SBO September 2012 by SBO School Band & Orchestra

September 2012 • $5.00

Felicia Warren-MacNaught

of North Carolina’s Mac Williams Middle School

Reaping the Rewards of an

‘Old School’ Approach Commentary: Tech vs. Teacher Performance: Marching Brass

Performance: Marching Brass

Creating a Winning

Marching Horn Line By Tracy Leenman

ouldn’t it be great if your marching horns sounded as bold and as powerful as the horn line of one of the top DCI corps? Do you have an ideal horn sound in your

mind that just hasn’t become reality yet on the field? Great players and hard work are a huge part of this equation, of course; however, understanding the science behind the sound you desire and carefully choosing instruments that will produce that sound are also essential to creating a winning horn line.

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School Band and Orchestra • September 2012

Remember the barbershop quartet in The Music Man (“Lida Rose,” and so on)? How can a group of four men produce a sound that is so clear and projects so well? There are two important components to this type of singing that have direct application to your marching horns. The first is intonation.

Intonation In high school, I was offered a choice between taking Physics and taking AP Music Theory. Because I am a “music geek,” I am proud to say I chose Theory (I probably would have flunked physics anyway). Whether physics and acoustics are your thing or not, bear with me a minute. Barbershops singers know that an open fifth properly sung will create inaudible overtones that will reinforce and project the sound, causing an audible “ring.” Adding other chord tones, if also sung in tune, add additional overtones, which magnify each other and add to the strength of the sound. The same is true for instruments. However, if notes in a chord are sung (or played) out of tune, the overtones don’t mesh, and create an almost imperceptible “muddiness” that has the opposite effect on the projection – the sound becomes acoustically flat, and the sound waves don’t travel nearly as well. This especially holds true for lower pitches. Play an A major chord on the very lowest A of the piano. Then, play

September 2012

30 Felicia Warren-MacNaught

“ Contents ”

It’s extremely important that the children understand that what we’re doing is something that’s going to improve their individual skills and benefit them personally.

Features

10 From the Trenches As momentum gathers for enhanced teacher evaluations, Bob Morrison asks music educators, “Are you ready?”

Guest Editorial

Guide for the Middle School Band Director By Theresa Hoover ew resources surface frequently for high school and

elementary school band directors. However, middle school directors often find themselves with materials

26 UpClose: Felicia Warren-MacNaught In this recent SBO interview, Felicia WarrenMacNaught of North Carolina’s Mac Williams Middle School discusses her “old school” approach to instilling the fundamentals of music.

40 Guest Editorial: Middle School Resources This handy article by Theresa Hoover features descriptions and reviews of books and literature guides specifically for the middle school band director.

44 Technology: Online Professional Development John Kuzmich Jr. and Joseph Pisano dive into the emerging world of online professional development opportunities. 2

School Band and Orchestra • September 2012

Commentary

concerns and rehearsal techniques for the middle school band director, as well as literature guides for middle school music. All books included here have been written since the year 2000, with the exception of one, which was included due to its being part of a series. Part 1: Books and Literature Guides

40 40

The Power Needed to Learn an Instrument

Best Music for Beginning Band and the highest written notes for clarinet 1 Thomas L. Dvorak and Richard L. Floyd. Edited by Bob Margolis. Manhattan and brass. The authors also provide a narraBeach Music (2000). By Dr. Milt Allen tive containing addition information about This book contains music reviews for 66 beginning each piece and any challenges that may be band pieces, as well as eight method book reviews, remember a junior high stupresented. and information about how the recorder can help in dent I had back in Missouri. preparing students for participation in the band proHe up toBand class one Edition) Best showed Music for Young (Revised gram. The book begins with a foreword by Frank BatL. Dvorak. by Bob Margotisti and continues with an explanation of qualities day Thomas with bandages onEdited his knees, lis. Manhattan Beach Music (2005). that compositions had to possess to be included. All hands,Dvorak, and even his foreProfessor of Music at pieces, while rated Grade I, are assigned to a category elbows,Thomas theThe University of Wisconsin, wrote this Introductory, Intermediate, or Advanced. The distinction head. ones on his knees and book to help middle school band direcbetween categories is also explained in detail. Each still had blood seeping tors select the best literature available for entry includes the piece’s grade, duration, publisher, elbows

The Creative Director: Beginner and Intermediate Levels Edward Lisk. Meredith Music (2001). This book contains instructional techniques for teaching beginning and intermediate level band students. The techniques, while somewhat non-traditional, are explained sequentially, starting with those for beginning instrumentalists and continuing through more advanced topics. It can be used in conjunction with any traditional band method. The book’s stated purpose is to “increase the students’ musical understanding.” There are numerous supplements available including student books, teaching accessories, and DVDs. More information about the supplemental materials can be found at www.meredithmusic.com/the-creativedirector-series.

through.

School Band and Orchestra • September 2012

When I asked him what had happened, he reluctantly admitted, “I’ve been playing this video game. It’s really cool and I’ve gotten really good at it. It’s a skateboard game and, basically, it starts you as a beginner and then you get better and then you start to learn these really cool tricks. I played it a lot and had it down. It’s a very realistic game. So, I thought since I had played the game so much, I’d give it a whirl on an actual skateboard. Dude, it didn’t go so well.” This may be a rather extreme example, but in many ways it encapsulates the challenges facing those who want to learn to play a musical instrument: what does it really mean to play one, what does it entail, and what’s the best way to learn how? And, in today’s educational environment, what role can technology play? Computer-assisted music instruction has been around for a while in various forms, but the last 15 years or so have seen accelerated adoption for a variety of reasons. The No Child Left Behind Act (NCLB) of 2001 had an enormous impact on many areas of the

Milt Allen explores the benefits and consequences of computer-assisted music instruction.

SBO contributor Tracy Leenman dissects the key ingredients that go into creating a winning marching horn line.

Teaching Music through Performance in Band, Volumes 1 - 8 Larry Blocher, Eugene Corporon, Ray Cramer, Tim Lautzenheiser, Edward S. Lisk, and Richard Miles. Compiled and edited by Richard Miles. GIA Publications, Inc. This series is a “must-have” for all band directors. Each book is divided into two

main parts, each dealing with “The Band Conductor as a Music Teacher.” The first part of each volume contains several chapters, all written by nationally recognized band directors and music teachers. Each chapter deals with some aspect of the band program, detailing topics such as rehearsal techniques, music advocacy, wind band history, multicultural mu-

An Annotated Bibliography of Books for the Middle School Band Director, Part I of II

14 Commentary: Tech vs. Teacher

20 Performance: Marching Brass

their ensembles. The book begins with a foreword by Frank Ticheli and an introduction by Dvorak. The section “Criteria for Music Selection” explains

school curriculum, but especially on ily recorded reactions. Sound familiar? arts education, and on music in parThe games were based on attainable ticular. NCLB and the implementation objectives, after which progress was of standards-based education reform assessed. No gamer left untested. required schools to set high standards Although these games have lost and establish measurable goals to imtheir major popularity, other types of prove individual outcomes in educatechnology continue to be used in mution. Thus was born the assessment. sic education today. How effective are In music, we were overwhelmed they? Research on learning an instruby the sudden emphasis on this leftment via computer-assisted music inbrained approach to our art form. In struction is surprisingly hard to find. the blink of an eye we seemed to have There are some great articles in the collectively shifted away from empowering, connecting with, and inspiring our musicians to thinking more about job and program security via assessment of the skill set required to make music. It’s not that we’re emphasizing music less: we’re just trying to become better “dancers.” Music educators are some of the most resourceful, resilient, and creative people on the planet. But I wonder if maybe we’re losing sight of why we made music our life in the first place. Of more serious concern, what might we be teaching our students that music is? And where does music technology fit in? Remember Guitar Hero and Rock Band? The music rhythm gaming industry exploded on the cultural scene School Band and Orchestra • September 2012 41 around 2005, but then just as dramatically imploded around 2010. During the explosion, while many playing the games felt like “musicians,” music educators weighed the positives and negatives of the genre. Many noted the possible benefits of playing the games, which involved controllers shaped like guitars, drums, and even a voice recognition component utilizing a microphone. These games exposed students of all ages to creating and performing music, possibly encouraging them to pursue “real” music study. Those on the negative side expressed the obvious: it’s not really making music. Playing the games is simply reacting to what is seen on a screen. The player did need to keep a solid tempo, still, he or she didn’t need to be able to read music, have a great ear, understand call and response, or even really know how to play an instrument to have fun. And that’s just it: these were games. There was no process involved. The games, at their core, were based on response and read-

School Band and Orchestra • September 2012

Journal of Research in Music Education, yet relatively little seems to have been done in the way of in-depth dissertation-quality work. Missing, in particular, is the direct correlation not only between using said technology and success in music study, but specifically between success using computer assistance in the study of an instrument and the musical skills required to perform on one. In shifting from a world of gaming and simple assessment to one that

School Band and Orchestra • September 2012

Columns 4

Perspective

60 Playing Tip

Headlines

62 Classifieds

52 New Products

64 Ad Index

Cover photo by Raul R. Rubiera, Fayetteville, N.C. From the Trenches

Get Your FREE SBO iPad edition at the App Store

Teacher

Evaluations in the Arts Are Coming.

