I had a tenth-grade student and I asked her the name of a note and how to finger it, and she knew, so I taught her the passage. Then, I was asked to go to the beginning band, where there were three little boys that had just gotten their instruments the night before (they all played trumpet, which is my instrument). They were about eleven years old. I remember asking them, “What’s the name of that note?” One the little boy looked at me and he said, and I quote, “I ‘o no.” “Like ‘I don’t know?’ I asked. “I ‘o no,” he said. And I thought, “Oh lord.” I asked, “How do you finger that note?” and he said, “I ‘o no.” “What is the name of the note?” I asked. “I ‘o no.” And then I thought, “Oh God, I’m not ready!” [laughs]

Right then and there, I became enamored with teaching music, even though I realized that I was not trained practically for beginner band. When I went back to school, I wrote my thesis on starting beginning band students. It was based on research and entirely academic.

It was not a very useful document!

Once I started teaching beginning band, I realized there was a lot more to it than just factual elements: it was about motivating the students to want to do it. You have to be able to keep 65 kids in one room with all the different instruments, understand the pacing, and know what you had to say each time you walked in that room. I was passionate about beginning band – I still am.

SBO: You went on to teach at all different levels – from middle school kids to university bands.

DW: That’s right. When I started out, I took over a band that had been defunct for about four years. I was embarrassed to wear my nametag at conventions because people made fun of it. But now I look back on my

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last 36 years of teaching, it was probably the best thing that could have happened to me because it forced me to learn how to teach people who had no clue about anything. I had to go out and get all the stands and chairs and other equipment. I then spent two years as junior high director at a fairly big program, and I learned a lot about what I liked and what I didn’t like about staff management.

Then, I moved to a pretty good-sized inner-city high school. The school was somewhat low-achieving academically but we a great program!

Those kids were so dedicated. Then I moved to an upper-middle class program outside of a metropolitan area in Jackson for six years, and it had totally different set of problems.

However, everything has its good and its bad. One thing I learned throughout that process is that a kid is a kid is a kid; you just have to find out how to push their buttons, motivate them, and let them enjoy what they’re doing.

SBO: Speaking of that “a kid is a kid is a kid,” do you think some of those basic tenants hold through in the university level as well, or is it a totally different approach from middle school through high school through university?

DW: Well, it may be a little bit different. For example, there are a lot of times when younger students can be shaped a bit more because their personalities haven’t been totally set, as they have in many cases by the time kids get into college.

When I was in ninth grade, I had a teacher stand up in front of the room on the first day of class and say, “You can get this if you want to, and if you don’t want to, that’s fine with me.”

And of course I didn’t get it, because she looked at me as that fat kid from a broken home that would be lucky to work at a service station. What I needed was the teacher who said, “You are going to get this even if hell freezes over. So get ready.” When I became a teacher, even teaching at the college level, when I see somebody that seems to be slipping, I immediately put my hand on their pulse and say, “Look, we are going to get 22 School Band and Orchestra, August 2011

after this. What’s it going to take? I won’t give up if you won’t!” I don’t give up on people, because nobody can predict when somebody is going to flourish.

SBO: Over your 36 years, do you think teaching music now is the same type of ballgame that it was when you started out? How have ensembles and music classrooms changed over the years?

DW: Teaching the instruments and providing the motivation is the same; the obstacles today are much harder. In the last 15 years, particularly, I’ve seen block scheduling come into play; we went from 20 Carnegie Units to graduate high school up to the 26 it is here now.

We have higher college requirements

in the math and sciences you have to take; the minimum standards for federal testing have to be passed, and when a school does well, they often have the kids take advanced courses.

When a school does poorly, they try to get all the low-scoring kids in remedial classes. With all those things coming into play, and with the upsurge in women’s sports, it’s hard to find a place for band in a student’s schedule. It used to be that a kid could take two or three activities; now it’s one, and sometimes with block scheduling, none. Along with the economy, all of that together is shaping the way we teach. Because of it, more band directors in the small schools are forced to teach general music or something other than band.

It’s a different day. We have to do a better job training our future educators to handle all of these obstacles, so that they don’t get burned out. Many kids enter into the classroom and they don’t have the tools to teach, especially when they’ve been taught by people that haven’t been in the real world, themselves. Then they get frustrated. The kids and administrators they deal with aren’t in this perfect, pristine environment, so they don’t have the chops to teach and they quit. Because of that, I try to stay in touch with my kids after they graduate. People in the music teaching business need to give more feedback to our teaching institutions about what training they need to be better prepared as a first year teacher.

SBO: In the face of late night or early morning rehearsals, fundraising, advocacy, and all of the logistical details that many people might not factor into a band’s director’s job requirements, what do you think the key is to avoiding burnout in this challenging career?

DW: Some of it has to do with becoming much more efficient. I learned early on that if I utilize every second of my band rehearsal, I could do a lot more in a lot less time. As an example when working with future music teachers, I used to get on the podium and say, “The first six minutes are the most important six or seven minutes in a day,” and we’d go through our six-minute warm-up. I’d have a list of goals written out, and sometimes I’d even give the students a copy of that list. They would see it, believe in it, and understand that they had to be efficient, number one.

They have to be well trained to teach those instruments – let’s say the beginner trombone, he tries to play and he can’t get a sound. Generally, we as trained professionals say, “Well, that kid just doesn’t have it,” but that’s not true. You have to learn how to teach that trombone 10 or 15 different ways. Then, the next thing is one must get mentoring. By the time you learn every fingering, try to organize the budget, do the inventory, and schedule a trip, you could be a brain surgeon. And brain surgeons go to college for four years and med school six, and then they intern six. And what we do is go to college and give a general education for four years and then we throw them into surgery and they’re just not ready. Mentoring is what saved me. I was lucky to have someone grab me without my knowing it and just help me so much. And I love my career.

SBO: Speaking of your career, let’s talk about Ole Miss. What do you think your impact has been on that program? Where have you come from and where do you see them in the immediate future?

DW: When I got here, the band was down to about 144 members and it had pretty low morale. It took

Dr. DeJournett on Mr. Willson’s Legacy Although Mr. Willson is still the director of bands at Ole Miss, in 2010, Dr. Bill DeJournett, a former student of Mr. Willson’s and later an assistant director at the university, was named the head director of “The Pride of the South,” the Rebel Marching Band. Dr. Dejournett shares some thoughts on David Willson’s influence and legacy.

I came to Ole Miss in 1995 as a doctoral student and had a graduate teaching assistantship working with the band. I had come from a very competitive drum corps background. I remember it clearly: I spent the first three or four weeks trying to wrap my head around Mr. Willson’s teaching approach because I’d never seen anyone approach teaching band quite like he did. It was totally different from anything I’d seen and I didn’t understand it at first. After about three weeks, the lightbulb went off and I said, “Aha! I get it!”

Mr. Willson is a teacher who breaks things down to the absolute, easiest-to-digest morsel. He’s very efficient. That was one of the things that really impressed me about his teaching during my early days with the marching band here. There was very little standing around or wasted time. He still does this to this day – he will not step onto the podium unless he has a detailed lesson plan, down to the second. And when I say “to the second,” I’m not exaggerating.

