SA Music Teacher Winter 2021

WINTER 2021

IN THIS ISSUE CURTIS MADIGAN RHYTHM PEDAGOGY WEBINAR

Kerin Bailey reviewing in Jazzin’ Around

BILL EVANS: EMPATHY + A SIMPLE MATTER OF CONVICTION ACCOMPANIMENT - A LIFE-LONG MUSICAL COMPANIONSHIP Published by The Music Teachers’ Association of South Australia Inc.

SA MUSIC TEACHER

WELCOME FROM THE PRESIDENT An important part of any learning of an instrument is learning to give an expressive performance. As teachers, we could ask ourselves, what does it mean to teach musical expression to child performers? Is it teaching how to interpret a piece of music “correctly,” or is there more involved?

An interesting article was published in 2016 (Sage Journals), titled “Instrumental teachers’ instructional strategies for facilitating children’s learning of expressive music performance: An exploratory study” by H. Meissner, The University of Sheffield, UK. This article presented findings from an action research project that investigated instrumental teachers’ strategies for facilitating children’s learning of expressive music performance.

Nine teachers and 14 pupils (aged 9–15) participated in this project, which consisted of 10 weeks of teaching. At both the beginning and end of this period, pupils’ concerts were held and performances were audio-recorded. Participating teachers used various strategies for improving students’ expressive performance: teacher’s research, explanation of expressive devices, gestures and movements, singing, imagery, modeling, “projected performance” and listening to own recordings.

According to teachers, these strategies had been useful in lessons.

Four out of five pupils who did improve their expressiveness were taught by teachers who used inquiry and discussion of musical character between teacher and student. Most interesting, this project influenced the practice of participating tutors, as they then focused more on the teaching of expressive performance.

It is worthwhile to delve into these questions, as educators and teachers of instrumental music, and of course we know the importance of constant professional self-development, selfreflection of teaching practices, and exploration of new ideas and approaches in our teaching.

With all best wishes,

Sofie Arhontoulis, President, The Music Teachers’ Association of South Australia Inc.

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SA MUSIC TEACHER

VOLUME 29 No 2 WINTER 2021 PATRONS :

His Excellency the Honourable Hieu Van Le AC, Governor of South Australia Mrs Lan Le Dr Doreen Bridges AM Emeritus Professor David Lockett AM

CONTENT

PRESIDENT

: Sofie Arhontoulis

VICE-PRESIDENT

: Rodney Smith

SECRETARY

: Masako Kondo

WELCOME FROM THE PRESIDENT

by Sofie Arhontoulis

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TREASURER

: Samantha Penny

MEMBER INFORMATION

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AUDITOR

: Australian Independent Audit Services

COMING MTASA EVENTS

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OTHER ORGANISATIONS’ NEWS & EVENTS

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OTHER ORGANISATIONS’ CONCERTS

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COUNCIL 2020/2021 :

Sofie Arhontoulis, Pete Barter, Robert Brown OAM, Wendy Heiligenberg, Masako Kondo, Zuoyu Liu, Yong Cheong Lye, Anthea Mur, Samantha Penny, Rodney Smith

EDITOR

: Masako Kondo

LAYOUT

: Sectrix

MEMBERSHIP ENQUIRIES to the Secretary PO Box 4, RUNDLE MALL, SA 5000 Mobile: 0402 575 219 E-mail: info@mtasa.com.au ADVERTISING - please contact the Secretary Please see MEMBER INFORMATION page for Advertising Price List.

DEADLINES FOR 2021/2022 Contributions to SA Music Teacher are most welcome. All items to be included must reach the Editor, Masako Kondo (info@mtasa.com.au) no later than these deadlines: Wednesday July 14, Sunday October 31, Monday January 31 SOME CONTRIBUTING GUIDELINES All text is to be submitted to the Editor for review.

Italics and inverted commas for quotations - text is to be either in Italics or inside inverted commas, not both.

Single inverted commas to be used; double inverted commas only inside single inverted commas.

The inverted comma at the end of a sentence is to be inside the fullstop; outside for ! and ?

MTASA WEBSITE Please visit www.mtasa.com.au MTASA FACEBOOK Please visit the MTASA Facebook page at www.facebook.com/ MusicTeachersSA/

RECENT EVENTS CURTIS MADIGAN RHYTHM PEDAGOGY WEBINAR

by Cheryl van Wageningen CONCERT PERFORMANCE DAY 1 by Wendy Heiligenberg ARTICLES Jazzin’ Around BILL EVANS AND SHELLY MANNE - EMPATHY + A SIMPLE MATTER OF CONVICTION CD REVIEW

by Kerin Bailey

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PEDAGOGY MATTERS by Rodney Smith Accompanist’s Corner

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ACCOMPANIMENT - A LIFE-LONG MUSICAL COMPANIONSHIP

by Margaret Lambert

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WEHL STREET COMMUNITY THEATRE, MT GAMBIER

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CONCERT ETIQUETTE

by W Heiligenberg

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CONTACT DETAILS FOR OTHER ORGANISATIONS

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SA MUSIC TEACHER

MEMBER INFORMATION NEW MEMBERS The Music Teachers’ Association extends a warm welcome to the following music teachers who have joined the association. We are looking forward to meeting them at our events.

Fiona McArdle, Student Member, S, M SACE, T Kathleen Lawler, Student, P, T

MTASA MEMBERSHIP FEES The membership fees are: Full member : $122 Student member : $62 Friend : $32 Institution : $32

MTASA MEMBERSHIP RENEWALS Membership Subscription Renewals for 2021/2022 will be due on June 30.