Are You Ready? By Bob Morrison

e have all heard the stories about how teachers need to be held accountable for student growth. I suspect most people would not disagree with this statement. Where

there is plenty of debate and disagreement, though, is “how?” For subjects like language arts and math, where there are statewide assessments to measure student performance, the task of tying student growth to teacher evaluation may be easier. Notice I said, “may.” Just because something is possible does not mean it is the proper thing to do and there is plenty of debate about tying student test scores to teacher evaluations. But here is the reality: tying teacher performance (for all teachers) to student achievement and student growth is a freight train rolling down the railroad track, and it is heading down hill. The national movement to tie teachers assessment to student outcomes will be the “new normal” for teachers across this country… including you, music and arts educators. This leads to the logical question: how will this be accomplished? And the answer the profession has right now is: “We do not know!” And this is the scariest statement of all. 10

School Band and Orchestra • September 2012

SB&O School Band and Orchestra® (ISSN 1098-3694) is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2012 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

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Perspective

Human Interaction It’s a phenomenon that we’ve all seen played out over and over again: a group of students are standing in a circle, not talking to each other, with their eyes glued on their cell phones, texting away to other people. One has to wonder how this will impact these students when they will have to communicate with others in face-to-face situations. Or, perhaps the “texting world” will become the norm and personal relationships will have to shift to adapt to this new paradigm. This new dynamic doesn’t seem to affect only students, as I have seen professionals stop dead in the middle of a conversation to read a text or e-mail on their mobile devices. They apparently believe that these digital communications must be more important than the interaction they were having with the human being right in front of them. Some people even become oblivious when the person they were talking with simply walks away… An op-ed piece by Sherry Turkle, a psychologist and professor at M.I.T., that appeared in the New York Times on 4/21/12 stated it well: “The little devices most of us carry around are so powerful that they change not only what we do, but also who we are. We’ve become accustomed to a new way of being ‘alone together.’” A question is whether there is anything inherent in musical performance that is beneficial towards “It still takes a maintaining or improving the person-to-person conductor and communication that seems so vitally important, yet musicians in the same appears to be diminishing so rapidly in our society room to have an today. There are entire educational enterprises that are run in a “virtual” setting, where almost everyone effective rehearsal and communicates from remote locations around the performance.” world; students can take courses via online classes and only have to communicate with a professor via e-mail or other digital communication. Although there have been some questionable attempts at musical performance remotely, I would suggest that the buck stop here: it still takes a conductor and musicians in the same room to have an effective rehearsal and performance. The musicians have to put down their smart phones (although I’ve seen musicians texting during long rests…) and watch, listen, and play together. The communication is no doubt mostly conductor to musician, but there is some back and forth on occasion. Could the student learn from being asked to stand in front of the ensemble and give some simple instructions and then conduct a short piece? Would it be beneficial to have the larger group break down (when practical of course) into smaller groups for rehearsals that could be rotated and led by students? It would seem that this could certainly be a step in the right direction. Allowing students to interact via person-to-person, eye-to-eye can only add to their tool kit of communication skills. Although it would be a challenge to ask them to turn off their devices for just one day and get together with their friends and share an experience, it could bring them around to a more personal form of communication. Whether this would be an effective practice in the long-run still remains to be seen…

Rick Kessel rkessel@symphonypublishing.com 4

School Band and Orchestra • September 2012

September 2012 • Volume 15, Number 9 GROUP PUBLISHER Sidney L. Davis sdavis@symphonypublishing.com PUBLISHER Richard E. Kessel rkessel@symphonypublishing.com Editorial EXECUTIVE EDITOR Christian Wissmuller cwissmuller@symphonypublishing.com EDITOR Eliahu Sussman esussman@symphonypublishing.com ASSOCIATE EDITOR Matt Parish mparish@symphonypublishing.com Art PRODUCTION MANAGER Laurie Guptill lguptill@symphonypublishing.com GRAPHIC DESIGNER Andrew P. Ross aross@symphonypublishing.com GRAPHIC DESIGNER Laurie Chesna lchesna@symphonypublishing.com Advertising ADVERTISING SALES Iris Fox ifox@symphonypublishing.com CLASSIFIED SALES Steven Hemingway shemingway@symphonypublishing.com Business CIRCULATION MANAGER Melanie A. Prescott mprescott@symphonypublishing.com

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Headlines Search Begins for NAMM’s SchoolJam USA

Teen bands have the chance to showcase their talent by entering NAMM’s fourth annual SchoolJam USA, a national teen battle of the bands. The competition highlights teen music talent, gathers students in support of the arts, provides funding for school music programs and promotes active participation in school music programs. Unsigned teen musicians between the ages of 13 and 19, with the majority of band members registered in a U.S. middle or high school, are eligible to participate. Online entry for bands is open from until Oct. 26, 2012.

Blue Devils Win 15th DCI Championship

Drum Corps International squad the Blue Devils completed an undefeated season in 2012, winning their 15th DCI World Championship, their fourth in the last six years. With a final score of 98.70, the California corps also took home hardware from Lucas Oil Stadium for caption awards in Visual Performance, General Effect, Percussion and Color Guard. Blue Devils corps director David Gibbs said although he can’t rank how this title compares to the corps’ 14 others, he can say the 2012 corps is one of the best performing ensembles he’s ever had. Carolina Crown received second place honors, followed by the Phantom Regiment and the Cadets.

2012 SchoolJam USA winners Jazz Avenue.

Bard Academy and Housing Planned with the Bronx Music Heritage Center

The city council of the New York City borough of the Bronx recently approved a $2.5 million plan for an innovative new project that combines education, lowincome housing, and an ambitious local music program. In a complex designed for a neighborhood in the South Bronx and slated to open in September 2013, the Women’s Housing and Economic Development Corp. (WHEDco) Bard Academy Charter School and 290 units of affordable housing will combine with the Bronx Music Heritage Center (BMHC) for a one-of-a-kind complex. The venture will be headed up by WHEDco, who are partnering with Bard College in an effort to create a quality liberal arts program for grades 6-12 with an emphasis on arts. The partnership with the BMHC will enable the complex unique access to music education and the space and resources for special performances.

To learn more, visit www.whedco.org.

School Band and Orchestra • September 2012

All finalists will receive prize money to purchase new gear and funds for their local school music programs to purchase needed instruments from local NAMM Member music stores. The winning band will walk away $1,000 toward the purchase of new gear and $5,000 for the winner’s school music program. To learn more, check www.schooljamusa. com.

Find full results of the DCI championships at www.dci.org.

NAfME Announces Kane Scholarship Recipients

The National Association for Music Education (NAfME) recently announced the recipients of its Shannon Kelly Kane Scholarship. Samantha Baldwin (Cobleskill, New York) and Curtis Viselli (Windermere, Florida) were awarded the prize for 2012, which was created by Shannon’s family and friends in coordination with NAfME to honor her exemplary life and her love of teaching music. Kane taught at New York’s Westhill

maraderie. These Confidence. Character. Ca Disney Performing are the three tenets of the ce to perform Arts program. The confiden The character on the grandest of stages. osen craft. And the required to perfect your ch l to come together camaraderie that’s essentia group takes part in as a team. And when your program– whether a Disney Performing Arts y will learn, al– these are the skills the tiv fes or p ho rks wo a or this shared that’s in a performance group of artists bonded by ive lus exc an of rt pa ing ble’s talents while building sharpen and refine, becom nt to strengthen your ensem Wa ce. en eri exp e tim ife 1-866-718-4095 to learn once-in-a-l your travel planner or call ct nta Co r? eve for t las t memories tha ing Arts opportunities. more about Disney Perform

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High School and at Soule Road Middle School and was working on her Master’s degree at the University of Florida until her untimely passing in February 2009. Shannon was noted for her passion for music and for teaching her students with kindness and respect. Samantha Baldwin is a recent graduate of Syracuse University’s Setnor School of Music, and is currently pursuing a master’s degree in Music Education and Instrumental Conducting while serving as principal flute performer in all of Syracuse’s instrumental ensembles and one of three Drum Majors for the University Marching Band. She has also served as a student teacher for a number of schools and flutist at two churches, and she plans to teach after graduation. Curtis Viselli received a Bachelor of Music Education, Instrumental Emphasis, from the University of Florida in May 2012 and will begin his first teaching position in the fall. Viselli received the prestigious Reitz music scholarship during his junior year. While at college, he was an active member of music fraternity Phi Mu Alpha, and it was at school that he decided to pursue a career as a music educator.

For more info, visit www.musiced.nafme.org

GREG OSBY

One-of-a-Kind French Horn Maker Ethel Merker, 1923-2012 The creator of the popular Merker-Matic French Horn recently passed at the age of 88. Merker, a Chicago native, pioneered the role of working women in music in a variety of contexts, from symphonic performances to radio and TV jingles. She was at home playing jazz and pop mu-

sic as well, and throughout her career backed up artists like Barbra Streisand, Quincy Jones, and the Rolling Stones. Find segments of her oral history project at NAMM’s site here: www.namm.org/library/ oral-history/k-ethel-merker.

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online poll – results to be published in the next issue of SBO.

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People always ask about your summer job. We know it’s hard to explain. Maybe it’s better that way...

W W W . Q U A N T U M M A R C H I N G . C O M

From the Trenches

Teacher

Evaluations in the Arts Are Coming.

Are You Ready?

By Bob Morrison

e have all heard the stories about how teachers need to be held accountable for student growth. I suspect most people would not disagree with this statement. Where

School Band and Orchestra • September 2012

BOSTONCRUSADERS

People ask always where askIabout went on your summer summer vacation. job. We know it’s hard to explain. Maybe it’s better that way...