Also, he’s very student-centered. He’s as worried about the thirdpart clarinet player from Painted Post, Mississippi as he is about the first chair, all-state band trumpet player from the best program in the state. That has influenced my teaching immensely. I got to soak in everything that he did. I got to pick his brain about a lot of things. I listened to some recordings of his high school bands, and I quizzed him on how he did things. I played horn for him for two years and I was able to wrap a lot of his teaching up and put my own personal spin on them. When I finished up here, I got the job as the band director at the Colorado State University, where I was for three years.

When I told Mr. Willson that I got the job, he said that the number one thing I had to do was have my first band camp speech ready. He said, “I can dust off one of my old ones and you can fix it up however you want.” And that’s what he did. I modeled the band camp speech at Colorado State after the one he had given me, and when I got out there, I imagine it was like me coming to Ole Miss and seeing David Willson for the first time, they had never seen that approach before, so I think it took them by surprise. However, even though I was new and I was young, they immediately saw that I had a plan, a vision, and the roadmap to get us there. So they immediately piled on, and that made the transition there really smooth. I largely credit that to the speech I got from David Willson.

As far as my own teaching, on the one hand, I am a student of David Willson and he taught me much of what I know and have had success in applying. I don’t want to be a David Willson clone, but I also don’t want to stray too far from the way things have gone for the past 18 years.

David Willson’s greatest legacy is the literally hundreds of band directors who he has taught or mentored throughout his career. He has always responded to anyone who ever said, “Hey, I need some help. Will you come down to listen to my band and give me some pointers?” As far as students he’s taught directly, I’d say that probably 85 or 90 percent of the band directors in the northern half of the state of Mississippi were his students at one point or another. And that’s great because we are now able to pass on his teachings and the philosophy that he imparted upon us when were students to the next generation of music students and teachers.

School Band and Orchestra, Augsut 2011 23

me three years to change that, and it was much harder than I anticipated. I just kept telling them that they were important to the university and I tried to make rehearsals more efficient and fun. At the same time, I don’t tolerate much noise in rehearsal. The band started growing, and lately we have generally run between 260 and 288 members, and that’s at a relatively small division-one school. However, perhaps a more important number for me is the approximately 120 former students of mine who are practicing directors out there. My main focus these days is to train young band directors and to coach those out in the field.

SBO: For band directors around the country, if there was one thing you wish they knew that you think not enough people know, or if there was one thing you wish more people did better or differently or paid more attention to when they’re working with their ensembles, what would that be?

DW: A few things come to mind. The first one that I wish everybody in the band world did was to say why we want band in the community. Some people try to prove music trains one side of the brain and musicians have more math skills and they do better on tests, but the real reason that we want band in the community is for the citizenship that forms when people work closely with other people, and they work together on long-term goals. It takes years to develop those small muscles and lungs and toes and fingers to play at the level we ask them to play at in middle school or high school,

1 24 042911-FCS-general.indd School Band and Orchestra, August 2011

4/29/11 9:54:51 AM

Mr. Willson directs the Ole Miss Wind Ensemble.

People that work in close quarters with others over a long period of time are better prepared if they come from a band background. Basic skills are acquired over a long period of time, there is no magic pill that will teach one to play.

The next thing young teachers need to understand is that all students are human beings, and if they’re not doing what they need to do, the educators should look at themselves: they either didn’t teach what they were asked to do or properly motivate the students to do what was asked of them.

SBO: On that level, it’s really kind of a universal approach that would work anywhere, right?

and especially here at the university level, and with that citizenship, they have learned the benefits of delayed gratification. Band students know what it’s like to work the long haul.

Fund Raising

DW: That’s exactly right; there’s nothing different as far as teaching; educators have got to learn how to troubleshoot obstacles and teach hand positions and rhythm, that’s just fundamental stuff, and most of that can be taught or mentored. They can learn it.

If I can do it, anybody can do it.

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SBO: What about technology in the classroom now? Have integrated any new tools or software? What’s your impression of that whole revolution?

© Disney

DW: Well, let me tell you, I have trouble with Velcro, and you asked me about music technology. I’m the wrong person to ask.

SBO: You also represent a group of people who might not be so technologically inclined. Your opinion is valid, too.

DW: Oh yeah. It is efficient in some ways, like when a student can sit down and drill rhythms at home until they get them correct, and I appreciate that. However, if they were like me as a student and had obvious problems because they weren’t taught correctly, the students will get frustrated because they don’t have the endurance, and no one’s there since 1981 troubleshooting their tone quality, • Performance • Clinics pitch, or hand position. I used to Tours • Bowl Games hear all of my students play some• Festivals • International thing in high school bands, even the • Parades • Disney big bands, at least once everyone • Cruises Parks® nine weeks, and I was constantly looking at those things. SmartMusic and other tools might be helpful for those who are restricted on time, but Bob Rogers Travel is a proud member of ... somewhere along the way, you need to hear all those students play, watch Bob Rogers Travel is a proud member of ... them, and teach them.

I think it’s great to have the stuBob Rogers Travel is a proud member of ... dents come in and play for you inwww.bobrogerstravel.com stead of a machine. I really do. It builds a bond there, especially if (800) 373-1423 you let them know up front you’re not going to stammer at them, that you’re there to make them better.

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students. I always said, “I’m not going to make fun of you or scream at you.” One time, I had a student come in and who started to play something and she started shaking. I said, “Marsha, I’ve had you in my class for five years, why are you scared?” She answered, “Oh, I’m not scared. I just want to please you,” and boy, that was a definitive day. I learned a lot from that lesson.

Regarding technology, band directors have got to keep up. I know that. If I were comfortable with SmartMusic technology, I would use it to help them learn solos. I would use it to help them learn different passages of music, but at the same time, I would never forego having them play something for me directly.

The best thing I see that technology could do is help with mentoring. I have had directors send recordings over email to troubleshoot and even a couple marching videos. Soon we will be able to rehearse another person’s band from our own home computer.

SBO: What’s the most gratifying aspect of being a music educator?

DW: When I see my students do well in the classroom and onstage, it’s just heartwarming. I get more nervous going to band concerts and watching my students perform than when I used to be onstage. I don’t mind explaining that to you. I guess it’s kind of like having a parent who’s worried about their child passing an ACT or SAT test.

That’s the reward: seeing them really flourish and being more efficient at a young age then I was.

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SBOSurvey: Fundraising

Fundraising: Assessing Needs and Finding Methods that Work

I

n many schools across the country, budgets are still in flux as state bean-counters try to figure out which programs can be cut with less funding. What and which essential onesCompletely can survive different ballgame

Does your program participate in fundraising?

No 5%

16%

this means is that even if the worst of the economic downturn We have some new tools

is behind us, many school districts still have tough decisions 80% ahead hasn’t beenshow a significant of them. And yet, as true asThere ever, the must go on.

Yes

change in the tools we use

95%

4%

With school budgets on the chopping block, fundraising is now more crucial than ever, even as many parents, communities, and small businesses are themsleves facing continued financial hardship. When looking to generate the finances necessary to keeping a music program healthy and fully resourced, the key words seem to be “creativity” and “value.” This recent SBO survey aims to provide a clearer understanding of precisely which areas of band departments directors and boosters are hoping to bolster with fundraising, as well as the most effective methods of procuring precious monetary resources.