Subscription renewal notices were sent in late June via e-mail to remind members to log in and renew their membership for the 2021/2022 financial year. If you are a Full member you will be asked to indicate that you have completed seven hours of Professional Development during the previous twelve months. If you don’t receive an e-mail please check your spam folder.

You can log in at any time to renew your membership. If it seems that you didn’t receive an e-mail, have forgotten your username or are having problems logging in please contact the Secretary (info@mtasa.com.au). Paper invoices were sent to members who prefer to receive them.

RECOMMENDED TEACHING FEES The following teaching rates are recommended to members by the MTASA Council for 2021.

Full Member Associate Member Student Member

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: $75 per hour : $64 per hour : $48 per hour

REQUIRED PROFESSIONAL DEVELOPMENT FOR FULL MEMBERS OF MTASA MTASA has introduced a Professional Development scheme for Full members. This commenced on July 1, 2019 when Full members began accumulating their seven hours of Professional Development. The scheme is designed to underpin and enhance MTASA’s established reputation for the professional excellence of its members, ensuring its standards are fully compliant with current educational expectations. These are clearly outlined in the Australian Professional Standards for Teachers (visit www.aitsl.edu.au/teach/standards) and similar documents.

From July 1, 2020 onwards Full members, when renewing their membership, will be asked to tick a box declaring that they have undertaken at least seven hours of Professional Development during the previous twelve months.

The following examples are provided to give general guidance for Full members about Professional Development that would be acceptable to MTASA. These examples represent only a small sample of all the possibilities available to Full members. Generally Full members should feel comfortable about their own choices but in case of doubt you are welcome to contact the Secretary for further advice (info@mtasa.com.au).

Improved music teaching should be a major factor in all activities that Full members wish to count towards their MTASA Professional Development.

MTASA will undertake random checks from time to time to ensure the system is working properly. So, on very rare occasions a Full member may receive a request from the Secretary for information about their Professional Development. In such instances you may submit evidence such as certificates, programs, diary notes, recordings and so forth.

SA MUSIC TEACHER

Examples of Professional Development that would be acceptable to MTASA: 1. Online.

Attending a webinar or similar event; undertaking an online e-learning course.

2. Face-to-Face.

Attending a conference, workshop, masterclass or lecture.

3. Formal Study.

Undertaking a qualification or part-qualification delivered by a recognised institution.

4. Personal Research.

Studying books, journals, articles, musical scores, musical theory, analysis, etc., which lead to an example of improved music pedagogy and/or pupil performance Self-conducted research leading to a presentation, masterclass or workshop at a conference.

As a member of Educators SA, MTASA can offer benefits to its members. Here are some offers: Andersons Solicitors offer MTASA members: • 10% off legal services, in ALL areas.

• Free initial phone conversation with a lawyer.

When contacting Andersons Solicitors tell them you are a member of MTASA, which is a member organisation of Educators SA (CEASA). Visit the website at www.andersons.com.au/.

Credit Union SA has a range of education only offers. Visit the website at www.creditunionsa.com. au/community/education-communitybanking-benefits/ for more information.

Composing an educational piece of music that motivates a group of pupils.

5. Team Research.

A joint project with others that achieves particular improvements in a training ensemble.

Joint creation of music teaching materials that improve learning in a group of pupils.

Remember! These are only a few amongst many possibilities.

MTASA is a community of creatives. You are encouraged to be creative in your Professional Development!

NOTICE TO STUDENT MEMBERS Have you fulfilled the requirements for Full Membership? Student members are reminded that Student membership is restricted to four years after which time it is expected that they would be eligible for another membership category, either Full Membership by Tertiary Study or Full Membership by RPL (Recognition of Prior Learning and Experience).

Student members who are ready to upgrade their membership are invited to submit an application form to the Secretary together with the required supporting documents. Criteria can be downloaded from the MTASA website (www.mtasa.com.au) or obtained from the Secretary (info@mtasa.com.au).

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Educators SA

SA MUSIC TEACHER

WORKING WITH CHILDREN CHECK (WWCC) New Legislation regarding Child Protection was introduced with effect from September 1, 2019. A ‘Police Check’ is now known as a ‘Working With Children Check’ (WWCC). The Working With Children Check is the most comprehensive check that exists. Anyone found guilty of breaching this legislation can be fined up to $120,000.

People working or volunteering with children in South Australia must, by law, have a Working With Children Check. A DHS/DCSI child-related check will be recognised as a Working With Children Check until it expires.

People need a Working With Children Check if they are in a ‘prescribed position’. This means people who are in paid or volunteering roles where it is reasonably foreseeable that they will work with children; run or manage a business where the employees or volunteers work with children; are employed to provide preschool, primary or secondary education to a child.

A Working With Children Check is needed for all schools (Government, Catholic and Independent).

For further information go to www.screening. sa.gov.au/types-of-check/new-working-withchildren-checks.

SA MUSIC TEACHER

MTASA MEMBERSHIP NOTES Visit www.mtasa.com.au/index.php/members/ become-a-member/ to join MTASA. Current Full, Student or Associate Members are not required to submit any supporting documentation to continue their MTASA membership. Anyone applying for Full Membership (either Tertiary Level Qualification and Study or Recognition of Prior Learning and Experience) or Student Membership for the first time must fulfil all of the requirements listed and submit the appropriate supporting documentation. Associate Membership is no longer being offered but those who were Associate Members on September 24, 2017 can continue their membership provided they remain as financial members. Full Membership (Recognition of Prior Learning and Experience) has replaced General Membership.