W W W . Q U A N T U M M A R C H I N G . C O M

Here is why: School districts across the nation are moving to tie teacher assessments to student outcomes. Many states have mandated these programs be in place as early as the 2013/2014 school year. This creates a challenge for all subjects that are in the “non-tested” category (think all arts, world languages, social studies, some sciences, physical education, and more). In essence, nearly 80 percent of teachers in the United States teach “non-tested” subjects. This does not mean it will keep the administrators from implementing something – anything – just so they may say they are doing as they are told. So here is the rub: our profession has yet to come up with a solution to this issue and school administrators are actively seeking answers. The hard reality we face is that either the music education field comes up with a solution or series of solutions or we will have one imposed upon us by people who have no idea about what we do in the classroom or what we are really trying to accomplish. And, in the second of those two options, I guarantee we will not like the solution. This is the scariest of thoughts. Already in some states we have heard music teachers will be measured by student outcomes in… math! Yep, you read correctly. All that training to allow you to become the most effective teacher possible (using music as your educational tool of choice) will be reduced down to a measure of something you have no influence or control over. This is what is at stake. So here is what needs to happen: 1. Get over it – this issue is not going away. Ignoring it will only put our profession at greater risk. 2. Get a plan. There are plenty of districts that are trying out ideas on ways to meet the administrators’ objectives. In June, NAfME hosted a National Symposium on Music Assessment and Teacher Evaluation to tackle this very issue. Visit nafme.org or musicstandards.org 3. In addition, be sure to reach out to other music educators and your state music educators association to connect with those who may be tackling the same issues. 4. Use social media to find and connect with your peers who are interested in this issue. The hash tags #musiced #musedchat are great places to start. The reality of teacher evaluation systems in music is coming fast. It will be up to all of us in the music education field to ensure that the systems being implemented will measure our teachers based on their area of expertise and student growth… music. Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. In addition to other related pursuits in the field of arts education advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Holland’s Opus Foundation. He may be reached directly at bobm@artsedresearch.org.

Commentary

The Power Needed to Learn an Instrument By Dr. Milt Allen

remember a junior high student I had back in Missouri. He showed up to class one day with bandages on his knees, elbows, hands, and even his forehead. The ones on his knees and elbows still had blood seeping through. When I asked him what had happened, he reluctantly admitted, “I’ve been playing this video game. It’s really cool and I’ve gotten really good at it. It’s a skateboard game and, basically, it starts you as a beginner and then you get better and then you start to learn these really cool tricks. I played it a lot and had it down. It’s a very realistic game. So, I thought since I had played the game so much, I’d give it a whirl on an actual skateboard. Dude, it didn’t go so well.” This may be a rather extreme example, but in many ways it encapsulates the challenges facing those who want to learn to play a musical instrument: what does it really mean to play one, what does it entail, and what’s the best way to learn how? And, in today’s educational environment, what role can technology play? Computer-assisted music instruction has been around for a while in various forms, but the last 15 years or so have seen accelerated adoption 14

School Band and Orchestra • September 2012

for a variety of reasons. The No Child Left Behind Act (NCLB) of 2001 had an enormous impact on many areas of the school curriculum, but especially on arts education, and on music in particular. NCLB and the implementation of standards-based education reform required schools to set high standards and establish measurable goals to improve individual outcomes in education. Thus was born the assessment. In music, we were overwhelmed by the sudden emphasis on this leftbrained approach to our art form. In the blink of an eye we seemed to have collectively shifted away from empowering, connecting with, and inspiring our musicians to thinking more about job and program security via assessment of the skill set required to make music. It’s not that we’re emphasizing music less: we’re just trying to become better “dancers.” Music educators are some of the most resourceful, resilient, and creative people on the planet. But I wonder if maybe we’re losing sight of why we made music our life in the first place. Of more serious concern, what might we be teaching our students that music is? And where does music technology fit in? Remember Guitar Hero and Rock Band? The music rhythm gaming industry exploded on the cultural scene around 2005, but then just as dramatically imploded around 2010. During the explosion, while many playing the games felt like “musicians,” music educators weighed the positives and negatives of the genre. Many noted the possible benefits of playing the games, which involved controllers shaped like guitars, drums, and even a voice recognition component utilizing a microphone. These games exposed students of all ages to creating and performing music, possibly encouraging them to pursue “real” music study. Those on the negative side expressed the obvious: it’s not really making music. Playing the games is simply reacting to what is seen on a screen. The player did need to keep a solid tempo, still, he or she didn’t

need to be able to read music, have a great ear, understand call and response, or even really know how to play an instrument to have fun. And that’s just it: these were games. There was no process involved. The games, at their core, were based on response and readily recorded reactions. Sound familiar? The games were based on attainable objectives, after which progress was assessed. No gamer left untested.

Although these games have lost their major popularity, other types of technology continue to be used in music education today. How effective are they? Research on learning an instrument via computer-assisted music instruction is surprisingly hard to find. There are some great articles in the Journal of Research in Music Education, yet relatively little seems to have been done in the way of in-depth dissertation-quality

School Band and Orchestra • September 2012

work. Missing, in particular, is the direct correlation not only between using said technology and success in music study, but specifically between success using computer assistance in the study of an instrument and the musical skills required to perform on one. In shifting from a world of gaming and simple assessment to one that enables students to learn about music, create music, and perform music without boundary,

tention some of the bigger technology players are now paying. Apple Corporation’s iPad-assisted music technology is an exciting development and one that could finally provide more lasting impact. The improvement of the tool of technology not only helps the student, but provides the teacher with more resource. But this is key: resource for the teacher, not a replacement for the teacher.

“Are the standards the destination, or are they the signposts along the way pointing toward a larger musical destination?” one of the challenges to research has been the short-lived technological innovations themselves. As we know from our computers, televisions, and cell phones, technology changes with almost frustrating speed, making it difficult to track long-range success. Exciting, however, is the at-

Even before Guitar Hero, there were tools at our computer fingertips. From how-to music videos and streaming concerts to online lessons, online communities, and the ability to videoconference, technology has certainly enhanced what we are trying to do, as well as presenting that

School Band and Orchestra • September 2012

40-year-old beginning saxophonist with options. It has connected us, too. Computer-based tools teaching theory, harmony, aural, rhythm and various diagnostic skills fill the market. Instrumentalists can play with recordings (remember when only Jamey Aebersold counted “1, 2, 3, 4”?) and receive instant feedback regarding pitch, rhythm, tempo and accuracy. But based on this feedback, how do these students define music? Although the feedback certainly addresses the elements of music, is it really making music? This is much akin to the National Association for Music Education national standards and the challenge of teaching to the standards or teaching with the standards. Are the standards the destination, or are they the signposts along the way pointing toward a larger musical destination? Is the real value of computer-assisted music instruction effective music education, or is it a convenient means of providing the

oft-required assessment? I recently had a terrific conversation with an individual who, via his doctoral research, had spent an enormous amount of time researching computer-assisted music instruction, including a review of all available literature and the conducting of a field study directly related to the topic. I found his current responses regarding the use of music technology in teaching individuals or groups quite interesting. Here, in part, is how he responded when I asked him about his own program since his research:

tuners, recordings, and other various types of technology were fine and a tremendous help, they didn’t get at the heart of the reasons she plays clarinet. “It’s the connection,” she said. “There’s this feeling you get when you play an actual instrument that’s like nothing else. It resonates with your whole being. It’s a part of you. And when you make music with others, there’s this shared feeling – this understood vibe that

happens that you can’t explain, but everyone gets. To have the conductor or professor right there to give immediate feedback, to inspire you, to shape what you just did, well, you can’t replace that. It’s making music, not just learning notes or rhythms or pitches. It’s putting them to use.” Wow. I asked her about the idea of process, about what it takes to accomplish something over time. She

“We no longer use [a prominent music technology program] at all… I think we can be more effective in front of people… There’s no computer program in the world that can make a kid love band. It’s the person in front… Technology, to me, is never the solution. It can be part of the solution, but in the end, it doesn’t fix everything. It’s a great tool if used correctly… but at best, it’s an aid. It really comes down to personal interaction.” One of the challenges to maintaining the technology used in this director’s setting was the aforementioned challenge of teaching the technology and keeping it accessible and current. Music students are in a world surrounded by and reliant upon technology, moving at breakneck speed. We’ve grown used to it. Many still believe that because it’s technology, it’s the best way to go. Better tools, however, don’t change music educators. They simply give us more options – a bigger toolbox. They certainly don’t make us more musical. So now that we are beginning to see some longer lasting innovations available, what role does the teacher play? I was talking with a university student the other day. I asked her to describe the differences between playing in an ensemble or working with a studio professor and using computer-based instruction. She noted that although the computer, School Band and Orchestra • September 2012

remarked that being taught by a master teacher was really important for inspiration as well as to continually shape what she was trying to do, and that “you can’t get that on a computer, though that provides some great assistance.” Finally, we touched on the idea of the vulnerability required to play in an ensemble, of being unselfish while at the same time being reliant upon those around you. That, she said, was one of the best feelings in the world: to be able to share that moment with others, whether in the ensemble or the audience. Music technology will continue to evolve. It has the ability to entice, to codify, to assess, to introduce, to reward, and to further the study of music. Technology is certainly helpful, and innovations – like we’re seeing for the iPad – will continue to enhance what we can offer our students. However, in the end, I believe the study of a musical instrument is

a journey motivated by expression and connection, whether to our inner selves or to one another: it is about how music makes us feel. And the pursuit of instrumental excellence is best guided by those who have achieved it. Music technology is a needed and important part of the music education landscape, but we must remember one important thing: it is not the power button that reveals the hidden truths of music, but the power of one who has also felt the journey’s call and answered. And, by the way, thanks for answering that call. You make a difference. Dr. Milton Allen is a popular conductor, clinician, speaker, author and tireless advocate on behalf of music education. He serves as an educational consultant for Music & Arts, the largest band and orchestra instrument retailer and lesson provider in the country, with more than 110 retail locations across 22 states. For 60 years, Music & Arts has served students, teachers and families through retail stores and school representatives, facilitating rental and lesson programs.