“Our budget is only $250 per year and we must do fundraising to survive. We Fewer annually 2% fundraise around $7,000.”

Marc Whitlock Discovery Middle School About the Same Canton, Mich.

34%

30 School Band and Orchestra, August 2011

More

64%

Other

95%

ne week

61%

Do you anticipate needing to raise more or fewer funds than last year?

What areas of your budget do you typically hope to cover through funds you raise?

Which of these campaigns have you found to be most effective?

Selling food/candy

hearsals

Fewer 36% 2%

ministrative tasks

formances

12%

Travel/Festival Costs

34%

22%

Music Purchases

About the Same

14%

Classroom Supplies

34%

14%

More

rching Band Show Design

her

7%

Yes

64%

10%

33% Selling goods/flowers

16% Providing services

13% Sponsorship opportunities

12%

Auxiliary Staffing/Clinicians

13%

Concerts/CDs

8%

New Instruments & Instrument Repair

8%

12%

Software/Technology

“While we have limited success with fundraising at this point, as our state funding dries up at an alarming rate, weTravel/Festival expect to Costs increase both our efforts and our success rate, as the community realizes our plight.”

Music Purchases Richard Miller 14% Hershey High School Classroom Supplies Hershey, Pa.

14%

“Pupil Foundation grant reductions Auxiliary Staffing/Clinicians from the state of Michigan will cause 13%the us to raise additional funds for New school Instruments & Instrument Repair 2011-2012 year.”

Jeffrey12% S. Cutter Cousino High School Software/Technology Warren, 9% Mich.

“OurUniforms district revised its fees policy, 9%harder to which has now made it even raise funds Otherfor our programs. Now we will be limited to specific 7% approved fundraiser companies to be used, as well as how booster organizations will be operated.”

Patrick Doerr Sweetwater High School National City, Calif.

Selling food/candy

“We must continue to seek out different ways to raise money. Our disSelling goods/flowers trict is 85 percent low income and our 16%If businesses are strapped for money. the priceProviding of gas services doesn’t go down, all travel will stop.”

13% Jimmie Exline Sponsorship opportunities Seminole High School 12% Texas Seminole, Concerts/CDs

8% Grants/endowments

6%

Uniforms

9%

Grants/endowments

6%

Other

12%

9%

Other

22%

7%

“Private Lesson Scholarships are a big expense covered through fundraising. We also spend a large amount Selling food/candy on clinicians.”

33% Leigh Ann McClain Selling goods/flowers Griffin Middle School 16% The Colony, Texas Providing services

“The band students 13% fundraise to help pay for the marching band show Sponsorship opportunities music and drill. Neither of these ex12%by the school dispenses are covered Concerts/CDs trict.”

8% Stephen Winters Grants/endowments Poplar Bluff High School 6% Poplar Bluff, Mo. Other

“Our school12% system does budget some money for New Instruments and Instrument Repair, Music Purchases, and Software/Technology.

However, budget cuts have decreased that amount.

33% Fundraising must make up the difference or we do without.”

John Cooper Austin High School Decatur, Ala.

“We sell smoked pork butts! In the South, that is what most BBQ restaurants use for their pork sandwiches.

We make slightly over 50 percent profit on each butt. It is one of the easiest things we do but we try not to do it too often - we want our supporters to be waiting for the next sale, not dreading it.”

Joe Trusty Cabot High School Cabot, Ark. “We’ve discovered that we can get a lot more donations if we give our patrons very specific goals (for example, how much we need to raise for a certain large purchase). We also now print all donors’ names in the concert programs, no matter the donation amount, and we don’t list the amount.

This implies that no donation is too small!”

Wendy Morton Prairie Creek Intermediate Cedar Rapids, Iowa “We do year-around fund raising for our band program with our booster organization. We have a marching band invitational, beef raffle sale, Kraft Foods picnic, and a Reverse Raffle as our biggest fundraisers.”

Michael Cary East Noble High School Fort Wayne, Ind. School Band and Orchestra, August 2011 31

Do you have any creative or unique fundraising methods that you’d like to share?

“You must involve your band parents and the community. It is also essential to keep looking for new and creative ideas. It seems that when we find something that works, such as raffling off a car or ATV, some other campus group will immediately copy the idea. Also, for the long term it is essential that you treat the local business community as a partner. So many school and community groups come through their front door asking for funds and other donations that they become gun shy. We always make sure we buy locally if at all possible and pay for the things that we raffle.”

Walt Lovell Elko High School Elko, Nev. “We will be making Christmas ornaments with pine cones and felt to look like our marching uniforms. This was done about 28 years ago, and was very successful, so we are going to try it again.”

Kim Johns Amery Middle School Amery, Wis. “I’ve had very good success with fundraisers that the students are directly involved in. Dinner concerts, student auctions (where students volunteer to do chores or tutor) and having sections make gift baskets work best for our program compared to selling candy or wrapping paper.”

Brian Gallagher Chino Hills High School Chino Hills, Calif.

“We have a unique community event, our Pumpkin Patch that we sponsor which raises about $15,000 worth of revenue. Our second largescale fundraiser, ‘Music to the Eyes,’ turns unusable instruments into artwork.

That fundraiser generates $3,000-$5,000 of revenue.”

Desiree Overree Seven Lakes High School Katy, Texas 32 School Band and Orchestra, August 2011

Additional thoughts on fundraising?

“I think it’s ridiculous that any Band or Orchestra program has to participate in fundraising just to survive (as in: fundraising is necessary to replace lack of support from the district). If a school wants to engage in fundraising to raise money to go to Disneyland, then fine. But no school should have to sell stale chocolate in order to have the money to have a school music program.”

Steven Smith Carson Middle School Tucson, Ariz.

“In our small town we have to be very careful and select with our fundraising. There are so many activities

between the schools, dance studios, 4-H, et cetera. that the community gets pretty sick of them. At our school we can only have one fundraiser a year so we have to make it a good one.”

Hugh Grubbs Graham Junior High School Graham, Texas “Not too many other curricular content areas spend time worrying about fundraising, but that is the row we hoe. As the artistic PR firm of our schools, we subtly remind them of the giant amount of work we do before, after and during our concerts, athletic events, community performances and assemblies to make our community better.”

Jason Lowe Beal City Schools Mt Pleasant, Mich.

Fundraising Tips from Earl W. McConnell

As far as fundraising goes, the fewer you do, the better! If you can focus on one or two well received projects that are of quality and affordable to the public, you will generate more funds and be less of a nuisance to your community.

Twice a year, the band kids sell top-quality California citrus, resulting in nearly 160,000 pounds pre-sold and netting a profit of nearly $60,000 annually. The other fundraiser we do is more fun.

The final football game of the season is an intra-city clash, which is now deemed the longest-running rivalry in the state of West Virginia. 35 years ago, I came up with the idea of purchasing a full-page ad in our local paper, appearing the day of the big game. Band students were asked to sell Booster Names at $2 per individual name. They could also sell a $10-business ad (using only the name of company) that would be printed in a separate column using bold, caps so as stand out on the page. Each student was asked to sell 15 $2-individual names and two $10-business ads for a total of $50 per student.

With nearly 200 students participating in the project, and many students selling beyond the minimum requirements, the band accomplished two major things: Profit for the organization was a quick $10,000.00!