ADVERTISE WITH SA MUSIC TEACHER Per issue

For 4 issues

A4 SIZE (210mm x 297mm)

Colour

Colour

Full page

$268

$854

1/2 page

$135

$427

1/4 page

$68

$214

1/6 page

$46

$143

INSERTION FEE FOR POSTERS AND FLYERS One issue $102. Four issues $371.

Advertisers have two choices: 1. To provide the inserts

MTASA Members are always encouraged to write to the Secretary about any concerns that they may have. The MTASA Council will consider your request.

2. To provide the artwork, MTASA will arrange the printing and invoice for this.

TEACHERS OF THEORY/ MUSICIANSHIP

CLASSIFIED AD

To be listed in the ‘The Directory of Teachers of Music’ on the MTASA website as a teacher of theory/musicianship applicants for Full or Student membership must supply evidence of having completed studies in this field to at least AMEB 5th Grade theory/musicianship standard or equivalent.

Full, Student or Associate MTASA members wishing to have theory and/or musicianship included in their Directory listing should send copies of the relevant certificates to the Secretary (info@mtasa.com.au).

POST-NOMINALS Full members of the Music Teachers’ Association of South Australia may use the letters MMTA (member of Music Teachers’ Association) as a post-nominal while they are financial members. Interstate Music Teachers Associations are also encouraging their members to use this or a similar post-nominal.

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Members placing an ad are entitled to a 15% discount.

MTASA Members, free. Non-members, $17.

Please contact the Secretary (info@mtasa.com.au) about advertising.

SA MUSIC TEACHER

COMING MTASA EVENTS June 26 Competitions Day (Miriam Hyde Awards) Venue

: Hartley Concert Room, University of Adelaide

Admission : gold coin Entry

: will be via the Website Events page

The Miriam Hyde Junior Award is open to all instrumental/ vocal students of any member of the MTASA or related organizations. Open to students under 15 years of age on the closing date of entry.

The Miriam Hyde Open Award is open to all instrumental/ vocal students of any member of the MTASA or related organizations. Open to students of any age.

EVENT VOLUNTEERS NEEDED Enthusiastic volunteers are needed to help with various jobs at MTASA events.

Tasks include setting up chairs, tables and piano, helping with registration at the check in table, ushering, assisting performers, helping with morning tea, lunch and afternoon tea, and packing up afterwards.

It is a great way to network and a volunteering certificate will be provided, which will enhance your CV! For more information, please e-mail the Secretary at info@mtasa.com.au.

July Webinar 3 Enabling music students to realise their potential in practical examinations

September/October Kym Purling Jazz Masterclass and Workshop

October Webinar 4 Ying Ying Ng (Poco Studio)

August 8 Concert Performance Day 2 Venue

: Flinders Street Baptist Church, Adelaide

Booking : Available from our Website Events page Closes on July 23, 5pm Admission : gold coin

TEACHING IN THE COUNTRY In recent years each issue of SA Music Teacher has included an article about music teaching in a country region of South Australia. No article was received this time and there are some regions that haven’t been visited yet. If you haven’t done so please write something – it doesn’t need to be very long – and also include a photo. If you have written something before you are welcome to send an update. E-mail the Secretary at info@mtasa.com.au.

CONTRIBUTIONS TO ‘SA MUSIC TEACHER’ The Editor is always looking for things to include in SA Music Teacher. Articles can be about any music related topic.

If you would like to write an article this is your invitation!A helpful hint, a comment, a joke, a poem, a cartoon, etc. … please e-mail them to the Secretary at info@mtasa.com.au.

November 14 Annual General Meeting

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SA MUSIC TEACHER

OTHER ORGANISATION’S NEWS &EVENTS South Australian Music Camp 2021

Camp Dates : Monday July 5 to Friday July 9 Venue : Elder Conservatorium of Music, The University of Adelaide Concert

: Friday July 9 in the evening www.samusiccamp.com.au for more information

Adelaide Eisteddfod 2021

Dates

: Monday July 5 to Friday July 9

Website

: www.sacoment.com/aes/eisteddfod for more information

Balaklava Eisteddfod 2021

Dates

: Friday 30 July & Saturday 31 July

Website

: www.balaklavaeisteddfod.org.au for more information Metropolitan MALE CHOIR ANNUAL MUSIC Scholarship Auditions 2021

These would usually be held in September 2020 but due to current Covid-19 Restrictions and the consequent uncertainty surrounding gatherings and concerts, no arrangements have been made to conduct them at this stage.

Should circumstances change to the extent that auditions will be held this year, information will be advertised in schools and on the website. www.mmcsa.org/about/music-scholarships Australasian Piano Pedagogy Conference 2022 Presented by UWA in collaboration with WAMTA Theme : The Holistic Piano Teacher July 4-8, UWA Conservatorium of Music, University of Western Australia, Perth Website

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: www.appca.com.au

SA MUSIC TEACHER

Queensland Conservatorium Griffith University Tertiary Preparation Workshop Dates

: Monday 28 June to Friday 2 July

Venue : Queensland Conservatorium Griffith University, South Bank, Brisbane Cost $495 The Workshop includes sessions on Music Technology, Popular Music, Composition as well as Classical and Jazz - Instrumental and Voice. We have also added sessions on My Life as A Musician, Practicing Effectively and Musicians Health.

The schedule: www.griffith.edu.au/arts-education-law/queensland-conservatorium/opportunities/openconservatorium/tpw-online How to register: Contactopen-conservatorium@griffith.edu.au for more information.

Mitcham Orchestra The Mitcham Orchestra is looking for a Bassoon player.