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Performance: Marching Brass

Creating a Winning

Marching Horn Line By Tracy Leenman

ouldn’t it be great if your marching horns sounded as bold and as powerful as the horn line of one of the top DCI corps? Do you have an ideal horn sound in your

School Band and Orchestra • September 2012

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an A minor chord in the same octave. It’s much harder to discern the difference in tonality than if those same two chords were played on the A right below middle C. Specifically because the difference between the lowest C and C# (32.70 and 34.65 Hz, respectively) is almost impossible for the human ear to recognize in that context, while the difference between middle C and C# (261.6 and 277.2 Hz) is much easier to hear. The lower pitches are, the muddier they sound when they are closer together. This is the reason we were taught in part-writing to put larger intervals in the lower voices, while smaller intervals are more common in the upper voices. It’s also the reason the late Fred Sanford (noted percussionist and DCI instructor) and other fine drum line specialists advocate that you skip a size between your two largest (lowest pitched) bass drums (e.g. 20”, 22”, 24”, 28” – skipping the 26”). Marching bass drums are tuned in consecutive thirds. And thirds at lower pitch levels tend to create a muddy sound as they travel

through the air, while the open fifth created by skipping a drum size not only travels better, but also creates a much stronger foundation for the sound of the battery. Back to horns. If you teach your marching brass players to lock in their octaves and fifths so that they ring, and then teach them how to place the other chord tones correctly into that acoustical framework, the basic principles of acoustics will give your sound the added clarity and ping you desire. Although it’s not an easy task when standing still, much less marching, it’s a skill that needs to be mastered for your band to sound its best. (And just think how appreciative your school’s science teachers will be for this cross-curricular connection!)

Timbre The second component of great barbershop singing is timbre. Remember in The Music Man, when the members of the School Board first realized they could sing [“Ice cream… ice cream… ice cream…” ]?

Each voice had a distinct timbre – bass, baritone, lead, tenor – that combined to make those awesome harmonies. Again, with lower pitches, timbres that are too similar produce acoustical mud, while combining different timbres improves clarity. If you want your horn line to sound like those of the top corps, you must choose

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School Band and Orchestra • September 2012

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a combination of marching horns that each have a distinct timbre, that also blend well together. Listening to great corps and great marching bands (high school, college and military) will help you develop your ideal tone concept for your marching horns. Military bands, which may march French horns and sousas, rather than mellophones and “basses” (marching tubas), or bands that use cornets and marching French horns rather than trumpets and mellos will naturally have very different sounds. Once you choose your ideal tone concept, you can begin to choose horns that will blend together to form a block of sound that best matches that model. Many of us choose our marching horns because we like the sound of XYZ Corps, who play that make of horn. But think about the instrumentation of today’s top drum corps – trumpets (usually three or four parts), mellophones (usually two parts), marching baritones (two parts), marching euphoniums (one or two parts) and tubas (usually unison, or sometimes octaves). Some corps may add flugelhorns or other instruments; even so, there are many less parts scored here than in a typical high school or college marching band. And all the parts are within a smaller overall range. There are no woodwinds, and more importantly, no trombones. What sounds great in that type of ensemble may or may not be ideal for the instrumentation at your school, so we need to look further than “XYZ Corps plays this model” if we truly want to create a great horn sound. The timbre of a marching horn is largely determined by its composition (lacquer versus silver-plated brass), its bore size, and its bell size. Often, we choose silver or lacquer marching horns to match our uniforms, yet if you listen to an ensemble playing a certain set of horns (on the field) in both lacquer and silver, you may be surprised at the difference in the sound that reaches the tower.

less, if your goal is a powerful horn line, studying the specs of the horns you march is crucial. Let’s start at the top – the mellophones. The B♭ marching horn was the horn of choice for many years, just as the single horn in B♭ was the choice for many beginning French horn player. Now however, the mellophone in F is more widely used. A mellophone is analogous to the tenor in a barbershop quartet. Its distinct timbre comes from the unique combi-

nation of bore (usually smaller than a concert or marching French horn) and bell flare. This makes its tone project well, and makes it a great bridge between the brighter, higher trumpets and the trombones, baritones, and euphoniums. While a marching French horn may have a bore size anywhere from .468” to .472” – similar to that of a concert French horn – the bore of a mello can be as small as .460” to .462”. The bell can be as wide as

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10½” and normally has a more abrupt flare. The smaller the bore, and wider the bell flare, the less the sound will be like a concert French horn or a flugelhorn. Remember that the mouthpiece – and even the adapter, should you use one – makes a huge difference on the mellophone’s sound. If you purchase new mellos, be sure to try out different mouthpiece options – trumpet, alto horn, mello, and French horn have all been used successfully – and adapters as well. Marching baritones are akin to the lead of the barbershop quartet formed by your marching brass. However, in a typical school marching band, their place in the horn ensemble differs greatly from their place in a corps’ sound. Drum corps do not march trombones, so creating contrast between trombones and marching baritones is a non-issue. Yet most school bands’ shows are scored for three trombone parts plus one marching baritone part. That’s mud waiting to happen. The bore of most student trombones is .500”, so if your marching baritones also have a .500” bore, and there are four different parts being played in the same range, by instruments with very similar timbres, well, you can imagine why clarity might be compromised. Some marching baritones have bores as large as .571” – the same as many concert baritones – and while it works well indoors, you may or may not want that timbre on the marching field. A .562” bore is basically the same as that of a bass trombone, which is actually the role many school bands score their marching baritones to play – a sound that is distinct from yet complements the trombones. Of course, if you don’t march trombones at all, your marching baritone choices may be entirely different. Consider your ideal sound concept, your instrumentation, and your scoring and match the horn specs to your specific need. Marching euphoniums are a staple in drum corps, but not as frequently used in school bands. However, they can be a valuable link between the trombone/baritone section and the

School Band and Orchestra • September 2012

sousas/basses, normally scored several octaves below – if their timbre, again, is distinct from the instruments surrounding them in the score. Some marching euphoniums have a .562” bore, making them sound not all that different from the marching baritones. Others have a .571” bore, just like a concert euphonium. Then there are some at .593” that have a different timbre all together. Depending on where your marching euphoniums are scored (drum corps may have two parts each for baritone and euphonium, or three total, with the euphoniums doubling the third part), and what other low brass you march, a few marching euphoniums may add considerable depth to your brass sound. Obviously, there is no one answer to the question, “What are the best horns for my band?” But these are certain principles which, if understood, can help guide you towards success. Other considerations may include the ages and experience levels of your players. Some high school bands include middle school students in their ranks, making weight and balance of the horns a real issue, also whether your marching baritones require large or small shank mouthpieces. More important than all the stats and specs, never forget that “marching band” is a euphemism for “community.” A winning band is one that strives first and foremost to be a vehicle for teaching life skills – the pursuit of excellence, the attention to detail, and the spirit of cooperation and teamwork. Tracy E. Leenman has over 40 years of teaching experience at the elementary through college levels, including instrumental music, choral music, classroom music, private teaching, church choir directing, and teaching conducting and rehearsal techniques. Currently the owner and CEO of Musical Innovations, a school music retailer in Greenville, S.C., Mrs. Leenman has served on the boards of NASMD and SCMEA, and served for 14 years as the president of the South Carolina Coalition for Music Education. A noted author and guest clinician, she performs regularly with the Palmetto Concert Band.

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SBOUpClose

Felicia Warren-MacNaught of Mac Williams Middle School

Reaping the Results of an

‘Old School’ Approach

BY ELIAHU SUSSMAN

“I’m very competitive, I’m very determined, and I just don’t do well with the word ‘no.’”