The page also consisted of full-color photos highlighting the band’s most recent performances, both locally and of the previous spring’s out-of-town tours (Washington, D.C., Disney World, New York City, and so on).

Over the years, the paper even allowed us not only the one page, but agreed to a double page pullout “tab” that became an “insert” in the newspaper, with full -color photos on both front and back.

To cover the printing costs, 24 local advertisers paid $100 each for a 2” x 4” block ad at the bottom of each page featuring their business name and logos, with the $2,400 covering the newspaper’s printing cost of the tab. Through the past 30-plus years, the page became quite a conversation piece, as band supporters would bring their copy of the Ad Page to the cross-town rival evening football game to show their support for the band. And, the $100-per-block advertisers enjoyed the benefit of nearly 35,000 subscribers reading about the accomplishments of the group of the past year and showing their support for the band.

For a look at last fall’s publication, visit www.busybeeband.com and scroll down to the pdf of the fou- page advertising tab. Once you click on the page, it will enlarge enough to show you the layout process for photos, individual names, individual business names, as well as the $100-block advertisers. This has been a great way to showcase our group, gain publicity, and create a unique fund-raiser.

Between the two projects we do, the annual revenue of $70,000.00 makes for a stable annual income for our program..

Earl W. McConnell East Fairmont High School (Ret.) Fairmont, W.V.

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SBOPerformance: Intonation

Turn Offfor better the ensemble Tunerintonation

By Si Millican

A

dvances in electronics and the miniaturization of the gadgets that musicians use in performance and practice have contributed to a flood of new devices de-

signed to help performers play in tune, but do they actually lead to better ensemble intonation?

What does playing “in tune” really mean? What skills come into play to help students learn to perform in tune? And what resources are available to help our students learn to play with better intonation?

34 School Band and Orchestra, August 2011

What does playing in tune really mean?

When we consider accurate ensemble intonation, we really are talking about two different skills. First of all we need to be able to match the notes that we play with the notes that others are producing. Technically speaking, when two notes of the same pitch are played together, their frequencies need to match acoustically.

In addition to matching unison notes within the ensemble, we need to consider how the notes we play fit into the chords being played by the group.

Don’t make waves: Beat-less tuning Let’s consider first the skill of matching the pitch of two or more unison notes.

Technically, playing in tune means producing a pitch that matches the frequency, measured in vibrations per second, of another pitch. For instance, if I play a second-space A in the treble clef on my flute, and the sound from my instrument vibrates the air molecules surrounding my instrument at exactly 440 vibrations per second, I will be “in tune” with my desktop tuner (as long as it is calibrated to the standard orchestral pitch of A = 440 vibrations per second). However if I play my excruciatingly calibrated A with my fellow flutists in an ensemble sitting under hot stage lights, and they are playing an A which vibrates at 443 beats per second, I might sound very flat (all things being equal, warmer temperatures tend to make wind instruments go sharp while string and percussion instruments go flat). Clearly in this case, even though I have stopped the needle on my tuner, I am not in tune with my section, and I will most likely feel the wrath of my conductor or section leader.

A more practical definition of playing in tune involves the concept of “beat-less tuning.” Beat-less tuning involves the elimination of acoustic waves produced when the frequencies of two pitches do not align. Figure 1 illustrates two simplified sound waves played together (note: sound waves don’t really look like this, but this is an accurate model of how frequency – pitch, represented on the x axis – interacts with amplitude – volume, represented on the y axis). Player One plays a third-space C in the treble clef while Player Two plays the same note. The sound waves of both players are added together resulting in a noticeably louder composite sound made up of both players’ individual sounds.

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Consider next an example of players whose notes do not match (illustrated in Figure 2). In this example, Player Two plays a note whose frequency is slightly

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higher in pitch (faster frequency). The two waves are added together again, but since the waves do not align, some of the sound waves reinforce each other while others actually cancel out the sound of the other wave. The resulting sound is not uniformly louder as it is when both players match frequencies exactly. In this case, the listener perceives the fluctuations in the loudness of the sound as “beats.” The faster the beats, the further apart the two players are pitch-wise. Slower beats indicate two players who are more “in tune” with each other. Our goal then is to match frequencies by eliminating beats in the sound.

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Ensemble intonation also involves the skill of fitting individual notes into chords. In order to do this, the performers must consider the pitch tendencies of the harmonic series. Musicians in the Western world have been struggling for centuries to develop a system where notes sound in tune across a wide variety of key signatures. In the 18th century musicians settled on a system of tempered intonation called Equal Temperament, in which certain notes are purposefully detuned to make playing in every key possible. This remains the standard pitch reference, and modern pianos, organs, keyboard percussion instruments, and most electronic tuners are calibrated using this system.

Performers on wind instruments have the flexibility to consider another option: adjust individual pitches to fit within a particular key so that no beats occur. Using this system, known as Just or Pure Intonation, performers adjust the frequencies of individual pitches to match notes in the harmonic series of the key in which they are playing.

The harmonic series is the series of overtones that are produced whenever any pitched instrument plays a note.

For example, imagine that I play G on the first line of the bass clef. When that pitch sounds, it produces the overtones shown in Figure 3. The relative loudness and softness of the overtones above the fundamental pitch contributes to what listeners perceive as the timbre of the sound.

Figure 3.

These overtones have a strict mathematical relationship to each other that was first described by Pythagoras in the fifth-century BC, and do not match our modern system of equal temperament. The third and sixth partials sound slightly sharp when compared to a piano or tuner. The fifth partial sounds very flat when compared to a pitch generated by a tuner.

This presents a problem when we try to play chords in an ensemble because each note we play needs to match the overtones of the other instruments. If we play the notes exactly “in tune” with the tuner, they will produce beats if they do not match the overtones produced by the other performers.

Let’s use, as an example, a brass quintet playing an A-flat major chord.

Figure 4 shows a typical scoring for this chord. If the tuba player plays the root, then his instrument will also

Figure 4.

produce the overtones shown in Figure 5. In order to match the natural pitch tendencies of these overtones, the horn player will need to play her (sounding pitch) E-flat slightly sharp.

The first trumpet will need to play her (sounding pitch) C very flat in order to match the overtones produced by the tuba. If the horn and first-trumpet players do not make adjustments, if they play their notes “in tune” with a standard tuner, then beats will be heard as their notes fail to align with the overtones produced by the tuba player. When these players do make adjustments, their sounds blend perfectly with the overtones produced by the tuba reinforcing the volume of the overtones produced by each instrument resulting in what the audience perceives as a louder, “ringing” tone.

Turn the tuner off ? Developing ensemble intonation skills So why would we turn off the tuner to help our students play with better ensemble intonation? Relying on a visual pitch reference such as a tuner, or trusting the conductor to inform students of their pitch inaccuracies each fails to develop the aural skills performers need in order to

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play and adjust their pitch in performance. Playing in tune with others is an aural skill that involves eliminating beats by matching the frequencies of the notes and overtones others in our ensemble play. Stopping the needle on a tuner is mostly a visual skill that involves stopping a needle or lighting up a light that, as we have discovered in our chord tuning discussion earlier, may or may not actually reflect the aural reality of performing “in tune” by eliminating beats.