This friendly group of musicians rehearse on Saturday afternoons from 2pm-4.30pm at the Cumberland Park Community Centre at 390 Goodwood Road.

Performance: two major concerts per year for the public and several private concerts for retirement villages and nursing homes.

Repertoire ranges from Symphonies to light classical works at approximately a grade 4-5 AMEB standard.

For more information please contact our secretary Ros via email: rosalind@keynes.id.auor ph: 83903053 Website: www.mitchamorchestra.com.au

SA MUSIC TEACHER

OTHER ORGANISATIONS’ CONCERTS RECITALS AUSTRALIA WEDNESDAY LUNCH HOUR CONCERTS 2021 To minimise the risk to our friends, patrons and the community more broadly, limited physical attendance only will be available at the Lunch Hour Series concerts, while COVID-19 (coronavirus) self-isolation guidelines from the Federal and SA Governments are in place.

Please purchase a ticket to the concert prior to the day, as we are not able to support door sales. Tickets go on sale each Friday for the following Wednesday.

Tickets: $10 or online via website, Facebook, or Vimeo for free.

Enquiries, Ph. 8266-4936 Website: www.recitalsaustralia.org.au for more information.

Date

: June 02, 12:30pm

Piano

: Shawn Hui

Program

: Bach, Shostakovich, Haydn, Beethoven, Chopin

Autumn Series Final

Date: June 19, 2.30pm ELDER HALL CONCERTS 2021

Elder Hall is currently open and operating at 75% capacity (maximum 495 patrons). Patrons are required to check-in by scanning the QR code positioned at the main entrance, or by signing in manually at the registration desk inside the foyer. Please maintain 1.5m distance from other patrons wherever possible.

Lunch Hour Concert Series, Fridays, 1-10 pm.

General admission: $14 via website. …FOR THE SHEER JOY OF IT! Date : Friday 4 June Elder Conservatorium Chorale Bella Voce Conductor

: Carl Crossin OAM

Accompanists : Karl Geiger & Andrew Georg Program : Anne Cawrse How can I keep from singing?

Jake Runestad Let my love be heard

Ēriks Ešenvalds Stars

Carl Crossin Jubilate in Musica A program of music that revels in the joys, the sonorities, the contrasts and the camaraderie of excellent choral singing – just for the sheer joy of it!

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SA MUSIC TEACHER

ELDER HALL CONCERTS 2021 Date

: Friday 11 June

Organ

: Joshua van Konkelenberg

Program : Couperin Selections from Messe pour les Couvents

Böhm Vaterunserim Himmelreich

Buxtehude Prelude in G Minor

van Konkelenberg Recit de Tierce en taille

JS Bach Prelude and Fugue in E-flat Major, St. Anne This program showcases a development from the profound Couvent Mass by Couperin, passing through Böhm’s and Buxtehude’s prelude settings and an original work by Joshua van Konkelenberg, culminating with the legendary organ master J.S. Bach and his St. Anne Prelude and Fugue.

SAUDADES DO BRASIL Date

: Friday 18 June

Violin

: Elizabeth Layton

Guitar

: Mike Bevan

Guitar

: Oliver Fartach-Naini

Piano

: Stephen Whittington

Program : Works by Ernesto Nazareth, Darius Milhaud, Stephen Whittington and Heitor Villa Lobos.

EVENINGS AT ELDER HALL Ticket Prices: $30 Adult; $25 Concession; $19 Student.

Visit www.arts.adelaide.edu.au/music/engage/concert-series for more information.

A NIGHT IN HAVANA Date

: Saturday 28 August, 6:30pm

Venue

: University of Adelaide Big Band & Latin Ensemble with Lazaro Numa, trumpet

Program : Ernesto Nazareth, Darius Milhaud, Stephen Whittington and Heitor Villa Lobos.

NORWOOD CONCERT HALL Gil Sullivan in Concert with Norwood Symphony Orchestra Date

: Saturday, 5th June

Time

: 7:30 - 9:30 pm

Conductor : Michael Milton Program

: J.S. Bach 6 Little Preludes, Mozart Piano sonata, Grieg Piano Concerto

Tickets

: General Admission $40, Concession $30, Children (under 12 yrs) Free

Booking

: www.trybooking.com/book/sessions?eid=745414

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SA MUSIC TEACHER

NORWOOD CONCERT HALL

FLINDERS STREET BAPTIST CHURCH

Gil Sullivan with members of the Adelaide Symphony Orchestra

Flinders Street Baptist Church Tuesday on Flinders

Date

: Friday, 23 July

Time

: 1:00 pm

Time

: 7:30 pm

Entry

: Free

Conductor : Michael Milton Program :

Beethoven Cello Sonatas in G minor 2nd movement, Mozart Piano Trio in B flat K502, Brahms’ 2nd Piano Quartet in A, Op.26

Booking : via www.norwoodconcerthall. com.au/events MUSICA VIVA Nicolas Fleury, Emily Sun and Amir Farid Date

: Thursday, 17 June 7:30 pm

Program :

Booking sun-farid

Mozart Trio for Piano, Violin and Horn (arr. Naumann), K407, Kerry Sonata for Violin and Piano (2020), Brahms Horn Trio in E-flat, Op. 40

: www.musicaviva.com.au/fleury-

MUSICA VIVA Genevieve Lacey and Marshall McGuire Date

: 22 July 7:30 pm

Program : Jim Atkins Sound, Niklas Pajanti Lighting, Ruth Little Dramaturg Booking : www.musicaviva.com.au/ genevieve-lacey ADELAIDE SYMPHONY ORCHESTRA Check their website for the upcoming concerts and support our local orchestra!

