October 2011 | Southwestern Musician

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OCTOBER 2011

A U D I T I O N D AT E S S AT U R D AY

F R I D AY

( VO I C E A N D K E Y B O A R D O N LY )

( V O I C E O N LY )

December 3, 2011

F R I D AY

January 13, 2012

( V O I C E O N LY ) S AT U R D AY

January 14, 2012

January 27, 2012

S AT U R D AY

January 28, 2012

S AT U R D AY

February 18, 2012

Auditions are required of all entering and transferring music majors.

B AY L O R U N I V E R S I T Y S C H O O L O F M U S I C

YOUR FIRST CHOICE s 4RANSFORMING MUSICAL AND ACADEMIC EXPERIENCES The Baylor School of Music is dedicated to helping you fulďŹ ll your musical hopes and career dreams. s )NDIVIDUAL ATTENTION THAT ONLY FULL TIME resident faculty can provide. From the beginning of your Baylor experience, you will study with our veteran teachers who will focus their full attention on you. s %XTRAORDINARY PERFORMANCE EXPERIENCES You can hear for yourself the polished quality of Baylor’s ensembles and individual students by attending performances in such places as TMEA conventions. s &RIENDSHIPS AND PROFESSIONAL CONTACTS THAT WILL LAST A LIFETIME Baylor is about connections. Your closest friends and most valuable colleagues are waiting for you in the School of Music. s 3CHOLARSHIPS &OR UNDERGRADUATES four- and ďŹ veyear packages valued at up to $100,000. For graduate students, stipends and tuition remission equaling as much as $16,000 per year. &OR MORE INFORMATION Baylor University School of Music /NE "EAR 0LACE s 7ACO 48 www.baylor.edu/music and click on “For Prospective Studentsâ€? s $ELORIS?!CEVEDO BAYLOR EDU

O c tob er 2 011 Volu me 8 0, No. 3

features 13

It’s Simply Magical Despite the down economy, TMEA continues to demonstrate strength in membership, finances, and more. by john gillian

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March On Offer students rewarding instructional and performance experiences through the rich tradition and legacy of the march. by timothy rhea

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Music Matters: Rehearsal Strategy Four music educators share their perspective on the important elements of an effective rehearsal. by rob myers, ann victor

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jo scu r lock-di ll a r d, a n d barbara keaton

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Beyond the Music The full measure of success often extends well beyond teaching our students musical skills. by tammy stallcup

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columns President’s Notes.................................................... 6 by Ross Boothman Executive Director’s Notes...................... 11 by Robert Floyd

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Doing More with Less Elementary music educators succeed despite larger class sizes, fewer class meetings, and smaller budgets. by mari mcadoo

updates TMEA Scholarships Available.................................................................................................................................................................... 4 Fine Arts Grant to Offer Some Budget Relief.............................................................................. 12

Band Notes................................................................... 19 by Chuck Young

It’s at www.tmea.org: Teaching Resources..............................................................................................................................18

Orchestra Notes.....................................................29 by Lisa McCutchan

Make Your Hotel Reservation for the 2012 TMEA Clinic/Convention.......................................................... 23

Vocal Notes................................................................. 40 by Janwin Overstreet-Goode

Call for Papers.................................................................................................................................64

Elementary Notes...............................................53 by Michele Hobizal

Thank You, Scholarship Donors...................................................................................................65

College Notes............................................................59 by Richard Fiese

On the cover: Summer Price, a fifth grader at Franz Elementary (Katy ISD), performs with the Katy ISD Elementary Honor Choir during the 2011 TMEA Clinic/Convention. Photo by Karen Kneten. Southwestern Musician | October 2011

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Editor-in-Chief: Robert Floyd rfloyd@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

Managing Editor: Karen Kneten kkneten@tmea.org 512-452-0710, ext. 107 Fax: 512-451-9213

TMEA Executive Board President: Ross Boothman rboothman@lumberton.k12.tx.us 8285 Ginger Lane, Lumberton, 77657 409-923-7858/Fax: 409-923-7819 – Lumberton HS

President-Elect: John Gillian john.gillian@ectorcountyisd.org 3624 Loma Drive, Odessa, 79762 432-413-2266/Fax: 432-334-7174 – Ector County ISD

Past-President: Denise Eaton dreaton59@gmail.com 20423 Cannaberry Way, Spring, 77388 832-452-8345 – Sam Houston State University

Band Vice-President: Chuck Young cyoung@g-pisd.org 1911 Oak Ridge Drive, Portland, 78374 361-815-8482/Fax: 361-777-4272 – Gregory-Portland HS

Orchestra Vice-President: Lisa McCutchan lisamccutchan@sbcglobal.net 17426 Emerald Canyon Drive, San Antonio, 78232 210-397-4759/Fax: 210-695-4804 – O’Connor HS

Vocal Vice-President: Janwin Overstreet-Goode joverstreet-goode@fisdk12.net 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

Elementary Vice-President: Michele Hobizal sallyhobizal@katyisd.org 11003 Bergamo Drive, Richmond 77406 281-234-0050/Fax: 281-644-1690 – WoodCreek Elementary

College Vice-President: Richard Fiese rfiese@hbu.edu 17415 Pikes Peek Court, Tomball, 77377 281-649-3228/Fax: 281-649-3313 – Houston Baptist University

TMEA Staff Executive Director: Robert Floyd | rfloyd@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Tesa Harding | tesa@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Membership Assistant: Rita Ellinger | rellinger@tmea.org Communications Manager: Karen Kneten | kkneten@tmea.org Financial Manager: Laura Kocian | lkocian@tmea.org Information Technologist: Andrew Denman | adenman@tmea.org

TMEA Office Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org Office Hours: Monday–Friday, 8:30 A.M.–4:30 P.M.

TMEA Scholarships Available Apply by November 15 to be eligible. Are you in an undergraduate music education program? Whether you just started a music education program or are preparing to begin student teaching, TMEA offers you support. Scholarships for undergraduate music majors (available only to active TMEA college student members) range from $2,000 to $2,500. One-Year Undergraduate Scholarships

graduate students enrolled in a music degree program at a Texas college or university leading to teacher certification. One-Semester Student Teacher Scholarships

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Are you a music teacher continuing your professional growth with graduate study? !

% & & ! "" scholarships of $1,250–$2,500. One-Year Graduate Study Scholarships " " $1,250 to $2,500.

Do you teach high school seniors who want to be music educators? ""

" in a music degree program at a Texas college or university leading to teacher certification. Scholarships for graduating seniors range from $2,500 up to $15,000. Encourage your best and brightest seniors to apply and submit all supporting materials by November 15. Graduating Senior Scholarships ' * & +

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Go to www.tmea.org/scholarships

Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, and July by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754. Subscription rates: One Year – $20; Single copies $3.00. Periodical postage paid at Austin, TX, and additional mailing offices. POSTMASTER: Send address changes to Southwestern Musician, P.O. Box 140465, Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941–47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947–54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music Educators Association, whose official publication it has been since 1938. In 1954, the two magazines were merged using the name Southwestern Musician combined with the Texas Music Educator under the editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

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Southwestern Musician | October 2011

Music students don’t just learn notes.

Texas schools with more students participating in music classes have: ‡ EHWWHU DFDGHPLF UDWLQJV ‡ IHZHU GLVFLSOLQH SUREOHPV ‡ KLJKHU DWWHQGDQFH UDWHV

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They learn to create. They learn to innovate. They learn to analyze. They learn to collaborate.

Music Training Improves Cognitive Development in Young Children Research conclusions continue to underscore the importance of music education. For research details on the following findings, go to www.tmea.org/succeed. + 8

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T EX AS MUSIC EDUCATORS A SSOCI ATION ! " # Southwestern Musician | October 2011

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by Ross Boothman

President’sNotes

Make music first o sooner had the school year started when we began hearing that next year’s state funding to schools would be even worse. The hits just seem to keep on coming. We will face some of the same problems that we faced this past spring. Potential cuts in budgets and staffing, added responsibilities, and busier schedules are just some of the possible changes for 2012–2013. As I stated in a previous column, we should not let this affect the job we do for the students. They did not cause the problem and should not suffer because of it. What can we do? How can we minimize or eliminate the damage to our programs in the coming months and next year? I heard a convincing answer to these questions at the beginning of this school year in Lumberton. During one of the required training sessions, an attorney who was presenting was asked these questions and his response was simple—vote. The percentage of registered voters who take the time to vote is abysmally low in our state. I am not going to sit here and say that one party or candidate is better

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than another. That’s for each individual to decide. But we should exercise our right to vote and get involved. There are thousands of education employees in our state. What an impact we could make if we all simply voted. In our districts, we have to make our programs appear indispensable. We must provide our students with a musical experience they enjoy and through which they grow. Parents need to see that their kids are enthusiastic about participating in music, and they need to see them perform. We have all heard and, in turn, have likely offered the argument that music makes us better thinkers. That’s a valuable and necessary justification for what we do. We also have to use Dan Pink’s rationale that workers in the 21st century need to be trained in the arts so that their creativity can be utilized to the fullest extent. All of this is true. But I believe there is a better justification for our programs. During one of our recent Executive Board meetings, College Division VicePresident Richard Fiese suggested that it is time for us to get back to defending

Maximize the numbers in your program. Teach them to the best of your ability. Do your best to make sure they are enjoying the music while learning. “Without music, life would be a mistake.” —Friedrich Nietzsche 6

Southwestern Musician | October 2011

Opportunity Experience Excellence

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music for music’s sake—music is a basic necessity for our society, and it has been forever. We teach music! That alone is a very powerful argument. We need music. It surrounds us daily. It is as much a part of our culture as anything. We all know that it has inherent value, but we have to continually promote it as the vital and important part of our education system that we believe it to be. Use the scientific and business arguments, but remember to put the music first.

I am fortunate to teach in my hometown. One of our intermediate school P.E. coaches and I went to school together. Each year when we begin recruiting fifth graders, he tells the students in his P.E. class, “Kids, Mr. Boothman and I went to high school together. He played trumpet and I played football. He’s still playing trumpet.” I never fail to laugh a little when he makes his speech. But it sends a very strong message. Music is for life. Whether one teaches music, sings in the church choir, performs professionally, or simply

listens to the radio, music is a part of all our lives. That music is for life should be a part of our regular promotional message. Will everyone get it? No. Can we get more people to buy in to the idea that it is necessary? I believe so.

Eleventh Annual

Lynn Harrell Concerto Competition for Violin, Viola, Cello, Bass and Piano Application Deadline: February 17, 2012 For complete details, contact Malori Fuchs at 214.871.4006, m.fuchs@dalsym.com, or visit www.studiodso.com

Southwestern Musician | October 2011

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LOCAL PARKS: SIX FLAGS OVER TEXAS ARLINGTON, TX May 11, 18

Non-Competitive and Motivational • High School • Middle School • Elementary School • Band • Choir • Orchestra • Jazz Band • Show Choir

Performance in the Morning, Fun in the Afternoon See our complete brochure on the web at:

www.highnotefestivals.com • 877-239-3007

2012

hroughout my 25 years as a music educator I viewed the TMEA Clinic/Convention as a wonderful opportunity for rejuvenation of heart and spirit. It always inspired me to give the upcoming UIL preparation my best and take my beginner students to the next level. Clinics and concerts motivated me to do a better job in the classroom, and visiting with my colleagues and peers was equally as important as the workshops and performances. I was like a kid in a candy store as I walked through the exhibit hall, looking starry-eyed at all the new products, music, and services available to help me serve my students more effectively. So in the midst of a down economy, it is refreshing to be able to provide our members access to such incredible professional development at the same price paid 11 years ago. Given my experience as a director, I take great pride and commitment in marginalizing the always-pricey aspect of attending any event—housing. I realize that now more than ever our financial situation will enter into your decision of whether to attend the TMEA convention. While there is little we can do to further minimize the cost, at the risk of

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being repetitive from this column a year ago, let me share the following thoughts and suggestions. After eleven years, pre-registration is still $50. Register today to save money since on-site cost is $20 more. TMEA has contracted discounted rates with 27 hotels. This block includes a wide range of properties in walking distance of the convention center. Over 70% of our hotel rates are $140 or below, with one hotel within two blocks of the convention center offering an $87 rate. Three beautiful and affordable new suite hotels have been added to our discounted block. Almost every hotel will be providing free Internet access and more hotels than ever are providing a continental or full breakfast. While parking is expensive in San Antonio hotels due to limited garage space, I encourage you to call your assigned hotel and inquire about options, including adjacent lots. Several hotels are discounting their parking rates for TMEA attendees. Booking your room through the TMEA housing system allows the Executive Board to hold membership and registration at a low rate. Our multi-year

by Robert Floyd

Executive Director’sNotes

Still keeping it affordable

In the midst of a down economy, it is refreshing to be able to provide our members access to such incredible professional development at the same price paid 11 years ago. Southwestern Musician | October 2011 11

agreement with the city is tied to the number of room nights sold from our discounted block. Staying outside the block potentially costs TMEA money, and this would eventually have to be accounted for in a registration fee increase. State and government rates are not an option since hotel rates are driven by revenue formulas that allow only a small number of rooms to be sold at such a low rate. With a need for over 5,000 rooms downtown to house All-State students, chaperons, exhibitors, and attendees, we have to contract for 50–90% of the rooms in each hotel, thus limiting the discount. Be aware that two penalties may be applied based on changes in your reservation: (1) If you do not stay for the booked number of nights, there will be a penalty upon check-out unless you notify the front desk at check-in. (2) If you cancel a reservation after January 17, there will be a $50 penalty that cannot be waived. This includes All-State chaperon reservations, so if you have to change hotels to chaperon your students who earn a position in All-State, you too must cancel your previous reservation by the 17th.

