SOUTHWESTERN MUSICIAN
MAY 2022
MAY 2022
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VOLUME 90 ■ ISSUE 9 MAY 2022
CONTENTS FEATURES
Q&A for Music Teachers . . . . . . . . . . . . . . . . . . . . . .14 by tmea members
Learn about keeping your students engaged in the final days of school and about spring strategies that can ensure an easier start to your next school year.
Teaching Individual Listening and Playing Responsibilities . . . . . . . . . . . . . . . . . . . . . 27 b y k at h y j o h n s o n
When you help your beginners develop independence, everyone can engage in more meaningful musical collaboration.
Four Seasons of Teaching Choir . . . . . . . . . . . . . . 40 b y d e n i s e e at o n
Focus now on these key musical elements and how you will address them throughout your seasons of teaching, with the goal of a most successful spring in mind.
46 COLUMNS
Online Song Research: Tools for the Reflective Teacher . . . . . . . . . . . . . . . . . . . . . . . . . . 46
President Michael Stringer . . . . . . . . . . . . . . . . . . . . . . . 4
b y k at h y k u d d e s
Executive Director Robert Floyd . . . . . . . . . . . . . . . . . 10
With repertoire selection at the heart of our work with each grade level and ensemble, music educators should develop skills to complete meaningful song research.
Band Vice-President Shane Goforth . . . . . . . . . . . . . 21 Orchestra Vice-President Ann G . Smith . . . . . . . . . . 30
UPDATES
Vocal Vice-President Jesse Cannon II . . . . . . . . . . . 35
Attend Your Spring Region Meeting. . . . . . . . . . . . . . . . . . . . . . . . . . . . .2
Elementary Vice-President Katherine Johns . . . . .44
Texas Fine Arts Summit 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6
College Vice-President Matthew McInturf . . . . . . .50
Attendees Want to Learn from Teachers in Programs Like Theirs . . .7 Renewing Your TMEA Membership Is Simple. . . . . . . . . . . . . . . . . . .12 Thank You, Volume 90 Advertisers . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49
ON THE COVER: Anna Austin, a fourth grader, performs with the Pomona Elementary Pirate Choir (Alvin ISD) during the 2022 TMEA Clinic/Convention. Photo by Karen Cross.
Southwestern Musician | May 2022
1
Attend Your Spring Region Meeting OFFICIAL PUBLICATION OF TEXAS MUSIC EDUCATORS ASSOCIATION
Editor-in-Chief: Robert Floyd
rfloyd@tmea.org | 512-452-0710, ext. 101
Managing Editor: Karen Cross
kcross@tmea.org | 512-452-0710, ext. 107
TMEA Executive Board President: Michael Stringer, Irving ISD
president@tmea.org | 972-600-5088 3511 Lake Champlain Drive, Arlington, 76016
President-Elect: Dana Pradervand, University of Houston pradervandd@yahoo.com | 713-743-3627 8226 Lakeshore Villa Drive, Humble, 77346
Past-President: John Carroll, Permian HS
john.carroll@ectorcountyisd.org | 432-553-2780 1800 East 42nd Street, Odessa, 79762
Band Vice-President: Shane Goforth, North Shore Senior HS
For online meetings, go to www.tmea.org/regionmeeting to access the login. Region Date 1
May 7
Time
Location
10:00 a.m. mtg,
Amarillo HS Cafeteria
9:30 a.m. food
2
May 21
10:00 a.m.
Guyer HS, Denton
3
May 14
10:00 a.m.
Sachse HS
4
May 13
5:30 p.m.
Region 8 ESC, Pittsburg
5
May 14
9:00 a.m.
I.M. Terrell Academy
6
April 23
1:00 p.m.
Permian HS
7
April 23
10:00 a.m.
Graham HS
8
May 7
10:00 a.m. mtg,
Temple College PAC
9:30 a.m. food
9
May 7
9:00 a.m.
Tomball Memorial HS
10
May 2
6:30 p.m.
Lamar Univ Music Bldg
sgoforth@galenaparkisd.com | 713-516-7158 14122 Wadebridge Way, Houston, 77015
11
May 7
12:00 p.m.
Medina Valley HS
12
May 1
2:30 p.m.
Madison HS
Orchestra Vice-President: Ann G. Smith, Plano East Senior HS
13
April 9
10:00 a.m.
Online
14
May 14
9:00 a.m.
Online
ann.smith@pisd.edu | 469-752-9237 3000 Los Rios Boulevard, Plano, 75074
Vocal Vice-President: Jesse Cannon II, Duncanville HS
vocalvp@tmea.org | 972-708-3764 900 West Camp Wisdom Road, Duncanville, 75116
15
May 1
2:00 p.m.
Sharyland Pioneer HS
16
May 2
10:00 a.m.
Frenship PAC
17
May 7
10:00 a.m. mtg,
Shadow Creek HS
9:30 a.m. food
Elementary Vice-President: Katherine Johns, Floresville South Elementary kjohns@fisd.us | 281-370-4040 116 Oaklawn Drive, Floresville, 78114
College Vice-President: Matthew McInturf, Sam Houston State University mcinturf@shsu.edu | 832-515-8724 17 Hornsilver Place, The Woodlands, 77381
18
April 9
10:00 a.m.
Austin HS
19
May 7
10:00 a.m.
Sam Rayburn HS
9:30 a.m. food
20
May 7
9:00 a.m.
Greiner MS
TMEA Staff
21
May 7
10:00 a.m.
Legacy HS
22
May 16
6:00 p.m.
UTEP
Executive Director: Robert Floyd | rfloyd@tmea.org
23
May 14
9:00 a.m.
Austin HS, Houston ISD
8:30 a.m. food
Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org
24
May 14
10:00 a.m.
Frisco Memorial HS
Advertising/Exhibits Manager: Zachary Gersch | zgersch@tmea.org
25
May 14
10:00 a.m.
Plano ISD PAC
26
April 26
6:00 p.m.
Manor SHS
Financial Manager: Cristin Gaffney | cgaffney@tmea.org
27
May 14
9:00 a.m.
Cypress Creek HS
Information Technologist: Andrew Denman-Tidline | adenman@tmea.org
28
May 14
10:00 a.m. mtg,
Harlingen CISD PAC
Membership Manager: Susan Daugherty | susand@tmea.org Communications Manager: Karen Cross | kcross@tmea.org
9:30 a.m. food
Administrative Assistant: Rita Ellinger | rellinger@tmea.org
29
May 21
10:00 a.m.
O’Connor HS
TMEA Office
30
May 14
10:00 a.m.
Chisholm Trail HS
Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Website: www.tmea.org | Phone: 512-452-0710 Office Hours: Monday–Friday, 8:30 a .m.– 4:30 p.m.
31
May 14
10:00 a.m.
Birdville FA Complex
32
May 3
6:00 p.m.
Online
33
May 14
10:00 a.m.
Summer Creek HS
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 P ublishers, 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 | May 2022
THE UNIVERSITY OF TEXAS AT EL PASO 500 W. University Ave. El Paso, Tx 79968 915.747.5606
music.utep.edu
TMEA President MICHAEL STRINGER
Plan, Relax, and Learn I encourage you to be conscientious in your closing of one year and beginning of the next to establish a healthy balance.
M
any of you are about to enter or are already in the busiest time of year for music educators. Spring performances, banquets, trips, festivals, inventory, and countless other tasks are required to close out another school year. I know from experience this is the month that sometimes seems like it might never end! Simultaneously, it can all be over in a flash, and before we realize, another school year has been written in the history books. Once another year has come and gone, what comes next? Rest, relaxation, more learning to refine your craft, or maybe even a dream vacation! Develop a Plan A choral teacher in our school district has described this year as being even harder than the previous, and many have stated that educator burnout is at an all-time high. The high levels of stress and frustration many have experienced can lead to burnout. As we become busier, our emotions become more pronounced, and sometimes it seems that we just can’t carry on. If you are anything like me, you might find it impossible to immediately “turn off” your brain at the end of the school year and begin to relax. The first day of summer break has often felt surreal to me; I have found myself a little lost, not knowing what to do. It was in these times that I did much of my planning for the next school year. I reflected on what went well and what needed improvement and made a simple plan of how to accomplish those items at the beginning of the next year.
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Southwestern Musician | May 2022
MARK YOUR CALENDAR check www.tmea .org for updates
May—Attend your spring Region meeting (see page 2). May 1—TMEA 2022–2023 membership year opens for online and mail/email submission. May 1—Deadline to nominate students for a Texas Music Scholar award. May 1–June 1—2023 Clinic/Convention proposals accepted online. June 15—CEDFA Summit 23 opens online. June 30—All 2021–2022 TMEA memberships expire. July 21–23—TBA, TCDA, TODA conventions in San Antonio.
School of Music
TCU School of Music
2022 SUMMER MUSIC
Camps & Workshops* TCU VOCAL ARTS CAMP • MAY 20-22 COREY TRAHAN, JAMES RODRIGUEZ PERCUSSION CAMP • JUNE 8&9 BRIAN WEST SAXOPHONE WORKSHOP • TBA JOE ECKERT TCU BAND CAMPS • JUNE 12-18 BOBBY FRANCIS FLUTE WORKSHOP • JUNE 20&21 SHAUNA THOMPSON HARP WORKSHOP • JUNE 22-24 MALLORY MCHENRY ALL-STATE CHOIR CAMP • JULY 10-16 SHERI NEILL, CHRISTOPHER ASPAAS CLARINET WORKSHOP • JULY 18&19 COREY MACKEY STAR WARS AND THE MUSIC OF JOHN WILLIAMS • JULY 18-21 PAUL CORTESE
FOR REGISTRATION INFO*, PLEASE VISIT OUR WEBSITE AT WWW.MUSIC.TCU.EDU/SMI.ASP *ALL EVENTS SUBJECT TO CHANGE IN RESPONSE TO COVID-19
I limited this planning work to just a few hours per day and reduced the amount of time each day until I was in full summer mode, on the golf course without a worry about what my classroom would look like the next year. I encourage you to develop a routine to plan for next year that works for you. Spread this time out, and eventually you will go back to work with a solid plan that will serve you and your students well
and that might tame that beginning-ofthe-year anxiety we so often feel. Be sure to read this month’s Q&A for Music Teachers as it includes answers on this topic. Continue Perfecting the Plan Along with the need to unwind slowly from the school year, I also found the need to ramp up just as slowly for the next school year. After spending time away
Through integrated, asynchronous online sessions, open June 15–August 1, explore, engage, and enrich your creative skill sets. Amplify your ability to teach these skills to students, colleagues, leadership, and community partners. Session 1: Cultivating Curiosity Through the Fine Arts Session 2: Creativity = Curiosity in Action Session 3: Curiosity and Diversity Session 4: Curiosity and Creativity in Fine Arts Leadership
Learn more and register at www.cedfa.org
6
Southwestern Musician | May 2022
from my thoughts about work, I often found the next school year sneaked up on me—I was catapulted into playing catchup, and school hadn’t even started. Once I began methodically planning my return to school, I was able to manage those emotions so much better and entered the year feeling recharged. I set an alert on my calendar several weeks in advance that would remind me it was time to start ramping up the planning for next year. The calendar entry was “Think about school for one hour.” I would spend that hour looking at the list that I developed at the end of the school year and writing notes about how I would improve my instruction. I found that since I had planned at the end of the school year, I was able to accomplish much more in a shorter amount of time as I tried to plan for the new year. I limited myself to one hour a day for at least a week, and then I never exceeded three hours a day until I went back into the office. This allowed me to think and plan when it was convenient for me, and it didn’t get in the way of my attempts to improve my golf game. By the time I was back to work, I was recharged and felt like I was ready to take on the new year.
Reconnect Your Learning While it is important to put work away for some time as we rest and rejuvenate, summer is also an amazing time to enjoy professional development in a relaxed setting. One of the highlights of my summer is attending the Southwestern Music Exhibition, featuring the TBA, TCDA, and TODA conventions. I always learn so much from the outstanding clinics and spend a wonderful few days on the Riverwalk with some of my closest friends and colleagues. This learning in a completely relaxed environment fills my soul each year and helps me re-gear my thinking for the year ahead. Along with these outstanding conventions, there are many different opportunities for learning in your respective division. I planned to attend specific workshops based on my reflections from the end of the school year and sought out opportunities that would allow me to grow as a music educator. I encourage you to put these opportunities on your calendar to ensure you don’t overload yourself with work and can have a great balance of learning and rejuvenation as you move through your summer. I am hopeful that whatever your method is for rest, relaxation, and planning, you will make a point to continue to find a good balance in your life. The school year can bring many struggles, and the end of one school year can sometimes bleed into the next. I encourage you to be conscientious in your closing of one year and beginning of the next to establish a healthy balance. I wish you a wonderful end to your school year and a relaxing summer full of family, friends, and fun!