Website : www.aso.com.au/concertstickets/whats-on

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www.fsbc.asn.au/concerts/ for more information FLINDERS UNIVERSITY LUNCHTIME CONCERTS Flinders University Lunchtime Concerts Music at Flinders 2021 Time

: 4:10 pm

Entry

: Free

Venue : Flinders University Oasis Function Centre Humanities Road, Bedford Park, SA 5042 www.flinders.edu.au/engage/culture/lunchtimeconcerts for more information

SA MUSIC TEACHER

RECENT EVENTS

CURTIS MADIGAN RHYTHM PEDAGIGY WEBINAR

by Cheryl van Wageningen Held: April 13, 2021 Zoom Webinar “Rhythm Pedagogy Techniques: A Groove Based Approach to Teaching Music” Presented by Curtis Madigan (U.S.A.) The Music Teacher’s Association of South Australia aims to deliver content for professional development that enables its members to keep up to date with teaching methods and ideas from not only a state or national level but also on the international portal.

This Webinar on Rhythm Pedagogy Techniques enabled members to interact directly with a professional and educational visionary who specializes in teaching music and related disciplines – Curtis Madigan, Founder and CEO of Sound Formation.

- Cheryl van Wageningen

Mr Madigan is based in the United States of America and the webinar was conducted at a time to be convenient for both the presenter and the viewers.

This meant a broadcast time of midday rather than the usual 7.30pm on a selected day during the April school holidays.

Mr Madigan began the Webinar by introducing himself and the background behind his research into Rhythm Pedagogy Techniques. He spoke about his own experiences as a musician and his observations of others. He especially developed an interest in “Movement Practice” and sought to gain a solid grounding before understanding the theory behind it. One of his main intentions is to “engage the student from day one of learning an instrument.”

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SA MUSIC TEACHER

The main tool of teaching that he exposed was the Rhythm Compass to explain the nature of rhythm and its practicality as a groove-based approach to understanding rhythm. Mr Madigan highlighted the visual advantage of the compass for those students with conditions such as Dyslexia. There were also four main principles discussed as follows: 1) Repetition – in order to build a rhythmic vocabulary 2) Stability – the awareness of the continuity of movement and tempo changes with an emphasis on the feeling of the downbeat in music 3) The Physicality of rhythm – the beat/ pulsation and an awareness of soft and hard touches by including and noticing different pressures in the feet, for an example.

4) Syncopation – derived from the Greek language and translated to indicate playing “off the main beat” allowed Mr Madigan to offer examples of different rhythmic patterns from simple to more advanced.

Layers of Rhythm were also discussed with the idea of providing clarity throughout a piece. The famous Arthur Rubenstein (1887 – 1982) was mentioned as a standout pianist for his ability to create an “ebb and flow” during his performances but also maintaining a “straight and even flow” when required.

Mr Madigan encouraged teachers to “get off their instrument” and swap roles with the student to allow for a more interactive and fun approach. He promotes the inclusion of activities such as clapping and walking within lessons to take the centre of awareness away from the head and upper body in order to feel the beat in lower extremities such as the legs and feet. This tends to allow a certain freedom for the student to focus on rhythm without thinking about notes, hand positions, fingering, etc.

The one-hour session concluded with a Questionand-Answer scenario which allowed members to offer comments and/or ask Mr Madigan any queries or concerns that they may have developed throughout the session or their own teaching practice. Mr Madigan responded with demonstrations of exercises to answer questions relating to polyrhythms, shoulder and restriction of movement (especially for those suffering with arthritis or over-use injuries) and relaxation methods.

He also reiterated that he is more than willing to share his knowledge with teachers in order to help fill any gaps that may arise within their teaching experiences.

For those interested, there are more learning resources and online classes available through contacting Curtis Madigan at soundformation@gmail.com.

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SA MUSIC TEACHER

CONCERT PERFORMANCE DAY 1

by Wendy Heiligenberg

Held: 24thApril 2021 Flinders Street Baptist Church

On the 24thof April the MTASA held the first of the biannual performance days at the Flinders Street Baptist Church. This is a lovely venue, with good acoustics and a fine grand piano, where young performers can perform their pieces and develop their performance skills in a friendly and noncompetitive environment. 38 pianists of varying age groups and proficiencies performed works which ranged from the Classical to the “For Leisure” repertoire. The Performance Days are open to all instruments, and it would be wonderful to have more disciplines represented in these events. Of course, it is much more complicated and costly to organize accompanists to perform much of the repertoire of many instruments. Perhaps we nonkeyboard teachers should encourage our students to perform their solo repertoire- in the case of strings, the solo works of Bach or Telemann for example.

Six reviewers were invited to comment on the performances, and our 3 outstanding panels were made up of instrumentalists as well as pianists - Ruth Saffir, Rodney Smith, Debra Andreacchio, Lillian Camphausen, Cheryl van Wageningen and myself.

At the end of the three sessions, one Reviewer was asked to comment on the performances in a

general manner and every performer was given an individual written review. It is very beneficial to receive some feedback from someone other than the teacher, to learn how to project and connect with the audience, to learn about stage demeanour and how to carry on regardless, even if a slight mistake has occurred.