Having been given ample time following All-State qualification to cancel an existing reservation, there will be no exceptions or waivers. Free Alamodome parking and shuttle will be available once again; however, leaving your automobile on the lot overnight is not recommended. Each year I encourage the Executive Board to create a program that serves their division so well that their members cannot afford to miss. There is simply too much to learn. They always come through, and I believe the programs for 2012 are extraordinary once again. Performing groups as well are exceptional. So as housing opens on October 4, go online and reserve your room. So what are other reasons you should attend the 2012 convention? Former Arkansas Governor Mike Huckabee, the nation’s foremost advocate for music education in the political arena and in the media over the past five years, will give our keynote address at the general session on Thursday morning. As a presidential candidate, Huckabee espoused on every national news talk show the importance

of music and arts education in restoring quality to our country’s educational system. Friday morning, Carl St. Clair, internationally known orchestral conductor and conductor of our 2012 All-State Symphony Orchestra, will share his philosophy and vision for music education and reminisce about his experiences growing up as a part of a Texas music program. The Vienna Boys Choir performance is also a musically inspiring event you will not want to miss, especially at the $10 ticket price. Finally, another bargain available to attendees who invest an extra $10 is getting access to audio files of the sessions for which the clinician extended us the permission to record. This past year that represented 90% of the workshops. This bonus is well worth it! Remember, even if you can get away from school for only one day, the workshop program has been greatly expanded on Saturday. You can still attend worthwhile sessions, hear remarkable concerts, and visit what we expect to be another 1,100-booth exhibit hall. We hope to see you there.

Fine Arts Grant to Offer Some Budget Relief

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he Texas Education Agency awarded TMEA a $1 million grant to assist high-quality and successful TEKS-based fine arts programs experiencing critical budget reductions. Applications for the grant, entitled the Fine Arts Instructional Support Program (FAISP), are now available at www.tmea.org/FAISP. The following are some of the grant requirements: + ! ! % $5,000 for an individual fine arts program; however, a school district may apply for a sub-grant for more than one program within the school district, even on the same campus. ` " ! " " { TEKS-based supplemental instructional materials and equipment for secondary fine arts programs (middle school and high school, grades 6–12), such as teacher training resources, instruments, general supplies, play scripts, sheet music, costumes, and props. { ! " " %

activities, such as marching band, drill/dance teams, and competitions (fees, travel expenses, etc.). + ! ! " grams that have experienced critical reductions in

12 Southwestern Musician | October 2011

their 2011–2012 budget as compared to previous years. + ! not supplant, the budget of the designated secondary fine arts program(s) submitted in this FAISP application. + ! ! 4 " that have demonstrated excellence through successful competition in local, regional, or statewide events or have received recognition for exceptional performances/exhibitions by an external evaluator. %

! ! " ! programs representing all four fine arts subject areas—art, dance, music, and theatre—as well as to programs representing rural, urban, and suburban school districts. + !

" ! awards may be asked to prioritize applications according to the most critical to least critical needs. ! ! than Monday, October 17, 2011, 5 P.M., to Thomas H. Waggoner, Grant Project Coordinator for the Fine Arts Instructional Support Program, at the TMEA office. Go to www.tmea.org/FAISP for information and the grant application. For other questions, contact Thomas H. Waggoner at twaggoner@tmea.org.

It’s Simply

by John Gillian

Magical

he world around us is in a state of flux. In this past year many world leaders have lost their positions of power. Our last general election saw big changes in our congressional leadership. In Texas we have endured economic challenges that have adversely affected funding for all areas of education, and these challenges are likely to continue into the foreseeable future. TMEA has remained a stalwart organization through these difficult times. Our amazing organization continues to be viewed as a model of success across the nation. From the outstanding TMEA staff to our members, the most dedicated group of professional music educators in the world, TMEA remains great because of its people. It is truly magical how TMEA remains strong and diligent to its mission through both good and challenging times.

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Membership The most important asset TMEA has is its membership. Despite the uncertainties all educators face, our membership during the past year was up for the seventh consecutive year. Our members understand the importance we have in our students’ lives. We know that our students who participate in TMEA Region, Area, and State musical organizations are forever changed in positive ways through their participation. We appreciate the amazing opportunities for professional growth offered at our annual convention and the work of our association in legislative matters. The growth in membership and convention attendance is a testament of the dedication and passion we have for music education. The following is a summary of our membership totals at the close of the 2010–2011 year: Active–11,144; Retired–545; Institutional–79; College Students–3,471; Sustaining–525; Total membership–15,764. Financial Health TMEA has weathered the financial storms very well. Thanks to the work of Executive Director Robert Floyd and our financial planner, we continue to have two years of operating expenses in savings/investments. Even through the financial roller coaster ride the stock market has traveled this

2010–2 2011 TMEA Annua al Report

summer, with conservative investments, TMEA’s portfolio is up 0.51% since January 2011. This financial stability has enabled TMEA to remain the most affordable organization of its kind. Our convention registration fee remains an incredible value as well when compared with other professional organizations. Scholarships & Scholars Because of conservative investments and many generous donations, our scholarship fund remains healthy. The TMEA Executive Board announced in February that a record-breaking $135,000 in scholarships would be awarded during the upcoming academic year. As a past recipient of a graduate study scholarship, I can attest that these scholarships have a transforming power. The Texas Music Scholars program continued to grow with 1,458 students being awarded a certificate and patch honoring their dedication and growth as musicians. Texas Future Music Educators With 39 active chapters totaling 897 active members, an amazing 592 of those members registered to attend the 2011 convention. TFME gives high school students a wonderful educational opportunity to learn about careers in music education, and in doing so, helps ensure the future of TMEA. Consider forming a chapter in your community (get started at www.tmea.org/tfme).

Southwestern Musician | October 2011 13

Music at TCU

2011 Clinic/Convention The 2011 TMEA Clinic/Convention set a new record high with 26,340 in attendance. The TMEA staff and divisional Vice-Presidents work year-round to make the annual convention an event that is too valuable to be missed. Highlights from the convention included: /} &

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The President’s Concert featured The Swingle Singers to a full house Wednesday evening. Thursday’s First General +

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4 " # Original Score Contest Presented by State Farm, this contest offered educators and students a unique, engaging, and valuable TEKS! % # ˆ ! " + { % agents, $100,000 was awarded to high

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# 82nd Texas Legislature Facing a huge budget shortfall % Legislature struggled with many contentious issues that affected all educa

4 # ‡ 9 legislative session would include many "" % 4 Director Robert Floyd and our lobbyist Matt Matthews focused their efforts on

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8 & + it failed to get out of the House Public Education Committee. There is still some *

" ‡ ! + ! ! this issue by requiring school districts to " 4 in current law. With regard to current requirements

for fine arts instruction, no ground was lost. The high school requirement, the relatively new middle school requirement, and the elementary requirement remain in law. Mr. Floyd is already working on strate " / 4 sion which starts in January, 2013. TMEA in the Future TMEA continues to be a shining star in the world of music and arts education. ˆ

" ! volunteers, officers, and staff, TMEA will continue to thrive, even through difficult " # Œ % 4 ' bers’ needs, at all times remembering that the students we teach and encour & tant to TMEA. As our 100th anniversary % tunities to celebrate and remember our " % # ; " " 4

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! to be the ! ; your best. Thank you for your continued dedication to your students and to music # Â magical moments for your students! John Gillian is TMEA President-Elect, Elementary Music Curriculum Specialist for Ector County ISD, and elementary teacher at Pease Elementary in Odessa.

TMEA/TMAC Assessment Project This committee has continued meeting # ˆ † Southwestern Musician | October 2011 15

Congr atulations 2011 Mark of Excellence National

Wind Band

Winners listed in alphabetical order

National Winners

Class A Canyon Ridge MS Honor Band Coppell MS North Honor Winds Cross Timbers MS Honors Band Grisham MS Honors Band North Ridge MS Select Band

Amy Allison Joey Ashbrook Asa Burk Betty Bierschenk-Pierce James Smith

Austin, TX Coppell, TX Grapevine, TX Austin, TX North Richland Hills, TX

M. Ryan Johnstone Manuel C. San Luis Gary Williams Robert Herrings III David Puckett Mark Gurgel Jennifer Dillard Chris Meredith Amanda Brodie Pritchard

Aledo, TX Cedar Park, TX McKinney, TX Cedar Park, TX Keller, TX Austin, TX The Woodlands, TX Flower Mound, TX Spring, TX

Mack Wood Randy Jones

Forney, TX Paris, TX

Jolette Wine Mark Poole Randy Sundell, Dave Tribley Gerry Miller Chris Allen, Matt Martinez

North Richland Hills, TX Forney, TX Vernon Hills, IL Frisco, TX Willis, TX

Brian Casey Andy Sealy Greg Hames Mark McGahey Amanda Drinkwater Evelio Villarreal Stacey Dunn

Clute, TX Carrollton, TX Plano, TX Keller, TX Flower Mound, TX Plano, TX Fort Worth, TX

Daniel Galloway Mark Poole Jeff Bradford

Sugar Land, TX Forney, TX Dallas, TX

Class AA Aledo MS Honor Winds Cedar Park MS Symphonic Band Cockrill MS Symphonic I Band Henry MS Honors Band Indian Springs MS Band Kealing MS Wind Ensemble Knox JH Wind Ensemble Shadow Ridge MS Honor Winds York JH Wind Ensemble

Class AAA North Forney HS Wind Ensemble North Lamar HS Symphonic Band

Class AAAA Birdville HS Symphonic Band Forney HS Wind Ensemble Vernon Hills HS Wind Ensemble Wakeland HS Wind Symphony Willis HS Wind Ensemble

Class AAAAA Brazoswood HS Symphonic Band Hebron HS Wind Ensemble J.J. Pearce HS Wind Ensemble Keller HS Wind Ensemble Marcus HS Wind Symphony Plano East Sr. HS Wind Ensemble Southwest HS Wind Ensemble

New Music Division Clements HS Symphonic Band Forney HS Wind Ensemble Lake Highlands HS Wind Ensemble

Commended Winners Class A Arbor Creek MS Honors Band Brown MS Symphonic Band Forbes MS Honors Band Richardson North JH Symphonic Band

Marty Nelson Laura Lewis Jackie Fullerton Kristin Hames

Carrollton, TX Forney, TX Georgetown, TX Richardson, TX

Brenden Steber Michael Dick David Dunham Mandi McCasland Andy Post Nick Seibert Nathaniel Neugent Larry Howel

Katy, TX Houston, TX Plano, TX Austin, TX San Antonio, TX Murphy, TX Arlington, TX North Richland Hills, TX

Suzanne Rhynes Carol Turner

Midland, TX Krum, TX

Tony Gibbs Bryan Christian Eric M. Mullins Michael Oubre

Buda, TX Cedar Park, TX Fort Worth, TX Winder, GA

Alexander Kaminsky Jarrett Lipman, Alan Sharps Mark Veenstra Jeff Bradford Joe Nunez Darwert E. Johnson

Gainesville, FL San Antonio, TX Cypress, TX Dallas, TX McKinney, TX Arlington, TX

Russell Holcombe David Vandewalker

Cypress, TX Kennesaw, GA

Class AA Beck JH Symphonic Band Cook MS Symphonic Band Fowler MS - Frisco Symphonic Band Gorzycki MS Wind Ensemble Lopez MS Honors Band Murphy MS Symphonic Band T.A. Howard MS Symphonic Band Young JH Symphonic Band

Class AAA Greenwood HS Band Krum HS Wind Ensemble

Class AAAA Hays HS Wind Ensemble Vista Ridge HS Wind Ensemble Western Hills HS Wind Symphony Winder-Barrow HS Symphonic Band

Class AAAAA Buchholz HS Wind Symphony Claudia Taylor Johnson HS Wind Ensemble Cy-Fair HS Symphonic Band Lake Highlands HS Wind Ensemble McKinney Boyd HS Wind Ensemble Timberview HS Wind Symphony

New Music Division Cypress Ranch HS Symphonic Band Harrison HS Wind Ensemble

Thanks to Wind Band adjudicators John Whitwell, Fr ank Wickes, and Steve Peterson. With 161 entries, the Mark of Excellence progr am has now received entries from 32 states. More information at www.foundationformusiceducation.org/mark-of-excellence.