Rather than relying on a visual reference help performers determine whether or not they are in tune, ensemble directors should strive to give students the physical and aural skills necessary to adjust their pitch and provide reliable pitch references so that the individual players can adjust their pitch to eliminate beats. Following are some suggestions to help your students develop those skills.

• Begin by teaching your students how to adjust their embouchures to match pitch. Have your students perform a comfortable unison pitch and then, on your signal, lower the pitch using only their embouchures. On your signal, have students return to the original, centered pitch. Next have students move higher than center then return. Many times the return to the center pitch will be much more centered because students are listening more carefully. With practice, your students will be able to bend their notes further in each direction and will begin to settle into a fairly stable pitch center.

• Teach your students to eliminate beats while playing unisons and octaves. Provide your students with a reliable pitch reference and have them try to eliminate the beats as they play. This pitch reference can be an audible tuner or a reliable player in the ensemble. Remember to use an audible pitch source rather than a visual tuner. Start with small groups or in section rehearsals

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to keep students engaged and so that students can hear each other as they develop their ears. Keep the group active by asking nonperforming students to evaluate other performers; often it is easier to hear if other people are out of tune than it is to hear yourself as you play.

• Work on chord tuning. Play a reliable pitch reference to serve as the “root” or “tonic.” Next add students playing the fifth of the chord above tonic. The fifth will be slightly sharp when compared to the tuner, but most students will automatically make this adjustment by using the beat-elimination skills they developed earlier as they matched unisons. Once performers are comfortable making adjustments in order to eliminate beats, they will easily apply this skill to chord tuning. Add the third of the chord last. This pitch will appear considerably flat on the tuner when the beats are eliminated.

• Apply these skills to musical contexts. Continue working on chord studies and chorales to help students develop their ears. Stop on long notes and select individual players and sections to help them isolate and adjust their individual sounds. Begin to wean your performers from the electronic pitch reference as they begin to adjust to each other.

Tools of the Trade – Resources for Developing Intonation Skills There are several resources that help ensembles develop the physical and aural skills required to play in tune. The Yamaha HD-200 Harmony Director keyboard can be adjusted so that it plays notes using just intonation in any major or minor key. The keyboard will follow your input and automatically switch to the major or minor key you play on the keyboard. There are also sev-

eral tuning CDs available that play pure fifths in every key. These can be invaluable aids for individuals, sections, or full ensembles as they work to develop their listening and matching skills. Simply select a CD track in the desired range and key, and have your students play scales, chords, or melodic lines with the CD tracks as they try to eliminate beats.

Visual tuners can serve as valuable aids in instruction. If directors or performers cannot hear if particular performers are sharp or flat, a quick glance at the needle or dial can help resolve the confusion. The visual reference can also serve as a helpful training aid. Having students “stop the tuner” can be a fun game as they develop their aural skills, but directors must remember that great tuning is developed by students’ work in developing skills of adjusting based on eliminating beats.

Si Millican teaches courses in Instrumental Music Education at the University of Texas at San Antonio. For 13 years prior to his university work, Dr. Millican was a public school teacher in Texas in the Arlington, Lewisville, and Belton school districts, teaching at both the high-school and middle-school levels. While at Lamar Middle School, the Symphonic Band was a Texas State Honor Band finalist twice. At Belton High School, the Marching 100 advanced to the State Marching Contest twice and finished as high as sixth place in class 4A. Dr. Millican remains an active clinician and adjudicator across the state of Texas and is on the Active Concert Band list of the Texas Music Adjudicators Association. He remains an active arranger for concert and marching band through his company North Music, LLC – www.NorthMusicOnline.com.

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SBOStaff Selections

Advanced Works For Concert Band

by Vince corozine

S

earching for music that is appropriate for advanced concert bands and wind symphonies can be a daunting task.

The selection of pieces to be performed is entirely subjective and reflects the taste of the director. In addition, the process of finding suitable music involves a great deal of time and intensive score study on part of the conductor in order to determine which compositions best fit a particular musical group.

These six compositions at the grade five and six level of difficulty should be in the music library of every advanced band program. The review includes an overture, suites, a tone poem, and a symphony. All are selections that will challenge even the best performers.

Visit SBO online at www.sbomagazine.com for previews of these pieces, as well as direct links to publisher websites.

42 School Band and Orchestra, August 2011

Pageant by Vincent Persichetti (Carl Fischer) Grade: 5 Duration 7:00 “Pageant” is a rhythmically exciting

ments (terraced dynamics) are added to produce a strong, resonant sonority.

The second section is faster, in allabreve meter, and the antiphonal writing between instrumental sections is quite exciting. Dynamic contrasts are very critical and should be carefully observed in order to maximize the intended musical effect.

The heavy and vigorous lines that are played with animated urgency bring forth a stirring musical composition. “Pageant” is a very musical and excellent performance piece for band.

Overture to Candide by Leonard Bernstein, transcribed by Clare Grundman (Boosey Hawkes, dist. by Hal Leonard) composition that employs a lot of imitation and overlapping of musical lines and phrases (elisions).

The piece begins with a slow chorale where a solo French horn expresses a mournful three-note theme, which the clarinets immediately echo. The music builds as more and more instru-

Grade: 6 “Candide” is a comic operetta composed in 1955-56 by Leonard Bernstein. It is a text based on a play of the same name by Voltaire.

This piece is in sonata form and will make an outstanding number for a concert. Its terse and mocking lyricism is evident throughout the composi-

tion. Themes are tossed about between instruments and between sections as rhythmic interest is sustained through the use of antiphonal entrances. The piece should be performed with a flair of gusto and with panache.

A poignant lyrical theme provides contrast with the mischievous-sounding themes that precede it. The composer employs the use of asymmetrical phrasing through numerous meter changes between alla breve and 3-2 meters. The themes are developed primarily through the use of changes in instrumental coloring and alternation of tone colors.

This musically rich work has variety, a sense of development, and an intensity that makes it a must-have for band directors.

Third Symphony by James Barnes, Op. 89 (Southern Music Company) Grade: 6 Duration: 38:00 This lengthy but mature composition was commissioned by the United States

School Band and Orchestra, August 2011 43

Air Force Band in Washington, D.C. and deserves to be performed by highly proficient bands and wind ensembles.

I. The opening lento section, in C minor, is a modified sonata form with an extended coda. The opening theme is introduced by a doleful statement by the tuba. Long phrases and extended transitions between themes are expected in a work of this magnitude.

Some of the more unusual instruments that are required for this dra-

44 School Band and Orchestra, August 2011

matic composition are: alto flute, contrabassoon, contra-alto clarinet, contra bass clarinet, soprano saxophone, two flugelhorns, harp, synthesizer (piano and celesta), English horn, vibraphone, piccolo snare drum, field drums, and numerous assorted percussion instruments.

The woodwinds passages are quite demanding. Due to the constancy of some of the quick-moving scale passages, there is little opportunity to

breathe between phrases. This can be alleviated through the use of staggered breathing within each section. The composer cleverly makes use of contrary moving lines in the quick-moving woodwind passages.