Ruth, Debra and Cheryl all spoke. They praised the enthusiasm of many, stressing that this enthusiasm needs of course to be tempered with focus on accuracy and being meticulously faithful to the text and wishes of the composer. As a cellist, Ruth particularly admired how each player coped with a “strange, big instrument, in a strange big place”.Debra praised the performers for their style, sense of structure and phrasing. She encouraged students to especially develop their little fingers as the “top notes need to sparkle”. Playing from memory should be encouraged, and some students obviously had memorized much of their pieces, but still had the music in front of them. Daring to play from memory enables better projection and adds to the performance. If the music is really necessary, it should be set up (page turns) so as to not disturb the flow of the music.

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SA MUSIC TEACHER

ARTICLES Jazzin’ Around Bill Evans and Shelly Manne Empathy + A Simple Matter of Conviction CD With Monty Budwig Bass Review by Kerin Bailey - Pianist/teacher/composer “I sure learned a lot from Bill Evans…” Miles Davis “Shelly Manne…the most musical drummer who ever lived.” Jack Brand Readers will be more familiar with the work of the highly influential jazz pianist Bill Evans than West Coast drummer Shelly Manne. This 1962 album recording is a result of their respective groups sharing the bill at New York’s Village Vanguard jazz club. Both were famous by this time and regular winners of Downbeat and other magazine’s critics and readers polls. SM was one of the most in-demand drummer/percussionists in L.A. – credited on countless movie scores, television and recording sessions. All while leading his own group Shelly Manne and his Men, operating his nightclub Shelly’s Manne Hole, and breeding Arabian horses!

All three players are in sparkling form on this session, with BE seeming more relaxed than when with his own intense trio.

The piano and recording quality are good, with BE on the left channel and SM right, allowing the listener to better appreciate the chemistry between the two. MB, (Manne’s bassist) is centre and his steady playing balances the creativity of the coleaders.

Washington Twist is a song by Irving Berlin from the 1962 Musical Mr. President, so hot off the press, and 2 years after Chubby Checker’s hit with The Twist. Surprisingly, it is in blues form, less surprising is BE’s twisting of the I, IV and V chords. LH tritone rhythmic stabs with semitone

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shifts and chord substitutions form the basis of the arrangement. His solo builds in intensity with increasingly denser voicings. After the bass solo BE re-states the theme – and a drum solo evolves over the theme and subsequent development of the chordal riff. This a good example of SM’s ‘melodic drumming’ style. (I sometimes listen to this album with the balance control more to the right!)

Let’s Go Back to the Waltz is another song from Mr. President. The bass takes the first solo (as in many BE tracks), and then 3 beats become 4 in a freewheeling, swinging up-tempo solo by BE, characterised by fluid melodic lines with LH chord punctuation, driving walking bass, and beautiful brush work from SM. With a Song in My Heart – a ballad by Rodgers and Hart in ABAC form – is a medium up tempo mix of Latin and swing.

BE’s A sections are tight L/R syncopated phrases.

He solos after MB and stretches out over 3 choruses, spinning out lovely melodic lines with syncopated LH chord stabs, and extended trademark locked L/RH passages. The solo ends with SM drum fills over the syncopated chordal vamp which winds down and morphs into his longest solo. After the recap. and more interplay between drums and piano, the performance appears to end around 7.10. The liner notes offer no insight – but Evans noodles around (with a few perfunctory bass sounds), then SM joins in and the pair indulge in a free improvisation which appears to be spontaneous!

Goodbye showcases BE’s exemplary ballad playing, with sensitive accompaniment. Note SM’s brush work again – every swish and stroke perfectly in place and complementing the solo.

SA MUSIC TEACHER

I Believe in You is a good example of BE’s spare use of the sustain pedal. Check out the syncopation as in bars 16-24 – the “I believe in you” phrases. This repeats throughout and SM punctuates it differently and brilliantly each time. This track is packed with the myriad sounds and colours he can extract from skins and metal.

Danny Boy is notable in that BE plays the melody dead straight, creating interest with chord voicing, moving inner parts, impeccable touch, tone and phrasing. My transcription of the solo A section is below. The only drawback in B is the bass notes falling a fraction behind the piano.

A minor criticism of what is one of my favourite piano trio albums. Empathy indeed!

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SA MUSIC TEACHER

PEDAGOGY MATTERS

by Rodney Smith

During these Covid times NCKP and the Center have pumped out an impressive and consistent stream of webinars and activities that have never been less than highly professional with many quite inspirational. It’s fairly simple to enrol for webinars and also to register for the Piano Teacher in digital form.

However, it must be said that virtually nothing associated with the Frances Clark name is easy.

Demands are made on both teachers and pupils to constantly improve and to maintain the very best.

The peerless Music Tree series of tutors is a case in point. Without a strong background in music education and in piano pedagogy, teachers can be “all at sea”. Familiarity with a broad suite of keyboard skills and training methodologies is essential for their effective use. The expectations don’t end there either and pupils need to be motivated and ambitious.

I doubt there are many MTASA piano teachers who haven’t heard of Frances Clark. And probably most have delved a little into some of the piano tutors that bear her name. Many may have abandoned their passing interest at that point believing the materials are too challenging and complex for their needs.

Others may have come across the Frances Clark Center website and been surprised by its coverage from books to conferences. But much of the activity is located in the USA – another turn-off for Australian teachers.

The purpose of this article is to encourage those teachers to look again. First impressions can be misleading.

Frances Clark, and Louise Goss co-founded their New School for Music, Kingston, New Jersey in 1960 and the iron willed, fiercely objective Clark never looked back. Whatever she undertook was rooted in strong logic and a consuming desire to educate. The school still stands, now a teaching laboratory and model training institution. It forms one of four divisions of the Frances Clark Center, the other three being Piano Magazine, the NCKP (National Conference on Keyboard Pedagogy) and fourthly various other educational publications.