Fresh off a performance as one of the featured ensembles at the American School Band Directors Association’s annual convention, the Mac Williams Middle School band program in Fayetteville, North Carolina is flying high. The band boasts some 340 students in sixth, seventh, and eighth grades – out of 1,200 in the student body – and is led by Felicia Warren-MacNaught, who has been the band director at Mac Williams since the school first opened in 1995. MacNaught is a proud local, having begun her teaching career at the same junior high school she attended as a child – which closed to make way for the middle school she now teaches in – while also assisting the band program at nearby Cape Fear High School, her high school alma mater. Three times recognized by governors of North Carolina for teaching excellence and a 2010 Women Band Directors International “scroll of excellence” honoree, MacNaught uses sheer determination and a fast-paced teaching style to transform absolute beginners into accomplished players. In a district where few students have the opportunity or means to take private lessons, it’s tough to say what is more impressive: her string of consecutive Grade II, III, and IV superior ratings or the vast number of students she sends

School Band and Orchestra • September 2012

to her all-county and all-state honors bands each year. SBO recently spoke with the accomplished director about how she has built this program from the ground up and maintained such incredible musical consistency, even while working with a constant influx of beginners. School Band & Orchestra: How is the band program at Mac Williams Middle School organized? Felicia MacNaught: The band program starts students in sixth grade. We usually have about six classes of beginners. There are also three classes of intermediate band (second-year students), as well as two advanced classes of eighth-grade students. We range between 130 and 150 beginners each year, and we have a total of 340 in the band program with all three grades, out of about 1,200 students at the school. We have just started the 17th year of this school’s existence, and I have been the band director here the entire time. SBO: What’s the performance schedule like for your beginners? FM: The beginners usually do a performance halfway through the school year – a winter concert – and then we have a spring concert, as well. The stu-

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for school sporting events, out in the community, at the elementary schools, and we also perform a concert with the high school band at the high school for senior night. Many of our students try out for allcounty and all-district band, as well as participating in the state adjudication. We usually host the all-district auditions at our school, which is convenient for us, although we also have the largest number of students in the district trying out. The top cut of the district auditions for the North Carolina Honors Band. Our school sent the second most students to the North Carolina Honors Band of any school in the state this past year. We usually perform Grades III and IV music at our state festival. dents that do really well in beginner band usually get moved into the performance band, which is the group that plays at the state festival or adjudication event each year. I refer to that as our “integrated band test.”

We do pep band in the fall, where I combine all of the seventh and eighth graders. (We call that the “Big Mac Band” because it’s the Mac Williams Middle School and I’m Felicia Warren-MacNaught.) That band plays

FM: I’m assistant marching band director at Cape Fear High School, which is involved with Bands of America, as well as the Grade VI wind ensemble,

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SBO: And you also work at Cape Fear High School?

The Mac Williams Symphonic Band performs at the 2012 ASBDA Conference.

and Grades IV and V concert band. I’m the teacher that starts a lot of these students in the sixth grade and then teaches them all the way through the high school. SBO: It must be great for the students to have that sort of continuity.

FM: One of the most important things about this program for me is that I am from here; I graduated from this program myself, and now I teach here. We have huge parental support, and I think that’s helped by the fact that I actually went through the program. I’m teaching some of my high

school classmates’ children, and I hate to say it, but I’m teaching some of my former students’ children, too, in the younger band. SBO: Having grown up in the area and then starting a new program, what was your approach to getting

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School Band and Orchestra • September 2012

the Mac Williams band up and running? FM: In North Carolina, we used to have junior high schools that were seventh, eighth, and ninth grades. I came back from college and taught for nine years at the junior high that I had gone to. Then I got engaged and took an educational leave of absence, moved to England, and got my master’s in flute performance at the University of Kent. During that time, they built Mac Williams Middle School. They also changed over to the middle school concept during the year I was gone, consolidating two junior high schools into a middle school of sixth, seventh, and eighth grades. When I first got back from England, I visited every fifth-grade class in the district. Many of those kids knew me already – even though I’d been gone for a year – because I grew up in that community and I had been teaching there for nine years. Then I stepped into a new school with a classroom of students that had several different levels of abili-

School Band and Orchestra • September 2012

Mac Williams Middle School Bands

At a Glance

Scan this image with your smart phone or type this short URL <bit.ly/NgIeFE> into your web browser address bar for a video of the Mac Williams Middle School Symphonic Band performing at the 2012 ASBDA Conference.

Location: 4644 Clinton Road, Fayetteville, N.C. On the Web: mwms.ccs.k12.nc.us/ student-resources/band/ Students in School: 1,200 Students in Band Program: 340 Band Directors: Felicia Warren-MacNaught, Mark Mabe

ties and attitudes about what was supposed to happen in a band program. I set very high expectations for the students from day one. I made the band an important part of the camaraderie with the other teachers and what goes on at the school. Our pep band is supportive of the school in general, and particularly with our athletic department. I have always had a lot of students who are involved in athletics in our bands. When I was studying music education at college, I also ran varsity track for a year. My son, who is in the band, also plays two sports, and my husband is a former professional hockey player, so I can appreciate the demands of athletics.

your tone quality – you sound like a high school band performing.” Well, I may not have changed my method books in years, but we spend time on tone production, breathing, and things like that. The kids have to learn how to tongue, articulate, accent, breathe correctly, and know what sounds good. SBO: There are certainly many technical demands that go into learning each instrument.

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FM: It has taken my entire career to get where we are right now. I’ve had to constantly refine my own teaching ability and skills to get all of those kids to do what I need them to do. I’m very competitive, I’m very determined, and I just don’t do well with the word “no.” I’m kind of a jokester at school and I try to help out everyone in every area, but you have to be someone that will never give up. What do I wish I could do better? I wish I had the patience to sit down and learn computer skills better. I’m a high-energy person; I’m not someone who can sit down for very long. One of the beneficial things about the program that we’re in is that it is high energy. The students see a goal with every activity that we do. It’s extremely important that the children understand that what we’re doing is something that’s going to improve their individual skills and benefit them personally. I’m old school. Where everybody else is using advanced technology in their class – and I know those tools can be extremely helpful – I’m all about the very basic fundamentals like tone quality. Those basics have to be established in order to get a good sounding band. The first comment out of everyone’s mouth when we play is, “Oh my gosh,

FM: It’s so important for the director to be able to produce a good sound on all of the different instruments. There have been many times when I have to grab an instrument out of someone’s hands to model a particular passage and show them how it’s done. From there, the student plays it, and we talk about how it was different and what we can do to get that part to sound better. You know that phrase, “To beat a horse to death?”

School Band and Orchestra • September 2012

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You just have to be constantly able to come back the next day and think about how to fix any issues that you find. You have to ask yourself, “How can I get that child to understand that he isn’t tonguing correctly, or there’s something off with his breathing or the placement of his hand?” Over the years, in trying to make things better, I have involved other people. We have a trumpet player who recently retired from the President’s Own Marine Band and moved into our area. He actually contacted me, offering to come out to tutor some students, with the idea that he would get a trumpet studio started. He never did start the trumpet studio; yet, he comes once a week to work with the brass players – beginning and intermediate trumpet players – or individuals, however I line it up for him. Not very many of my kids can afford private lessons. Out of our 340 kids, I may have 10 that pay for private lessons on their own. But through the fundraising that we do, at least they’ll get a sectional from a professional clarinetist or saxophonist. I also have some of my former students who have graduated from high school come back to help us. Even at the high school, there were probably 15 seniors who had just graduated and came to band camp this summer to help line the field, work with drill and work on individual marching skills, organize the breaks, and so on. The program is just so deep with family participation. On our pit crew alone, there are a handful of families who don’t even have a kid in the program anymore, yet they come out and go with us on all our trips, help us with all of our activities and fundraisers, whether it be the middle school or the high school. SBO: Speaking of band camp, do you have any tips for starting off the school year on a strong note? FM: At the end of the school year, I start thinking about any changes I might want to make to our band contract. That’s something that outlines the behavior that is expected of the students, and they all have to sign it at the beginning of the year. With that docu-

School Band and Orchestra • September 2012

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ment, everybody has those MacNaight conducts her band at the expectations on paper. 2012 ASBDA Conference The very first day of school, I welcome everybody and I give the older kids the schedule of events, which includes performances, rehearsals, try outs, and everything else. Being prepared with the schedule and the expectations has made things much easier for me. Our program is strong because we all have such high expectations for every child I teach. I’m not just asking any one person to behave in a certain way; I’m asking 340 kids to do the same thing. Being organized, knowing what you want with your program, and knowing how to do your own time management are so important to starting the year off right. on. When they come from a small I work especially hard at makelementary school into this middle ing the new kids feel welcome early school that has 1,200 kids, it scares the bajeezus out of them. So when they make a group of friends in the band, they know that band is going to be a class that they can take every year from sixth grade on through high school. They develop a strong relationship because the band is consistent. As I said to the principal of our school this summer, this band has deep roots in the community. The strength of it comes from parent involvement, teacher involvement, and administration involvement. A lot of that comes from my fellow teachers, who are supportive because they have children in my band program. In fact, all of the principals that I’ve ever had have enrolled their kids in my band, too. SBO: How do you keep the band consistent when every year you have a whole new class of beginners? FM: The sixth graders are new, and when I get them, I try to make them comfortable immediately. The idea is that if they know that they are a real part of the program, they’ll 36

School Band and Orchestra • September 2012

want to continue each year, and they will feel safe. We do fun activities at the beginning of the fall, where the pep band plays at the home football games, we play in the community, we play at high school senior night, and other things like that. When kids who have graduated come back to the school and help me with my practices, the newer kids in the band see how much fun the older kids have had. We do all of these fun things early on just to get everyone excited about being in the program. Even just giving kids a band t-shirt – my goodness, you’d think we had given them a 50-dollar bill! At the end of the school year, I go around to every elementary school and demonstrate all of the instruments for the students, hand out information pamphlets for the parents, and give them a chance to fill out a form requesting a first and second choice of instruments (so we don’t have 50 thousand drummers and two tuba players). Then at the beginning of the year we have a Sixth Grade Night for all the incoming sixth graders. Two hours before that happens, I’ll have a beginning band night, where I have an educational rep come from a local store –