II. Scherzo in A-B-A form is in the subdominant of F minor. The outer “A” sections are scored for woodwinds and percussion, with the “B” section scored for muted brass. Both themes return scored for the full ensemble at the end of the movement. The mood is playful and eccentric -sounding, while at the same time evoking sarcasm and bitter sweetness. This movement employs some rather unusual combinations of instruments paired in duet. An extended solo by the bass clarinet and baritone saxophone is accompanied by three bassoons, and a double bass, bass clarinet, and piccolo solo creates an unusual but quite distinctive sound.

The composer makes good use of the saxophone section for background parts, as well as employing clever percussion effects.

III. Mesto, a fantasia in D flat in the form A-B-C-A-B-C-Coda. It introduces themes that produce a pensive, melancholy feeling. The haunting musical lines effectively bring forth the beauty and sonority of the ensemble at its best, while the lyrical horn lines infuse the score with tenderness and resonance. The use of the celesta, vibraphone, and crotales makes for an fascinating combination of sounds, as does the combinations of English horn and oboe, a duet using two bassoons, an alto flute solo with low woodwinds, and a musical dialogue featuring the soprano and alto saxophones. The contrapuntal writing is very effective.

The movement ends on a dark and menacing chord.

IV. The Finale: Allegro Giocoso in C major is in a brisk 6/8 meter, and is again in sonata form. This last movement employs vigorous, energetic rhythms that make use of imitation of rhythmic motives that propel the piece to a thrilling conclusion. The first theme is stated by the horns, and the second theme is based on an old Lutheran children’s hymn called “I Am Jesus’ Little Lamb.” The woodwind writing is reminiscent of composer

Richard Strauss’ composition, Til Eulenspiegel.

This mature symphony should be considered for performance due to its musical themes, masterful scoring, and variety of sounds.

Pacific Celebration Suite by Roger Nixon (Neil A. Kjos)

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Grade: 6 Duration: 14:30 “Pacific Celebration Suite” embodies imagery related to the Spanish territories formerly established in California. In a sense, the work might be considered a tonal fresco. This concept is similar to that of the tone poem or the music drama in that some of the musical ideas have extra-musical connotations. It is impressionistic in that it creates descriptive impressions rather than a story.

I. Parade in alla breve meter is a fanfare-march which embodies some of the imagery and spirit of the San Fransisco Presidio, with soldiers, horses and weapons on parade, during the

old Spanish days of California. The composer makes good use of the combination of woodwinds with French horns. This is a very forceful, vigorous section employing considerable antiphonal passages between sections.

II. Prayer is written in 6/4 meter and uses long phrases. These phrases reflect the prayerful meditation within the sanctuary of Mission Dolores.

The tonal palette is varied during this short movement through the use of exotic percussion instruments such as the celesta, triangle, chimes, glockenspiel, and vibraphone, which evoke a dream-like atmosphere.

III. Pageant includes Spanish conquistador soldiers riding and marching, children playing in the pueblo of Yerba Buena, lovely senoritas and senoras, horsemen and more. Extensive thematic metamorphosis and variation techniques are employed within a formal outline of a variant of the rondo.

The thematic ideas and motives are found in considerable number of musical contexts. The movement culmi-

nates in a cumulative gesture of energetic triumph.

This musical texture is reminiscent of the chordal textures used by Sergi Prokofiev, while the woodwind transparent scoring is reminiscent of the music of Maurice Ravel. The piece concludes with a lively, enthusiastic ending.

Dragon Rhyme by Chen Yi (Carl Fischer and Theodore Presser) Grade: 6 Duration: 16:00 “Dragon Rhyme,” a piece in two movements, brings forth a freshness of sound and the absence of musical cliches. The motifs are economically developed throughout the work. Featuring the basic intervals found in Bejing Opera music, the thematic material in both movements is matched, and used economically for development throughout the work. The instrumental texture is rich in colors, transparent and delicate. Taking the image of the dragon, which is auspicious, fresh, and

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vivid, the music is layered and multidimensional. It symbolizes Eastern culture I. “Mysteriously-Harmoniously”: The first movement is lyrical, with the harp adding rich colors to the ensemble. This movement is almost pointilistic in nature as the motives are tossed around between instruments and among sections of the ensemble. The trumpets are muted with cup mutes for most of this movement and the horns are effectively used in pedal cluster chords. The swirling scale passages in the upper woodwinds produce a demanding palette of impressionistic color. The tempos remains the same throughout (quarter note =84) while the orchestration is cleverly varied from the use of the full saxophone section to the use of sporadic woodwind figurations that meld together to form an impressionistic hue.

II. “Energetically” makes a powerful statement with its angular and assertive writing. The tempo begins at (quarter note =63). An extended section featuring the percussion section leads to a faster section (quarter note=144).

Pedal-tone cluster chords in the horns and saxophone section form the foundation for this movement. The rhythmic complexity, the demands on the tessitura of the brass section and the rapid articulation makes this piece a challenging one to play for even mature bands.

This impressionistic tone poem is deserving of performance. It is an extraordinary, contemporary-sounding composition with challenging rhythmic interplay. With its oriental atmosphere, pointilistic writing, intense tonal clusters,

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and powerful pedal points, this piece will create a musically unique atmosphere at a concert.

Symphonic Jazz Suite by Frank Bencriscutto (Neil A. Kjos) Grade: 5+ Duration: 21:00 “Symphonic Jazz Suite” is a composition for jazz soloists, jazz-rock combo, and concert band. It integrates the intimacy and improvisational possibilities of the small group with the coloristic variety and bigger sound of the large ensemble.

A rhythm section plus a principal soloist or soloists comprise the Jazz Combo. Combo parts are written for: piano, electric bass, alto saxophone, and trumpet. One may combine two soloists such as the alto saxophone and the trumpet. Soloists are provided with an opportunity to improvise through the use of both notated solos and chords.

I. Blues – The piece begins at a fairly rapid pace, quarter note = 208. The musical themes are reminiscent of those written by Henry Mancini in the 1960s. This movement opens with the rhythm section and low brass leading to legato lines played by the upper woodwinds, with the unison horns playing filler figures. The movement builds to the solo section, which may be “opened up” for various soloists. A quick modulation is followed by a strong ending.

II. Ballad-Rock – The vibraphone and assorted percussion instruments are included in this movement. Here the jazz combo is featured. The movement suddenly begins a new section with a rock beat, which seems out of place in this movement, but could work if the drummer plays with sensitivity and avoids overplaying and dominating the ensemble. Playing at a softer dynamic level would help this section to be played more musically. Perhaps performing this movement with a modified Latin-rock beat would provide more interest.

III. Progressive Jazz – This section features the jazz combo with riffs played by the brass section. The movement gets quite busy-sounding and then opens up for individual solos. An attempt should be made to get this piece to “groove” or to get into a “pocket” where the rhythm can coordinate and play together in a way that propels the entire ensemble.

This piece is excellent for providing the band with a jazz-related piece of music. It will offer the band a chance to improvise, to play in a combo, to play along with a rhythm section and to experience three styles of jazz.

Vince Corozine has served as director of Music for the Peekskill, New York City schools, associate professor of Music at the King’s College in Briarcliff Manor, N.Y., and director of Music Industry Studies at Elizabeth City State University in Elizabeth City, N.C. He performed and arranged for the USMA Band at West Point and served as music director for the annual Thanksgiving Day Parade in Philadelphia, Pa. for WPVI-TV (ABC-Disney) for 10 years.