Orchestr a

Wind Band, Orchestr a, Percussion, and Jazz Winners National Winners High School Full Orchestra Cinco Ranch HS Symphony Orchestra

Brett Nelsen, Oscar Vera, Ray Jones

Katy, TX

Carolyn and Courtenay Vandiver Michael Stringer Joshua Thompson

Sugar Land, TX Arlington, TX Plano, TX

Amy Williams

Katy, TX

Jose Rocha Amy Williams Ann Victor, Courtenay Vandiver

Houston, TX Katy, TX Sugar Land, TX

Michael Webster

Houston, TX

High School String Orchestra Austin HS String Orchestra Martin HS Symphony String Orchestra Shepton HS Chamber Orchestra

Middle School Full Orchestra McMeans JH Symphony Orchestra

Middle School String Orchestra Johnston MS Sinfonia Orchestra McMeans JH Camerata Orchestra Sartartia MS Orchestra

Youth Orchestra Houston Youth Symphony

Commended Winners High School Full Orchestra Austin HS Symphony Orchestra

Carolyn and Courtenay Vandiver, Dustin Winson

Sugar Land, TX

Michael Isadore Keith Markuson

Sugar Land, TX Klein, TX

Melanie Sorgi, Kim Garza

San Antonio, TX

Lyn Stone Melanie Sorgi

Arlington, TX San Antonio, TX

High School String Orchestra Dulles HS Honors Orchestra Klein HS Chamber Orchestra

Middle School Full Orchestra Lopez MS Symphony Orchestra

Middle School String Orchestra

Jazz Percussion

Boles JH Symphony Orchestra Lopez MS Honors Orchestra

National Winners High School Percussion Ensemble Permian HS Percussion Ensemble Spring HS Percussion Ensemble

John W. Carroll J.D. Guzman

Odessa, TX Spring, TX

Gary J. Coble

Desert Hot Springs, CA

Middle School Percussion Ensemble Desert Springs MS Percussion Ensemble

Commended Winners High School Percussion Ensemble Oak Ridge HS Percussion Ensemble

Jerriald Dillard

Conroe, TX

Amanda Brodie Pritchard

Spring, TX

Middle School Percussion Ensemble York MS Percussion Ensemble

National Winners High School Jazz Ensemble Coronado HS Jazz Ensemble I Wheeling HS Jazz Band

Kenneth Capshaw Brian J. Logan

El Paso, TX Wheeling, IL

Commended Winners High School Jazz Ensemble Brazoswood HS PM Jazz Band Paul J. Hagerty HS Jazz Ensemble I

Brian Casey Christopher De Leon

Clute, TX Oviedo, FL

Thanks to adjudicators Gary Lewis (Orchestr a), Michael Burritt (Percussion), and Jeff Jarvis (Jazz). This year's project had 161 entr ants. The Mark of Excellence progr am has now received entries from 32 states. More information at www.foundationformusiceducation.org/mark-of-excellence

It’s at www.tmea.org Teaching Resources he TMEA website features a collection of valuable "" 8 % 4 # Regardless of how long you have been teaching, you will find something to use when you visit the Teaching Resources section of www.tmea.org.

T

Mentoring Network: As described in the August installment of this series, this network is available to our members who are "

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4 teer as mentors to make this successful!). TMEA/TMAC K–12 Music Curriculum: � ‹‰ ‘ 4 ;‰;’

4

ensure you are delivering instruction that meets the Music TEKS. You can also use this document to demonstrate to your administrators the robust academic content of your music classes. Music Educator Toolkit: ""

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Resources Music Education in the Law Music Education Advocacy

information on assess gram handbooks, and much more.

Teaching Resources

Q&A for Teachers: This

" 4 / Southwestern Musician answers to questions asked and answered by TMEA Policies TMEA members offers 4 ! " " " 4 4 " # ! ! 3 4 # TMEA Music Education Research: Over 30 years of music edu " 4 ! " # + ! 3 4 " Š TMEA Clinic/Convention College Division Poster Sessions). Look in future issues for other tips about valuable content available on www.tmea.org.

Congr atulations to the 2011 Mark of Excellence National Chor al Honors Winners National Winners HS Mixed Chorus Spring HS Chorale

Commended Winners HS Mixed Chorus

Denise Eaton

Spring, TX

HS Open Class

Jasper HS Concert Chorale

Judy Putney

Plano, TX

HS Open Class

Clements HS Varsity Men’s Choir

Mary Matysiak

Sugar Land, TX

Spring HS Chamber Choir

Denise Eaton

Spring, TX

Clovis North HS Women’s Chorale

Heather Bishop Fresno, CA

MS Treble Choir Beckendorff JH Varsity Girl’s Choir

MS Treble Choir McCullough JH Chamber Choir

Keith Brumfield, Connie Horton

The Woodlands, TX

Julie Ann Allen

Colleyville, TX

Boys Choir Heritage MS Boy’s Choir

Thanks to adjudicator Milton Pullen. With 161 entries this year, the Mark of Excellence progr am has now received entries from 32 states. More information is available at www.foundationformusiceducation.org/mark-of-excellence.

18 Southwestern Musician | October 2011

Janet Menzie

Katy, TX

very morning in Africa, a gazelle wakes up. It knows that it must run faster than the fastest lion or it will be killed. Every morning in Africa, a lion wakes up. It knows that it must run faster than the slowest gazelle or it will starve. As the leader of your band, are you a lion or a gazelle? Whichever you choose, when the sun comes up, you’d better start running. Are you helping your student leaders in running their band? Everything starts with your student leaders. They are the essential element defining what the entire group will be capable of and willing to accomplish throughout their year. They are the core of your band. Drum majors, section leaders, captains, and assistant section leaders meet to discuss leadership qualities as well as goals for the year. Each year I’m impressed with their level of commitment. The incredible enthusiasm from each year’s leaders is amazing and helps build your future organizations. It will be difficult to lead if band members aren’t part of the decision-making process. You won’t be able to attract and retain great students if they aren’t personally invested in the strategies and solutions to the critical issues of your band. If you don’t give them an opportunity to be truly engaged, they won’t stay for the long haul. Keep students motivated by keeping them involved throughout the process of building their band.

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Let them lead and they will take your band to amazing places and even new heights. Your leaders must know your vision and plans for the band. You should ask them how they see themselves fitting into the plan. Be realistic, but help them define their place. If we can help them understand the process involved in making a decision, we have another valuable skill in our portfolio. They will know they are an integral part of their band. A true leader does what needs to be done when it needs to be done, not only when they feel like it. Give them the responsibility to make decisions on matters involving the program. Help guide them so that they make wise decisions. Do they understand what their contribution is in the big picture? If they do, they will tirelessly invest their time and efforts into positive results and decisions for your organization. Are you helping them learn how to run their band?

by Chuck Young

BandNotes

Making it their band

2012 Clinic/Convention Update On October 4, the TMEA member housing system opens for online reservations. Remember to reserve early to ensure you get a reservation at one of the many discounted hotels near the convention center. Hotels fill up quickly! I am pleased to announce our conductors for the 2012 All-State Bands. Our students are in for a great clinic/concert with these outstanding conductors.

Keep students motivated by keeping them involved throughout the process of building their band. Southwestern Musician | October 2011 19

Timothy Weiss 5A Symphonic Band Conductor Timothy Weiss is music director of the Oberlin Contemporary Music Ensemble. He has gained critical acclaim for his performances and brave, adventurous programming throughout the U.S. and abroad. Weiss is committed to exploring the probing connections within and between pieces in his performances and searching for similarities of voice between different composers from seemingly different genres, periods, and backgrounds. Accordingly, his programs often present rare and revealing juxtapositions, offering a broad range of works from the minimalists to the maximalists, from the old to the new, and from the mainstream to the obscure. In his 19 years as music director of the Oberlin Contemporary Music Ensemble,

he has brought the group to a level of artistry and virtuosity in performance that rivals any other. Since 2005, he has served as music director for the Newark Granville Symphony Orchestra and remained active as a guest conductor with the BBC Scottish Symphony in Glasgow, Scotland; the Britten Sinfonia in London; and the International Contemporary Ensemble. As a committed educator, he is Professor of Conducting and Chair of the Division of Conducting and Ensembles at the Oberlin Conservatory of Music. He holds degrees from the Royal Conservatory of Music in Brussels, Northwestern University, and the University of Michigan. Scott Teeple 5A Concert Band Conductor Scott Teeple serves on the faculty at the University of Wisconsin/Madison as Associate Professor of Music. Under his leadership, ensembles continue to commission and premiere works for wind band and have performed with guest musicians of international acclaim. Teeple’s interest in music education and young composers has allowed him to implement programs to encourage the composition and premiere of works by young composers performed by university ensembles. Before his appointment at UW/ Madison, Teeple served as Director of Bands at the UW/Stevens Point, Assistant

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Important Dates October—‡ !

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2012 TMEA

CLINIC/CONVENTION

October 4: Member housing reservations open December 31: Fax/Mail pre-registration ends January 12: Online pre-registration ends Learn: Over 200 clinics led by expert music educators Save: Exhibit halls with the latest products at the best prices Get Inspired: More than 50 performance opportunities

With over 26,000 attendees expected at the 2012 convention, downtown San Antonio hotels will fill up quickly. TMEA works diligently to ensure its members receive the best possible rates at hotels within walking distance of the Henry B. Gonzalez Convention Center. To access these discounted rates, go to www.tmea.org/convention and click on Make a Housing Reservation. Keep your confirmation for future reference.

Vienna Boys Choir 2012 TMEA President’s Concert P.M. Lila Cockrell Theater, San Antonio www.tmea.org/convention

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w w w. t m e a . o r g /c o n v e n t i o n Southwestern Musician | October 2011 23

M

arches represent true band music and, if prepared properly, can offer rewarding musical experiences for bands, conductors, and audiences. Some directors seem reluctant to program these wonderful pieces, yet they are some of our most audience-appealing. It’s possible this lack of programming is based on unfamiliarity with proper march interpretation and performance. Given that many components of march style have been handed down through oral tradition, I hope the following information regarding elements of proper

RHYTHM AND STYLE A discussion of marches must begin with the topic of rhythm. A steady pulse throughout the performance of a march is imperative. This is achieved by all ensemble members maintaining an internal subdivision of the pulse that places beats and subdivisions of the pulse precisely in the correct spots. The basic rhythm structure (downbeats and upbeats) should be rehearsed for stability and accuracy by the percussion section, bass line, and rhythmic harmony sections (usually horns or trombones, and possibly lower trumpets and saxophones). To help establish the steady pulse, work with

MARCH ON march performance will encourage you to incorporate this genre into your programming. To perform a march well, the conductor and ensemble must believe in this musical form. Consider the following benefits of incorporating marches into your instruction and performance: † 4 " 4 8 (abundance of active parts) 7 " 4 " interpretation ; 4 4 " ! % While it is impossible to address all aspects of march performance here, the following ideas about the various elements of march style have assisted me tremendously with my ensembles, and I expect they will do the same for you.

your students to help them avoid compression of notes that are of the same rhythmic value. Rushing is particularly problematic near the end of phrases and strains, and during crescendos (conversely, slowing often occurs during diminuendos). Achieving proper march style begins with attention to articulation and note length. Marches are generally played in a marcato (detached) style. Attacks should be firm and solid which can be accomplished by increasing the note weight. The longer the note, the more weight it should receive. While individual musicianship will dictate the final decision, there are some general guidelines relating to march style. When successive notes appear with no articulation marking, marcato style can be achieved with 50% sound, followed by 50% silence. When the main melody of a march appears at the beginning of the trio section, it is traditional to adopt a more legato approach to style. When notes of longer value follow notes of shorter value, detach the short note, with the long note being firmly articulated and held the full value. As stylistic markings are added to notes, they may be

Offer students rewarding instructional and performance experiences through the rich tradition and legacy of the march.

24 Southwestern Musician | October 2011

From Here, It’s Possible.

2012 Audition Dates Saturday, February 18 Saturday, February 25

806.742.2270 ext. 233 www.music.ttu.edu Lubbock, Texas

interpreted as follows: 50% sound, 50% silence, lighter attack (think detached as opposed to short) Normal accent: 75% sound, 25% silence Housetop accent: 50% sound, 50% silence, harder attack Always look for musical motives to expose and be certain to bring out counter accents to the melodic line when available. Take advantage of the opportunity for volume on the big notes and for technique on the little notes. Musical shaping is achieved through appropriate phrasing. All notes, whether melodic, harmonic, or rhythmic, must be directed toward the peak of the musical phrase, and all phrases should peak on a point within the phrase. This point must be identified and be given proper emphasis. A consistent air stream is critical and should not be interrupted between notes in a phrase. Notes of one beat or longer should be held full value, especially when tied across a bar line or followed by a rest or breath

26 Southwestern Musician | October 2011

mark. All music is either ascending or descending to form a peak in the musical phrase, and while we must keep in mind that there is one climax to every phrase, sub-climaxes may also exist. BALANCE, BLEND, AND CLARITY March performances often suffer from lack of attention to balance, blend, and clarity. Clarity is defined as hearing each individual part during a performance by the full ensemble. This is a must. As in all music, the priority of balance in marches should begin with the melody, followed by the countermelody, harmony, and finally, the rhythmic parts. Downbeat and upbeat rhythmic figures should be felt, not necessarily heard. This is particularly important in the marches of Sousa, as much of the harmonic writing is scored in horn and tuba. All parts written by a composer are important—do not edit out parts such as lower clarinet or trumpet. The balance of the harmonic elements should begin with proper balance within each section and should be founded on good intonation (unison and chordal).