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The Music Tree isn’t suitable for every pupil of course. But then, neither is any other set of materials. So why not let your own ambitions run a little more freely and take longer than a cursory look at this incredibly stimulating piano pedagogy endeavour? Allow time and be willing to research deeply. It could even provide a very stimulating PD project!

SA MUSIC TEACHER

ACCOMPANIST’S CORNER

Are you a former Marryatville student?

If so, you will probably have many memories of pianist MARGARET LAMBERT - here is a little of her very interesting and active history.

Margaret Lambert

ACCOMPANIMENT A LIFE-LONG MUSICAL COMPANIONSHIP

By Margaret Lambert

I have always loved accompanying and I think it’s because of two things!

From the time I began moving comfortably around the keyboard and demonstrated a rather quirky propensity to sight read anything and everything with great ease, the family expectation was that I was to be the in-house accompanist for our steady stream of musical friends who “dropped in”, as one did in those days, for the evening. Many of the friends were singers. I have fond memories too, of playing for Sunday School Anniversaries with my mother. She would play the harmonium and I the piano.

Shortly after our arrival I was befriended by a wonderful piano pedagogue, Mathilde McKinney, who taught at the Julliard Centre in New York City.

With her support, I established myself, initially as a piano soloist, accompanist, and chamber music pianist. During the fourteen years we spent in New Jersey, I taught classroom music, taught piano for the Princeton Piano Group and was the repetiteur for the Princeton Opera Society.

After our return to Adelaide, I was appointed by the Minister for the Arts as Deputy Principal and Head of the Special Interest Music Centre at Marryatville High School. This was a challenging role which I held for fifteen years, but one that I always truly relished. Later I was invited to Wesley College in Melbourne where I became Director of the Arts.

I continue to involve myself in lots of music making of a wide variety, all of which I enjoy immensely.

However, working with young emerging musicians continues to be one of my musical life’s greatest joys.

The second reason is that I have always enjoyed the companionship and sociability of making music with others, whether it be as piano accompanist, chamber music pianist, choral/band/orchestral conductor, or opera repetiteur.

When I lived in Cheshire, England, I accompanied a large choir and many singers and instrumentalists.

A few years later when my husband became part of the Jersey, a truly gorgeous part of the US.

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SA MUSIC TEACHER

WEHL STREET COMMUNITY THEATRE MT GAMBIER

Wehl Street Community Theatre is a delightful small theatre situated on the edge of the CBD in Mount Gambier.

auditorium. Following this has been an upgrade to the foyers and dressing rooms in an effort to fully remove the old ‘school’ look of the building.

The building started life at the turn of the century as the town’s Primary School and continued in this vein until the 1950s when it closed and became a performing arts teaching area, part of the then Adult Education Centre (TAFE).

The community of Mount Gambier rallied behind the Management Committee several years ago and raised the majority of the funds required for the purchase of a Yamaha C6 Grand piano, council chipping in the final dollars required.

The theatre, now owned by the City Council but managed by a community group, has all the charm of a turn of the century heritage building but boasting state of the art technical equipment and lighting through the hard work of the Management committee.

The 194-seat theatre is the perfect setting for smaller productions, one man shows, chamber music and recitals and lectures. The theatre is not staffed, and this is reflected in the very attractive hire cost, although technical staff can be organised if required at an additional cost. It also has a good kitchen area for those wanting to have pre or after show refreshments.

Recent years have seen the committee apply for and receive a grant through the state Government’s Fund my Neighbourhood Scheme, which allowed the replacement of the seating throughout the

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Further details on the theatre can be found at www.wehlstreettheatre.org.au

SA MUSIC TEACHER

Concert Etiquette

by W Heiligenberg

Many years ago, I took my five-year-old daughter to a performance of “The Frog Prince” at a Marionette Theatre in Munich. This was a delightful event, as all of the three performers belonged to the one family, Grandfather Bille greeted us all personally, checked in the coats, Grandmother Bille sold the tickets and sweets and drinks in the interval, and they, together with their teenage grandson worked all of the marionettes, spoke the lines and sang the songs.

As magical and delightful as this was, it was the Introduction of how to behave at a performance that impressed me the most. Herr Bille told all of the children (and their parents) in terms that a 4-year-old would understand of when to be quiet, when to sit still, when to clap and how not to disturb a performance, distract the performer or the audience and how to enjoy the magic of the moment.

their teachers). Each and every one- performers, parents, family members and teachers deserve the respect, full attention and engagement of all of the audience members throughout a concert.

I may be old fashioned, but perhaps we teachers need to teach our pupils’ parents about the etiquette involved in attending our children’s performances.

Turning off our mobile phones, not leaving or entering the hall during a performance, not chatting, not making unnecessary noises. I do not feel it is respectful for the audience to be obviously on their mobile phones or tablets whilst the performers are on stage. Perhaps they could just be put away for an hour. Our young performers have dedicated many hours of their time and energy in order to be able to perform their pieces on stage, (as have

Whilst we are on the topic, perhaps we teachers could also point out to parents that it is not good behaviour to leave a school recital concert as soon as their child has performed. Spare a thought for the parents and students who have had to sit through all of the evening’s performances because they were scheduled to perform last on the programme. Each and every performer deserves a supportive audience, and we should all respect the performers, their teachers and their parents who have dedicated countless hours to enable such performances to take place.