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carnegiehall.org/orc ĹŠ .#(!Ç&#x2021; ,( !# Ç&#x2021; &&Ć&#x2030;-Ç&#x2021;'#--#)(Ç&#x2021;.)Ç&#x2021; )(( .Ç&#x2021;!, .Ç&#x2021;'/-# Ç&#x2021;.)Ç&#x2021;." Ç&#x2021;1# -.Ç&#x2021;*)--# & Ç&#x2021; / # ( ĹťÇ&#x2021;." Ç&#x2021; #&&Ç&#x2021; /-# Ç&#x2021; (-.#./. Ç&#x2021;Ć&#x2DC; Ć&#x2122;Ç&#x2021; , . -Ç&#x2021; Ç&#x2021; ,) Ç&#x2021;, (! Ç&#x2021;) Ç&#x2021; (! !#(!Ç&#x2021;'/-# Ç&#x2021; / .#)(Ç&#x2021; ( Ç&#x2021; )''/(#.3Ç&#x2021;*,)!, '-Ç&#x2021; "Ç&#x2021;3 ,ĹşÇ&#x2021; ",)/!"Ç&#x2021; Ç&#x2021;0 ,# .3Ç&#x2021;) Ç&#x2021;#(#.# .#0 -ĹťÇ&#x2021; Ç&#x2021; makes meaningful musical experiences available to people of all ages and circumstances. ), Ç&#x2021;." (Ç&#x2021;ĹłĹľĹ°ĹťĹ°Ĺ°Ĺ°Ç&#x2021;* )*& Ç&#x2021;1#&&Ç&#x2021;. % Ç&#x2021;* ,.Ç&#x2021;#(Ç&#x2021; Ç&#x2021;*,)!, '-Ç&#x2021;."#-Ç&#x2021;- -)(Ć&#x2019;#(Ç&#x2021; 1Ç&#x2021; ),%Ç&#x2021; #.3ĹťÇ&#x2021; ,)--Ç&#x2021;." Ç&#x2021; ĹťÇ&#x2021; ( Ç&#x2021; ,)/( Ç&#x2021;." Ç&#x2021;1),& ĹşÇ&#x2021; Visit carnegiehall.org/education to learn more about the variety of programs that the Weill Music Institute offers and how you can play a part. Lead funding for Carnegie Hall online resources is provided by The Irene Diamond Fund and The Andrew W. Mellon Foundation. Additional support is provided by an endowment grant from the Citi Foundation.

usually Music & Arts, they sponsor many of our activities – and show off all of the different instruments to our beginning students. We’ve also had people from performing groups like the Boston Brass come in to work with the kids. And that night, they all get to try their first and second choices, with mouthpieces, actually holding the instrument, and then we give them a professional recommendation as to

what they should start with. That way, they already know what they will need before the school year starts. And I reach out to any music stores in town and give them a list of the method books we use, so I know that the students will be able to find what we need. SBO: In the bigger picture, what role do you think music plays in education?

FM: Music is emotion. It involves the left and right sides of the brain. It involves positive behavior because we’re involved with many different areas of dedication, hard work, community service – skills that you learn. And the music is only a part of it. You have to be able to get along with people as a part of a team. You have to realize that whatever chair you’re in or whatever part you’re playing is extremely important for the overall success of the group. It’s not just one person alone out there. As I say, “band is a team: together everyone achieves more.” Starting with the sixth grade, we have the same kids in the classes all the way up through twelfth grade, and it’s just a big old family. SBO: What’s the most rewarding element of music education for you these days? FM: I enjoy watching those students develop, with many of them not knowing anything about music when they get here, and then seeing them excel and get better and better at an activity that they might never have been involved in if somebody hadn’t been pushing them. When those students stay after school for rehearsals, they’re learning how to work, and how to achieve something. Having the opportunity to be in a program where kids learn how to achieve something on their own, where they say, “Gosh, I really can do this,” and then having the next level be a little harder, and so on – that is rewarding. The growth between the beginners and the students that then go on to the high school is incredible. When I rehearse the Wind Ensemble at the high school, and I see those little eyes looking at me over their music stands, playing Grade VI music and understanding and enjoying it, well, it’s pretty cool.

For the latest news and content, follow SBO on Facebook: www.facebook.com/sbomagazine 38

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Guest Editorial

Guide for the Middle School Band Director

An Annotated Bibliography of Books for the Middle School Band Director, Part I of II By Theresa Hoover ew resources surface frequently for high school and

elementary school band directors. However, middle school directors often find themselves with materials

either too easy or too difficult to be utilized with middle level bands. This guide compiles resources written specifically for the middle or junior high school band director. The reader will find a listing of books containing information addressing specific concerns and rehearsal techniques for the middle school band director, as well as literature guides for middle school music. All books included here have been written since the year 2000, with the exception of one, which was included due to its being part of a series.

Part 1: Books and Literature Guides Best Music for Beginning Band Thomas L. Dvorak and Richard L. Floyd. Edited by Bob Margolis. Manhattan Beach Music (2000). This book contains music reviews for 66 beginning band pieces, as well as eight method book reviews, and information about how the recorder can help in preparing students for participation in the band program. The book begins with a foreword by Frank Battisti and continues with an explanation of qualities that compositions had to possess to be included. All pieces, while rated Grade I, are assigned to a category Introductory, Intermediate, or Advanced. The distinction between categories is also explained in detail. Each entry includes the pieceâ&#x20AC;&#x2122;s grade, duration, publisher,

School Band and Orchestra â&#x20AC;˘ September 2012

and the highest written notes for clarinet 1 and brass. The authors also provide a narrative containing addition information about each piece and any challenges that may be presented. Best Music for Young Band (Revised Edition) Thomas L. Dvorak. Edited by Bob Margolis. Manhattan Beach Music (2005). Thomas Dvorak, Professor of Music at the University of Wisconsin, wrote this book to help middle school band directors select the best literature available for

their ensembles. The book begins with a foreword by Frank Ticheli and an introduction by Dvorak. The section “Criteria for Music Selection” explains

how pieces were selected for the book and “Criteria for Grade Level Selection” explains how grade levels were assigned to each piece – grades 2, 2.5, 3, or 3.5. Over 100 pieces from the past 50 years were selected to be included. Each entry includes the grade, duration, and publisher, as well as the highest written notes for brass, percussion requirements, and any other unique instrumentation requirements. In addition, Dvorak provides several paragraphs of supplemental details about each piece including any specific challenges it might have. The Creative Director: Beginner and Intermediate Levels Edward Lisk. Meredith Music (2001). This book contains instructional techniques for teaching beginning and intermediate level band students. The techniques, while somewhat non-traditional, are explained sequentially, starting with those for beginning instrumentalists and continuing through more advanced topics. It can be used in conjunction with any traditional band method. The book’s stated purpose is to “increase the students’ musical understanding.” There are numerous supplements available including student books, teaching accessories, and DVDs. More information about the supplemental materials can be found at www.meredithmusic.com/the-creativedirector-series.

School Band and Orchestra • September 2012

sic, and more. The second part of each volume is the Teacher Resource Guide; possibly the most valuable section of the book. Here, 100 well-known band compositions categorized by difficulty (grades 2-6) are described in detail. Each piece has information provided regarding its composer, composition, historical background, technical considerations, stylistic considerations, musical elements, form and structure, suggested listening, and additional references and resources. This section of the book provides functional information for band directors whether looking for new pieces to program or to discover more about a familiar piece. Resource recordings of most pieces are available on CD. An index and sample MP3 clips are also available online at www. teachingmusic.org. Teaching Music Through Performance in Beginning Band Thomas L. Dvorak, Larry Blocher, Scott Emmons, Bruce Pearson, Darhyl S. Ramsay, and Marguirite Wilder. Compiled and edited by Richard Miles and Thomas

Dvorak. GIA Publications (2000). Mirrored after the popular Teaching Music Through Performance in Band series, this book strives to identify and analyze the most significant grade 1 works for wind band. The introductory chapters give insight on critical issues facing early band directors. Chapter titles include: “Beginning With the End in Mind: A Personal Perspective for Teaching Music Through Performance in Band,” “Beginning Band - Goals and Objectives,” “Starting from the Beginning: The Recruitment Program in the Elementary School,” “Selecting Music for the Young Band,” “A Comprehensive Approach to Teaching Grade 1 Music,” and “Technology for Beginning Band.” Part II, the Teacher Research Guide, contains analyses of 53 grade works, divided into Entry Level, Intermediate Level, and Advanced Level repertoire. Resource recordings are available for all works in the book. An index and sample MP3 clips are also available online at www.teachingmusic.org.