TEMPO While the ultimate decision of march tempo depends on the size and ability level of the ensemble, the following are a few guidelines compiled from a variety of sources. For the standard American quickstep march (composed to accompany marching), a tempo of 120 beats per minute, with slight variations, is the standard. For the American circus march (used to create an atmosphere of excitement), a tempo of 144–160 beats per minute is appropriate. When you perform marches from outside the United States, the following tempos can be applied: British marches: 108–116 beats per minute German/Austrian marches: 104–112 beats per minute Spanish Paso doble: 108 beats per minute Italian marches: 116 beats per minute or slower French marches: 126 beats per minute No matter the march style being performed, there is some room for tempo

variation. It is the job of the director, however, to choose a tempo with which the ensemble will be comfortable and that is within the boundaries of what is musically acceptable. ELICITING THE EMOTIONS OF A MARCH Attention to musical nuances will showcase the emotional content in a march performance, and to achieve that, dynamic contrast is a must. Start by varying the dynamic levels on the repeat of a strain. One way to accomplish this is by thinning the instrumentation. It is not, however, acceptable to alter the composer’s original melodic, harmonic, or rhythmic concepts. Rescoring high woodwind parts the first time through a trio is an effective way to reduce dynamic levels. Consider removing the percussion section the first time through a legato strain. Attention to varying note weights will also provide dynamic contrast and energy. John Philip Sousa seldom performed his own marches as written. The following are some general practices Sousa employed when performing his marches, and they can be applied to other marches as appropriate. The introduction and first strains were typically played as written and the second strain was usually altered. The first time through, the dynamic level was adjusted to piano. Cornets and trombones did not play, upper clarinet parts were dropped an octave, and piccolo and E-flat clarinet were dropped as well. On the repeat, all instruments played at fortissimo level. At the trio, the same instruments listed previously were tacet and the upper clarinets were lowered an octave. Snare drum, bass drum, and cymbals may have been eliminated. Bells may double the melody at the trio. If the trio is repeated, the dynamic is piano the first time, pianissimo the second time. The break strain, “dogfight,” was performed as written with all instruments playing. The final strain is usually played twice, separated by the interlude or break strain. It was performed in the de-orchestrated fashion the first time through at a dynamic level of piano. On the repeat, all instruments were back in at the break strain playing fortissimo through the end of the march. Climactic accents (bass drum and cymbal) were most common in the final repeat of the last strain and a five-stroke roll with flam

attack may have been added to give additional lift to the performance. SELECTING A PUBLISHED EDITION The use of accurate and proper performance materials is paramount in the presentation of a march. Many reputable editors maintain the original integrity of marches. When searching for an edition of a march, consider those that cleaned up the march only by removing misprints and clarifying dynamics and articulations with a full score and larger readable parts. EXAMPLES OF QUALITY MARCHES While hundreds of marches have been written for bands, there is an enormous variation in quality. The following is a listing of several marches that have enjoyed great popularity and are of musical worth: Easier: The Black Horse Troop, John Philip Sousa The Courier Journal, Robert B. Griffith Golden Bear, Joseph John Richards Kiefer’s Special, William H. Kiefer Invercargill, Alex Lithgow The Lieutenant Commander, Karl King Noble Men, Henry Fillmore

On the Square, Frank A. Panella Pentland Hills, Jimmie Howe Under the Double Eagle, Joseph F. Wagner More Difficult: Barnum & Bailey’s Favorite, Karl King Battle of Shiloh, Charles Lloyd Barnhouse Boys of the Old Brigade, W. Paris Chambers Colossus of Columbia, Russell Alexander Eagle Squadron, Kenneth J. Alford The Gallant Seventh, John Philip Sousa In Storm and Sunshine, John C. Heed National Emblem, Edwin Eugene Bagley Old Comrades, Carl Teike Rolling Thunder, Henry Fillmore The inclusion of marches in rehearsal and performance can serve as a wonderful teaching tool and will offer superb musical rewards. As most march performance concepts are present in all wind band music, their careful preparation should carry over into all ensemble rehearsals. Through careful and meticulous preparation, marches can offer musical rewards and enjoyment for conductors, ensembles, and audiences. Dr. Timothy Rhea is Director of Bands at Texas A&M University in College Station.

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Competitive Scholarships & Performance Awards

Audition Dates January 28 – 29, 2012 February 25 – 26, 2012 (see website for details)

Bachelor of Music Bachelor of Arts Accredited by the National Association of Schools of Music

Music Department Faculty Jason Hoogerhyde, Department Chair

Conducting & Ensembles

Music Literature

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Lois Ferrari, Orchestra & Wind Ensemble David Guidi, Jazz Ensemble Kenny Sheppard, Chorale & Southwestern Singers

J. Michael Cooper, Margarett Root Brown Chair in Fine Arts Jeffrey Grimes

Bruce Cain Carol Kreuscher Kenny Sheppard Oliver Worthington Dana Zenobi

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David Asbury, guitar Delaine Fedson, harp Steve Kostelnik, guitar Eri Lee Lam, violin Tim Washecka, viola Hai Zheng, violoncello & string bass

Vincent Lam, piano David Polley, organ Pamela Rossman, piano Kiyoshi Tamagawa, piano David Utterback, piano Robert Warren, piano

Music Education Lois Ferrari Kenny Sheppard

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Theory & Composition Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Woodwinds, Brass & Percussion Robert Cannon, trumpet Anna Carney, clarinet Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Erin Martysz, percussion Eric Stone Miller, bassoon Brigette K. Parsons, horn Eileen Meyer Russell, low brass

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t’s amazing how time flies! It seems like just yesterday we were enjoying the freedom that summertime brings. Now, all of a sudden, we are in the midst of orchestra rehearsals, preparing students for fall concerts, fundraising activities, and Region and AllState preparation. Life seems to go so fast. I can hardly believe that my son Bryan is already in college and starting this new chapter in his life. This summer I was able to do some soul searching about the life we lead as music educators. It’s certainly a fastpaced one. When I first began teaching, however, it seemed that much less was required than it is today. I remember being able to go into the teachers’ lounge on occasion and have fun conversations with other staff members, not just those in my own department. There wasn’t a sense of urgency that everything must be accomplished today. Now going into my 30th teaching year, it feels like time escapes me every day. I no longer have time to visit with colleagues like I used to. As I thought about all this, it became clear how important it is to have a better balance in life. We will not be effective teachers if we are constantly struggling to meet deadlines and goals at the sacrifice of time for family and friends. Throughout the last ten years, I’ve worked to find ways

I

that will help me balance the demanding career as an orchestra director while offering additional service and making time for family and friends. In this busy time of year, consider the following as you work to achieve this most important balance. My first realization was that I was working hard—not smart. Like many other Texas orchestra directors, I don’t have an assistant. I used to do sectionals at all times—my operating hours were before school, during lunch, and after school. I finally realized that several orchestra students were strong enough to lead sectionals. I also decided to bring in members of the San Antonio Symphony to help with sectionals during the school day. My second realization was that student officers can help with filing, planning the social events of the year, and getting involved with the end-of-year banquet. This helps students learn what leadership is all about. It gives them ownership of their orchestra program. I began having stage crew and librarians as officers. Having students set up and tear down the stage after every event and rehearsal took at least an hour off each day for me. I began working smarter in the classroom. I got extremely organized so that every student knew the agenda for the day. The moment the bell rings, the

by Lisa McCutchan

OrchestraNotes

Balance in life

We will not be effective teachers if we are constantly struggling to meet deadlines and goals at the sacrifice of time for family and friends. Southwestern Musician | October 2011 29

concertmaster begins tuning and then goes through the daily warm-ups. Posted on the board are the exact selections and measure numbers to be rehearsed in that given class period. This gives me an opportunity to get organized with attendance and to deal with the business portion of class. Finally, I realized that family members do not want us working every night. Every day I set a priority goal and a checklist for myself. I make this a reasonable goal, prioritizing the most important task as number one to the least important task at the bottom of my list. What I do not finish that day becomes the top priority for the next day. Having a daily plan enables me to leave work at a decent hour so that I can spend time with my family. It is the art of letting go! 2012 Clinic/Convention Update Speaking of goals, an important one to begin working toward is attending the 2012 TMEA Clinic/Convention in February. While UIL Concert Contest is scheduled a week or two earlier for most of us, I still believe there is plenty of time to teach a wonderful UIL program and attend the annual TMEA convention. Our 2012 All-State Orchestra conductors have been wonderful to work with this fall and you can look forward to them offering many learning and inspirational opportunities through their concerts and the open All-State rehearsals.

Lutheran Summer Arts Camp and the Lutheran Summer Camp Symphony. Amundson is a 1977 graduate of Luther College and obtained a master of music degree in orchestral conducting from Northwestern University. He also did further studies at the University of Virginia, The Aspen Music School, and the Mozarteum in Salzburg, Austria.

Steven Amundson String Orchestra Conductor Steven Amundson is in his 31st year on the faculty of St. Olaf College, where he serves as Professor of Music and Conductor of the St. Olaf Orchestra. The orchestra is recognized as one of the finest undergraduate symphonies in this country. Amundson has held conducting posts at the University of Virginia, Tacoma Community College, and as Music Director of the Tacoma Youth Symphony before his arrival in Minnesota in 1981. He is the founding conductor of the Twin Cities-based Metropolitan Symphony. Amundson has conducted many all-state and honors orchestra festivals throughout the U.S. He has also been both a resident and guest conductor for the Interlochen National Arts Camp and has led the

Larry Livingston Philharmonic Orchestra Conductor Larry Livingston is a distinguished conductor, educator, and highly respected motivational speaker. The founding music director of the Illinois Chamber Orchestra, Livingston has appeared with the Houston Symphony and in the Los

Southwestern Musician | October 2011 31

Angeles Philharmonic Green Umbrella Series. He has conducted at the Festival de Musique in Evian, France, and has led the Stockholm Wind Orchestra, as well as the Leopoldinum Chamber, Chopin Academy, Wroclaw Philharmonic, and Academy Orchestras in Poland. He served as music director of the Pan Pacific Festival orchestras in Sydney, participated as a performer and clinician at the International Jazz Festival in Rome, and conducted an electro-coustic ensemble in concerts in Tokyo under the auspices of Yamaha International. Livingston has led the American Youth Symphony Orchestra, the Young Musicians Foundation Orchestra, the USC Thornton Chamber and Symphony Orchestras in Los Angeles, and the USC Thornton Contemporary Music Ensemble in Berlin, and served on the jury for the renowned Besancon International Conducting Competition in Besancon, France. Holding bachelor’s and master’s degrees from the University of Michigan, Livingston completed doctoral coursework in theoretical studies at the University of California/San Diego.

Pacific Symphony. He recently concluded his tenure as general music director and chief conductor of the German National Theater and Staatskapelle in Weimar, Germany. He also served as the general music director of the Komische Oper Berlin. St. Clair’s commitment to the development and performance of new works by American composers is evident in the wealth of commissions and recordings he has led. He has directed the Pacific Symphony in numerous critically acclaimed performances. Under his guidance, the orchestra has commissioned works that became recordings. An advocate of music education for all ages, St. Clair has been essential to the creation of the symphony’s education programs. Important Dates October—Renew your TMEA membership and register for the convention. October—Renew your liability insurance. October 4—Convention housing online. October 15—Postmark deadline for HS String Honor Orchestra CDs and other entry materials.

October 17—Fine Arts Instructional Support Program grant application deadline. October 22—HS String Honor Orchestra judging. October 29—All-State orchestra CD recording date. November 12–13—All-State orchestra CD recording judging. November 12 (evening)—All-State Orchestra first round audition results posted for directors. November 14—All-State Orchestra audition results posted for directors. November 15—TMEA scholarship application deadline. November 15—All-State Orchestra members posted on TMEA website. December 15—All-State specialty instrument CD postmark deadline. December 15—Deadline for submitting Dual Area Certification selection. December 31—TMEA convention mail/ fax pre-registration deadline. January 12, 2012—TMEA convention online pre-registration deadline. February 8–11, 2012—TMEA Clinic/ Convention in San Antonio.

Carl St. Clair Symphony Orchestra Conductor In 2011–2012, Music Director Carl St. Clair begins his 22nd season with the Pacific Symphony. He has become widely recognized for his distinguished performances, his commitment to building outstanding educational programs, and his innovative approaches to programming. In 2008–2009, St. Clair celebrated the milestone 30th anniversary of the Southwestern Musician | October 2011 33

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hether the students who walk into your classroom are second-, sixth-, or tenth-graders, it is equally important to have an effective plan and approach to every rehearsal. We asked four music educators who teach elementary, middle, and high school to share their perspectives on the strategies they have found effective. This is the second article in the “Music Matters” series on teaching methods. If you missed the September installment about repertoire selection, you can find it online at www.tmea.org/magazine in the archives or by viewing the interactive version of that issue. What is your plan for blocking a standard rehearsal or class period? Rob Myers, Flower Mound HS Band Director (Lewisville ISD): “It’s all about the ears.” This has been drummed into my brain since my first rehearsal in college. The longer I have taught, the more I have used this phrase as the guiding principal for my rehearsals. Fundamentals are an absolute necessity for the growth of the individual musician. We typically spend one-third of the class on fundamentals and the other two-thirds on music. We start with singing. If you can internalize a pitch, you will be much more successful replicating it on an instrument. I have found that The Mind’s Ear: Exercises for Improving the Musical Imagination by Bruce Adolphe has been helpful with this internalization of sound and pitch. The fundamentals on which we focus are based upon a just intonation harmonic structure providing additional ensemble skills benefits. To better facilitate this, we use the Yamaha Harmony Director as our reference for ear training and just intonation guidance. We have found that Essential Musicianship for Band by Eddie Green, John Benzer, and David Bertman and Foundations for Superior Performance by Jeff King and Richard Williams to be tremendous assets to the growth of the individual and ensemble players in our program. We also use 16 Chorales by J.S. Bach arranged by Mayhew Lake. Ann Victor, Sartartia MS Orchestra Director (Fort Bend ISD): The high-level view of a typical class period is that it consists of verbal announcements (2 minutes); tuning (8–10 minutes); 36 Southwestern Musician | October 2011

warm-up focusing on a skill (10–15 minutes); literature (20–25 minutes); putting instruments and music away (2 minutes). We don’t leave the warm-up until a strong characteristic tone is produced and intonation is secure. Intermediate and advanced students use electronic tuners since class sizes are large. Scales are used to establish tone production, intonation, shifting, and bowing patterns. The new activities are announced, pointed to on the board, and started within 15–20 seconds. Jo Scurlock-Dillard, Retired HS Choir Director (North East ISD): Students love routine. Given that, we cover certain elements in every rehearsal period. We typically have the same daily sequence, but it can be rearranged if necessary. We begin every day with vocal technique (warm-ups), and we approach them as mini voice lessons. Not everyone can afford lessons, so we use this time to teach technique as well. This is followed by physical warm-ups and stretching. One of the musts in a choral classroom is sightreading. If we don’t do anything else, we sightread. In the beginning of the year, we concentrate on single line reading. As students become comfortable reading the melody line, part sightreading is incorporated. During the sightreading portion of the day, rhythmic reading, ear training, and basic theory can be addressed. After all of that is completed, rehearsal of literature can begin. Each portion of the class period varies. Timing is based on the needs of the particular choir. Barbara Keaton, Ashworth Elementary Music Teacher (Arlington ISD): We begin with posture and physical warmups. To gain attention, I use silent movements. Singers notice, stop talking, and imitate my actions. Try bending, stretching, swimming, climbing, or even a movement story narrated by the teacher. Contrast the hip-slung, hanging-out-at-the-mall look with good choir posture. Use a variety of warm-ups (no longer than 10 minutes) with quick transitions. Alternate styles—slow/ fast, legato/staccato, silly/serious—and include rounds and tongue twisters. Don’t forget visual props to demonstrate a concept (e.g., pull a ribbon through your hand for a legato sound). A tuning favorite is to sing up the scale and back on solfa with each part entering two notes after the previous part.