Vince is the author of Arranging Music for the Real World, (Mel Bay). He records professionally in New York, Toronto, Philadelphia, Hong Kong and China, and currently teaches 12 music arranging courses online. www.vincecorozine.com

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SBOTechnology

Reality TV:

Using Portable Digital Video Recorders

By John Kuzmich, Jr.

E

ver walked by a mirror or big store window and not looked at yourself? There’s more than just good looks in that reflection. Stimulation, motivation, analysis, curiosity, truth… all this

and more comes to life when teachers bring camera recording technology into their classroom instruction.

Talk about exciting reality television!

“The camera is idiot proof, anyone can record – even me!”

48 School Band and Orchestra, August 2011

Camcorders have come a long way from previous bulky, analog units. Nowadays, digital cameras easily fit into the palm of your hand, and their digital capabilities provide superior audio and video quality.

Analog camcorder models have all but disappeared now that digital camcorders offer so many more options than simply playing videos back on a TV. Users can edit and embellish videos on a computer, then play productions on a DVD, Blu-ray player, PC, or handheld device.

You can also e-mail recordings or upload video clips to sites like YouTube. Many video editing software suites also let you combine your video with digital stills, graphics and text, expanding the creative possibilities.

Most digital camcorders are quite compact, weighing about one pound, with the smallest to a half a pound. In the past, camcorders stored video on mini tape cassettes and DVDs. Today, we have choices: internal hard drives, on-board flash-memory similar to what you find on MP3 players, or removable flash-memory cards like those used in a digital camera are the most common formats.

Now we even have pocket camcorders or Flip cameras available which are less expensive and weigh only a few ounces. These typically have very simple interfaces and are easy to use as a cell phone. In fact, some of them are available with both HD (high definition) and SD (standard-definition) options. Their video quality may be a bit lower than full-size SD camcorder with fewer features. High-definition video or HD video refers to any video system of higher resolution than standarddefinition (SD) video of 720 pixels × 480 lines, and most commonly involves display resolutions of 1,280×720 pixels (720p) or 1,920×1,080 pixels (1080i/1080p).

Using Video in the Music Classroom Alicia Belgiovane, an elementary/ middle school vocal teacher in Gunnison, Colorado, uses her Flip camera to make a difference in her teaching.

She discovered how to use video photography to bring greater success to her teaching. “I have used my camera to record concerts, contest, and most importantly, classroom rehearsals. We can immediately watch the performance on our computer/screen. It only takes a minute to connect the flash drive to the computer and download the performance. The immediate feedback for my students makes both teaching and learning more fun and enjoyable.”

Interestingly, Alicia’s principal originally purchased a few of these cameras for teacher use; and, it was the P.E., Drama, and Math teachers who used them the most.

Alicia continues, “It is especially beneficial to record the students in the two weeks prior to a concert. At this point I am focusing on stage presence and musicality in the performance.

Watching their performances and immediately critiquing it is critical and very meaningful. The dialogue from the students lets me know that they understand the musical concepts we have been addressing all year! My suggestion is purchase the Flip with the two-hour memory ability. I bought the one-hour Flip camera and regret not having the larger video capacity. The camera is

idiot proof, anyone can record – even me!”

You can see a sample of how her groups have benefitted from the Flip camera in this article’s web supplement, which can be found at www. kuzmich.com/SBO082011.html.

Bergenfield High School Jeff Brown at Bergenfield High School in Bergenfield, New Jersey reg-

ularly incorporates video technology. “I use my Flip Ultra HD camera as often as I see fit. This usually comes out to about every other week or so. I use it on two fronts. The first is to provide aural and visual feedback to the students. The second is to critique my own conducting and rehearsal management skills. In both situations, the Flip cam is essential. I try to use the camera during the early stages of a piece that we are working on. That way, the students

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can later assess their progress. I believe it is vital for the students to be able to acknowledge their own improvement and to show how hard work can pay off.

“The Flip cam always comes out during our dress rehearsals in the auditorium. Since we do not have the luxury of utilizing the concert space every day, adjusting to the acoustical properties can sometimes prove

challenging. I typically set up the Flip camera on a small, flexible tripod towards the back center of the audience. This allows us to gauge how much of the sound is actually being carried throughout the hall. From there we can adjust dynamics, articulations, and the seating arrangement of the ensemble.

“The camera also helps drive certain concepts home to the students. We talk

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a lot about posture and how it affects sound but until they see themselves slouching, they never really get it. The camera is great for the most extreme cases.

“On a personal level, I occasionally turn the camera on myself to improve what I do on and off the podium. Whether I am encountering issues in regards to clarity of instructions, conducting problems, or classroom management, the Flip camera captures it all. I can sit down and mark down how much time is spent playing vs. verbal instruction. As passionate teachers, we sometimes become too engrossed in the explanation and we forget that the students are there to make music. This has helped me get over many slumps in the preparation of a piece.

“As for actual concerts, I try to set up the Flip camera on myself from somewhere downstage (again, for self-evaluation.) At Bergenfield, we are fortunate to have an excellent TV production program run by Ms. Ashley Carr. Every performance held at the high school and middle school is recorded using a state of the art camera and transferred to DVD within a week. Once the DVDs are in, we spend an entire class period watching, analyzing, and critiquing our performances. This self-reflection is an irreplaceable tool in the educational process. For analysis, we do a verbal critique in class rather than in written form. We get good participation in our large group discussion.”

Evergreen High School Wiley Cruse uses instructional video in his music classroom at Evergreen High School in Evergreen, Colorado because, as he says, “Seeing is believing.” “With video playback of my students’ rehearsals and performances,” Wiley notes, “ I’ve found my students retain more information, understand concepts more rapidly, and are more enthusiastic about what they are learning.

You will often see one of my staff or myself with a video recorder in hand during every one of my marching band rehearsals on the field. This has become a valuable education re-

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source used in conjunction with my SmartBoard for refining students’ marching band visual technique.

Here’s a trick that I learned to do with my huge new 80” SmartBoard, which was grant funded by my wonderful principal, Mr. Walsh, who is a strong proponent of technology integration for student success in our high school classrooms. My drill writer, Craig Sellers, uses Pyware 3D to write the drill for our marching show. I use Mr. Sellers’ Pyware 3D drill animation split screen with portions of the video recorded during

rehearsals to show the big picture to my students plus zoomed-in aspects of drill shapes, intervals, and so on.

Students see what their drill writer envisioned right beside what they are actually producing on the marching band field. The result is much cleaner drill much sooner in the season.

The integration of video technology into my curriculum during marching band season has resulted in rehearsals that are very productive, I know my students understand what is asked of them by my staff and I, which leads to greater learner suc-

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cess on and off the marching band field. I highly recommend integrating video technology.”

What do students say about video technology in their classroom instruction? Michael Guest, a marching band student at Evergreen High School reflected on his experience with this new technology. “Seeing the show from a judge’s perspective helps me know what they actually are actually seeing and I am better able to fix any visual or marching problem that I see. I can detect wrong notes or any sections in the music that require more attention. Watching previous concerts gives me a different perspective of how I sound with the rest of the group, while also gaining a better understanding of how the music flows.”