Attendees Want to Learn from Teachers in Programs Like Theirs Through our annual convention, the TMEA Executive Board seeks to deliver the highest quality program of clinics to support the professional development of our members. To achieve this goal, the Board asks you to consider proposing a clinic online May 1–June 1. The Board hopes to receive more proposals than ever from a diverse group of clinicians within every division who are ready to offer their expertise. Based on member feedback, below are the most frequently requested clinic topics. Additionally, a common theme based on comments from our convention survey is that members want to attend clinics offered by clinicians in programs like theirs—especially in schools with limited funds, resources, and staff. If you (or someone you know) has strategies to share on how you have worked successfully despite the challenges inherent in a school with limited funds, resources, and staff, please apply.
Top-Rated Clinic Topics The following are the top-rated clinic topics identified by members across all divisions (read your division’s column in this issue for the topics members in your division reported as most important): 1. 2. 3. 4. 5. 6. 7. 8. 9. 10.
rehearsal techniques teaching methods (EC–college) instrument methods recruiting and retention classroom management repertoire selection technology integration diversity, equity, inclusion, access conducting techniques advocacy/community support
y b y l p Ap ne 1! Ju
www.tmea.org/proposals
2023 Convention Proposals Starting May 1, you can submit clinic and music showcase proposals for the 2023 convention at www.tmea.org/proposals until June 1. As always, the Executive Board and staff hope to present a convention full of amazing professional learning that is relevant, useful, and immediately applicable to your classroom. The depth of knowledge among our members is amazing, and I encourage you to submit ideas that will help your colleagues grow as educators. Please consider proposing a session of something new and different that has worked for you and your classroom and help us continue to expand outstanding music education across our great state. 0 Southwestern Musician | May 2022
7
July 21-23, 2022 • Combined Exhibit Hall
Register for the 67th Annual Convention
tcda.net or call (512) 474-2801
MARSHA CARLISLE LEGACY SERIES presents:
Dr. Sharon Paul University of Oregon
Sponsored by The Foundation for Music Education
DON’T MISS!
Dr. Angela Kasper Western Washington University
Elementary Honor Choir Conductor
Dr. Jeffery Redding
University of Central Florida MS/JH All-State Conductor
• • • •
Two Auditioned Honor Choirs! Starlight Soirée, our Annual TCDA Member Reception Reading Sessions curated and conducted by TCDA Members Worship Service with Dr. Eric Nelson, homily, and the Highland Park Chorale with Greg Hobbs, conductor • Publisher Reading Sessions
PERFORMING GROUPS:
• Nation–collaborative vocal band with Jocelyn Hagen and Timothy C. Takach • Suono Chamber Choir, conducted by Alex Bruce • Credo Community Chorus of Dallas, conducted by Dr. Jonathan Palant
Register for the 61st Annual Convention todaweb.org or call (512) 474-2801 HEADLINERS:
Jeremy Dr. Michael Hopkins Dr. Jacob Sustaita University of Michigan/ Pacific Symphony & Woolstenhulme Award Winning Composer/Educator Sponsored by KJOS
Ann Arbor
Sponsored by The Foundation for Music Education
California State University
CONVENTION HIGHLIGHTS:
In addition to our notable and wonderful headliners, clinicians include Betsy Thomas, Dr. Eric Posada, Dr. Lisa Burrell, Dr. Laurie Williams, Dr. Douglas Bakenhus and many others!
DON’T MISS!
• TODA Reunion and Silent Auction - Friday, July 22 Convention Center LDR Room and Grotto • Full and String Orchestra Reading Sessions • Featured Performance by The Kolonneh String Quartet
NEW THIS YEAR!
Selected video performances from diverse genres and choral programs across Texas.
HIGH SCHOOL STUDENT LEADERSHIP DAYS: July 25, 2022 July 26, 2022 July 26, 2022 July 26, 2022 July 28, 2022 July 29, 2022
Canyon (West TX area) North Richland Hills (DFW area) Round Rock (Central TX area) Houston Donna (RGV area) El Paso
HIGH SCHOOL STUDENT LEADERSHIP DAYS: August 6, 2022 August 6, 2022
Kinder HSPVA, Houston Newman Smith HS, Carrollton
Register by July 1 to receive the early DISCOUNT. Book your hotel online now for best choices.
San Antonio, Texas Register for the 75th Annual Convention/Clinic:
texasbandmasters.org OMAR THOMAS
EUGENE MIGLIARO CORPORON
2022 Featured Composer
2022 Featured Clinician
TBA WELCOME BBQ
Wednesday, July 20, 6-9:00 pm Families invited too!
Early Bird Discount through June 15. Onsite registration July 20, 3-6:00 pm.
TBA ACADEMY FOR NEW BAND DIRECTORS
TBA STUDENT DAY
Friday, July 22, 8 am - 5 pm
Thursday, July 21, 7:30 am - 5 pm
65+ CLINICS
For first-year band directors. Attendees receive CPE credit plus TBA Active Membership and convention entrance for FREE.
STRATEGIC BOOSTER INSTITUTE
Friday, July 22, 8:30 am - 5 pm
Dr. Tim Lautzenheiser, Fred J. Allen, Dr. Matthew McInturf, Brian Merrill, Dr. Timothy Rhea, Fran Kick, and more!
Middle School Clinics:
• Details Matter! - Gary Williams, Melodianne Mallow, Chris Meredith, Greg McCutcheon, Darcy Vogt Williams • Developing a Successful MS Band Program - Joey Qualls, Jennifer Bergeron, Kim Rosenberg, Darcy Vogt Williams • The First 48–Band Edition - Christine Cumberledge, Kimberly Hawbaker-Cooley, Elayna Youngson • Musical Nourishment: Designing Your Daily Instructional Menu Kathy Johnson, Asa Burk, Alicia DeSoto, Chris Meredith, Dominic Talanca • Buy In, Stay In! - Britni Hummel, Jane Janda Maloy • Beginning Clarinet - Kim Garza, Ryan Gaughan, Lauren Jones • Beginning Sax - Sammy Aguilar, Kara Pritchett, Kelsey Lien • Beginning Trumpet - Richard Gonzalez, Ben Kelly, Steve Sanchez • Beginning Trombone - Michelle Hanegan, John Mireles, Aaron Sanchez • Designing a MS Percussion Curriculum - Jerriald Dillard, Robbie Green
PERFORMANCES: U.S. Navy Concert Band
Capt. Kenneth C. Collins, Commanding Officer/Leader
U.S. Air Force Band of the West
Major Dustin M. Doyle, Commander and Conductor
High School Clinics:
• Marching clinics featuring top Texas high school bands and DCI demonstration groups • Developing Student Leadership • Jazz clinics featuring Matthew Sawyer with Paschal HS Jazz Band, Erika Uribe with Vela MS Jazz Band and others • Mariachi clinics - Jose Hernandez with Mariachi Sol de Mexico and TAME Clinic • Clinics on Instrumental and Ensemble Pedagogy, Motivation, Retention, Diversity, Technology and more • Small School Clinics • All State TMEA, ATSSB, and Jazz Etudes
Cedar Park Winds
Mariachi Sol De Mexico
El Paso Winds
Phi Beta Mu Directors Reading Band
Christopher Yee and Jeremy Spicer, conductors Doreen Ketchens, Featured Clarinetist Soloist Dr. Brad Genevro, conductor Presenting the Multimedia Premier Performance of Julie Giroux’s Symphony No. VI “The Big Blue”
Jose Hernandez, conductor
San Antonio Jazz Orchestra Reading Band
In honor of our 75th Anniversary, TBA commissioned Charles Booker to compose “Celebrate the Music-Across the Plains” which will be premiered at the convention.
TMEA Executive Director ROBERT FLOYD
Lessons Learned During COVID I hope many of the changes we made in our teaching during pandemic times have made us better teachers and will strengthen our programs.
I
t would take more than one column to write about the good, the bad, and the ugly that we have learned about ourselves, our programs, and our profession the past 26 months. While I see no value in revisiting the ugly of the pandemic experience, I do believe it is worthy of reviewing what we have learned that will ultimately benefit the students we teach and serve. Our most recent convention showed us how much we missed being together. I hope moving forward we will all take advantage of every opportunity we have to support each other, to share pedagogical strategies, and yes, to spend time together just because it supports our love for each other, demonstrates humility, and is a display of unity for our profession. As shared in the April magazine, the convention also restored in many their passion for music education and reignited their love for teaching. That passion must sustain us moving forward at a time when a teacher shortage is looming. To a significant degree, our professional survival throughout the pandemic was possible because of our experience and skill to adapt to change. It’s what you do. It’s how you roll. Perhaps no teacher in any other academic discipline was as accustomed to dealing with constant and uninterrupted change as you were pre-pandemic, especially if you have dealt with extracurricular responsibilities in addition to delivering TEKS-based instruction. That’s a normal day in a music classroom and program. The last 26 months created only more challenges, but your experience as a music educator has strengthened your ability to cope. I recently read an article published in the Harvard Business Review
10 Southwestern Musician | May 2022
MARK YOUR CALENDAR check www.tmea .org for updates
May—Attend your spring Region meeting (see page 2). May 1—TMEA 2022–2023 membership year opens for online and mail/email submission. May 1—Deadline to nominate students for a Texas Music Scholar award. May 1–June 1—2023 Clinic/Convention proposals accepted online. June 15—CEDFA Summit 23 opens online. June 30—All 2021–2022 TMEA memberships expire. July 21–23—TBA, TCDA, TODA conventions in San Antonio.
EVEN TEACHERS NEED TEACHERS As an educator, one of the most impactful ways to improve is by educating yourself. That’s why the Yamaha Educator Suite (YES) helps music teachers access professional development opportunities, music teacher resources, program health support, advocacy assistance and more. YES brings you a network of like-minded teachers, experts and professionals, who want to help you achieve your goals. Let us help you raise the bar. Go to Yamaha.io/educatorsSWM
Renewing Your TMEA Membership Is Simple!
1
Renew Early
2
Pay at tmea.org/renew
3
Update Your Record
4
Consider Liability Insurance
5
Register for the Convention
Starting May 1, go to tmea.org/renew and log in to renew your TMEA membership. If your district will pay for it, use this year’s budget dollars!
Paying online via credit card is the fastest way to renew. If paying by school check, communicate deadlines to your business office and follow up.
When you renew (or before), update your TMEA record with your current school and contact information. Go to tmea.org/memberinfo and log in. Please don’t create multiple records in your name. If you can’t log in or have other difficulties accessing your record, contact us!
All teachers should maintain this coverage, and TMEA offers it at a low cost as a benefit of membership. You can purchase when you renew.
When you renew, you can also register to attend the 2023 Clinic/Convention. We look forward to seeing you in San Antonio February 8–11!