For sustained interest and pacing, keep the exercises fresh, and divide the rehearsal into small segments (e.g. 10 minutes, 5 minutes, 10 minutes). Post a rehearsal agenda and check off your accomplishments. What is your approach to rehearsing a piece of music? RM: Thorough analysis of the score is an absolute must. Students should have an understanding of the larger aspects of the score and understand their place within the music. Knowing the key of each phrase of the score is very important. I use Yamaha’s Harmony Director as a reference within a given key area to teach the melody of a piece. For example, in the “Chaconne” of Holst’s First Suite in E-flat for Military Band, students play the melody while sustaining an E-flat triad. It is also beneficial for the students to play fundamental exercises within the key area of the phrase you are teaching. I then teach cadence points within the key area as opposed to trying to tune a phrase chord by chord. AV: Several different approaches are used depending on the time of year and level of orchestra. As soon as possible, I use a modified UIL sightreading procedure for reading through a new work. The piece is worked in sections with either counting and clapping or shadow bowing and fingering. Once we make it through the piece, we work on tone production,

ensemble skills, intonation, style, and dynamic contrast (depending on the specific group’s weaknesses). Tone production, steady rhythm, and inner pulse are high priorities. I try to teach students how to listen to other parts so they can take an active role in musical balance. JSD: My approach is determined by each piece. I ask students to write in the solfège and the rhythms for their parts. If the piece encompasses difficult, syncopated rhythmic passages, we begin with those passages to make sure everyone understands them. I also ask students to find the repeated passages, difficult melodic passages, and learn how their part works within the piece of music. We almost never start at the beginning and just start singing. It is important for students to be involved in the discovery of a piece of music. Rehearsal pace is based on the success of the students. It is important to have a goal each day and to try and accomplish it before you move on. I do, however, try to touch on several pieces a day. It is important to keep the class moving rather than getting bogged down on a particular problem. BK: Always analyze the music and let this information guide the rehearsal. Determine form, keys, meters, difficult intervals and phrases, and repetition and contrast. Teaching approaches can include reading the text for understanding and expression; teaching the refrain first; echo- or sight-singing; having singers look and listen for similar sections in the music; starting with the last section and working backward; and teaching a skeletal melody with solfa (quarter notes), then adding the correct rhythms with solfa, and then finally adding text when the notes are secure. When musical problems present themselves, try a vocal exercise to help with the solution. How do you keep all students engaged while you work with individual sections? RM: Working with high quality literature is the first component. Fortunately, we have the PML as a guide. Without quality repertoire in which our students can invest, we have no chance of maintaining and providing a significant musical experience for them. Socratic questioning has also been tremendously beneficial in keeping our students engaged. We often ask students

38 Southwestern Musician | October 2011

questions, but using the Socratic method forces them to think at a deeper level. I have often found myself providing my opinion instead of questioning and guiding the students toward a more thorough understanding of the music. To engage your students, ask more thoughtprovoking questions and give fewer answers. AV: This is always a challenge! I ask sections who aren’t playing to shadow bow and finger their parts. When musically appropriate, I bring in one other section with complementary parts while continuing to center on the problem issues in one section. On the next repetition, I use another instrument section. I verbally commend those who follow instructions so students know that I am aware of their actions. If a section is not doing what I ask, I stop, look at that section, and repeat my instruction, gesturing in a way that communicates, “Why aren’t you following instructions?” JSD: While working with one section, all other sections are to hum their parts. This might seem idealistic, but it works. This also allows me to monitor the progress of the other sections. When working with one section, I often hear when another is having difficulty with their part. Each student understands that this is the expectation, and if they aren’t doing it consistently, their weekly participation grade is affected greatly. BK: Non-singers can listen or watch for certain elements such as dynamics, correct notes or rhythms, posture, or vowels. They can study their lyrics silently, lightly hum their part, or practice reading skills by following the singing group’s part. (This gives practice in reading both parts in a musical score.) Listeners can become the demonstration singers, or they can discover and share how a phrase should be performed. This self-discovery often makes retention easier for all the singers. Students love competition, so ask them which group sang a phrase correctly. Any subsequent corrections will then have both groups listening intently because another contest may follow! How do you minimize time on announcements, etc. to have more time for rehearsal? RM: Wait until the end of a class period to pass out any school documents.

If you provide them at the beginning they will become a distraction. Information distributed by the band is posted on our website, sent out through Charms, and discussed at the end of class. We have found it increasingly beneficial to provide information electronically, either through the previous methods or social media. AV: Using Charms Office Assistant, we email announcements and a list of pieces the groups will perform. Announcements are also written on the board. When class starts, I point to the board and briefly remind students to read them. If you have the technology available, you could project announcements on a screen. When I have done this, I use a PowerPoint file and put an officer in charge of updating it. For paperwork collection we set out an accordion file alphabetized by last name. Students return their forms as they

enter the room. Parent volunteers collect, process the paperwork, and send email reminders. Students who arrive and tune first get to hand out new music. JSD: Announcements are a pain. To lessen that pain, I often simply post announcements on the board and draw the students’ attention to them. I distribute a monthly calendar that includes all rehearsals, deadlines, sectionals, and meetings. Students are expected to keep up with it, and it is their responsibility to stay on task. The calendar is also posted on our teacher webpage for parents to view. BK: Elementary students will ask countless questions! Some may not have occurred to you, so while this can be challenging, these questions can be a good thing. Distribute handouts and make announcements at the end of rehearsal, or

discuss them at various points during the rehearsal to give breaks. Have a collection area for students to return papers. Choir parents can organize them, or you can do it yourself after rehearsal. Put forms online for those who lose them. Handouts, emails, and websites can disperse information, but no matter how hard you try, there will be questions. Have patience! Thanks go to our contributors for taking time to offer their ideas and experience. If you have follow-up questions, you can email them at the following addresses: Rob Myers (myersr@lisd.net) Ann Victor (Ann.Victor@fortbend.k12.tx.us) Jo Scurlock-Dillard (jscur@aol.com) Barbara Keaton (bkeaton@aisd.net)

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Southwestern Musician | October 2011 39

by Janwin Overstreet-Goode

VocalNotes

A sense of entitlement

hile sitting in a theater ready to watch Harry Potter and the Deathly Hollows with my family, I experienced an unpleasant surprise. Sitting in the row behind us were three young boys—possibly sixth graders. They talked throughout the previews, made that obnoxious noise by moving their straws in their cups, and rattled their candy boxes incessantly. When the movie finally started, the talking unfortunately continued. At that point, I stood up, leaned over my seat, and in my best teacher voice sternly said, “Please stop talking.” We enjoyed the rest of the movie in peace. Why did these young boys think it was okay to talk during the movie? Is it because they watch movies at home and feel free to behave in public as they do in private? Is it because they weren’t supervised by any adults? There are probably several other reasons, but it concerns me that too often children, and adults, appear

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to think the rules of common courtesy don’t apply to them. For whatever reason, there is a sense of entitlement—the freedom to behave as they wish with no anticipation of repercussions. I am sure we have all been to concerts where we have wanted to stand up and say, “Please stop talking,” or “Turn off your cell phone.” I am always amazed when parents remain seated with their crying babies, when cell phones go off even after announcements are made to silence them, and when people walk in and out of performance venues while choirs are performing. I am especially amazed when I witness this behavior during TMEA concerts—and more amazed (or disappointed) when I realize that the offenders are choir directors! We have the responsibility to educate our audiences, and our students, in proper concert etiquette. Something that has yielded success at our concerts has been to remind the audience when

An ethical teacher shall model conduct at all times in such a manner as to merit the respect of the public for members of the music education profession. —TMEA Code of Ethics & Standard Practices 40 Southwestern Musician | October 2011

it is appropriate to recognize the choir’s efforts with applause (when the director’s hands drop to their sides). I also include the following statement in every program, and often read it aloud before we begin our performances (thanks go to TMEA Past-President Sally Schott for sharing it with me): This concert is planned and presented for your enjoyment. Out of consideration for others in the audience, as well as the performers on stage, we request that you refrain from yelling, whistling, loud talking, and other behavior that is distracting to the audience and singers alike. If you have an infant or small child who becomes restless and starts crying, please remove your child from the audience until your child can be quieted. Cell phones, pagers, and other electronic devices should also be turned off to avoid creating a disturbance during the performance. And finally, please enter and exit the auditorium between songs only. Thank you for your cooperation. When appropriate, I also include the following statement: “This performance is being professionally video-taped. Your cooperation in keeping unnecessary noise

to a minimum will be appreciated. Flash photography is prohibited for the safety of the performers and the integrity of the video taping.” Too often, because of the nature of our jobs, we can begin to feel a sense of entitlement and, with it, a sense that it’s okay to bend or ignore the rules of proper behavior, especially in our work environment. Choir directors have the obligation to model appropriate behavior, both at their school and in other settings, whether as the person in charge, as an audience member, or as a participating member of their Region organization. The TMEA Code of Ethics and Standard Practices serves as a reminder of the criteria to which we as music educators should adhere. The code includes the following: The Texas Music Educators Association firmly believes music is an essential component in the education of Texas school children. Therefore the conduct of music educators in the practice of the profession shall be above reproach. The purpose of this document is to define the ethical standards of Texas music educators. Texas music

educators must clearly understand their duties and obligations to perpetuate the dignity and honor of the profession. Please take the time to read the Code of Ethics and Standard Practices (available in the Policies section of the TMEA website) and use it as your guide and inspiration as you share your love of singing with your students and communities. 2012 Clinic/Convention Update As we continue to anticipate our exciting annual convention, keep in mind that on October 4 the TMEA member

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housing system opens. TMEA works yearly to secure the best possible rates at many downtown hotels. For convention updates and to make your housing reservation, go to www.tmea.org/convention. Last month, I offered information on our Featured Clinicians (available now on the convention webpage). Also exciting for Vocal Division members will be our All-State Choir conductors. In addition to observing them lead our choirs in concert, there are many opportunities for you to learn from them in the open rehearsals during the convention. Joe Miller All-State Mixed Choir Conductor Joe Miller is conductor of two of America’s most renowned choral ensembles—the Westminster Choir and the Westminster Symphonic Choir. As Director of Choral Activities at Westminster Choir College of Rider University in Princeton, N.J., he also oversees an extensive choral program that includes eight ensembles. His recordings with the Westminster Choir have garnered critical praise. His

2011–2012 season with the choir includes a concert tour of the South, several national radio broadcasts, the world premiere of a new work by Paul Crabtree, a Carnegie Hall community sing concert, and their annual residency at the Spoleto Festival USA. His season with the Westminster Symphonic Choir includes collaborations with the New York Philharmonic and Peter Schreier, the Berlin Philharmonic and Simon Rattle, and the Philadelphia

Sharon J. Paul All-State Women’s Choir Conductor Sharon J. Paul is Professor of Music, Chair of Vocal and Choral Studies, and Director of Choral Activities at the University of Oregon where she teaches

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Southwestern Musician | October 2011 43

graduate courses in choral conducting, repertoire, and pedagogy, and conducts the Chamber Choir and University Singers. Paul served as artistic director of the San Francisco Girls Chorus (SFGC) from 1992 to 2000. She appeared on screen with SFGC singers in the film What Dreams May Come and conducted them for the soundtrack of The Talented Mr. Ripley. In June 2000, SFGC was the first youth chorus to win the Margaret Hillis Achievement Award for Choral Excellence. They were awarded an ASCAP Award for Adventurous Programming in the same year. Paul appears frequently as adjudicator, clinician, and honor choir director throughout the country. Matthew Oltman All-State Men’s Choir Conductor Matthew Oltman is Music Director Emeritus of Grammy Award-winning male vocal ensemble, Chanticleer. During his tenure, Oltman led the ensemble through three critically acclaimed seasons that included over 300 concerts in more than a dozen countries. He helped launch the Chanticleer Live in Concert

44 Southwestern Musician | October 2011

performance from the University of York in England. Before joining Chanticleer, Oltman sang with the Santa Fe Desert Chorale and was on the faculty of Simpson College where he taught harmony, French diction, choral techniques, and voice.

recording label, which released some of Chanticleer’s best archival recordings to the public, and was the editor of the Chanticleer Choral Series. Oltman joined Chanticleer in 1999 as a tenor and in 2004 was named Assistant Music Director, a post he held until his appointment to Music Director in 2009. He is currently the interim Director of Choral Activities at UC Berkeley where he conducts the University Choir and the University Chamber Singers. Oltman earned a bachelor’s degree in performance from Simpson College and a master’s in

Important Dates October—Renew your TMEA membership and register for the convention. October—Renew your liability insurance (policies expired August 20). October 4—Convention housing online. October 17—Fine Arts Instructional Support Program grant application deadline. November 15—TMEA scholarship application deadline. December 15—Deadline for submitting Dual Area Certification selection. December 31—TMEA convention mail/ fax pre-registration deadline. January 7—Area Band and Vocal auditions. January 12, 2012—TMEA convention online pre-registration deadline. February 8–11, 2012—TMEA Clinic/ Convention.