A Few Popular Pocket Cams The Flip Ultra HD video camera was the first miniature camcorder with HD resolution to raise the curtain on quick and easy videos for teachers. There are basically three models to select from that record between 1 to 4 hours at store.theflip. com/en-us/. For the money and size, the Flip cameras and the Samsung HMX-E10 are simple and ready to use right out of the box. They produce decent videos with 720p picture quality with good color reproduction and work well in a variety of lighting situations, including low light environments. Best of all, they’re very affordable. There are some drawbacks for the Flip camera: no removable storage with fixed memory, no external microphone input for shot-gun coverage, no macro mode and no 1080p for the ultimate in video resolution. The Flip is a simple video camera with a 2X digital zoom and a HDIM output that is conveniently equipped with a miniHDMI to HDMI cable that can be plugged into a high definition TV for instant viewing. It gives smooth video and no blurs with its 720p@60 frames a second.

The Samsung HMX-E1 1080P HP Pocket camcorder is priced similarly to

the Flip camera but offers more features. It has swivel lens built into the top of the camera that rotates 270 degrees. This gives you more flexibility and lets you shoot the perfect angle every time. This Samsung unit also offers a touchscreen that navigates much like a smartphone, with an intuitive user-interface so you can concentrate on your subject and not on a bunch of buttons and knobs. It has the same sharp picture and rich colors you see in high definition movies with whooping 1280 X 720 pixels.

Don’t need a USB cable to connect as it has a handy USB arm built-in into the bottom of the camcorder so you can easily transfer videos to your notebook to edit and share. It offers plug-and-play portability so you can view, edit, manage and upload from anywhere. It even has features like a smart filter that shrinks your subjects, a vignette filter that fades the edges, as well as a defog for autocorrecting haze and improving clarity. The Samsung can handle low light conditions well because it has a bright F2.2 lens.

If you are looking for more bells and whistles in a pocket size camcorder, don’t hesitate to look at units like the Kodak Play Sport Zx3 (waterproof up to a depth of 10 feet), Creative VFO624 (optional external microphone), and the Sony bloggie MHS-CMS (5X optical zoom lens).

Closing Comments Pocket camcorders were perfectly designed for music educators. The simple no-nonsense, user-friendly features enable quality results for multi-tasking teachers in rehearsal situations. Instant playback on an HD television is a breeze. The majority of pocket HD camcorders have a digital zoom and two hours of recording time available, along with mono recording limitations.

Since recent pricing has significantly dropped, units that cost less than $100 are now available, along with free shipping from many stores. It is a great time to go shopping for a pocket camera to improve your instruction with the excitement and candidness of “Reality T.V.”

For the latest developments in ultra-portable HD cameras or to check out reviews online, visit: Digital Camera Reviews at www.digitalcamerareview.com and PC World at www.pcworld.com.

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America.

For more information, visit www.kuzmich.com.

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Ac-cetera, Inc. has introduced the model EZ03 for the iPad. A universal locking clamp will attach to any microphone stand, music stand, pole or shelf up to 2” wide.

The attached arm adjusts an additional 180° for multiple viewing positions. The ball and socket connection enables both portrait and landscape viewing with tilt options and a 360° rotation.

The attractive custom fit grip is padded and securely holds the iPad while allowing access to all connections and ports. All angles can also be attained if desired for table top use due to the stand’s unique design.

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Barcus-Berry’s Passion Pink Vibrato Violin

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54 School Band and Orchestra, August 2011

Finish (V), Barcus-Berry Blue (B), Red-Berry Burst (R), Metallic Green Burst (G), and Piano Black (BK).

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New products from Worldwide Music Services

Worldwide Music Services is now distributing Dr. Randall Kertz’s best-selling book for bassists, The Bassist’s Guide to Injury Management, Prevention and Better Health. Worldwide Music is proud to be the distributor for this important book for bassists of all types, previously self-distributed by the author – a bassist whose day job as a chiropractic physician has brought him into contact with many of the top

bassists in the classical, jazz and rock genres, from symphony players to Victor Wooten to Lemmy from Motörhead.

Also available exclusively from Worldwide Music Services – the bestselling cello technique book Cello Warm-Up!, by Tortelier student Solen Dikenen. Cello Warm-Up! is specifically aimed at intermediate-advanced cellists, and is ideal for the college-level student as well as the aspiring high school-age cellist.

Finally, the music of legendary pianist Mike Garson is now also available through Worldwide Music Services.

Along with his musical partner Jim Walker, Mike Garson’s catalog includes numerous original pieces for piano solo as well as flute and piano, as well as the Gershwin Fantasia, an advanced piano medley of great Gershwin melodies for the serious pianist.

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This new guide to orchestra and wind band score study from Houghton College professor Gary Stith promises to simplify work for conductors of all types of instrumental ensembles, from elementary to professional levels. Stith offers methods for practical approach for the entire score-study process using the complete score of Vaughan Williams’s Flourish for Wind Band for reference. Included are seating arrangement diagrams of nationally renowned wind bands and orchestras, a standard band and orchestra instrumentation reference chart, a comprehensive glossary of standard instrument abbreviations, and a selective and detailed bibliography containing specific sources that will prove invalu-

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US mallet manufacturer Mike Balter Mallets introduces several new products for 2011, including a series of keyboard mallets from vibraphonist and composer Joe Locke. Among Locke’s three new models is the Quick Fly, a smaller sized head designed for quick, articulate attack and bursting tone for solo lines in any fast passages of music. Also included is the Crossover, a medium-sized head that is fast to respond while providing a lot of impact for a great all-around vibe sound. Finally, there’s the Deep Tone, a large mallet head for a full-bodied, warm tone over the entire instrument.

The Deep Tone produces a big sound with great definition that should work well for ballads and expressive lines.

Mike Balter also introduces the new Tony Miceli mallets, which are all-around

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Gershwin for Students, Books 1 – 3 Graded Arrangements for Piano (Alfred Music)

The Gershwin for Students, Books 1 – 3 piano collections each feature seven widely popular Gershwin tunes that are arranged at the late elementary to intermediate level. Designed for the early learner and hobbyist alike, key signatures are limited to no more than one sharp or flat, with songs appearing in approximate order of difficulty. Every arrangement is carefully graded for students, while still retaining the intent and style of the original Gershwin compositions.

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NewProducts Quick Horn Rinse Sudser

The new Quick Horn Rinse (QHR) Sudser cleans brass instrument pipes quickly and effectively, making on-thego cleanings easy and convenient. The tool flushes water through the lead pipe to dislodge and remove small and large particles of debris from the horn.

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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. Retail price: $399.

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Meisel MPT-70 Pocketuner

At just under 2” in diameter, the 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. Retail price: $29.95 (battery included).

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Adams Keyboard Travel Bags

Adams Voyager Frame marimbas, vibraphones, and xylophones have new custom case sets designed to pro-

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The NPS8210 Melody Chair

has the same specifications as the most popular “Music”chair!

NOT $79 but as low as $51.00 per chair!

Go to www.tablesnchairs.com for the details!

SOFTWARE

New Music For School String Orchestra www.mewzkl.com

www.learntorepair.com

www.SBOmagazine.com School Band and Orchestra, August 2011

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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