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SA MUSIC TEACHER

CONTACT DETAILS FOR OTHER ORGANISATIONS 5MBS: MUSIC BROADCASTING SOCIETY OF SA 5mbs.com 8346 2324 5mbs@5mbs.com AUSTRALIAN BAND AND ORCHESTRA DIRECTORS’ ASSOCIATION (ABODA): ABODA SOUTH AUSTRALIA www.abodasa.com.au info@abodasa.com.au ABRSM EXAMINATIONS us.abrsm.org/en/home SA Rep.: Anastasia Chan 8234 5952/423 282 589 abrsmsa@hotmail.com ACCOMPANISTS’ GUILD OF SA INC. www.accompanist.org.au President: Leonie Hempton OAM 8272 8291/0404 145 502 leoniehempton@gmail.com

AUSTRALIAN SOCIETY FOR MUSIC EDUCATION (ASME) ASME: SOUTH AUSTRALIA CHAPTER www.asme.edu.au/sa President: Luke Gray graylu@trinity.sa.edu.au AUSTRALIAN STRINGS ASSOCIATION (AUSTA) AUSTA: SA CHAPTER www.austa.asn.au/chapters/sa President: Fiona Patten fionapattenausta@gmail.com AUSTRALASIAN DOUBLE REED SOCIETY www.adrs.org.au Contact: Josie Hawkes OAM josie.bassoon@gmail.com AUSTRALIAN STRING QUARTET www.asq.com.au/ 1800 040 444 asq@asq.com.au

MUSICA VIVA www.musicaviva.com.au for concert details Box office: 1800 688 482 contact@musicaviva.com.au MT GAMBIER EISTEDDFOD www.backstageinc.org.au Secretary: Maxine Chalinor OAM 0457 067 555 tonymaxine@internode.on.net MUSICIANS’ UNION OF AUSTRALIA ADELAIDE BRANCH www.musiciansunion.com.au 8272 5013 musosa@bigpond.net.au ORFF SCHULWERK ASSOCIATION OF SA www.osasa.net info@osasa.net PRIMARY SCHOOLS MUSIC FESTIVAL www.festivalofmusic.org.au 8261 5438 office.psmf799@schools.sa.edu.au

ADELAIDE BAROQUE www.adelaidebaroque.com.au 8266 7896 manager@adelaidebaroque.com.au

BALAKLAVA EISTEDDFOD SOCIETY www.balaklavaeisteddfod.org.au Contact: Trish Goodgame 0417 891 834 info@balaklavaeisteddfod.org.au

ADELAIDE CHAMBER SINGERS www.adelaidechambersingers.com 8352 1329 admin@adelaidechambersingers.com

CON BRIO EXAMINATIONS www.conbrioexams.com 9561 3582/0401 014 565 lily@conbrioexams.com

ST CECILIA EXAMINATIONS PTY. LTD. www.st-cecilia.com.au 1800 675 292 info@st-cecilia.com.au

ADELAIDE EISTEDDFOD SOCIETY INC. www.sacoment.com/aes/eisteddfod Secretary: Brenda Rayner OAM 8366 6531 adleisteddfod@adam.com.au

ELDER CONSERVATORIUM OF MUSIC www.music.adelaide.edu.au 8313 5995 music@adelaide.edu.au

SOUTH AUSTRALIAN BAND ASSOCIATION www.sabandassociation.org Secretary: David Corkindale secretary@sabandassociation.org

ELDER HALL www.music.adelaide.edu.au/concerts 8313 5925 concertmanager@adelaide.edu.au

SOUTH AUSTRALIAN MUSIC CAMP ASSOCIATION www.samusiccamp.net.au Administrator: Samantha Taylor admin@samusiccamp.net.au

ADELAIDE HARMONY CHOIR www.adelaideharmonychoir.org.au/ Secretary: Sherry Proferes adelaideharmonychoir.info@gmail.com ADELAIDE PHILHARMONIA CHORUS www.philharmonia.net ADELAIDE YOUTH ORCHESTRAS www.adyo.com.au 8361 8896/0410 062 677 General Manager: Claire Oremland claire@adyo.com.au AMEB EXAMINATIONS: SA AND NT www.ameb.adelaide.edu.au 8313 8088 ameb@adelaide.edu.au AUSTRALIAN NATIONAL ASSOCIATION OF TEACHERS OF SINGING (ANATS) ANATS: SA AND NT CHAPTER www.anats.org.au/sant-chapter Secretary: Dianne Spence anats.sa.nt@gmail.com ANZCA EXAMINATIONS www.anzca.com.au (03) 9434 7640 admin@anzca.com

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FLUTE SOCIETY OF SA INC. www.flutesocietyofsa.org secretary@flutesocietyofsa.org INSTRUMENTAL MUSIC: DEPARTMENT FOR EDUCATION Instrumental Music Office - Klemzig 8261 8988 IM.KlemzigOffice608@schools.sa. edu.au Instrumental Music Office-Morphett Vale 8392 3800 IM.MorphettValeOffice896@schools.sa. edu.au Music Programs 8226 1883 education.musicprograms@sa.gov.au KODALY MUSIC EDUCATION ASSOCIATION OF SA www.kodalysa.com 0405-066-469 kodalysa@gmail.com

THE SOCIETY OF RECORDER PLAYERS SA INC. www.facebook.com/recorderplayerssa/ 0410 109 135 npope@bigpond.net.au TRINITY COLLEGE LONDON EXAMINATIONS www.trinitycollege.com.au 1300 44 77 13: National 8345 3117: Local stanley.tudor@iinet.net.au UKARIA CULTURAL CENTRE www.ukaria.com 8227 1277 info@ukaria.com

www.MTASA.com.au Est. 1930