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School Band and Orchestra • September 2012

Teaching Music Through Performance in Beginning Band, Volume 2 Erin Cole, Dennis W. Fisher, Cheryl Floyd, Linda J. Gammon, John O’Reilly, and Marguirite Wilder. Compiled and edited by Richard Miles. GIA Publications (2007). Picking up where Volume 1 left off, Volume 2 continues to offer insights and suggestions for improving the musicianship of young bands. Introductory chapters include “Establishing an Effective Rehearsal Procedure for Middle School Students,” “Beginners or Musicians: Risk/ Reward of Musicianship,” “Confessions of a Music Junkie,” “Great Beginnings: Warm-up Strategies for Success,” and “Nurturing Creativity,” “A Journey to Creativity Through Musical Changes.” Part II, the Teacher Resource Guide, offers insights to 55 newer grade 1 works for beginning band. Resource recordings are available for all works detailed in the book. An index and sample MP3 clips are also available online at www.teachingmusic.org. The books described in this article are intended to help the middle school band director make the most out of concert band rehearsals. The literature guides not only provide lists of works for middle school band, but also details and suggestions on how to most effectively teach those works. Look for the second part of this guide, “An Annotated Bibliography of Musical Resources for the Middle School Band Director,” which will contain descriptions of warm-ups, chorales, and other technique building exercises for use in the band rehearsal. These musical resources will assist middle school directors in strengthening various aspects of their band programs. Theresa Hoover is an active conductor, performer, and educator. Currently Ms. Hoover is a music teacher in the Tredyffrin/Easttown School District, in Chester County, Pa., teaching band, chorus, and general music. Prior to this position, she directed the bands at several Catholic schools in Chester County. In 2012, Ms. Hoover was the guest conductor for the Archdiocesan Elementary Honor Band. Ms. Hoover holds a B.S. in Music Education from the Pennsylvania State University and is in the process of completing a master’s of Music Performance degree in Instrumental Conducting from West Chester University, studying with Dr. Andrew Yozviak and Dr. Gregory Martin.

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Technology

The Emerging World

of Online Professional Development by John Kuzmich, Jr. and Joseph M. Pisano

rofessional development is evolving rapidly. Gone are the days when teachers needed to wait for a conference or the next journal for help and happenings – it is now available whenev-

er and wherever via the Internet. Collaborative technologies such as social networking and interactive websites have brought professional development into the digital, virtual world. Consultation, coaching, community discussion, collaborative engagement, individual study, and mentoring all appeal to various learning styles and address individual needs and concerns.

In the music related fields, perhaps the most exciting professional development conversations are revolving around the practitioners’ abilities to congregate and have discussions utilizing well-adopted social networking sites such as Google+, Facebook, and Twitter. A number of very large online social groups have begun to emerge, focused around established entities such as the National Association for Music Education (NafME), as well as ad-hoc groups such as the Facebook “Band Directors Group” (www.facebook.com/groups/banddirectors/) and the Facebook “Music Teachers Group” (facebook.com/groups/mpln). In every case, the discussions that are happening within these robust environments are engaging and leading to the furthering of each member’s knowledge. One of the acronyms of today’s online educationally-related world is “PLN,” which is short for “Personal Learning Network” or, in the case of a group-centered organization, a “Professional Learning Network.” While the concept of a personal learning network is not new, the development of seemingly universally-adopted integrated social media networks such as Facebook have increased the “personal” part from being limited to those living in a close-proximity of each other to now include anyone with access to the Internet. Even the language barriers have become greatly reduced due to the increased accuracy of integrated auto-translation services such as Google Translate. For many people, the notion of professional development still creates the picture of attending a conference or attending a lecture given by an expert in the field. While these are still viable ways to develop professionally, to more fully take advantage of the incredible resources available in professional development using online venues, one must expand the definition to include concepts such as creative 44

School Band and Orchestra • September 2012

exploration, collaboration, peer-discussion, and self-guidance. Once these concepts are embraced, the true value of online professional development can be realized; still, in some cases, the personal human element can appear to be lessened.

Instrumental composer and band director Travis J. Weller notes, “Social media platforms have increased access to on-line professional development. Online professional development is now a viable option with a much broader scope and yet has increased

School Band and Orchestra • September 2012

in quality. My only criticism is that it does take away true human interaction from the process. Still, with so many knowledgeable educators contributing, music teachers and directors need to take advantage of these opportunities to broaden and enrich their contacts and knowledge base.” Because a PLN is tailor-made to each individual’s needs, many people believe that starting their own PLN is difficult; in actuality, the process is quite simple. A person’s learning network can start with the very social networks sites that he or she is already using simply by searching for topics of interest and “joining-in” on the conversations found or by asking their peers what online resources they are using and then exploring them. Dr. Charles R. Jackson, Jr., band director and noted MusicForAll clinician (musicforall.org), when discussing PLNs, describes some of the strengths and needs for these online opportunities: “One of the many apparent strengths of online professional development for music educators is the ability to focus with pinpoint accuracy on the topics most important and relevant to their needs and interests.” He also points out there are advantages to sitting at home and searching through the many online forums for answers to questions that, for one reason or another, a teacher might be hesitant to bring up in a public meeting involving their colleagues and peers. Better still is to become engaged in a two-way communication through an online resource and have an in depth discussion on very specific topics. Online professional development has the potential to become, if it has not already become so, the life-line that will save many novice music teachers from falling victim to the staggering statistics which reflect the intolerably high number of talented individuals who leave the profession. As might be expected, music related industries are increasing their discussions and interactions with music teachers and musicians through social media and by doing so they are helping to better understand each others needs and how their cross-purposes can be better met. Marina Terteryan, marketing manager and String/Jazz

product line manager at Alfred Music Publishing, has been keen on cultivating this relationship. She says, “The music education community, which includes teachers as well as businesses, is so powerful because of its common goal to bring music to the world. Any time that cross-collaboration happens, everybody benefits because we can better serve each other as well as the students. That is why it’s so important for us to constantly communicate with the teachers and musicians that we serve. We not only listen and take everything into consideration, but we seek this information out because of how much we value it. Social media is one of the wonderful tools that allows us to do all this in real time.” The “Big Four” of the social networks being used for professional development are Facebook, Google+, LinkedIn, and Twitter. Each one of them is being used in a different manner, and all of them are being used to disseminate useful information pertinent to the fields of music and music education. In the May 2011 edition of SBO, an article titled “Technology: Interactive Blogging & Social Networking” highlighted some of the many resources being created by music teachers and directors who are blogging about music. The blogs, people, and resources mentioned in that article are a part of the larger community discussions that are happening on these the “Big Four” social networking platforms.

How the “Big Four” are being used as PLNs: • Facebook (facebook.com) – Groups such as the Music Teachers and Band Directors Groups have been created specifically to share and collaborate information among their members. Also, organizations and product developers are now frequently using their Facebook pages to discuss topics and products in an online forum. • Google+ (plus.google.com) – “Circles” of friends and like-minded professionals are being utilized to create groups and share information. In addition, “Hangouts” (video conferencing) are being used to create small groups on the fly, as well

as seminars around a “topic of the day.” • LinkedIn (linkedin.com) – Music teachers and music professionals are listing potential jobs and posting their resumes. In addition, LinkedIn offers group forums and large-scale professional career networking opportunities. • Twitter (twitter.com) – Perhaps the fastest way to find the latest, most succinct, information about a par-

ticular topic is to utilize Twitter and Twitter hashtags. Not unlike colleges and universities that have moved a portion of their offerings online, a number of organizations are now offering professional development opportunities through online “webinars” (web seminars). SoundTree (soundtree.org) offered the first-of-a-kind, day long, professional development conference in 2010 aptly

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Joy to the World Bring a Torch, Jeanette, Isabella Good Christian Men Rejoice God Rest Ye Merry, Gentlemen Jolly Old Saint Nicholas Good King Wenceslas Jingle Bells O Christmas Tree Toyland Here We Come A-Caroling Deck the Halls Angels from the Realms of Glory We Wish You a Merry Christmas

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School Band and Orchestra • September 2012

named the “Music Education Technology Online Summit.” In 2011, this “summit” became the SoundTree Institute and it now offers a variety of on-going classes and webinars. Also, long established groups such as TI:ME (Technology Institute for Music Educators) are increasingly offering a number of their courses through online channels as well. Ad-hoc, large-scale, professional development opportunities have also developed as an outgrowth of the members of the PLNs themselves. A complete professional development day that utilized all of the major social networks was put together by long-time music professional learning networker and music teacher, Catie Dwinal. Called “Music Ed. Motivational Day,” this event consisted of a number of free webinars given by well-known and tech-fluent music educators, focused around a myriad of music education topics. The webinars were transmitted and delivered by Google+ Hangouts and available live to anyone who wished to watch or participate. In addition, the webinar topics were also simultaneously discussed via Facebook and Twitter. This type of communicating easily demonstrates the long reach and power of an active social-mediabased PLN. There are endless professional development opportunities similar to

those listed in this article. Most of them are available at any time of the day and may be custom-selected to provide for almost any type of developmental need. Regardless of all of the day-to-day demands that all music teachers and directors face, taking the time to develop an online PLN is becoming both a necessary and enjoyable step for everyone. Everyone is an “expert” at something. Active membership in a PLN allows everyone to share their expertise and their experiences with each other.

Staying on top of your Social Media Presence Managing multiple social media platforms can take time and require time-management skills. One timesaver for busy music educators is a social media manager, or “dashboard,” such as Alternion (alternion.com), Hootsuite (hootsuite.com), or Seesmic (seesmic.com). The benefit of a social media dashboard is the ability to easily view all the activity connected to your social media accounts in one location, eliminating the need to visit each of the sites individually. They also allow the scheduling of updates and the posting of photos to the various accounts with an easy-to-use interface complete with cross-account-posting capabilities. Utilizing a social media manager provides increased productivity and

time-saving benefits which, naturally, should be the goal of all technologyrelated endeavors!