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intelligence

attitude

love

ffun

teamwork

confidence

respect

focus

aspirations work

joy

dedication

perseverance

honesty cooperation

effort

Beyond courage the self-respect Music motivation citizenship

self-esteem

responsibility

by Tammy Stallcup

t the end of last school year, I asked seventh- through any negative impact we had on them. Since we will not get the ninth-grade choir students to answer the question chance later to say we’re sorry, it is imperative that we choose “What have you learned in choir this year that wasn’t words and actions with care. Did we tease at the wrong time or about music?” While many answers were predictable, in the wrong way, or was a critique taken as personal criticism? several were unexpected and reminded me that everything we We also need to remember that what we don’t say is often more say and do is important (some of their answers are provided in important than what we do. Are we on the lookout for the stuthe frame on this page). While a music educator’s job is to expand dent who isn’t the superstar or the teacher-pleaser so that we can students’ knowledge and skills in music, our influence goes well offer words of support? Do we take the time to send encouragbeyond the notes on a page. We ing notes or make positive calls are role models and guardians to those students who might not of young and impressionable have as much innate talent but hearts and minds. who always show great dedicaIs it our job to help young tion? Finally, are we willing to You can have fun while working. boys grow up to be men of be a little vulnerable in front of Respect my fellow citizens even if I don’t like them. integrity? Is it our business to our students, to admit our faults caution girls about getting seriand laugh at ourselves? For our Don’t interrupt people. ously involved in relationships at perfectionist students, seeing us To be myself. a young age? Does it matter if we accept ourselves for who we are Life is complicated, but don’t lose hope. talk to them about how blessed can be life-changing. Choose guys who are respectful to you and who are good. they are to live in America In this year that for many To get outside my box. where they enjoy a freedom will present challenges beyond How to have fun but to be serious when I need to. that children their age in many the usual of scheduling, recruitTake care of problems right away. other countries only dream of? ing, competitions, and more, it Have respect for students and teachers. After years teaching in a school will be easy to lose sight of the My temper does not control me. plagued with low performance, complete picture of why we are Doing something right the first time saves a lot of trouble. low parent involvement, and that here. I hope we will remember Don’t hang around with the wrong people. is in a low socioeconomic area, that while our job is to deliver My grades are important. my answer is yes! quality music education expeTo be a better person. A music educator is often the riences for all, the full measure Have confidence, courage. only person in a student’s life who of success is whether students Don’t be afraid to follow my dreams. will talk with them about what leave our programs feeling good I need to love myself—I am fun and beautiful. really matters, listen to what about themselves and know how If you rush to finish, you can forget the important things. they have to say, and remind to pass that feeling on to anyone It’s not always about me. them of how amazing they are. they encounter. Former students will remind Stay away from the drama. us about the positive influence Tammy Stallcup is the choral Love is shown through actions. director at John B. Hood HS in we had on their lives, but they Be good when no one is watching. Ector County ISD. seldom return to tell us about

A

What did you learn in choir that wasn’t about music?

46 Southwestern Musician | October 2011

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D O I N G MO R E by Mari McAdoo

[w ith les s]

ith large classes, small budgets, and schedules that don’t allow us to see students very often, teaching elementary music can offer some very distinct challenges. Despite this reality, we need to do our best with what we have and take steps to reduce the stress that can easily result from this situation. When we focus on creative planning and preparation before students walk through the door, we can expect less stress and more success. In my experience with large class sizes and infrequent class meetings, I have found the following strategies very helpful. I hope you can use them or that you will develop your own ideas from them to help make your music instruction even more effective.

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Large Class Size When you have classes that often exceed 30–40 students, keeping detailed records is imperative. Clearly identify class rolls with each student’s name on a seating chart. It’s additionally helpful to make another chart that lists student names on the left and includes columns for teaching objectives. For example, if you are teaching a four-beat rhythm pattern, include that objective in a column, and as each student gets a chance to read the pattern, note their grade on the chart. Call the kids up in the order of your list, and have other activities for the rest of the class to do, such as worksheets, music games, music books, or computer music games. Take the opportunity in a large class to assign duos or trios of students to work together on a lesson, share materials, books, instruments, and more. Plan ahead for how you will organize these shared activities and anticipate the problems before they happen. I use several of Artie Almeida’s theory packs, and they are very conducive to partner work. For example, with her Rhythm Rockets exercise I have partners sit back-to-back with each student holding a card that has 10 rhythm patterns on it. When I clap or play a rhythm, each student puts a clothespin on the answer. They then have 10 seconds to check it with their partner to see who was right before we move on to the next. This offers a quick

and effective assessment preparation. Before we begin the exercise, I have each set of partners decide who is a one and who is a two. The ones come up to get the materials to use for the Rhythm Rockets game and the twos return the materials at the end of the game. This assignment of duties can be especially helpful in large classes where it isn’t practical to have every student retrieve and return materials. You can also have the class seated in rows and create a challenge between the rows. For example, have each row sing a song you are working on and then announce the winner and explain why they won. This can also be applied to behavior—the best behaved row gets to line up first, help pass out materials, or take a positive note to their classroom teacher. To encourage good behavior, find ways to motivate the students to listen to you even when you’re not teaching a music concept. One way to keep a large group of students listening is to vary how you call on them to arrange themselves in groups or to line up (e.g., use birthday months, the colors they are wearing, or their hair color). Changing the criteria will help keep the students focused. When teaching large groups it is important to be overly prepared with many songs to use in a variety of ways. You could have students keep a beat to the song by following you, then have them create their own way of keeping the beat, then sing the chorus of the song with some actions you teach them, then echo-sing the verses to learn them (if you have the technology, project the lyrics from your computer to a screen in front of the class). While it may seem obvious, make sure you can be heard by all students at all times. If you need to use a wireless microphone to teach big groups, go for it! This also can help save your voice by keeping you from projecting too much. If you will always have large classes, look into investing in a classroom sound system. FrontRow (www.gofrontrow.com) installs speakers in all corners of your room and provides a microphone you wear like a necklace. No matter where they are sitting, students will hear your Southwestern Musician | October 2011 49

voice, and you won’t have to strain. With thorough record keeping, activity and song preparation, good sound quality, and large posters or a projector to display lyrics, your large classes will be much easier to manage. Any time you spend fumbling with resources or looking for something will be time during which your students’ attention will be lost. While it may sometimes feel like you are simply trying to survive, stay alert and look to the students to teach you how to best teach them. Observe and then document which

50 Southwestern Musician | October 2011

methods worked and which didn’t so you can use those notes in your planning. Infrequent Classes Keeping students at the expected level will be a challenge when you see them only once or twice a week or less, when new students join days before a program, and when some experience more difficulty learning than others. Students learn at different levels and at different speeds. This is another reason to keep accurate records. Your lesson plan

is your road map to success, so take time to write plans that will give you the most bang for your buck. Make every activity count toward your TEKS goals, and don’t waste a minute of that valuable face time. While it is important to follow your plans and checklists (especially when you meet infrequently), you must remember you are teaching children, not the lesson plan. You must interact constantly with the students and not have your face buried in a grade book or computer. During class, teach and have fun with your lessons. On your first break, go back and document which students were doing well or where they were having trouble. Also, note any adjustments you made from your plan so you can recall what was covered with that class during that lesson. If it’s a week or more before you see them again, be prepared to build on each lesson by recalling what was learned in the previous lesson and using those ideas in your new lesson as well. Lessons should not stand alone, even when you see students infrequently—there should always be a concept on which you are building and making connections to in your planning. Students will recall more when the

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ideas are connected to other things they have learned. Without a doubt, an elementary music ” : ! # the challenges mentioned here, it might be difficult to maintain the energy and enthusiasm required to do it well. But when you hear that gorgeous sound from the choir, or when a student remembers ”4

they tell you they heard Beethoven’s 5th on TV and downloaded it to their iPod, & " " 4 ! : " lifetime.

Consider what several music educators offered when asked for ideas on how to teach with little to no funding. These answers and more are available in the Q&A for Teachers repository available on the TMEA website under the Teaching Resources section. Q&A for Teachers is an incredible resource of answers to everyday questions asked by music educators like you.

Mari McAdoo is an elementary music teacher at Colleyville Elementary in Grapevine-Colleyville ISD.

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Lacking Funds? ˆ & ! ! 4 # ` ` " % 4 # { Š # # 6 — !

# ! 4 " % ! creativity, and networking with other teachers in or out of your district. Don’t hesitate to email others and get together to share ideas! —Rebecca Geeslin

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# { ! ! " ˜“ * ' ! ™ " ˜ ™ # ' & " " # + ! ! # — Karen Gentry

Robert Floyd, P.O. Box 140465, Austin, TX 78714-0465 Editor (Name and complete mailing address)

Same as publisher Managing Editor (Name and complete mailing address)

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P.O. Box 140465, Austin, TX 78714-0465

7 " " †’†# { " & ! # ˆ " & " " # ! 4 ! 4 ” 4 # 4 ! ! % 4 to watch it through their view finders! — Lesa Gurley

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Southwestern Musician

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October 2011 in the ________________________ issue of this publication. 17. Signature and Title of Editor, Publisher, Business Manager, or Owner

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September 28, 2011

I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions (including fines and imprisonment) and/or civil sanctions (including civil penalties). PS Form 3526, September 2007 (Page 2 of 3)

52 Southwestern Musician | October 2011

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hile you’ve probably been seeing all kinds of holiday products and decorations in stores for quite a while now, for me, October signals the beginning of the holiday season. And for new teachers (and any teacher new to a school), this time of year raises an important topic for you to discuss with your administrator. Halloween songs are certainly fun to sing, but you should check with your principal to find out what is expected in regard to seasonal participation. Your school might not have any restrictions, or it might prohibit scary faces, standard Halloween characters, or even the mention of Halloween altogether. Before you write your lesson plans, check with your principal about all seasonal songs and activities. Each school, district, and geographical area is different. Don’t wait until the last second only to discover your plans won’t work. With all that said, I hope your school allows the use of Halloween songs—I just

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love them! And I don’t mean the giveyou-nightmares songs, but just about everything else! I remember TMEA President-Elect John Gillian’s Elementary Division column last year about the minor mood for October. He was so right! Although you shouldn’t limit them to October, this is a perfect time to present minor songs to your students. I simply can’t leave this month without my older students moving to Lee Towell’s “Skeleton Square Dance” and the younger ones spider walking (actually a crab walk to “Spiders”). Both songs are from Towell’s Any Turkey Can Tango CD. I enjoy hearing all the interesting sounds the kids make with the “Walking Casket.” I will include the last song in our TMEA Elementary Music Teachers Group on Project Share. If you work at a private school and are unable to use Project Share, send an email request to SallyMHobizal@katyisd.org for the “Walking Casket.” In the Macmillan/McGraw-Hill series Spotlight on Music, my favorite kindergarten

by Michele Hobizal

ElementaryNotes

Enjoy the holiday season

The joy of music should never be interrupted by a commercial. — Leonard Bernstein Southwestern Musician | October 2011 53

song is “Pumpkin Stew.” While keeping a steady beat or a simple hand jive, each child names one thing to put in the stew. This usually gets interesting when unexpected objects are mentioned—I would never have thought of putting the entire school in the stew! On the week of Halloween, I use glow sticks (which usually cost $1/each or cheaper online if you have time for delivery). Some of my students have created their own hand jive to Ray Parker Jr.’s song “Ghostbusters.” The glow sticks also give an interesting effect when moving to Danse Macabre by Camille Saint-Saëns. Nick Holland from Northeast ISD in San Antonio created a great interactive whiteboard activity for first graders called “Witch Witch.” To download the activity, go to www.tmea.org/smlink/smartboard1. I also have an October first-grade activity at www.tmea.org/smlink/smartboard2. Check them out! The problem I usually encounter this time of year is that there are so many fun and meaningful activities and songs and so little time. I hope you enjoy the beginning of the holiday season!

2012 Clinic/Convention Update TMEA offers a variety of hotels with a wide range of prices to fit your budget, so don’t wait to book! You can book online starting October 4. This is going to be a convention you don’t want to miss, so contact your music teacher friends to create a fun group to buddy up with in San Antonio! If you’re looking for help gaining approval, go to the Promotions section of www.tmea.org/convention to download convention promotional materials to show your administrator. We have two fantastic Texas clinicians lined up for the convention—Michael Chandler and Lee Towell. I’ve often heard rumors about how wonderful a clinician Michael Chandler is. After attending a Region 23 workshop hosted by Lynne Sears with Michael as the clinician, I was convinced! And one of my all-time favorite clinicians is Lee Towell. My students would probably start a riot if they didn’t get a chance to perform their favorite “Cat Paws” songs every year! With sessions by these invited clinicians and many others, you’ll have more opportunities than you have time to fit into your schedule! And

our last Elementary Division clinic isn’t over until Saturday afternoon, so if you can’t get away from school early, you will still have many chances to learn!

Michael Chandler Texas Invited Clinician Michael Chandler is the K–5 music specialist at Valley Ridge Elementary in Lewisville ISD. Chandler teaches

Southwestern Musician | October 2011 55

Based in Texas and Proudly serving Texas Music Educators since 1961 Call our team today for professional, personalized service and visit RhythmBand.com for a preview of exciting new products coming this fall.

Orff-Schulwerk certification courses at Southern Methodist University, the University of Central Arkansas in Conway, and the University of St. Thomas in St. Paul, Minnesota. In 2005 and 2007, his students performed as featured elementary ensembles at the TMEA Clinic/ Convention. He is a past-president of the North Texas Chapter of the American Orff-Schulwerk Association (AOSA) and has served as a Regional Representative on the AOSA National Board of Trustees. Chandler presents workshops and sessions at the local, state, and national level, including sessions for AOSA and TMEA. Lee C. Towell Texas Invited Clinician Lee C. Towell has been teaching music in San Antonio for 32 years. She has taught at the preschool, elementary, middle school, and college levels, and is currently teaching music and movement at Kuentz Elementary School in Northside ISD. As a composer, she has several song collections and a musical published by Hal Leonard. She also has her own publications company, Cat Paws in Motion,

Project Share—TMEA Elementary Music Teachers Group Our TMEA Elementary Music Teachers Group is growing! Members can download wonderful resources into the drop boxes—this is great! For more instructions on requesting to join this group, check out the Project Share information page on the TMEA website in the Resources area under the Teaching Resources section.

through which she has many song collections and classical musicals. Towell also writes, hosts, and produces the children’s television series Cat Paws. Towell received her bachelor’s degree from UT/Austin, her master’s degree from UTSA, completed her certification in Dalcroze, and is currently working on Level 3 Kodály certification. Towell has presented in states across the U.S. and at the national MENC conference.

Important Dates October—Renew your TMEA membership and register for the convention online. October—Renew your liability insurance (policies expired August 20). October 4—Convention housing reservation system opens. November 15—TMEA scholarship application deadline. December 31—TMEA convention mail/ fax pre-registration deadline. January 12, 2012—TMEA convention online pre-registration deadline. February 8–11, 2012—TMEA Clinic/ Convention in San Antonio.

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Southwestern Musician | October 2011 57

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ords uttered are akin to boomerangs in that they often have a curious trajectory, returning to their point of origin. I was profoundly affected by this reality when teaching my fouryear-old son to play the game of checkers. We had practiced the game movements and rules to the point where I thought it was time to play an actual game. As our initial match progressed, his little-boy countenance was severe as he intently focused all his faculties on what was unfolding before him—seemingly making myriad observations of the status of the board, recalling the rules, and calculating possible scenarios. All was advancing routinely until he inadvertently placed one of his pieces in jeopardy and, yes, I jumped it. What happened next was an extraordinary moment that will remain etched in my memory. At virtually the same instant that he comprehended what had happened, his eyes began to sparkle and an utterly amazing smile erupted across his face. He looked at me directly and said in his most emphatic and encouraging voice, “Good job, Daddy!” I swelled with emotion that his first

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by Richard Fiese

CollegeNotes

Checkers, children & colleagues reaction was to encourage me and recognize the accomplishment of another. Some may rightly argue that my jumping the piece of a four-year-old during his first game of checkers is, at most, a meager accomplishment. It was not, however, so paltry a thing to him, and he wanted to make certain I knew that. The words he shared with me were a most satisfying echo of his experience—he repeated what he had heard. I pray that the power of genuine nurturing phrases repeated by his mother and me will resonate through the rest of his life, inform his actions, and foster a noble character. Just as parents can promote habits of encouragement with their children, so must we promote these proclivities with our students through our example. It is a curious and somewhat disheartening reality that it is far easier for my undergraduate students to hear someone sing sharp or identify an imprecise rhythm than it is for them to produce ten different ways to say, “Good job!” Error-detection is an important skill, but so is understanding how to prescribe an efficient and effective correction. It is the latter skill where much of students’ educational experience

Thoughts beget words, words influence actions, actions produce habits, habits cultivate character, and character charts one’s destiny. —Unknown Southwestern Musician | October 2011 59

before pre-service education in the college or university setting is left wanting. In fact, most students need to learn how not to talk to students as they make the transition from being and thinking as a student to being and thinking as a teacher. Praise and encouragement are not frequently natural inclinations among most of the students we teach. As teachers, we understand the positive power of encouragement and praise on student learning and student attitudes given that teaching is, at its essence, human relational communication. We emphasize that what teachers say in the classroom and how they say it can have a powerful effect as they lead students in engaging their imaginations and exercising emotions. Now, if you have been reading my writing long (and some note that is the

only way to read what I write), you know that I am no proponent of sacrificing genuine achievement on the altar of selfesteem. There is neither nobility nor virtue in rewarding or praising that which lacks indisputable merit. Most of us recognize that too many feel too good about poor performance that results from insufficient effort. Nevertheless, motivation to learn is influenced by attitude, and as a consequence, the best teachers tend to be more inspirational than merely informational. This is especially true of music teachers who are more akin to surgeons of the soul and rescuers of the psyche than systems analysts or program managers. However, it must be noted that although we are at home with the beautiful music that softens the callused heart and illuminates the entirety of the mind, it is the power

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of words that most shapes what happens in the classroom. Many music teachers are most out of their element when they speak. It is, however, within that element where much, if not most, significant instruction occurs. In undergraduate music education classes we instruct our students to alter the seemingly innate drive to identify what is wrong in a performance. We instead direct the teacher-response to focus on what was correct in the students’ performance while providing specific direction on how to improve. We teach our students to “leave your ‘but’ out of your feedback” because we realize that inserting “but” after an encouraging statement tends to nullify all that came before it. We train our students to refrain from sending mixed messages such as screaming “Play it piano!” We extend every effort to eliminate sarcasm as a means of communication. In contrast, students learn that while saying “good” can do no harm, “good” as generic praise does very little that is good. We teach that it is preferable to say, “The others would be more confident if you started the sound sooner. I will make a more obvious cue to help

you there,” rather than, “You missed your entrance. Watch me!” We make certain our students learn to articulate musical reasons and solutions to technical problems rather than focusing on the technique in isolation from the music, thereby making intentional music. Our students learn to focus comments on behavior rather than the learner so as to separate the individual from the action— so they may continue to love the sinner, but hate the sin. Perhaps most importantly, we teach our students to express a genuine passion for people and the music

they make. We do this not only during formal instruction, but through conducting our rehearsals and classes so that we provide examples for our students to emulate. It seems almost second nature to us. However, it is intriguing that these practices are often mysteriously jettisoned in our collegial interactions. I know there are times when we speak to and about each other in ways that we would never contemplate speaking to a student or permit a student-teacher to speak to a student. I wonder how different our campuses

TARLETON STATE UNIVERSITY BANDS putting you in the driver’s seat of your music experiences

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October 4 Jazz Ensemble II October 6 Jazz Ensemble I October 9 Wind Ensemble November 21 Percussion Ensemble December 1 Jazz Ensembles I & II December 5 Wind Ensemble Multimedia Concert

February 17 Percussion Festival March 24 50th Anniversary of the Tarleton Jazz Festival March 29-30 Invitational Band Festival Composer-In-Residence Frank Ticheli (a pre-UIL / ATSSB Concert & Sight Reading adjudicated festival)

all concerts & festivals are located on the Stephenville campus at the Clyde H. Wells Fine Arts Center

for more information: band@tarleton.edu 62 Southwestern Musician | October 2011

would be if we consistently exercised the same disciplined care of our dialogues and email exchanges among colleagues as we do to and for our students? How often do we recognize that we have an equal responsibility to breathe encouragement into the lives of our fellow faculty members as we do our students? How developed are our habits of encouragement among those with whom we work? Do we take the time and make the effort to reach outside of our immediate circles to say a word of encouragement or pass on a note of recognition? How often do we provide what another needs or speak what another needs to hear when it comes to those with whom we teach? I submit that as students emulate our actions and speech in the classroom, so will they likely emulate the manner in which we speak to and about our colleagues, both within and without the classroom. Even if we do not desire or intend it, our students will begin to form a mental model of how to interact with professional colleagues based on that which they observe and hear. Let us all strive to provide worthy examples for our students to follow and, in the process, encourage those with whom we work. 2012 Clinic/Convention Update As you look forward to the myriad learning opportunities certain at our annual convention, be prepared to make your hotel reservation online starting October 4. Our association works diligently to ensure the best possible rates at nearby hotels and the TMEA member hotel reservation system opens October 4. Reserve your hotel early as they will fill up quickly! For updates about the convention and to access the hotel reservation system, go to www.tmea.org/convention.

e! t Da 2 e th 201 11 e v – Sa MEA ry 8 T ua br e F

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Call for Papers The College Division Research Committee invites submissions from members in all TMEA divisions, including college students. Selected authors will present their research at the 2012 TMEA Clinic/Convention. Go to the College Division section of the TMEA website for submission requirements and directions.

Submission Deadline: October 15, 2011 Submit to: Amy L. Simmons, PhD, TMEA Research Committee at amy.simmons@txstate.edu

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64 Southwestern Musician | October 2011

For more information: www.trinity.edu/music or call 210-999-8212.

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Thank You, Scholarship Donors June 16 – August 21, 2011 Dr. Dulane T. Aaberg Richard Adams Dixie Addington Ruth Aguirre Alicia Ann Alexander Gwendolyn Alfred Elliott Allums, Jr. John R. Alstrin William Pascal Altz Joe Alvear Amy B. Anderson Amy K. Anderson Claudina Anderson Charlotte Angel Travis Angel Gary Anthony Jesus Daniel Apodaca Leonard Jay Arnold Dr. Francesca Arnone Jonathan Wesley Arvin Monte Evans Ashcraft Saundra B. Ashworth Michael V. Astwood Shirley E. Astwood Mary Helen Atkins Rebecca Aune Deanna S. Badgett Barbara Jean Bailey Kacie Bailey Martha Bailey Rebecca Bailey Diane M. Baker Mark L. Baker John R. Bankston, Jr. Carolyn M. Barksdale Lynne R. Barnes Lori Barrow Sandy M. Barrows Edith C. Barton Laura Bell Cathy Bennett Mack Flynt Bibb Cora M. Bigwood Debbie Kay Billarreal David Matthew Bilyeu Sharon Shaw Bird Stuart Bird James Martin Bishop Ron Bissett Paula A. Blackmon Karen Blackstone Joe Blatchford Brooke Bogan Libby Bogart Kay Bollom Gilles Bonneau Danielle Mccabe Bosch Elizabeth Bowen Stephanie Bowen Paula A. Boylan Susan H. Boylan Beverly Bradburn Carl V. Braden David W. Bradley Chris J. Brannan James R. Brannon

Summer Lee Brauer Josh A. Brewer Angela J. Brill Jerome B. Brillhart Luke Brimhall Gregory N. Britt Robert Brockett Rick Brockway Robin Brockway-Nichols Kevin Broome Brian Brown Dr. Kathryn R Brown Mike Brown Julia E. Brownscombe Dianne E. Brumley Kelly M Brunson Benjamin Budish Rhonda Gay Buie Lisa Burks Trisha Burrell Don Bustos Tommy Butler Jamie Cabot Mary Ann Calderon-Gonzalez Ernest Cantu Kenneth L. Capshaw David M. Cardona Carmen Carpenter Matthew Casella Abe Castellano Robert Caston Maria Teresa Castro Virginia B. Catherwood Colin Catoe Caroline Cavenaugh Melanie O’Neal Cavenaugh Sarah Jane Chambers Nicola Chappell Michael David Chisum II Adam Chitta Weichien Chou Dianne Chrestopoulos Jenifer Christman Woody E. Christman Chris Cintron Betsy M. Clark Damia Cleaver Byron Clements Tony Clines Royce Ray Coatney Kyle F. Coleman Deborah L. Colley Brian Kyle Collins Daniel A. Colunga Bobby L. Compton Dr. Brian Conklin Charles William - Thomas Consaul Christopher C. Conway Eric Cooksey Michael Corman Patricia Brock Cormier Donna Cotter Robert Cotter Dr. Kara Cowart Mary Frances Cowart

Stephen G. Crawford Mark A. Crim Phyllis K. Crisp Tiffany Cristo Carol Crittenden Karla K. Cruz Bishop Cunningham, Jr. Allison Curl Valerie Lynn Curry Judy Elaine Dale Aaron Daniel Anu Mathai Daniel Lucas Darger Traci Davidson Darlene A. Davis Traci Rene Davis Steffanie Dean Jenny Denis Gary M. Dennis Alicia Rogers Desoto Mike L. Devenport Deborah Deverich Carol Dewar Samuel Dinkins III Catherine Dixon Gary P. Doby Paul E. W. Dods Hugo Doege Jefferson Rice Doughten Cynthia E. Douglas Susan J. Douglas Susan L. Draper Jeffrey W. Drifmeyer Nancy T. Drifmeyer Jason Edwards Duck David Jon Duty Dr. Keith G. Dye Karen Earnest, PhD David L. Edge Blake Edmondson James C. Edwards Jim Egger Jeff Embrey Susan Elaine Etzler Linda Ewton Dr. Tommy Fain Daniel Farris Robert Travis Fife Erin K. Finn Bette B. Fisher Jennifer Fisher Kerri Fisher Diana H. Flores Efrain Flores, Jr. Juan Ramiro Flores Kelly Ann Flores Mary Lou Florian Victor Allen Flowers Julia Forsythe David Earl Frazier Jane E. Frazier Elizabeth B. Frederick Patti S. Freeman Jennifer Adams Frierson Brian Frock Heinz Frommeyer

Patricia Frye Laura Garcia Mayra O. Garcia Michael A. Garcia Dr. Gary Garner Hector Garza Junelle Gatza Amy D. Gearhart Louis B.(Bart) Ghent Clement E. Gibson Damien Gibson Kari B. Gilbertson Sandi Gillette Diana Gilliland Renee Noel Gilliland Richard Thomas Gist Michelle Glasscock Diana Lynn Goad Shane C. Goforth Mary J. Gohary IV Ben R. Gollehon Leticia Laura Gomez Linda H. Gonzalez Greg R. Goodman Marianne E. Gould Margaret Ashley Granado Timothy Grange Elizabeth Graves Shaun Michael Gray Louanne M. Greer Margaret Griffith, D.M.A. Dylan Groff Ann Z. Grosshans Sarah Marie Guhl Brandi Guilbeau Jeanne A. Gunn Emily Gurwitz Bojan Gutic Terry A. Hager Samuel Hale Jennifer Halteman Shawn Denise Hamilton Shari Hammons Robert Arthur Hanlin, Jr. Kristi Daley Hardy Dr. Amy Marie Harris Mary Catherine Harris Michael Aaron Hawley Kristy Denise Hayes Sandy Hayes Van L. Hayes Richie Haynes Craig C. Haynie Gary Allen Hebert Michelle Heckaman Hope Hennecke Madeline Herdeman Emilia Hernandez AdriAnne Z. Herrera II Richard Herrera Jill Hesson Dr. Arlis Hiebert Bethany Dagen Hill Kelly Himes Ron Blane Hinton Deborah J. Hirsch

Desiree Hlavenka Sylvia Klein Hobdy Michele Hobizal Al Hobson Reed Russell Hoke Gene M. Holkup Linda Patricia Holkup Phillip Bennett Holland Deborah Haley Holmes Ruth J. Holmes, PhD Michael Holt Christian Holzer Scott R. Horn Dr. Cynthia Lu Houston Lawrence John Houvouras Thomas Wilson Hudson Brandon S. Huff Georgann Truitt Hughes Savana Hughey John Thomas Humphreys Margaret Mary Hunter Libby B. Huntington Laura Ann Hymel Linda W. Ice Myron W. Ice Carl Erwin Idlebird Carolyn Ireland David Isgitt Mitzi Nell Jackson Robert B. Jackson, Sr. Marian Jacobs Tyson Gresham Jaquez Ryan Michael Jenkins Khristopher Carson Jennings Paul Jerome Brenda G. Johnson Christine Guillot Johnson Deana Moore Johnson Karrell J. Johnson Kyle Johnson Meredyth Leigh Johnson Michael C. Johnson Michael J. Johnson Robert K. Johnson Shirley Ann Johnson Christie M. Jones Erik Jones Timothy J. Jones Jan S. Juneau Joseph Jung Michele Kahne Jennifer E. Kalanquin Pam Kalmbach Amy S. Kelley Donna Kelley Gaylene Lilley Kelley Cecilia Khazali Dr. Janice N. Killian Phyllis King Peter Kline Phyllis Clark Kline Timothy Klingler Matt Knight Georgia Blevins Kornegay Cathy Koziatek Kathryn M. Kuddes

Southwestern Musician | October 2011 65

Bonnie Kuehl Kevin D. Kuehler Cheri Lafferty Dicksie C. Landgrebe Jessica Lane Anna C. Langley Lacy Lansford Carlos Lara Mary Alice Lawler Tod A. Lawlis Colleen LeBourgeois Hannah Lee George Leon Holly A. Lewallen Jennifer D. Lewis Wayne Wan Li Ching-Fen Lin Brandon J. Linder Mike W. Lipe Grace Evans Littlefield Jermaine Lobaugh Dr. Douglas Lockard Lelah Loftin Cathy Logan Don Long Andres J. Lopez Ignacio Antonio Lopez John Richard Lovelace Carla Lowery Cyndie K. Lowry Emily Goode Lucas Marc D. Lumley Sharon L. Macon Rachel Madden Elizabeth M. Maddox Barbara A. Manson Randy D. Marble Vivian A. Marino Amanda Marino-Stevenson John Markert John Scott Marsrow Debbie Martin Alex Martinez Armando Martinez David Martinez Deborah Kathleen Martinez Rodney D. Mason Mary Margaret Mathis-Sadler Earl A. Mattei Marilyn Mattei Rebecca S. May Scott William McAdow Terrill A. McBee Judith Ann McCarty Dr. Alan C. McClung Julie W. McCoy David McCullar Laurette N. McDonald Dr. Richard Frederic McDonald Wade McDonald Judy McEnany Laura L. McGregor Alec McGuire Matthew McInturf John Eric McKellar, Jr. William McLean Claire H. Meador Robert Meinecke Pearce Meisenbach Ashley Mendeke Gloria Ysela Mendoza

Dinah Jean Menger Christopher Meredith Michial Lee Meyer Brian Keith Miears Arthur Miller Margaret Elizabeth Miller Richard H. Miller, Jr. Connie Miserak Natalie Griffin Mitchell Mary Mjos Vicki Lynn Moffatt Nathan G. Monk Nancy Lee Morey Sherri Morgan Marianne Morrison Kenny Moss Stephen Muller Dr. Nathan E. Nabb Reece Nagai Daniel Najera Angela Lee Neal Dr. Sheri L. Neill Bob N. Nelson Stephen Timothy Netsch Tommy A. Neumann Teresa Rollo Nguyen Linda K. Nicolosi Carisa Niemeyer Brittney Nixon Ron Raymond Noble Coral Nunnery Marta O. Ocampo Judy Offman Orlando Ojeda Veda Ojeda Sherry Oliver John S. Olsen Darin Olson Connor Eugean O’Meara Cathy Omenson Jeffery Otto Janwin Overstreet-Goode Molly Jackson Owen Mickey Owens Pearl G. Owens Robin Owens Bliss Burdett Pak Kelly Ann Pallagi James T. Park III Katelyn Parks Karen D. Parmley Terry L. Parrish Bob Parsons Kathleen Parsons Ross Alexander Patterson Tracey C. Patterson Alisa A. Pederson Jerri Allison Penney Sandra C. Pentecost Mace Perez Forrest H. Perry Michael E. Petrisky Stanley Michael Petrisky Barbara McClure Pfeil Robert V. Phillips, Jr. April Henderson Pickrell Dr. Michael Alfred Pierce Ronald J. Pingor Joseph Pinson Denise Michele Pitcock William Pitts

66 Southwestern Musician | October 2011

Ronda A. Pohner Dean Timothy Ponseti Kasey Pope James Robert Popham Brian Potter Dominic J. Powell Mary Ann Powers Dana S. Pradervand Lisa Pranter Joel M. Price Ricky C. Pringle Lucy Mae Proctor Sara O. Proodian Judith W. Pruitt Bryan Wilson Pulver Debi Pyper-Reynolds Jane Elizabeth Rabalais Scott Radell Kenneth R. Raessler, PhD Dan Randolph Keith Raney Dr. Brian S. Ransom Debbie A. Rawlins Nathan Rawls Judy Ray Jamie Lauren Reason James R. Rees Erin E. Reeves Evelyn Joyce Reiffert J. Reuben Reza Ashley Rhea Julie Rhodes Jesus Doroteo Rios Dr. Richard W. Robbins III Sarah L. Roberts Vivian Roberts Amanda Robison Lora Anne Robison Jennette Cecilia Roesner Donna W. Rogers Marfa L. Rogers Valerie Janiece Rogers Louise Rossi Charlotte Neleen Royall Susan M. Rozanc Joni Rudak Brian Joseph Ruiz Frederick G. Sampson IV Claire M. Sanders Dr. Shawn Sanders Norman E. Sands Lance Sanford Emilio Santos Erin Scalisi Deborah A. Scharf Dr. Angela Nicole Schindler Linda A. Schumaker Michael J. Schurtz Sarah Elizabeth Scoggins-Cole Andrew T. Sealy Daniel Lee Seeger Sharee Semmelbeck Angelyn Seppeler Collette Yvonne Shanks Hildy Lynn Shanks Dawn M. Sheridan-Reinhuber Rachel Shirk Bryan M. Silvia Amy L Simmons, PhD Angie Smith Ann G. Smith

Kirk Edward Smith Pamela Kay Smith Robin Smith Warren Sneed Ryan Snodgrass Dr. Randy Snyder Amy Solberg R. Fawn Sorgi Denise Lisette Soto Lezlie M. Spann Walter W. Sparkman Jack Paris Sperry II Marsha Anne Spinner Kelly W. Sprowls Tammy Dee Stallcup Jerry Stallsmith Raymond Bernard Staniszewski, Jr. Ken Stanton Susan Stanton Rebecca D. Stapper Brenden Philip Steber Daniel William Steenken III Ed Stein Denise E. Stephens Jeanne J. Stephens Tom Sterrett Brent Allen Stewart David C. Stone Elizabeth Stone James L. Streit Sandra A. Strickhouser Carol E. Sullivan Joyce C. Sullivan Stephanie Sunder Phillip R. Sutherland Neal Sutton Kelsey Alexandra Svirsky Linden Swindle Billy Talley Javier E. Tapia Irma M. Taute Jon Randall Taylor Laura Taylor Marcie Taylor Linda Lee Terry Russ Teweleit Jeffrey Thames Don Thoede Justin Wade Thomas Ellen Nicole Thompson Sharon Lyn Thompson Chris Thomsen Richard Thomson Mary H. Thornburg Deanna Tiller Charles L. Tittsworth Mary Eleanora S. Tolliver Mark Tombosky Jennifer Torczynski Alberto Basilio Torres Don W. Towe Ellen E. Townley Melissa Lea Townsend Benita Emilia Trevino Lisa Rai Trewin Claire Trowbridge Frank Troyka Kelley Tucker Kimberly J. Tucker Peggy Colleen Turner

Jason Umbach Ralph A. Unger Megan Ludim Valles Carl Van Valkenburg Sandra E. Vandertulip Kay Vanlandingham Carol L. VanNoorloos-Gelabert Dr. Martin Vasquez Yvette Vasquez Karl Dean Veasey Raimund Dain Vereen Robert S. Vetter Ann M. Victor Nancy Joan Vines James Arthur Vivian Carlene S. Wadley Timothy J. Wadley Christina E. Wagner Sandy G. Wallace Heike Ward Jordan Warner Laura Warriner James R. Warth Denise Wathen Ruth Edwards Watkins Beth B. Watson Robyn Watson Michael Watts John Wayman Joseph L. Weir Renee Weldon Carl Welle Natalie Ann Wells Rebecca Kathleen Wernham Ragan Whatley Lisa Young Wheeler David A. Whisler Mary Anna Whisler Kathy H. White Karen Kay Whitfield Sharon Carol Whiting Linda Wiese Melanie Wiggen Michael Edward Willer Tamara Vance Willer Amy E. Williams Beth Marie Williams Gene Williams Susan K. Williams Dorothy Farrar Wilson Vicki Ruth Wilson Jolette M. Wine Stephanie Withrow Michelle Womack Glenda S Wood Kevin George Wood Bettye L. Woods Traci Woods-Dennis Judith C. Woody Mark Wootton Kathy Stagg Wright Boyce W. Wyrick Skyler Yancey Jie Yang Gina Yant Harlan S. Yenne III Timothy Michael Young Lyn J. Zeller Anna Lynn Zientek Clay Steve Zientek

University of North Texas

AUDITIONS College of Music Saturday, January 28, 2012 Friday, February 3, 2012 (Graduate Percussion, Piano, Voice, and String Auditions ONLY)

Saturday, February 4, 2012 Saturday, February 25, 2012 Saturday, January 14, 2012 - Chicago, IL Saturday, January 14, 2012 - Santa Barbara, CA

from

TRINITY UNIVERSITY’S JAZZ 91.7 KRTU, IN COLLABORATION WITH SAN ANTONIO’S CULTURAL TREASURES, PRESENTS

OCTOBER 20 11 to OCTOBER 20 12

A CITYWIDE CELEBRATION OF THE RICHNESS AND DIVERSITY OF THE SAN ANTONIO CULTURAL COMMUNITY THROUGH AMERICA’S ORIGINAL ART FORM.

I AM WWW.YEAROFJAZZ.ORG

TEN YEARS OF PLAYING GREAT JAZZ

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