Need Help? We’re Here! Please contact Membership Manager Susan Daugherty at susand@tmea.org with questions about membership. TMEA office hours are M–F, 8:30 a.m.–4:30 p.m. 12 Southwestern Musician | May 2022
written by Rosabeth Moss Kanter about why we are resistant to change in business, but it applies to education as well. Reading it made me only more appreciative of what you have overcome and the decisions you have made in response to the depth of damage each change could have brought. The author put her list in order of severity. She says you have to process the actual pain and difficulty, deal with the resentment that might build up in you, identify unintended consequences, determine the probability of failure it could cause (for some component of your program or for your students), manage feelings of inadequacy, and cope with feelings of unpreparedness. The top three reasons she explains we resist change are confusion and disorientation, fear of an uncertain future, and finally, loss of control. Moving forward, we know one thing about change—it is inevitable. We must continue to address those changes with one priority—how you can embrace them in a way to minimize their negative impact on you, your students, and your program. You have read many times in this column that the most important advocacy for music occurs at the local level. In times of change, the importance of showcasing your program to your community is even more critical. Tell your story often, especially if you are in a position of rebuilding your numbers. We are having ongoing discussions in this office about what we can do for you in this regard, and I welcome your input about how we can be of service in accomplishing this task. The advocacy section on the website is worthy of review, with both a downloadable PowerPoint and a full-color one-page flyer entitled “Why Choose Music.” There is a wealth of other materials there. In addition, I recently rewatched the eight videos we produced for TMEA’s Centennial, telling the story of the power and importance of music, and their message is even more timely post-pandemic than when they were developed. While I am aware recruiting is completed for the next school year, I encourage you to view them in a quiet moment, if for no other reason than for inspiration about why you do what you do. They will be as uplifting as the first time you saw them. Worthy of repeating is a continued priority in our teaching of being sensitive to the engagement, safety, and mental health of our students. While it is not anything
we have to add since it is ingrained in the music experience in our classrooms, getting to know our students even more on a personal basis and providing the support they need is as important as the curriculum we teach. As an extension of that concept, we also learned during the pandemic the importance of self-care and spending time outside the classroom for your own well-being and that of your family. Preserving quality in your personal life must continue not only for your own mental health but also to support your effectiveness as a teacher. Throughout the pandemic, especially the first 12 months, the goal for our programs was simply survival, keeping your program afloat with little thought to whether you could earn a Sweepstakes trophy or compete for Honor Band or Honor Orchestra that year. During those months of virtual teaching, we looked forward to the time when we could sit down with our full ensemble and make music together. The measure of that success was not so much about how perfect it sounded but how it made us as well as our students feel. I recently had the opportunity to provide mini clinics for ensembles who participated in the inaugural UIL Chamber Music Festival. The students were amazingly well prepared and taught, but rather than spend a few moments trying to fix something else in the music, we engaged in delightful conversation and dialogue about music-making in their selections and all that represents. Our discussions about high-quality music-making truly resonated with them. We must continue to make that objective a high priority. We recently received the TEA high school music course completion data for 2020–2021, and while lower, the enrollments statewide did not reflect the significant loss in participation we all anticipated. That is a credit to you for instilling in your students the value of their experience in your classroom despite the challenges presented by all things COVID. Middle school numbers from last school year are not
available yet, but sign-up for next year’s sixth grade classes is significantly up based on anecdotal information as well as conversations with music retailers who tell me instrument rentals are on the rise for the fall. Such encouraging projections warrant thanks to the efforts of our amazing elementary and middle school directors. This past year, after months of discussion, the Executive Board approved the return of the Honor Band and Honor Orchestra programs after two years of presenting invited performances for the conventions—one year virtual and one face-to-face. Both Board discussion and the survey taken last fall about preferences of the membership clearly spoke to the advantages of each. As a result, the Board is moving forward with a plan that will include performances of both Honor and Invited ensembles at the 2024 convention. We must continue to serve and elevate all music programs. So, as we return to greater normalcy, I hope many of the changes we made in our teaching during pandemic times have made us better teachers and will strengthen our programs. I also hope that despite what we have experienced, over the long term our focus will remain on helping our students strive for the highest standard of musical excellence. When non-Texans ask me why Texas music programs are so strong, at the top of my list is the standard of quality in performance for which we all strive, created by UIL over 75 years ago. Similarly, the TMEA Honor Band and Honor Orchestra competitions reveal exemplary models of teaching we can be inspired by as well as aspire to. Of course, healthy competition can be a positive contributor to high-quality teaching and learning, but UIL took a most important step four years ago, redefining and renaming Concert and Sightreading Contest to Concert and Sightreading Evaluation, which measures teaching and learning in the classroom. Likewise, five years ago, our Honor Band rules changed to define December 1 as the earliest start date for
Attend Your TMEA Region Meeting Stay updated and get involved in the future of your association. See page 2 for the schedule.
music preparation prior to recording, thereby limiting rehearsal time focused on that competition. As mentioned earlier, change is inevitable, but the changes we can control must be managed in a way that supports musicmaking at its highest level. Music exists and remains indispensable because it is an essential element of the human experience. You have been a blessing to the students of this state in how you have met this challenge. I salute you for your service. Have a restful and enjoyable summer! 0
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Thanks go to TMEA members who offered responses to the following questions. Go to www.tmea.org/q&a to view additional answers to these and other questions or to suggest a question for a future issue. What are your proven strategies to keep engagment and learning going through the end of the year?
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We love to amp up contests at the end of the year! This is especially helpful with beginners. They compete for the highest level of rhythm studies, scale pass-offs, music pass-offs, etc. The winners get awards during our spring concert, and they work harder to achieve musical goals! —Katie Lewis, Maus MS
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The more you can mix it up, the better. Allow them to earn a “choose your seat” day, play March Madness–style scale brackets, offer fun new music—do anything to make your classes fun and memorable. —Paige Liccioni, Hofius Intermediate Keep giving the students goals to achieve. Without something to work for they will start to relax. If you begin to relax your expectations and actions, they will follow. Keep pushing yourself as well. —Kelli Wilson, Kennedale HS I try to select music that is fun and challenging for our spring concert and not have that concert too early so the students maintain a high level of interest to do a good job throughout the year. I have the concert recorded, so I stress the importance of playing a great concert because it will be on display forever. —Manuel Castaneda III, Meacham MS Students stay engaged when having fun! I gamify instruction, so students earn points all year that lead to the end of year party. During the last grading period, we do a huge points push where students have more opportunities to earn points to get the reward they want! Points are earned by passing off fundamentals, scales, and music. The more points earned, the more rewards they get at the party! —Sandy Osborne, Rodriguez MS
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I have students explore improv within certain guidelines and students create a one-minute excerpt in a style I choose for them. Lastly, we study about evaluating performance. What makes a good performance only okay for an audience versus what makes a good performance great for them? —Anonymous For third through fifth graders, we do classroom talent days to end the year. Students create, plan, practice, and perform their acts. Performances are on the last music day of the year. I send home a letter explaining the project, and students take it from there. Typically when they work in groups, I give them a rubric on how I will grade their project—on group dynamics, work ethic, and presentation. It’s my favorite activity, because it’s student-led. Everyone participates and everyone gets applause and affirmation, and stage fright is minimized because they perform only for their homeroom classmates. — Beth Shier, Academy at CF Thomas We perform a big piece that incorporates many of the new skills they learned this year. This is when they put it all together. For example, I might put together a four-part song using the following: sing a song, play a drone accompaniment, use a solfège reading of the notes learned for an ostinato, and make a B section that is improvised or composed that uses the rhythms (or solfège if you want) learned that year. Invite their teacher and administrators to come watch their class performances the last five minutes of class. —Patty Smith, Davis Elementary After spring break I focus on composition activities and musicals. I’ve had students in third through fifth grades write and perform their own raps, Orff arrangements, and song parodies. This year they are writing a song using spoons! Younger
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students also do some composition, but it is more structured, using boomwhackers and bells. —Anonymous Students are encouraged to remain consistently engaged with activities such as those offered in the Spotlight on Music series. Interactive lessons and resources available through the McGraw-Hill ConnectEd site have proven invaluable to maintain TEKS objectives throughout the school year. —James S. Chavez, Lamar Elementary
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Movement. Movement. Movement! We perform lots of folk dances and play lots of active games to harness that energy and turn it into something positive in the classroom. With older elementary students we rotate through stations in class and practice known concepts from the year. I also make sure to work student choice and voice into my plans so they have ownership over what we are doing in class. —Wendy Hebert, Anderson Elementary
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I teach lower elementary music. The last six weeks is all about games. During gameplay, students take the lead, and I intervene only if necessary. Students are allowed to make modifications if the group agrees. The ultimate goal of the games unit is to provide a space for them to explore interpersonal relationships while strengthening singing and beat-keeping skills. —Amanda Hand, Western Hills Elementary
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We work on music from a variety of genres. I tend to save pop/rock/jazz styles for spring to keep students engaged. When I select it well, the music isn’t as technically difficult as their classical repertoire, so this makes students feel more confident in their playing. —Katie James, Vanguard School I teach my string students various difficulty levels of “Happy Birthday” to teach them how to rehearse in a small ensemble, memorize music, perform without a conductor, and manage performance anxiety. Once the music is prepared, I email staff and ask for anyone with a birthday that month or summer and after some coordinating, I send the ensembles out during class to perform around the school. —Cecilia Dixon, Lakeview MS
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For me, it’s all about repertoire choice. If I am excited about the repertoire I’ve chosen, it’s easy to keep my students engaged at the end of the year. I always try to choose repertoire that engages the specific community I work with. —Nicholas Likos, Cy-Fair HS Having a pop show at the end of the year keeps students focused on singing because it’s music they more immediately enjoy. They also have more choices for this concert. —Karen Fincher, Ridgeview MS Each choir student chooses a Broadway solo to sing for their class. I schedule no more than three solos for each period, and in addition to singing, they tell us about the musical the solo is from. Giving them the responsibility of performing as a soloist helps them with stage presence and overcoming shyness. It often brings out the “ham” in every one of them. Our spring concert is also Broadway-themed, and we select the songs together. —Verallen Kleinhenz, Sellers MS Sometimes I have students work in groups and perform a song they compose. One year, I gave them children’s picture books and each group chose a book and created a melody for the story. The parameters were that the song had to be an original with harmonies, at least two minutes long, and had to be staged in some way. During finals week they performed their songs for each other. They received a group grade, and they rated one another’s contributions, which was a percentage of their final grade. It was really great to see what the students came up with. They are so creative! —Amanda Robison, Summer Creek HS I have a unit on some music style that is accessible but that we don’t do a lot of, such as barbershop, and small groups perform in the hallways. I have students read music that I’m considering for the fall and winter and critically analyze it. It gives the current group buy-in for next year while keeping them engaged. —Erin Scalisi, Nimitz HS
Some mariachi students step forward and ask to sing a song with the group. We accommodate them by learning that song and setting a goal for that singer to debut it before an audience. From the beginning to the end of the year, classroom rehearsals, sectionals, afterschool sectionals, and at least one performance opportunity per month is how we seek to keep our musical goals active and students focused on these opportunities. —Eliseo Morales, Harris MS To keep the seniors musically occupied while the underclassmen work on auditions, they prepare a piece for a senior recital. Those who are wellprepared play in a recital for families either in an ensemble or solo, and the others play for their classmates. —Ann Victor, Austin HS Southwestern Musician | May 2022 17
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What have you done at the end of a school year to set up a better start to the next year? At the end of a school year I usually prepare the students’ folders (with music) for the following year, especially during the last couple of days of school when the students have already returned their instruments (they sometimes help). I also hold tryouts with the next year’s beginners and give them and their parents the information they’ll need to purchase or rent an instrument. —Stephanie Wlodkowski, New Waverly ISD Hosting mini band camps is a game changer. Having something for the students to re-engage with in the summer gets them excited for the next year. —Kelli Wilson, Kennedale HS Among other things, we communicate with the counselors to ensure a master schedule that works for our band classes, meet with the school leadership team to input dates on the master calendar, and meet as a band director team to update the band handbook and make plans for the upcoming year. —Kimberly Tucker, Tennyson MS Communication is key. It has worked for us to establish when they should expect to hear from us next and when summer band camps will occur. If you are able, open your rehearsal hall even one day a month in the summer or offer some engaging activity—it goes a long way to keeping kids and families engaged. —Paige Liccioni, Hofius Intermediate I enlist the help of the upcoming year’s upperclassmen, and I discuss our goals, music, marching show, leadership positions, summer rehearsal schedule, and other subjects that will let the students know what plans are. This helps them buy in to what needs to be done. —Roel Saenz, Kaufer Early College HS We hold leadership auditions as early in the spring as possible to allow student leaders to help prepare for the following year throughout the rest of the semester. We aim to have our marching band music in the students’ hands before they leave for the summer to build excitement and interest in practicing. We hold our “Band 101” meeting for incoming students and parents in March and do band registration in late April so we have as good an estimate of our numbers as possible going into the next year. —Derrick Doyle, Chisholm Trail HS I make an “August Box.” This is the last box I close when packing my room for summer. Everything I need to start in the fall—decorations, required documents, first day back to-do list, and more—go in this box as I’m cleaning up. I include a paper map of where I want to put furniture for the next year. This helps me streamline my setup and allows me to focus on other things before the first day. —Melanie Braddy, Shafer Elementary Last school year I made a plan for my programs for each grade level for this school year. Of course I adjusted the program songs and schedule as needed, but having a plan helped me make sure I purchased what I needed when my budget was available and eased a lot of stress this year. I plan on repeating this for next school year. —Tammy Benedick, Tarver Elementary During my planning periods in the last week of school, I make my plans for next year’s first two weeks. I view them as “weeks 37–38” of the school year. By doing this, we’re spiral-
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ing and building on prior knowledge from week one of next year. Of course, we will review concepts and procedures after the summer, but we can hit the ground running for next year. —Wendy Hebert, Anderson Elementary For grade levels with performances in the fall, we start discussing and listening to songs they might want to perform then. This gives students more investment in the performance because they have helped select the songs. —Christine Simpson, River Place Elementary When not rehearsing (e.g., after the final concert and during the last 5–10 minutes of class when many are taking AP exams), students assemble materials that won’t be updated— notebook tabs, labels, general handbook announcements, and other materials I hand out during the first week of class. I also have master sets of what I need copied, and parent and student volunteers assemble much of the beginning-of-theyear paperwork. This has allowed me to avoid the copy room for most of August! —Christopher Reidlinger, Amarillo ISD Order music for next year’s performances before the end of the year. If you do, you won’t have to wait for budgets and you will be ready for rehearsals. —Dee Dee Harrison, Ingleside ISD Go through instruments and check for those that might need repair. Verify instrument serial numbers match their cases. Check for shoulder rest/endpin anchor and case strap. Replace any strings that may need replacing and vacuum the inside of cases, clean exteriors of thermoplastic cases with a disinfecting wipe. Clean bows. —Mary Escarcuga, Rio Bravo MS Offering a “state of the Mariachi program” overview to my fine arts administrator and principal is important. I present how we deliver on the TEKS and our monthly milestones of musical success in the classroom and performances. I am able to outline what we have accomplished and what I want to do as I project the upcoming year of returning students and their proficiency—this will dictate the level of music to be played. I am also able to project incoming program numbers to calculate inventory, class size, and space needs. —Eliseo Morales, Harris MS I teach The Star-Spangled Banner and our alma mater before the end of the year—it is their final exam. Students learn their voice parts with the use of practice tracks and in-class rehearsals. It helps us prepare for graduation, and instead of teaching them from scratch at the beginning of the year, we just have to touch them up to be ready for summer performances or early football games. It allows me to spend more time on concert repertoire. —Antionette Harris, Wagner HS I keep a list of items needed every year, and I order them either at the end of the school year or as soon as the new fiscal year begins. If I need to use next year’s funds, I send quotes to our secretary with instructions to create the purchase order at the beginning of July. When I return from summer, my supplies are waiting for me! —Amanda Robison, Summer Creek HS I give students music for next year after our final concert. We listen to recordings, do an initial readings, and then critically discuss them. It usually creates hype for next year—seniors are upset they don’t get to sing the fall repertoire, and those returning are excited about next year. —Erin Scalisi, Nimitz HS
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Southwestern Musician | May 2022 19
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TMEA Band Vice-President SHANE GOFORTH
Vision, Focus, and Process The problems we face are real, but they have solutions, and we can find those solutions if we hold onto our vision and continue to move toward our musical goals.
MARK YOUR CALENDAR check www.tmea .org for updates
May—Attend your spring Region meeting (see page 2). May 1—TMEA 2022–2023 membership year opens for online and mail/email submission. May 1—Deadline to nominate students for a Texas Music Scholar award. May 1–June 1—2023 Clinic/Convention proposals accepted online. June 15—CEDFA Summit 23 opens online. June 22–23—Area Honor Band listening. June 30—All 2021–2022 TMEA memberships expire. July 20—State Honor Band prelims. July 21—State Honor Band finals. July 21–23—Texas Bandmasters Association convention in San Antonio.
I
was recently eating a meal at a restaurant in the Austin airport before boarding my flight to Buffalo, where I would conduct a week of clinics during my spring break. When I received a text that my flight had been delayed, I was more excited than frustrated; it meant I had more time to do score study before leaving. I reached into my briefcase and pulled out Irish Tune so my dear friend Grainger could speak to me about phrasing, voice leading, harmony, orchestration. Just as I began to marvel at some newly discovered Grainger genius, one of the servers asked, “Are you a composer or a conductor?” When I replied that I was a conductor and a high school band director her face lit up and she exclaimed, “Oh my gosh, I loved band so much! It totally changed my life!” She then stuck out her hand, said “Hi, I’m Christie,” and she began to tell me her musical life story. She grew up in a small West Texas town and played clarinet. From the one room where every beginner started to her first All-Region audition and then to her last performance at a UIL State Marching Band Contest and final Honor Band recording, Christie took me on a musical journey filled with passion, love, and learning. As she closed out my check, Christie relayed to me how she felt her band experiences made her a successful college student and server. When I asked what band had given her to help her succeed, she quickly replied, “That’s easy—vision, focus, and process.” Following the 2:30 a.m. arrival (rethinking my feelings about flight delays), I found myself in a New York band room (they are only “halls” in Texas, you know), attempting to work two movements of Carmina
Southwestern Musician | May 2022 21
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Burana in a 40-minute class. After the rehearsal, and over a much-needed cup of coffee, the director laid out how his very accomplished students started and progressed through the band program. They begin in the fourth grade and have band one day a week. That doubles to two days a week in the fifth grade and moves to every other day in middle school. In high school they have band every day but are limited in their rehearsals outside the school day. I quickly began to gain a new appreciation for the work I had just observed from these young musicians. For the remainder of the week, I had the rare opportunity to work with concert bands and jazz bands of all levels, gaining an intimate portrait of a completely unfamiliar system. At post-concert dinners, I was fed a steady stream of questions about the “Texas way” and the TMEA and UIL processes from directors hungry to learn about how we achieve success in the Lone Star State. In trying to answer the many “Texas way” questions, I found myself attempting to describe the litany of ways that bands large and small go about achieving musical success across our great state. Stories that Christie shared with me
R 48TH YEA
were told, alongside methods I use in our large, urban, low-socioeconomic district as well as strategies employed by suburban programs. In all things, we found ourselves returning to our conversations to view them through a COVID-tinted lens, facing the reality that our programs have all been affected in so many ways. On our way to the airport for my return, my dear friend and colleague, frustrated by the issues he believed were restricting his students’ progress and success asked me what to do. As I pondered a response, I realized I received the answer from my clarinet-playing server before the trip began. I answered, “Hold the musical vision you have for the program, focus on your students, and trust your process.” I want to encourage each of us to follow in the wisdom Christie learned in that small West Texas band to make her successful in everything she does. So many music educators I have spoken with over the last two years are incredibly fatigued and almost despondent about the effect the pandemic has had on their programs. I ask you to return to and reawaken the vision you have always had for your program. Write down the goals and dreams you
have for your students and your band— they belong to you and your students, not COVID-19. We have a saying in our band hall that has helped propel us forward for many years. “Don’t allow your environment to dictate your success.” We apply this musically to tone quality when a passage is technically difficult or in an extreme upper register. We apply it academically when a student is in a distracted classroom setting trying to learn what they know is vital for their success. And, unfortunately, we apply it to many of our students’ home lives when those situations lack needed structure and support. Over the past two years our educational environments have been changed in drastic ways and have presented us with a myriad of new challenges. These challenges can appear insurmountable if we allow our eyes to focus primarily on them, so I encourage you to return your eyes to your musical vision for the program and put the problems you face in the proper perspective. The problems we face are real, but they have solutions, and we can find those solutions if we hold onto our vision and continue to move toward our musical goals.
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Southwestern Musician | May 2022 23
Focus on your students. By the time you read this, your school year will probably be ending soon. In this moment, you might not want to think more about focusing on your students but rather about taking a break from them. I hope you will take that break and spend quality time replenishing your stores and recharging your batteries. Teachers are leaving our profession in droves because they are tired, hurting, and frustrated. I completely understand your pain, but please don’t forget that our students are leaving our programs in droves as well because they, too, are tired, hurting, and frustrated. As you begin to plan for next school year, make sure to do so with a student-centered focus. Attempt to see your program from the perspective of every individual student, section, and ensemble, and then work to restore or continue the symbiotic relationship of love and respect that makes our profession so special. The Christies of the world are in your band halls and desperately need your love and guidance to learn how to be successful in everything they do. Trust your process. Calm, focused processes and procedures are the engine that drives you to success. Finish your year working your process in ways that will address your weaknesses and build on your strengths. Take time this summer to refine and perfect your process by consulting with a mentor, attending the incredible clinics at TBA, reading Kathy Johnson’s article in this issue, or revisiting
the clinics you attended at our convention in February. When you look at the challenges in your program, remember there are answers to them and those answers can and will be found in your processes and procedures. • Fix your eyes on the vision you have for your program and don’t be distracted by the problems that exist along the pathway to your success. • Be on the road to success with and for your students. They are not perfect, but they are wonderful, awesome human beings who should always be our primary focus. • Work your process and trust that it will deliver you to your destination. If we remind ourselves and our students that our process is what brings about our success, it can bring real purpose to work that is otherwise mundane and routine. Area Honor Band Area Honor Band listening will be held June 22–23, 2022, at the following centers: • Areas A & B (Abilene/Abilene Christian Univ): Steven Dojahn, Chair • Areas C & D (Dallas/Duncanville HS): David Brandon, Chair • Areas F & H (Houston/Klein Oak HS): Todd Clearwater, Chair • Areas E & G (San Antonio/Alamo Heights HS): David Stephenson, Chair
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Invited Jazz and Percussion Ensembles Please consider applying to have your middle school jazz band, high school jazz band, or high school percussion ensemble perform at the 2023 TMEA convention. The application process must be completed by 11:59 p.m. CT on June 1. Go to www.tmea.org/invitedjazz and www.tmea.org/invitedpercussion to learn more and apply. Spring Region Meetings I encourage you to attend your spring Region meeting this month. Your input and active participation are crucial to running successful Region organizations, and the decisions made at the Region level have a direct impact on your students. Consider volunteering for one of the many rewarding opportunities available each year. The schedule is on page 2 of this issue and at www.tmea.org/regionmeeting. 2023 Clinic Proposals We all know directors with great strategies to share, and our convention is the perfect place to help each other by offering what we know works best in our programs. TMEA members consistently report that they most appreciate clinics presented by their fellow Texas music educators. I look forward to receiving a record number of engaging clinic proposals by Texas band directors and to creating a program of clinics with myriad opportunities for educators from all types of programs. As a reminder, the following are the top-rated clinics by Band Division members who answered the 2022 convention survey (in priority order). If you or a colleague have strategies to share on these topics, be especially motivated to apply! • Rehearsal techniques • Instrument methods
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• Recruiting and retention • Technology integration • Repertoire selection • Classroom management • Teaching methods • Conducting techniques • Advocacy/administrative support • Urban or rural challenges & strategies Learn more about sharing your favorite pedagogical technique or educational strategy with your peers at www.tmea.org/ proposals. 0
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Teaching Individual Listening and Playing Responsibilities by Kathy Johnson
A
s we wrap up another school year, it’s time to evaluate what we did that most effectively helped our students develop during their first year as music students—a time when individual growth is so obvious. As you look forward to finding some time this summer when you can prepare for another great year, consider the following key ideas and strategies for the first year of musical development. Developing strong ensemble skills starts during the beginner year by developing independent musicians through counting skills, aural skills, and technique. Creating traditions, systems, skill sets, and a culture of sectionals is the basis for student-led instruction and knowledge acquisition. There are no shortcuts to success—it still takes the same time to learn to play a wind instrument today as it did a century ago. The technologies we enjoy are simply tools; it is the master teacher who brings the learning to life. Instructional Planning Effective teaching begins with effective planning. In terms of developing ensemble skills, consider the elements that must be in place to prepare students to become collaborators in an ensemble setting. Students need to be able to recognize and produce characteristic sounds on their instruments; they should be able to differentiate between higher and lower in pitch and between brighter and darker sounds. Students should also be able to match articulation syllables within sections because lack of articulation clarity can get in the way of hearing intonation, blend, and ensemble balance. Teaching students to speak the language of music will help them understand the higher-level concepts you will offer. The foundation you build is the basis for everything else your students will learn—if the foundation is weak, everything that follows will be exponentially weaker. Instructional Pacing Throughout every rehearsal, there should be a focus on fundamentals. It shouldn’t be reserved for daily drills at the beginning. What do your students need to learn? When planning, start
with micro concepts that will affect or achieve the macro—these smaller concepts will determine how solid the larger ones will be. It is usually obvious when a smaller concept has been achieved, so if you work only on larger ones, your pacing will bog down and neither you nor your students will feel as though anything was accomplished during a rehearsal. It is important for you and your students to experience and observe progress with each concept on which you are working. Classroom Management Students learn more effectively if they are active participants in the process. No one gets to sit and wait until the director tells them what they are doing wrong and how to correct it; students must lead the instruction. When students are partners in the process, they develop ownership and the confidence to speak up. Instead of telling your students what they are doing incorrectly and how to fix it, ask them if they can hear a problem (analysis), if they know what the problem is (diagnosis), and what skills they possess to fix it (solution). Being Socratic in your questioning will stimulate students’ critical thinking and listening and will create an environment of independent thinking. Allow students to evaluate one another in a safe and constructive format to encourage critical listening skills. Tonal Concepts First The basis for all wind instrument tone quality is air. Develop a system for teaching your students how to breathe and use their breath effectively. Time spent on breathing exercises is never wasted. Teaching embouchure will be more customized to each student—not everyone will have the same results because of differences in facial musculature, lip size and shape, and maxillofacial structure. Customize your teaching to the individual student and don’t overlook articulation, good posture, and proper hand position. As the expert, you must clearly understand how to teach students to produce a characteristic sound on each instrument in Southwestern Musician | May 2022 27
your band. You should be able to diagnose both visually and aurally and have solutions ready for problems that might occur. Know the common tuning tendencies for each instrument and how to respond to them, and teach your students about them so they can independently respond. You need to develop impeccable listening skills regarding intonation, tone color, blend, balance, articulation execution, etc. Understand that you will teach the same concepts in beginner classes as you do in high school classes; they are simply presented at different levels. And most importantly, pass these skills on to your student musicians to help them develop independence, allowing everyone to engage in more meaningful musical collaboration. Levels of Listening Students should be able to identify and perform at least four levels of listening: self, section, color group, and ensemble. Level 1 (Self): Students should be listening to themselves for characteristic sound, playing in the most resonant part of the sound, and checking for intonation. In a homogeneous beginner band setting, this is easier since there is usually only one
instrument type in the class. The key is to teach the students to actively listen to their own sounds, assess the quality and intensity of the sound, and make a judgment on the general intonation of their own sounds and those of others in the class. Students should play with good tonal energy without over-playing their instruments and without playing out of tune to hear themselves. This level of listening should be a focus from the moment students begin producing sounds on the head joint, mouthpiece and barrel, mouthpiece and neck, mouthpiece and leadpipe, etc. In a full band setting, this listening level can be more challenging since everyone is usually playing at the same time. Utilizing the F-around-the-room exercise to facilitate this listening level will help students sort through all the sounds they are hearing in the ensemble to eventually be able to isolate their own sounds from everyone else’s. Whenever students are playing, they should be aware of this level first before moving on to the next levels. Level 2 (Section): Students should be blending in with the other players within their section and matching tonal energy—essentially camouflaging their
sound within the section. This level is usually taught when students are consistently producing characteristic sounds on the instrument and are playing with good tonal energy (this can be the individual instrument or full instrument group). This is where we begin to use terms like bright or dark regarding tone rather than playing louder or softer to fit into the section of sound. We want students to be able to play with a blended sound at any volume, so we don’t necessarily want them playing softer to try to blend in with their section. Changing the color of the sound rather than the volume of the sound is what we are listening for in most cases; this is where we might speak of voicing the sound. At this point in Level 2 listening, we want to go beyond blending unisons to teaching students how to blend octaves. This is sometimes one of the most difficult things for students to understand and achieve. My rule is for the upper octave to color the sound of the lower octave. In other words, the lower octave must produce a sound with enough tonal energy to give the upper octave something to fit into. In a full band setting, almost everything we do in our warmups are in unisons
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28 Southwestern Musician | May 2022
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judgments on the fly. In a performance, the conductor can’t do much from the podium if something goes amiss; it is up to the musicians to pull together, using the tools you have instilled in them. If you do this, your students will get more enrichment from the musical experience and end up becoming partners in the process rather than feeling overwhelmed and defeated. Students will begin to make their own musical decisions rather than waiting for you to tell them what to do or how to do it. Literature is a great way to inspire young musicians and to apply the
skills you are developing, but that won’t be the case if the literature is far beyond their capabilities. Choose your music wisely and remember that the goal is to facilitate excellence and the desire for excellence. 0 Kathy Johnson taught for 39 years in public schools and currently teaches adjunct as the Coordinator and Instructor of Woodwind and Brass Techniques at the University of North Texas.
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and octaves, so the students should always be playing with Levels 1 and 2 in mind. The director should be holding students accountable for this during the warmup and not thinking of the listening levels as a separate exercise, but one that is present throughout the rehearsal. Level 3 (Color Group): Students should blend with their color group—a group of different instruments that generally play the same parts in a piece of music. Color groups can change between and within compositions. When working on Level 3 listening, use the basic groups and then as students become better at this level, change up color groups to create new sounds and make things a little more challenging for the students. The basic color groups are soprano, alto, tenor, and bass. For example, flute, oboe, clarinet, and trumpet are in the soprano color group; alto sax and horn are in the alto color group; tenor sax, trombone, bassoon, and euphonium are in tenor group; and bari sax, bass clarinet, and tuba are in the bass color group. In general, marches are set up in color groups and are great compositions to use for practicing listening levels. As a rule, woodwinds within a woodwind/brass color group should always color the brass. In a beginner setting, this level is more difficult to practice unless you have multiple instrument groups scheduled during a class period. If this is the case, try to be forward thinking when you set up these classes so that you have like color group instruments during the same class period. If you do this, when it is time to begin putting together a beginner performance, you can combine classes within a given class period to work on Level 3 listening and prepare them for Level 4 listening when the entire band rehearses together. Level 4 (Ensemble): Students should be able to balance in the ensemble from the lowest sounding melodic instrument. Prioritize musical lines within a composition and use this to balance the ensemble. At any given moment in a composition, students should know the following: which color group has the melody, the function of their color group, and who else is in their color group. Knowing these three things will guide the students in determining where they fit into the overall structure of the music and will help them develop their ensemble ears. The goal is to develop independent musicians who can make sound musical
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Southwestern Musician | May 2022 29
TMEA Orchestra Vice-President ANN G. SMITH
Are You Elevating Your Program? Don’t be modest when talking about your program. Regardless of awards, your program has amazing accomplishments.
MARK YOUR CALENDAR check www.tmea .org for updates
A
s we are approaching the end of the school year, I hope that you find yourself making plans for the summer break that include opportunities for celebrating the many great things that happened this school year. I hope you make it a point to unplug from your school and program. Plan quality restorative time for yourself and with your family or friends. Everyone needs a chance to celebrate, disconnect, and restore. This is how you renew yourself, not only for your program and students but also for yourself, friends, and family. If someone you just met or someone who had little awareness of your program asked you to tell them about yourself or your program, what would you say? Would you be able to describe your program in less than a minute? Would you be able to quickly tell them how amazing your program and students are in that amount of time? Recently, I was sitting in a presentation and the presenter mentioned an “elevator speech,” and it piqued my interest. When I brought this up with my husband, he told me that this concept has been around in the business world for many years. I became determined to learn what an elevator speech was, how to create one, and what benefit it would have for my program and me. In general, an elevator speech is a brief speech, fifteen to sixty seconds in length, in which you introduce a concept with a couple of key points and provide an opportunity to connect with someone. An elevator speech is persuasive in nature. It is an introduction that will establish
30 Southwestern Musician | May 2022
May—Attend your spring Region meeting (see page 2). May 1—TMEA 2022–2023 membership year opens for online and mail/email submission. May 1—Deadline to nominate students for a Texas Music Scholar award. May 1—Honor Orchestra Part A online entry deadline for all except HS String. June 1—Honor Orchestra Parts B & C are due for all except HS String. May 1–June 1—2023 Clinic/Convention proposals accepted online. June 15—CEDFA Summit 23 opens online. June 30—All 2021–2022 TMEA memberships expire. July 21—State Honor Orchestra adjudication (all except HS String). July 21–23—TBA, TCDA, TODA conventions in San Antonio. September 15—Honor Orchestra Part A online entry deadline for HS String. October 15—Honor Orchestra Parts B & C due for HS String.
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a first impression with people with whom you wish to network. According to Southern New Hampshire University, an educational elevator speech is a brief overview of your professional and educational accomplishments and information relevant to your goals. An elevator speech generally offers who you are, what you do, and what you want to do, and it’s memorable. In addition to telling someone who you are, it is essential that you tell them what you do. As you include your accomplishments, don’t be timid. You are trying to be remembered. If you make this part of your speech self-confident, it will add interest to your speech and make you memorable. Giving a brief synopsis of what you want to accomplish or goals you have for yourself is a critical part of the speech and adds to the overall impact of this brief statement. This type of speech or statement should be adaptable to any situation in which you find yourself. You might be meeting a new teacher colleague, having a conversation with someone from administration, or meeting with a vendor or potential advocate. Limit personal details. With your speech, you want them to remember your professional accomplishments, not your personal information. So why is an elevator speech important to us? An elevator speech will help us in networking. It doesn’t matter where we are in our career. Whether we are a new or veteran teacher, we should always be networking. One never knows when an opportunity will open or when someone has resources that can add to our career or personal goals. In the business world, constant networking provides the road to growth and success. This simple 60-second speech could be a statement that identifies you as a potential mentor. It could be that you are a resource for someone in need and your brief statement about yourself makes that connection. Everyone needs an elevator speech for their program. This type of speech isn’t just for job opportunities or for individual networking. If we are doing our professional due diligence, it is in our best interest and that of our program to have this speech at the ready to deliver at a moment’s notice. While I was working on this column, I had a conversation with a member of my gym, someone I didn’t know very well. My elevator speech became important as we talked to each other about our
jobs. This person asked what I did for a living, and that is when my elevator speech went into action. It turns out that he was a member of my cluster orchestra program when he was in high school before I began my tenure there. This led not only to a conversation about the importance of music and the impact music education can have on us in adulthood but also to a strengthening of our friendship. Who knows what the impact this conversation will have in the future, but it had an immediate impact on each of us. Your program’s elevator speech should follow the same outline as your professional one, emphasizing the accomplishments of your program and the goals you have for it. You are the best spokesperson and cheerleader for your program, and your speech needs to reflect that. Don’t be modest when talking about your program. Regardless of awards, your program has amazing accomplishments. They need to be heralded in all your conversations. What are the goals you have for your program? What is your vision? If you don’t have goals or vision, create some so you can facilitate continued growth. Your goals and vision need to be concise enough that you can articulate them in your elevator speech. If you can’t articulate them in a conversation like this, examine them and recast them in a manner that allows for easy articulation. If you can quickly articulate your vision or goals, this will open opportunities in ways that you may not expect. Be sure to steer away from clichés and professional jargon. If your listener doesn’t have a musical background, they will probably not understand musical vocabulary. Frame your speech for your audience. What will you say that puts your program in a favorable light? What is special about your program that you can highlight and emphasize in a short minute that will leave an impression on whomever you are talking to? Make your program’s elevator speech memorable. Remember that you are your organization’s number one fan and champion. No one knows your program better than you. Create your speech and be ready to give it even in non-musical and non-educational interactions. Honor Orchestra I am excited for the return of the TMEA Honor Orchestra competition! Middle
School String and Full Orchestra and High School Full Orchestra competitions are held in the spring prior to the convention performance. The High School String Orchestra Competition takes place in the fall prior to the convention performance. For the spring competitions directors need to complete part A no later than May 1. Parts B and C, along with recordings, are submitted by June 1. The fall competition, High School String, must complete Part A by September 15. Parts B and C, along with recordings, are submitted by October 15. For more specific details and rules please go to www.tmea.org/ honororchestra. The Orchestra Division is looking forward to the return of this competition and the performances that will take place in February 2023! Clinic Proposal Submission The 2022 TMEA Clinic/Convention was incredible because of the wonderful clinics that were presented by the Orchestra Division membership. Let’s make our next convention even more incredible! To do this, we need many high-quality music educators like you to submit clinic proposals. Everyone has great ideas and teaching concepts that will help and inspire other teachers, so don’t hesitate to submit your clinic ideas. If you or a colleague have strategies to share within the following topics, I especially encourage you to propose, as these are the topics that Orchestra Division members said are most important to them for our 2023 convention (in descending order of priority): • Rehearsal techniques • Instrument methods • Recruiting and retention • Conducting techniques • Repertoire selection • Technology integration • Classroom management • Teaching methods • Diversity, equity, inclusion, access • Advocacy/administrative support • Music theory The clinic submission window opens May 1 and closes June 1. Go to www.tmea.org/proposals to learn more and apply. 0 Southwestern Musician | May 2022 33
School of Music
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JULY 13-16, 2022
SECTION LEADERS CHRIS AHRENS NORTH MCKINNEY HIGH SCHOOL MICHAEL DEAN TRINITY HIGH SCHOOL KAY OWENS MARTIN HIGH SCHOOL MARK ROHWER FLOWER MOUND HIGH SCHOOL CHERYL WILSON JANASAK GARLAND HIGH SCHOOL (RETIRED)
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TMEA Vocal Vice-President JESSE CANNON II
End with the Beginning in Mind Each small task completed at the end of this year will help us enjoy a well-deserved summer vacation and a successful start to the new year. In Memoriam Walter Wright September 6, 1953–April 2, 2022
MARK YOUR CALENDAR check www.tmea .org for updates
May—Attend your spring Region meeting (see page 2). May 1—TMEA 2022–2023 membership year opens for online and mail/email submission. May 1—Deadline to nominate students for a Texas Music Scholar award. May 1— Deadline for college/university Invited Choir applications. May 1–June 1—2023 Clinic/Convention proposals accepted online. June 1—Deadline for middle and high school Invited Choir applications. June 15—CEDFA Summit 23 opens online. June 30—All 2021–2022 TMEA memberships expire. July 21–23—Texas Choral Directors Association convention in San Antonio.
T
he mantra “Begin with the end in mind” is one we’ve heard frequently. I’ve used it to help me commence many of my greatest challenges. Steven Covey presented it as one of his almighty Seven Habits of Highly Effective People. Recently, I had another thought, sort of a continuation of the more familiar phrase. Finishing on a good note sets the tone for starting it well the next time. During our recent choir spring trip to Colorado, many of our students learned to ski for the first time. Their ski instructor gave them directions and tips on how to be a successful downhill skier. The students faced many challenges learning this new skill—waiting in the cold before the start, maintaining balance and calm as velocity increased, and realizing the potential for serious injury. The most important part of the run is the end. As the students approached the bottom of the hill, nearing the lift, their tendency was to relax, loosen up on the turns, and glide to an easy stop. It becomes clear that changing up the process they learned while skiing could be quite detrimental! Watching this helped put things in perspective as we near the end of the school year. The attitude, effort, mentality, and focus that ends the run will remain with us and our programs, and this mindset will power the following school year. We must end with the beginning in mind. What tasks do you complete at the end of the year? How do you intentionally prepare for the next school year? If you aren’t returning to your campus next year, how do you set up the next director for success? Each small task completed at the end of this year will help us enjoy a welldeserved summer vacation and a successful start to the new year.
Southwestern Musician | May 2022 35
TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC
SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors. These awards are intended to provide recognition for scholarship and talent in the study of music.
SCHOLARSHIP AUDITION DATES: Sunday, May 15, 2022 | 1-3 p.m.
SCHOOL OF MUSIC DEPARTMENT HEADS
Ingram Lee, IV Instructor, Trombone & Euphonium
Douglas R. Boyer Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521
Deborah Mayes Choral Accompanist
Beth Bronk Director of Bands bbronk@tlu.edu Eric Daub Director of Piano Studies edaub@tlu.edu Liliana Guerrero Director of Vocal Studies lguerrero@tlu.edu
www.tlu.edu/music-scholarships. BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION BACHELOR OF MUSIC IN PERFORMANCE BACHELOR OF ARTS IN MUSIC
Angela Moretti Instructor, Bassoon Nicole Narboni Asst. Professor, Piano Sung-Eun Park Asst. Professor, Collaborative Pianist Carlos Quesada Asst. Professor, Collaborative Pianist
FACULTY
Keith Robinson Instructor, Tuba & Music Education
Adam Bedell Instructor, Percussion Carol Chambers Instructor, Music Education
For specific qualifications for each award, visit
Carla McElhaney Asst. Professor, General Music David Milburn Instructor, Double Bass
Eliza Jeffords Director of Strings ejeffords@tlu.edu
Individual audition dates may be requested if necessary.
Scott McDonald Instructor, Saxophone & Jazz Band
Jill Rodriguez Instructor, General Music
Mikio Sasaki William Hayter Instructor, Trumpet Asst. Professor, Clarinet Eric Siu Sean Holmes Asst. Professor, Violin Asst. Professor, Horn Shareen Vader & Music History Instructor, Piano Hilary Janysek Mika Valenzuela Asst. Professor, Flute & Music Instructor, Oboe History Michael Keplinger Instructor, Guitar
Yvonne Vasquez Instructor, Mariachi
Elizabeth Lee Asst. Professor, Cello
Sophie Verhaeghe Instructor, Violin
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Have you considered the following in preparation for the fall? Calendar: Your district has likely approved its 2022–2023 calendar, and the football schedule is set. Have you planned your concerts for next year? Doing this before you leave for the summer will give you a timeline to help you while selecting repertoire over the summer, and it will help your students get events on their calendars in advance. Student Leadership: Solidifying your student officers for next year will help with various tasks that happen in the summer. With them in place, this group can plan a student-led summer social to keep students engaged and thinking about choir while away from school. This can be as simple as students meeting up at the park or for ice cream. Events like this will continue the lifeline of the community established in your program this year and could also be used as a recruiting tool. Scheduling: Connect with your lead counselor to ensure students are placed in the correct ensemble. Some students will relocate over the summer, and incoming freshmen can often hesitate to get involved on campus. Leave promotional materi-
als about your program in the counselor’s office so if a student asks, they have information to share. When framing your conversation with the counselor, be sure to address any schedule conflicts and be ready to present your solutions in the con-
®
text of what’s best for the students. This month is all about laying groundwork. Our goal is to reveal roadblocks that could get in our way in the fall and ensure that our organization is just as strong as the music we make next year. With intention,
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Southwestern Musician | May 2022 37
you can experience a smooth closing of one chapter and the opening of another. While you’re thinking about this topic, be sure to read this month’s installment of Q&A for Music Teachers (page 14) and Denise Eaton’s feature article (page 40). Invited Choirs As you view this year’s invited choir application, you will notice a few changes. Please read through the details at www.tmea.org/invitedchoir as you gather all required information to apply before the June 1 deadline. We look forward to showcasing our state’s outstanding programs! 2023 Convention Proposals June 1 is also the deadline to submit an online proposal to present a clinic or music showcase during the 2023 TMEA Clinic/ Convention. Please consider proposing or encouraging someone you know who has a wonderful idea to submit a proposal. Go to www.tmea.org/proposals for details. The more high-quality proposals we receive, covering a myriad of topics, the better convention experience we can guarantee for everyone! Attendees want to
38 Southwestern Musician | May 2022
learn from music educators who teach in schools like theirs and in situations like theirs. As a reminder, the following are the top-rated clinic topics Vocal Division members chose in the 2022 convention survey (listed in top-priority order): • Rehearsal techniques • Repertoire selection • Recruiting and retention • Classroom management • Teaching methods • Conducting techniques • Diversity, equity, inclusion, access • Urban or rural challenges & strategies • Technology integration • Special-needs instruction TCDA Summer Convention I hope you make plans to attend the annual Texas Choral Directors Association convention, July 21–23, in San Antonio. I look forward to seeing you there as we connect and collaborate with colleagues who will be sharing ideas and conducting reading sessions to kick off the next school year.
Texas Choirs at SWACDA Congratulations to our colleagues who represented Texas at the Southwestern ACDA virtual conference! Excellence in choirs and clinics continued the tradition for which Texas is known. Region Meetings Most meetings are scheduled for this month. See page 2 for more details and go to www.tmea.org/regionmeeting to review the schedule of meetings and obtain the link if yours is being held online. All-State Audition Materials You have likely seen the All-State audition material online (available at www.tmea.org/vocal/audition-material). Each of our 2023 All-State Conductors has expressed how honored they are to be invited to lead a Texas All-State Choir! As students and teachers across the state are already beginning their work on this music, I look forward to seeing how each conductor’s vision for the repertoire comes to life. Please utilize the additional resources found on the TMEA website and notify me via email of any errata at vocalvp@tmea.org. 0
J ULY 3-9 , 2 0 2 2 LUBBOCK , T E X A S
J UNE 2 1 -2 5 , 2 0 2 2 LUBBOCK , T E X A S
RE GI S T E R FOR CA MPS T ODA Y !
FOUR SEASONS OF TEACHING CHOIR BY DENISE EATON
R
ecently, I’ve been reflecting on the myriad opportunities afforded me these past few years—working with choirs, offering video clinics, and providing professional development workshops, concert evaluations, pre-UIL and UIL evaluations. I naturally progressed to thinking about endings and beginnings—especially the ending of this school year and the beginning of the next. I realize that during the summer, the last thing many teachers want to do is plan, but what if we did take some time to focus on planning the beginning (being proactive) to ensure a most successful end of a school year? Consider these top musical elements and how you will address them in your planning: tone, vowels, repertoire selection, sequential yearlong sightreading, score study, and systematic plans for teaching each piece. These elements will be addressed throughout your seasons of teaching, with the goal of a most successful spring in mind!
SUMMER
Use this season to do some research and preparation. This could include going to workshops, the summer TCDA convention, and getting together with colleagues to talk about repertoire and teaching strategies. It must include selecting appropriate repertoire for the fall. It is through the repertoire that you will build musical foundations and begin developing and growing musical skills. I firmly believe the foundations laid during the first six weeks of rehearsal drastically affect the end-of-the-year sound. So, where do you begin? By defining your sound. Your sound is what you want to hear from your singers. This summer, document the specifics and post them somewhere you will often notice. With this list in front of you, choose or create specific warmups and skill-building activities that address the sound needs of your ensembles. If this seems basic, it’s because it is—just in the same way that building tone is basic (and essential). Tone is built and reinforced one day at a time, and just as we don’t condone poor behavior, we should 40 Southwestern Musician | May 2022
not condone unacceptable tone. There must be a plan for addressing what we hear and how to fix it. Then comes the challenging part—the unrelenting insistence that it happen in warmups, in sightreading, and ultimately, in the repertoire. While we might be motivated to avoid thoughts of teaching during the summer, consider using a little of this time to choose two or three pieces for each choir’s start of the year. Consider range, key, meter, etc. that will be appropriate based on each choir’s knowledge and skills. Study them, extracting materials for sightreading, intervals, rhythm readiness, and tone development, to name a few. From that information, I have found it helpful to create teaching sheets for the music to provide students when they return (more on that later). The preparation you do during the summer in a more relaxed way will pay off with you experiencing less stress once school has started and meetings and staff development begin. After you establish this process, you’ll find it gets easier and takes less time. As you think about incorporating this activity into your summer, consider these truths: • Score study and lesson planning are essential for successful sequential teaching. • Identifying elements in each piece that will require sequencing and creative repetition is crucial. Singers need repetition to retain learning and be successful. It is our job to find the means to introduce opportunities for creative repetition. • We are often in such a hurry to get to the words that we shortcut sequential learning, abandoning necessary developmental material that would lead us to a fulfilling musical performance. As we plan for sequential learning as a foundation for success, score study (not a curse word!) is a critical component. In its basic form, it would include identifying the following:
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• Form • Rhythm patterns—and how to break them down for successful learning • Meter(s)—remembering 3/4 is challenging for young singers • Tonal center(s)—including altered syllables • Harmonic considerations/challenges • Text: foreign language or English issues, including syllabic stress • Melodic considerations/challenges (intervals) After a bit of score study, several things are often revealed: • What can be learned from this piece • How ready you are to teach this piece and your students are to learn it (if either isn’t ready, put it in your “teach it later” pile) • How this piece works with other piece(s) you are considering to program.
FALL
It’s time to begin building the sound you desire from your choir. Teaching vowels is the most important element of laying a foundation of sound. I highly recommend utilizing a systematic approach, and I believe the great unifier is the oo vowel. All students can reproduce a round, raisedpalate oo vowel through speaking. Begin there and move to singing it. Consider two vowel strands: (1) closed: oo–eh–ee, (2) open: oo–oh–ah. For me, the most difficult vowel to unify is ah, with eh as a close second— ah, because it has so many colors, and eh, because we teach in Texas, the tripthong state. I have found that when oo lips are mastered with a lifted soft palate, eh is not spread, and ee has warmth. It takes time, reinforcement, and reminders about lip shape and palate to create good oo habits. From oo, other habits will follow. When I hear a piercing ee vowel, there isn’t enough oo (with a lifted palate) in it. Poor eh is usually spread lips (not singing the eh through oo lips or going to the dipthong, without lifting the palate). Sound is built brick by brick, day by day, vowel by vowel, by listening and recording warmups to eliminate distractions that impair your hearing. Have students listen and then create a vocabulary of sound for 42 Southwestern Musician | May 2022
Teaching choir is seasonal—each season has a growth purpose that builds throughout the year. your choirs, meeting them where they are in their development. Soon they will begin hearing the spread eh (not enough oo lips), and then you are on your way to developing a homogenous choral sound/tone. I employ kinesthetic hand movements for vowel glides so singers can focus on both lips and hands. The beauty of teaching solfège is that it uses all these vowels except the foundational oo. You should also find yourself emphasizing the importance of adding some oo pucker to the lips with ee and eh for warmth, or create a warmup based on the vowel sequence then move into solfège, now without oo. It’s a fun journey that you can make your own as you develop the sound you want to hear from your choir in the spring.
WINTER
You have almost completed your fall repertoire, prepared for the first concert, and are moving toward the holidays. I suggest you begin score study for the holiday music at least three weeks before you are ready to teach it. Again, consider which musical elements have been mastered and which need significant work. It may be the time to add compound meter or more difficult harmonic elements, or not—only you know. Some choirs need more of the fall through their winter—and that’s okay! Keep working, maintaining high standards, and teaching the fundamentals until they are mastered. As you near the holiday concert, that is the time to begin thinking about spring repertoire, which includes UIL. Some wait until late January, but if you are entering UIL season, there are so many things to consider about programming. Posting “Favorite SSA pieces—Go!” on Facebook is not where I would begin. Those who reply don’t teach your kids every day, so they don’t know your teaching plans, where your students are in their musical development, or the pieces you’ve performed in the fall. Instead, I suggest you begin with a list for each choir that includes: • Elements the singers have mastered through the fall, their holiday concert music, and what still needs work. • Keys in which they have sung and
those that are most successful (sound-wise). • If you performed an a cappella piece, list the positives and areas for improvement. • Meters performed and which were successful or a struggle. The answers to these questions for each group can help guide you in your UIL concert music selections. I found it helpful to have a proposed UIL program chosen for each choir before I left for the holiday break. Upon return, I could then do my score study and create teaching materials for at least one of the songs. Remember, with creative teaching materials, your students can begin learning so much of the music before even seeing it. You can also assess their level of skill mastery required by the piece through these materials. You might be wondering whether I really did all this. The answer is a definite yes! Did I have a life? Also, yes! I could because it got easier with each song and set of teaching materials created. Teaching materials are not challenging to create, but they do require study and thought to your teaching sequence. I like to extract elements from the score and write them on a sheet that I copy (one color for each song). The elements could include melodic contours for each vocal part, rhythmic elements, and harmonic challenges. Some of the things I learned through trial and error include the following: 1. When creating melodic contours without rhythm, use whole notes and do not include more than five notes per measure. Too many notes per measure make it challenging to fix errors. For example, “Find note #11 and start there” can be confusing as some will look for the 11th note. I learned the hard way to number the measures and label each exercise with a letter for ease in rehearsal: “Let’s look at example B, measures 5–7.” 2. When creating rhythm drills (with rhythms found in the music), first eliminate ties and then add them in later. Limit the examples to no more
no visual distractions on the sheet— rhythms, words, etc. You are merely isolating the intervals.
than eight measures. a. Consider breaking down the various rhythms the singers will see in the song. It is many times helpful to write how to count under less visually familiar patterns. I often wrote in some of the counts to help singers with challenging rhythms. b. Write the actual measures from the song over the rhythm patterns on the sheet. That makes the learning relevant, and your singers will know where to go in the music once an exercise is mastered. For example, in a particular exercise over measures 1–4, “mm. 36–48” is written. After mastering the pattern, they know where to go in the music. I don’t believe students can overdo rhythm readiness. 3. For challenging harmonic sections in the music, consider writing them out (using whole note place markers). This could also be used for sightreading. Every section sings every part followed by their own part. Once mastered, go to those measures in the music. This works because there are
These are a few teaching strategies that were highly effective with my students’ mastery of pieces and learning. I can remember passing out a song and a student asking, “Is there a sheet for this one?” Not all songs require such breakdown, and only you can make that determination. Perhaps you have some strategies you have found are highly successful in your students’ learning? If so, please share them with me!
SPRING
Now is the time to reap the rewards of your proactive planning and work accomplished during the fall and winter months. You will have pre-UIL, UIL evaluation, and festival performances. You may also be tackling a pop show—have fun while you teach the music sequentially, just like all the previous music learned. I fondly remember writing out chord progressions for La Bamba and we learned the entire song in one rehearsal. Choir placement auditions will happen during the spring. You are seeking the best
tone and sightreading skills. What a great opportunity this will be to hear the fruits of their hard work and your labor! Hopefully there will be budget money left in your account to spend on needed materials for your singers’ continuing development. If you have been creating all your teaching materials, find those resources that best support your students’ needs. Ask your colleagues what materials work best and why, and share what is working best for your choirs. As a final reminder, teaching choir is seasonal—each season has a growth purpose that builds throughout the year. Are you ready to branch out and try something a bit different? Assess this year, then go forth and make change! 0 Denise Eaton is a 35-year music educator, author, and editor. She is a TMEA Past-President and Choral Consultant and Choral Editor with Carl Fischer & BriLee Music. She welcomes your questions at dreaton59@gmail.com.
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Southwestern Musician | May 2022 43
TMEA Elementary Vice-President KATHERINE JOHNS
Do I Have to Go? Attend your Region meeting to learn more about TMEA and to meet other elementary music teachers in your Region, share ideas, and collaborate.
D
uring the quarantine that began just over two years ago, I became a homebody. Then, once I could get out, I didn’t want to go anywhere. Invitations came up, and I answered yes, but when the event date neared, I would find an excuse not to attend. Living south of San Antonio often means a drive, and I was just so tired. Thinking about this brings me to the topic of attending TMEA Region meetings. I used to wonder why I should attend, especially as an elementary music teacher. I attended my Region meeting held during the TMEA convention because I was there. It was during one of those meetings, as one of the few elementary members present, that I became an Elementary Region Chair. Then I had to attend Region meetings. I was required to attend only the beginning of the meeting and then I was dismissed with the few other elementary members in attendance. In hindsight, I didn’t have much information to share that couldn’t have been communicated in an email. I tried offering a free workshop after the meeting, but some members simply asked for the handout instead of attending. Who can blame them? Weekends are sacred. We need rest. With this experience in mind, things are about to change! At our last two Elementary Region Chair meetings, we discussed ideas for improving elementary educator attendance at Region meetings. Please be on the lookout for information coming from your Region Chairs for
44 Southwestern Musician | May 2022
MARK YOUR CALENDAR check www.tmea .org for updates
May—Attend your spring Region meeting (see page 2). May 1—TMEA 2022–2023 membership year opens for online and mail/email submission. May 1–June 1—2023 Clinic/Convention proposals accepted online. May 1–June 15—Invited Elementary ensemble online application period. June 15—CEDFA Summit 23 opens online. June 30—All 2021–2022 TMEA memberships expire. July 21–23—Texas Choral Directors Association convention in San Antonio.
incentives to attend your upcoming meeting (many are scheduled for May—see page 2 for details). If you want to reach out to your Region Chair, their information can be found at my.tmea.org/directory/ committees. There are only three Region meetings a year: before the school year begins, during our annual convention, and near the end of the school year. One of the primary reasons to go is to meet other elementary music teachers in your Region, share ideas, and collaborate. I have met many new elementary music teachers at Region meetings, and this is one opportunity to bring our new elementary music teachers into the TMEA Mentoring Network. TMEA Mentoring Network Speaking of our Mentoring Network, we saw an increase in members signing up for the program after our Elementary Business meeting during our convention. If you signed up, thank you. If you are a veteran teacher, please know that we need more mentors to connect with and support those new to our profession or state. For information about this program and to enroll, go to www.tmea.org/mentor. 2023 Clinic/Convention While it is difficult to imagine, we are already well into planning the 2023 Clinic/ Convention. On May 1, the online application for invited elementary choirs and ensembles opens. The deadline for the application process is June 15. This school year, while I was unable to have a choir meet during class time, my afterschool choir did resume last fall, and I hope many of you are also resuming your choir programs. Given my experience of applying and not being selected, I understand how difficult it is to put yourself and your students out there. Still, I hope you view it as an opportunity for growth and apply. After all, this could be the year your group is selected! For more information and to apply go to www.tmea.org/ invitedelementary. Survey Results Thanks go to those who took the time to complete the Elementary Division survey emailed from your Elementary Region Chair. After reviewing responses, the majority of people who responded liked the time to visit the exhibits around the elementary invited concerts. Performing
groups were missed at the Elementary business meeting, so we will look for a performing group to provide some entertainment before and during the meeting. The Thursday night movement clinics were enjoyed by those who weren’t too exhausted to attend. There was a miscommunication regarding the setup for one of the rooms, and we will resolve that for next year to allow more room for dancing. Proposals for Clinics TMEA is committed to music education for all, as noted in the statements that precede the proposal submission process. In last year’s proposal cycle, some questioned how to make proposals fit into these parameters, and that wasn’t our intent. The Board wants members to be intentional about what they present, ensuring that all content and delivery, regardless of the topic, support that commitment. The goal isn’t for every clinic to be only about or necessarily reference SEL or diversity in music education (although these are topics that remain an important part of our programming). The aim is to ensure that whatever the topic presented, the content and delivery equip educators to implement these strategies in ways that are inclusive and supportive of all students. After our proposal period is complete, an Elementary Division committee reviews all proposals in our division to help with the final selection of clinics. I
believe it worked well last year and will continue the same process for the next convention. As you think about proposing a clinic or encouraging a colleague to, please review these clinic topics that Elementary Division members ranked as most important following the 2022 convention. We want to present topics that are important to attendees and this is a great place to start to narrow your focus on what to propose: • Teaching methods • Classroom management • Special-needs instruction • Rehearsal techniques • Diversity, equity, inclusion, access • Technology integration • Repertoire selection • Instrument methods • Assessment • Music theory Now, go to www.tmea.org/proposals to learn more and apply by June 1! Final Stretch We are coming to the end of another school year. Summer break is one month away. I hope you finish strong and enjoy the break you all deserve. I hope to see you at the summer convention in San Antonio, 0 July 21–23!
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Southwestern Musician | May 2022 45
ONLINE SONG RESEARCH Tools for the Reflective Teacher
by Kathy Kuddes
O
ne of the unique features of being a music educator, at any level, is the role of teacher as curator. Music teachers regularly select the repertoire that will be the central instructional content for each grade level or ensemble. This means making thoughtful decisions about what materials will, and will not, be shared with students. With growing interest and concern around the historical contexts of some standards of the pedagogical repertoire, it is a fundamental responsibility of each teacher to acquire some skills as a song researcher.
cal collection, the reliability of material is based on the quality of the source(s). Many online posts and blogs lack reference citations and often simply repeat unsubstantiated information from other online sources. My intent here is to provide only the basics of this sort of work and is focused primarily on resources for materials in English of mostly Anglo-British traditions (my personal heritage). While the steps recommended here hold true, the websites or materials used to verify song histories from other linguistic or cultural origins should be modified accordingly.
Researching Repertoire Given the long list of other required topics, most music teacher preparation programs do not include the study of anthropology, musicology, or ethnomusicology in the degree plan. As a result, music educators are placed in the vulnerable position of curating a classroom repertoire without adequate training to discern what Dr. Constance McKoy calls the “cultural accuracy” of musical materials.1 Until recently, this sort of research meant either acquiring many primary source materials for one’s own collection, or many laborious hours in the stacks of a music library. With the many online resources available today, teachers can do more quality research during the repertoire selection process from home or school.
Tracking Your Research Because research of this sort can send you chasing down numerous rabbit holes, I recommend you start a document and label it with the song title. Copy and paste the URL of every resource you uncover related to that song. If you are looking at a hard copy or digitized book, capture the text’s bibliographic information (including the page numbers) in case you need to return to that resource in the future. Snip an image of any song notation, collect all verses, game directions, and, most importantly, any background or source material provided. The first source you find will likely lead you to another, and then another, and onward into deeper knowledge.
Selecting Reliable Sources While discussions on social media platforms may cause music educators to think more critically about the song selections they are making, it is imperative that claims made in such posts be fully vetted before making a final decision about the usage of “songs with a questionable past.”2 Whether online, or in a physi46 Southwestern Musician | May 2022
How Much Is Enough? Once you start searching, it can be difficult to know when to stop. There is no firm rule of thumb, but clearly a single reference should never be considered conclusive. The more independent corroborating evidence that can be found, the stronger the case for the accuracy of the information. I prefer to err on the side of too much information to build confidence that I have tracked down a
substantive amount of solid documentation on a given song. As an example, what follows is a condensed outline of work I completed on one rhyme. Two, Four, Six, Eight Two, Four, Six, Eight, Meet me at the garden gate. If you’re late, I won’t wait. Two, Four, Six, Eight. My first source for this rhyme was The Jump Rope Book by Julie C. Harris.3 No instructions or source material was provided in this little book I picked up in a souvenir shop in Mississippi one summer. In workshops and other settings, I have heard this rhyme with a slightly varied third line: “If I’m late, please don’t wait,” but I had no documented source for this text. Being an English-language rhyme, I began with a search of the Roud Folk Song Index. Entering numerals for the rhyme text yielded one source with a variant text. Spelling out the numbers resulted in five more sources and two additional variants of the text. 2, 4, 6, 8, Mary sat at the cottage gate . . . Two, Four, Six, Eight, Who do we appreciate . . . Two, Four, Six, Eight, Mary at the cottage gate . . . The earliest source found here was a newspaper column from the South Wales Daily News⁴ about “Counting-Out Rhymes” dated 1893. A scan of the clipping was included and it presented this version of the rhyme: Two, Four, Six, Eight, Mary at the cottage gate, Eating cherries off the plate, Two, Four, Six, Eight. This article immediately raised the question whether this rhyme was originally for jumping rope or for counting out (eliminating players or selecting “it” for playing). The Roud Index provides only the source citations and typically not the actual source material. The newspaper column was an unusual find. The other sources suggested were searched for using the tools discussed below. One led to an audio recording of two children chanting for their favorite Irish “football” team⁵ and another provided the text I knew from a West Virginia Folklore magazine.⁶ The remaining sources were not found online for viewing. Searching the American Folk Song Collection, I found two additional sources. One was a recording from Smithsonian Folkways Records,⁷ and the other was another jump rope rhyme collection by Roger Abrahams⁸ which I found via Google Books. This resource brought with it two additional variant texts and three additional sources.
Access Online Resources Scan this QR code or go to www.tmea.org/songresearch to access a hyperlinked list of resources mentioned in this article and others that will help you in your role as curator of the songs you teach. 48 Southwestern Musician | May 2022
Searching the rhyme title in Google Books produced two more sources⁹ dating back to 1888 and 1883 respectively and yet more variants of the text. One more search of the title at Archive.org contributed two more sources10 to the final list. The result of all this research can be found in my Virtual Folk Song & Rhyme Collection by going to www.livebinders.com, searching my name, and looking under the T tab. For those interested in an additional example, a similar journey of discovery related to “Lucy Locket” can be found in the winter 2022 edition of the Kodály Envoy published by the Organization of American Kodály Educators. Making Informed Decisions As the curator of the song material in our classrooms, each music educator makes choices daily regarding what material should stay and what should go. It is a highly personal decision based on a variety of factors. If you are considering the removal of a piece of repertoire, I hope you will employ these techniques and spend some time confirming the cultural accuracy of the information. This will give you a firm foundation for your decisions with 0 your students, your administrators, and your community. Kathy Kuddes is the Director of Fine Arts for Plano ISD, Founder and Folk Music Instructor for the Plano Kodály Teacher Training Program at SMU and curates a website and online Song Collection at www.kuddesmusic.com. References 1. Dr. Constance L. McKoy is Marion Stedman Covington Distinguished Professor and Director of Undergraduate Studies at the University of North Carolina–Greensboro and coauthor of Culturally Responsive Teaching in Music Education: From Understanding to Application. 2. “Songs of a Questionable Past” by Lauren McDougle (director of the American Kodály Institute at Loyola University, Maryland) is a Google Document begun in 2019 to capture songs under discussion in music educational circles and the reasons they are considered questionable and is available to all. 3. Harris, Julie C. The Jump Rope Book. Nashville, TN: Historical Folk Toys. 2004. p. 16. 4. Matthews, John Hobson. “Counting-Out Rhymes.” South Wales Daily News. August 1, 1893. 5. Hugh Shields Collection: Irish Traditional Music Archive (ITMA) Collection 55068 (1968) 6. West Virginia Folklore Journal 21:1 (1980) p. 20 7. Tony Schwartz, ed. 1, 2, 3, and a Zing, Zing, Zing. New York: Folkways Records FC 7003, tr.2 8. Abrahams, Roger D. Jump-Rope Rhymes: A Dictionary. Austin: University of Texas Press. 1969. p. 197. 9. Bolton, Henry Carrington. The Counting-out Rhymes of Children. New York, NY: D. Appleton & Co. 1888. p. 93 and Newell, W.W. Games and songs of American children. New York: Harper & Bro. 1883. pp. 201-202 10. Korson, George Gershon & Emrich, Marion Vallat. The Child’s Book of Folklore. Ann Arbor, MI: University of Michigan Press. 1947. p. 135 and Carl Withers. A Rocket in My Pocket: The Rhymes and Chants of Young Americans. New York, NY: Scholastic Press. 1948. p. 61.
TMEA values the opportunity to publish a magazine that informs members of association news, offers them sound pedagogical concepts, and results in an archival record of our history. Our sincere gratitude goes to the following companies and institutions that advertised with us in one or more of the issues in Volume 90, making this resource possible.
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Texas Association for Symphony Orchestras Southwestern Musician | May 2022 49
TMEA College Vice-President MATTHEW MCINTURF
Reflect and Renew The strengths we developed as a reaction to the change forced upon us can now be placed in the service of the change we design.
T
his academic year has shined a spotlight on the integrity and resilience of our profession. We have been challenged to adapt quickly and creatively to fluid circumstances that were well beyond our control. At most institutions of higher education, the faculty response has been the key to both organizational and student success. I have been astonished at the ability of our colleagues, across disciplines, to adapt, change, and invent new ways to meet the needs of students and to navigate the myriad institutional concerns. It has been a heroic effort and has revealed strengths that we didn’t know we had, or even needed. As we returned from the closure, we continued to deal with significant change. Most of us had to reconsider our priorities and restructure our work. The resumption of a more normal year did not bring about a simple return but instead a new set of challenges and continued change. Most of our institutions and processes have been in a reactive mode since the beginning of the closure. We now have significantly more experience and perspective to bring to bear on our professional endeavors. Perhaps we now have some time to reflect on and incorporate the lessons learned. The pandemic broke the mold and created an opportunity to rebuild with clarity and creativity. As we begin to consider
50 Southwestern Musician | May 2022
MARK YOUR CALENDAR check www.tmea .org for updates
May—Attend your spring Region meeting (see page 2). May 1—TMEA 2022–2023 membership year opens for online and mail/email submission. May 1–June 1—2023 Clinic/Convention proposals accepted online. June 30—All 2021–2022 TMEA memberships expire. July 21–23—TBA, TCDA, TODA conventions in San Antonio. October 14—College Division Fall Conference in Austin.
next year, we know much more about how we will have to work. We can predict with certainty that next year will still be different from the status quo ante, but it also seems likely that the rate of change will slow. We have tried things that worked well and some that didn’t work at all. We have been flexible and improvisational. If things go well, we may now have time to be intentional. The strengths we developed as a reaction to the change forced upon us can now be placed in the service of the change we design. I hope the coming year will allow us to embrace a renewed vision of our work. We distilled our priorities because of pandemic restrictions and now have the possibility of rethinking our processes to reflect our understanding. Change will bring opportunities we didn’t expect, and now is the time to seize them. Revising priorities may limit time-consuming activities we can reprioritize. Previously elusive efficiencies may be achievable if we view them more intentionally. For many of us, new technological skills may create significant improvements. I expect that our students and our colleagues will eagerly collaborate with us to help implement our goals.
TMEA exists to share professional resources. As we reflect on our new educational environment, let’s work together as a profession to share our experience and ideas. The pandemic has been isolating, and TMEA can be an antidote to professional isolation. Working together, we can make our profession, our institutions, and our students stronger. Renew Your Membership It is time to renew your membership in TMEA. The strength of TMEA depends on the involvement of the membership; your contribution is vital. When you renew your membership, consider increasing your contribution to the scholarship fund. Scholarships directly benefit our students in higher education. They are an investment in the future of music education and in the future of our work and institutions. With the generosity of TMEA members like you, we have continued to be able to offer an increasing number of scholarships annually. In the current climate and economy, scholarships are vital for our students. A particularly important scholarship opportunity offered through the College
Division is for student teachers. The application process for these scholarships will begin next fall for students planning to student-teach in spring 2023 and fall 2023. Please make your future music educators aware of this opportunity. Mark the Fall Conference Date The return to an in-person convention last February was a joyful and inspiring event. I am happy to announce that we plan for this year’s College Division Fall Conference to be face-to-face. The conference will be Friday, October 14, at the TMEA office in Austin. Please remember that all College Division members are welcome to attend this informative and engaging meeting. As we have in the past, we will also livestream the event. Submit a Clinic Proposal Please consider submitting a clinic proposal for the 2023 Clinic/Convention. May is the month the session proposal portal is open at www.tmea.org/proposals. The submission deadline is June 1. The review process will take about two months. Be sure to read the submission procedures and guidelines on the website. You must
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Southwestern Musician | May 2022 51
be a current TMEA member to submit a proposal. Keep in mind the following are the topics that College Division members who took the recent convention survey indicated are most important to them: Faculty:
• Technology integration • Research methods and results Students: • Classroom management • Teaching methods • Rehearsal techniques
• Teaching methods
• Instrument methods
• Rehearsal techniques
• Private lesson strategies
• Recruiting and retention
• Repertoire selection
• Instrument methods
• Conducting techniques
• Repertoire selection • Diversity, equity, inclusion, access • Private lesson strategies • Urban or rural challenges & solutions
• Diversity, equity, inclusion, access • Music theory • Certification/career planning
Music Education Graduates: Welcome to the Profession! Congratulations to college music education majors graduating this spring! Now it’s time to upgrade your TMEA membership from College Student to Active. When you renew as an active member, also be sure to purchase liability insurance if you will be teaching in the fall (it’s a low-cost benefit for TMEA members and is coverage every teacher should maintain). If you need assistance renewing as an Active member, please contact TMEA Membership Manager Susan Daugherty at susand@tmea.org.
Music Showcase Performance Applications The TMEA Music Showcases take place in several public venues during the annual convention. This offers a tremendous opportunity for college faculty and students to be featured during the convention. The only requirement is that the ensemble not also be an invited ensemble. The requirement is broad to encourage a wide variety of participants. Finally, please encourage your music education students to be involved in the profession. In addition to being TMEA members at such a low cost (and free registration for our convention), remind them of summer learning opportunities. Our sister organizations, the Texas Bandmasters Association, the Texas Choral Directors Association, and the Texas Orchestra Directors Association, will all have excellent conventions July 21–23, in San Antonio. Participation in professional meetings can be enlightening and informative for future music educators. 0
This new arrangement by Michael J. Miller is designed to be performed as a stand-alone version for concert band or it may be utilized as an accompaniment for the new SATB choral setting by Russell Robinson. If you’re looking for a combined performance work including band, orchestra and chorus you can add the string orchestra arrangement also by Michael J. Miller and use them all together to provide a rousing closer for any concert event. SATB Choral Arr. By Russell Robinson- $2.45 per copy String Orchestra Arr. By Michael J. Miller -Set C - $50.00 Jazz Ensemble with Vocal Arr. By Charlie Hill - $68.00
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the scores for the new arrangements of LET THERE BE PEACE ON EARTH
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