Closing Comments Smartphones and tablets are fast becoming the norm, with less need to be connected to a laptop or desktop to have an acceptable Internet experience. This bodes well for professional development and the ability to communicate and collaborate seamlessly with colleagues in unprecedented ways. This open-ended and often selfdirected architecture offers almost limitless opportunities for learning and instructing. A good first step to participating in online professional development is simply to get on a social-media platform that is comfortable for you. There are already plenty of people using PLNs and all of them are ready to help. The benefits are epic; and time, for once, plays nice with our schedules. 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 text books 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. Joseph M. Pisano, Ph.D. is currently the associate chairman of Music and Fine Arts at Grove City College, where he is an associate professor of Music and serves as the associate director of Bands. Abroad, Dr. Pisano is an active instrumental conductor, adjudicator, author, jazz trumpet player, arts advocate, and the founder of a number of very popular webresources including: MusTech. Net, MusicEdNews.Com, and the Music Teachers and Jazz Educators Facebook Groups. He is an active member of a number of professional organizations including: PA Intercollegiate Bandmasters’ Association, Phi Beta Mu International Bandmasters’ Fraternity (Nu Chapter), PMEA, NAfME, and holds Associate membership in the American Bandmasters Association.

School Band and Orchestra • September 2012

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New Products RATstands SOLO LEDlight

The SOLO LEDlight is a professional single LED music stand light that offers exceptional quality light output and durability at a competitive price. Available in two versions: The SOLO LEDlight can be fitted onto RATstands’ Operaâ stand and the SOLO LEDclip Light, which is a universal clip-on version for use with most other music stands. Both The Solo LEDlight and SOLO LEDclip are designed to throw high quality warm white light on the score. The precision aluminium housing gives excellent illumination with little light spillage, with a slim profile to not obstruct views of conductor or performer. They utilize LED light for longevity and energy efficiency. Each model is double insulated for safety. The SOLO LED light is fitted with a coiled cable that extends three meters from the point that it reaches the ground from the stand. The SOLO LEDclip light includes 3metres of cable with an in-line switch, a strong universal clip, and gooseneck.

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Hal Leonard School for Snare Drum

Hal Leonard School for Snare Drum, compiled by performer/educators Ben Hans and John S. Pratt, is designed to develop a drummer’s rhythmic vocabulary and musical artistry. It starts with the very basics – such as parts of the snare and types of snares – presenting music fundamentals to beginners in a non-intimidating way. The book is also loaded with helpful meter, roll and rudiment studies, progressing from quarter notes and 2/4 time to 17-stroke rolls and cut-time for more experienced drummers. The book delves deep into concert snare drumming, and teaches students applications of alternate and natural sticking.

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School Band and Orchestra • September 2012

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Hal Leonard School for Snare Drum contains John Philip Sousa march charts, etudes and duets written by Ben Hans, and brand new rudimental solos by legendary percussion composer John S. Pratt that are perfect for contests and juried performances. Edited by Rick Mattingly, this pedagogically sound book presents the rudimental tradition, as well as its many modern-day applications.

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New Products Denis Wick American Classic Trumpet Mouthpiece

The American Classic series is based on some of the most well known American style mouthpieces but modified to perform to the standards that all Denis Wick products achieve. Available models are the 1.25C, 1.5C, 1.5CH, 3C, 5C, and 7C. The numbering system was designed to correspond with the standard American mouthpiece sizing established by Bach. Wick’s improved design includes a more comfortable rim and a unique throat and backbore design for each mouthpiece. The American Classic mouthpieces undergo an extended CNC machining process, resulting in less polishing and metal removal after the initial cut. This refined process provides a very accurate and consistent mouthpiece that has a beautiful finish and is extremely comfortable to play

String Orchestra Arrangements By Julie Lyonn Lieberman from Kendor Music

Created for string orchestras, three new pieces by Julie Lyonn Lieberman are now available from Kendor Music: “The Celtic Butterfly,” “Klezmer Celebration,” and “Bollywood Strings.”

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FREE: 4 CDs of Reicha’s glorious music with purchase of 8 CDs of the beautiful Reicha Woodwind Quintets. FREE case and FREE U.S. shipping. Total $135.60 for com-

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While the Junior and Senior editions of these arrangements (sold separately) can be played independently, they also interlock for impressive all-district or regional festival performances featuring students at the grade 2-4 levels. “Bollywood Strings” has ten video tutorials, an authentic Indian percussion track, and a performance video available. Master scores for Junior and Senior interlocking performances can be downloaded for free. Lieberman is the recipient of over two dozen ASCAP awards and eight Meet The Composer awards. She has performed her original music on and off Broadway, throughout the U.S. and Canada, in Europe, and on television and radio. A co-author of American String Teachers Association’s national curriculum book, she is the artistic director for the summer program StringsWithout Boundaries.

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The FX-1100 Trumpet offers a number of exclusive innovations including three sets of interchangeable bracing machined from Bronze, Stainless Steel, and annealed Brass. Every player now has an easy option for fine tuning his or her instrument to suit personal taste and performing requirements. The new solid brass stock one-piece heavy mouthpiece receiver adds a new dimension of control at the point of critical tone production. Rifle drilled openings in both horizontal Phaeton style braces reduces weight while adding essential response in every register. A faster large bore tapered lead pipe adds more dynamics when needed. Coupled with the trumpet’s larger bell, it is impossible to over-blow this horn. Reversed tuning slides and lead pipe provide for smooth air flow, and the trumpet’s short piston stroke is designed for high speed. The horn also features Phaeton’s Brush Brass finish, Solid Brass hex-shaped and weighted top/bottom caps & finger buttons.

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School Band and Orchestra • September 2012

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School Band and Orchestra • September 2012

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Classifieds

www.sbomagazine.com

Print Music

Merchandise

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School Band and Orchestra • September 2012 63

Classifieds

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Teaching Aides

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Ad Index COMPANY NAME

PAGE #

American Way Marketing LLC

www.americanwaymktg.com

Antigua Winds, Inc.

www.antiguawinds.com www.ChateauUSAMusic.com

Bari Woodwinds

www.bariwoodwinds.com

( Call Steven Hemingway 1-800-964-5150 ext. 34

Or Write shemingway@symphonypublishing.com

www.sbomagazine.com

E-MAIL/WEB ADDRESS

Band WorldMusic Inc

Advertise in the Classifieds!

COMPANY NAME

E-MAIL/WEB ADDRESS

PAGE #

Legere Reeds ltd.

www.legere.com

Legere Reeds ltd.

www.legere.com

Lionel Hampton Jazz Festival

www.jazz.uidaho.edu

Ludwig MastersPublications

www.ludwigmasters.com

Beret’s Publications

www.beretspublications.com

MakeMusic, Inc

www.makemusic.com

Berklee College of Music

www.berklee.edu

Manhasset Specialty Co.

www.manhasset-specialty.com

Carnegie Hall

www,carnegiehall.org/nyousa

MarchingUSA.com

www.marchingUSA.com

Cascio Interstate Music Company

www.interstatemusic.com

Mickman Brothers Inc.

www.mickman.com

Charms Office Assistant

www.charmsoffice.com

Music Time, Inc

www.musictime.com

Columbus Percussion

www.columbuspercussion.com

Norfolk Convention & Visitors Bureau www.usafest.orgydirect.com

Crystal Records

www.crystalrecords.com

Pearl Corp.

www.pearldrum.com

D’Addario & Co.

www.daddario.com

Pellegrino Music

www.InstrumentOutfitters.com

Performing Arts Consultants

www.usafest.org

Peterson Strobe Tuners

www.petersontuners.com

Rada Mfg. Co.

www.RadaCutlery.com

Rivar’s

www.rivars.com

RS Berkeley Musical Instruments

www.rsberkeley.com

Disney Performing Arts OnStage

www.DisneyPerformingArts.com

Dutch Mill Bulbs, Inc.

www.dutchmillbulbs.com

EPN Travel Services

www.epntravel.com

Festivals of Music/

www.educationalprograms.com

Festivals of Music/

www.educationalprograms.com

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52 5

Fiesta-Val Music Festivals

info@fiestaval.com

Students on Broadway

www.studentsonbroadway.com

Fobes Clarinet Products

www.clarkwfobes.com

Summit Tour & Travel

www.summittourtravel.com

Four Winds Travel & Tour

www.FourWindsTours.com

Super-Sensitive Musical String Co.

www.cavanaughcompany.com

Full Compass

www.fullcompass.com

Vanderbilt University

www.vanderbilt.edu/blair

Gatchell Violins Company, Inc.

www.gatchellvioilins.com

Vic Firth Company

www.vicfirth.com

Gator Cases

www.gatorcases.com

Vic Firth Company

www.vicfirth.com

The Getzen Co.

www.getzen.com

Wenger Corp.

www.wengercorp.com

Good for the Goose Products

www.chopsaver.com

West Music

www.tjflutes.com

Hunter Music Instrument Inc.

www.huntermusical.com

Woodwind & Brasswind

www.wwbw.com

Juilliard School of Music

www.juilliard.edu

World Strides Perf. Div

www.heritagefestivals.com

Jupiter Band Instruments, Inc.

www.jupitermusic.com

World’s Finest Chocolate Inc.

www.WorldsFinestFundraising.com

Avedis Zildjian Co.

www.zildjian.com

Jupiter Band Instruments, Inc.

www.jupitermusic.com

KMC Music, Inc

www.kmcmusic.com

Krispy Kreme Donut Corp.

www.krispykreme.com

School Band and Orchestra • September 2012

Save The Date!

Jazz Education Network 4th Annual Conference Networking the jazz arts community... local to global!

Atlanta, Georgia January 2-5, 2013 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/beneďŹ ts please visit us at: