Octobertempo2015

The Official Magazine of the New Jersey Music Educators Association OCTOBER 2015

Art work by Vimal Bhatia The Official Magazine of the New Jersey Music Educators Association a federated state association of National Association for Music Education

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Volume 70, No. 1

http://www.njmea.org

FEATURES 22

Reinventing The Wheels On The Bus: Music Improvisation With Young Children, Abby Connors

24

What To Do With All Those Saxophones? Using Small Ensembles To Educate The Abundance Of Young Saxophonists In Public School, Jordan P. Smith

30

A Recap And A Look Forward, Nicole Olearchik

32

Rhythmic Counting Systems, Jacques Rizzo

36

Influential Guitarists: Part 2, Thomas Amoriello

37

Interactive Composition: A Book Review, Marjorie LoPresti

43

The Problems With Please And Thank You, David Newell

44

NJ Young Composers 2015-2016 Competition, Andrew Lesser

48

A New Era For Arts Education In New Jersey Begins: NJ Arts Education Partnership Launches As An Independent, Non-Profit Organization

50

Whole Notes Are NOT Four Counts, David Newell

52 Navigating The Road From Student Teacher To Reflective Practitioner: A Shared Responsibility Between Cooperating Teachers And University Supervisors, Lindsay Weiss 54

Improvisation: Learning Scales, Dean Sorenson

59

NJEA Convention Music Sessions, Nancy Clasen

64

2016 NJ Elementary And Jr. High Honor Choir Festival, Carol Beadle

66

Highly Talented Panel Instructs ASO Sectionals, Michael Kallimanis

68

Tech Tools For Student Engagement And Interaction, Marjorie LoPresti

OCTOBER 2015 DEPARTMENTS AND NJMEA BUSINESS

Advertisers Index & Web Addresses.......87 Board of Directors.................................84 Division Chair News.......................... 6-21 Editorial Policy & Advertising Rates......86 From The Editor......................................4 In Memoriam.................................. 82-83 Past-Presidents.......................................86 President’s Message.............................. 2-3 Resource Personnel................................85 Round the Regions.......................... 78-80

FORMS AND APPLICATIONS See NJMEA.ORG

“Files and Documents” for downloadable copies of all forms & applications

Orchestra Festival Application...............70 Honors Guitar Ensemble Audition...72-74 NJMEA State Music Conference...........75 Region Jazz Ensembles......................76-77

ATTENTION MEMBERS: Please go to nafme.org to record email and address changes.

TEMPO Editor - Thomas A. Mosher 80 Jumping Brook Drive, Lakewood, NJ 08701 Phone: 732-367-7194 Fax: 732-367-7195 e-mail: tmosher@njmea.org Deadlines: October Issue - August 1 January Issue - November 1 March Issue - January 15 May Issue - March 15 All members should send address changes to: mbrserv@nafme.org or NAfME, 1806 Robert Fulton Drive Reston, VA 22091 Printed by: Kutztown Publishing Co., Inc. 1-800-523-8211 kpc@kutztownpbl.com

NAfME Membership............................. 80

The New Jersey Music Educators Association is a state unit of the National Association for Music Education and an affiliate of the New Jersey Education Association. It is a nonprofit membership organization.

TEMPO (ISSN 0040-3016) is published four times during the school year: October, January, March and May. It is the official publication of the New Jersey Music Educators Association.

The subscription rate for non-members is $20.00 per year.

The subscription for members is included in the annual dues.

A copy of dues receipts (Subscriptions) is retained by the NJMEA Treasurer.

Inquiries regarding advertising rate, closing dates, and the publication of original articles should be sent to the Editor.

Volume 70, No. 1, OCTOBER 2015 TEMPO Editor - Thomas A. Mosher, 80 Jumping Brook Drive, Lakewood, NJ 08701 Periodicals Postage Paid at Lakewood, NJ 08701 and additional entries POSTMASTER: Please forward address changes to: NAfME 1806 Robert Fulton Drive Reston, VA 20191

NJMEA CONFERENCE February 18 - 20, 2016 East Brunswick, NJ

president’s

message

WILLIAM McDEVITT 856-794-6800 x2539 billnjmea@aol.com Website: http://www.njmea.org

W

elcome back to another school year.

I hope that you are returning to school recharged and ready for those smiling faces to enter your classroom. At this time, plans are well underway for the 2015 - 2016 NJMEA year of events.

I would like to begin by thanking Joe Jacobs for the excellent leadership that he displayed to our organization over the past two years. He has been a representative that all New Jersey Music Educators should feel proud to call their own. I would also like to thank Debbie Sfraga for maintaining the consistency of our organization through many presidents.

NAfME NATIONAL ASSEMBLY At the end of June, NJMEA was well represented at the National Assembly in Washington, DC. Sitting beside me through the entire process were Joe Jacobs, NJMEA Past President and NJMEA Executive Secretary/Treasurer, Debbie Sfraga.

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Throughout the four days of meetings and presentations, the future of our national organization and music education were discussed.

One of the most important activities of the weekend was our annual visit to Capitol Hill. This event has grown over the years.

This year, we had 10 representatives visiting congressional offices. Participating along with me, Joe Jacobs, and Debbie Sfraga, were Keith Hodgson, NJMEA Past-President, Bob Frampton, NAfME Eastern Division PastPresident, and collegiate members Mary Onopchenko, Ken Barry, Lee Mamolen, Nicole Olearchik, Becky Orlando, and Jay Besch.

We split into two groups and visited all 14 congressional offices.

In some of them, we met with education staffers, in some we met with the receptionist, and in the office of Rep. Leonard Lance, we actually met with the Congressman himself. This year was a little different than in the past.

We entered with a single mission – to keep Music in any type of reauthorization of the Elementary and Secondary Education Act. 2

The tone was much more positive and we had some great discussions. At the time of this writing, Music is listed as a core subject in the Senate version of the bill.

We’re watching very closely to see where it ends up when the Senate and House bills are emerge from conference.

At the National Assembly, we heard from the 4 candidates for MENC President-Elect and helped to narrow the choices down to the two finalists. You will be reading more about those candidates at a later date. We were also briefed by some of the NAfME staff members on the operations of our national organization.

One of the bits of information that we received was that the Music Educators Journal (MEJ) will be going completely online in January of 2016. No paper issues will be available after that unless you request them (and pay an additional fee to your membership).

OCTOBER 2015

FEBRUARY CONFERENCE Plans are well under way for this year’s conference. One major change that will be happening is that all registrations will now have to be done on-line. When you arrive at the conference, you will either need the NAfME app on your smartphone or a printout of your QR code from the NAfME website. It will streamline your experience at registration.

We have already booked “Project Trio” as our Friday evening entertainment. If you happened to see them at the 2015 Eastern Division Conference, you will know that they are a highenergy trio that is very entertaining. They all come from a classical background, but the music is definitely their own.

This will be an exciting conference, so make your plans to be there February 18-20, 2016.

SUMMER CONFERENCE The annual NJMEA Summer Confererence was held at the College of New Jersey on August 4th. Past-President Joe Akinskas and his team did an excellent job planning an educational and informative series of workshops for our members. The number of attendees went up significantly this year and from all after comments, it was a great success.

OCTOBER 2015

NOVEMBER CONFERENCE AND ALL-STATE

2017 EASTERN DIVISION CONFERENCE

Nancy Clasen has once again put together an excellent series of workshops for music teachers at the NJEA Convention in Atlantic City. Along with the workshops will be concerts by our All State Jazz Ensemble at the Claridge Hotel on Thursday, November 5th and the All-State Chorus and Orchestra at Boardwalk Hall on Friday, November 6th. These concerts will once again be performed at the NJ Performing Arts Center in Newark on the following weekend. The Jazz Ensemble will be held on Friday, November 13th and the Chorus and Orchestra on Sunday, November 15th.

Stay tuned for details about the Eastern Division Conference in Atlantic City. There will be no State Conference in February 2017. Plans are well under way and details will be coming out very soon.

TRI-M And COLLEGIATE HONORS At this year’s National Assembly, three New Jersey Chapters were recognized with awards. The Tri-M Chapter at Ranney Middle School and Advisor Lillianne Torrente were named Junior Division Chapter of the Year. The Chapter at West New York Middle School and Advisor Constance Arcilla were honored as First Runner-up. The NAfME Collegiate Chapter at Montclair University and Advisor Marissa Silverman were honored for their service. Congrats to all!

You make New Jersey proud.

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2016 NAfME ALL NATIONAL HONORS ENSEMBLES I am giving everyone a headsup now. The 2016 All-National Honors Ensembles will be taking place during the same timeframe as our November NJEA Conference, which is the same time as our All-State Orchestra, Chorus, and Jazz Band. Because the prerequisite for participation in the National Honors Ensemble is participation in our All-State Ensembles for the corresponding year, none of our students in these ensembles will be eligible for the National Ensembles in 2016. We are watching closely to see what the dates will be for the 2017 Ensembles.

Best wishes to all for a successful year!

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Editor’s Message Thomas A. Mosher 732-367-7195 tmosher@njmea.org Website: http://www.njmea.org

Changes Are Coming!

The NJMEA Executive Board voted at their July meeting to update the website. We will be joining many of the other states in being hosted by Cogent Communications in conjunction with NAfME. The advantage will be a link to the NAfME website that will enable us to have registrations completed using their web portal which contains membership information. The new website should make registering for conferences and other activities quicker and more accurate.

The website is now in the process of making the change from the current provider to the new one and should be completely operative by October.

Anyone wishing to start the purchase order process for the 2016 NJMEA State Music Conference should look at the information posted on page 67 of this issue.

You will notice that the price of the conference has been

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slightly raised for the first time in over ten years. This price, however, is less than what it costs to provide one of the finest conferences in the country for our membership. It is much less than what you would pay to attend a NAfME conference and much closer to home!

Please note that no registration will be complete until full payment has been received. Those who will be paying by check or purchase order will have their registration marked pending until full payment is received. IF YOU INTEND TO PAY BY PURCHASE ORDER, START THE PROCESS NOW! We will have more information concerning the conference on the website once we have made the conversion to the new site.

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OCTOBER 2015

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& News From Our Division Chairs Past President Joseph Jacobs 609-335-6429 jjacobs@veccnj.org

Take Advantage of Us!

You are probably already a member of NJMEA if you are reading this magazine but you may not be aware of all of the opportunities that NJMEA offers you and your students. Our Honors Guitar Ensemble, Honors Chamber Orchestra, and Early Childhood Webinars are three new ventures that are being offered for the first time this year. These initiatives are being spearheaded by Tom Amoriello (Guitar), Susan Meuse (Chamber Orchestra), and Amy Burns (Early Childhood).

NJMEA prides itself on meeting the needs of all music educators. We are a diverse organization that offers performance opportunities in choral, strings, winds, and jazz. Our marching band festival and opera festival can address specific high school music curriculums. The NJMEA middle school concert band and choral festivals may meet the needs of our junior high instructors for performance evaluations. We also sponsor a Composition Contest which is a wonderful opportunity for our students in all grade levels to have their creative works adjudicated.

Regions There are a plethora of performance and professional development opportunities provided by our three regions. These organizations provide venues for elementary, middle, and high school ensembles in various genres. Some regions are offering workshops including utilizing music technology and even hosting clinicians like John Feierabend for our elementary music specialists.

I encourage you to check your region websites since they are always expanding their offerings and opportunities.

Professional Development Most of you have attended our three-day February Conference but we also offer an outstanding one-day Summer Workshop in August. NJMEA sponsors 12 workshops at the NJEA Convention in November. Another source for professional development and inspiration are the All-State performances that are presented at NJPAC and in Atlantic City. The workshops and performances are varied and are sure to meet the needs of every music educator.

Information & Networking NJMEA strives to meet the needs of our music education community by supporting and involving our Collegiate NJMEA members and Tri-M Music Societies. We are a source of information and experience in regard to music technology and students with special needs. NJMEA is affiliated with numerous music organizations and has representatives in the Percussive Arts Society, NJ TI:ME (Technology in Music Education), NJ Music Administrators Association, NJ ACDA, and the NJ Retired Music Educators.

NJMEA helps promote excellence in music education with various awards. The Master Music Teacher Award, Distinguished Service Award, School Administrator Award, Outstanding School Board Award and the NJ Governor’s Awards acknowledge the efforts of our colleagues. We are active advocates for music education in our schools including our involvement in the NJ Arts Partnership.

We provide opportunities for networking utilizing social media. Our active NJMEA Facebook and Twitter accounts can address questions in minutes. You are always welcome to contact a member of our Board of Directors by email. They have a wealth of experience and are very accessible. Contact information can be found on our website and in this magazine.

Have a great school year and please take advantage of us! continued on page 8 TEMPO

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OCTOBER 2015

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Photo: Norman DeShong

Development for Teachers

7/27/15 4:27 PM

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& News From Our Division Chairs Administration Ronald P. Dolce 732-574-0846 rdolce561@aol.com

On behalf of the New Jersey Music Administrators Executive Committee/Board of Directors and General Membership, I would like to welcome back to a new school year the members of the New Jersey Music Educators Association. A special welcome to the NJMEA’s new president, William McDevitt and the members of the NJMEA’s 2015-16 Board of Directors.

We hope that everyone had a great summer with time to rest and rejuvenate the mind and body as well as reflect on last year’s school activities. By the time you receive the October edition of TEMPO magazine, the opening of the school year will seem like it was ages ago and you will probably be well into your fall activities and planning or rehearsing concert material for the winter concerts.

A thank you goes out to our Executive Committee and Board of Directors organizing stimulating and informative workshops for our membership. These workshops continue to serve as an important resource of information for our membership as they serve their school districts and staff members by improving music education in their schools.

The following is a list of the workshops and dates for the 2015-16 school year: 10/2/15 “Arts and the Common Core?” Facilitators- Thomas Weber and Patricia Rowe 12/4/15 “Recruitment and Retention for Music Programs” Facilitators- Linda King and Louis Quagliato 2/5/16 “Building a Dream Team: Interview Techniques” Facilitator- Peter Griffin 2/18-20/16 NJMEA Conference- NJMAA Breakfast, Feb. 19th (8:30 a.m.)

4/8/16 “College Connection” Facilitator- Joe Akinskas 6/3/16 “To Be Determined” We continue to encourage our NJMEA members who have a supervisor, chairperson or administrator without a music background to invite them to join the NJMAA to help them to become more effective and efficient in meeting the needs of your music program. Please have them send their name and email address to our treasurer/membership chairperson, Louis Quagliato, at lquagliato@woboe.org so that they can become part of a resourceful organization.

Our meetings are held at the Rutgers Club on the campus of Rutgers University on the New Brunswick campus. Meetings/Workshops begin at 9:00 a.m. with hospitality starting at 8:30 a.m. Check the NJMAA website-www.njmaa.org or http://rutgersclub.edu/directions.pdf for information and directions.

Band Performance Al Bazzel 856-358-2054 fenwayfollwer5@comcast.net

We hope you had an enjoyable summer and are having a successful start of the school year. During the summer months the NJMEA Band Procedures Committee met to plan for the upcoming school year.

The 2015 All-State Wind Ensemble will be conducted by Allan McMurray, Professor Emeritus of Conducting, College of Music at University of Colorado-Boulder. Matthew Roeder, Associate Director of Bands, College of Music at University of Colorado-Boulder, will conduct the Symphonic Band. continued on page 10 TEMPO

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OCTOBER 2015

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& News From Our Division Chairs We will continue the same application procedure for All-State Band that was established last year. The process will be online with a printable signature page to be submitted with the audition fees. Eligible students will be receiving an email from their respective region band officials.

Any solo suggestions need to be submitted to Bruce Yurko, solo chair, or any region representative. The recommendation must include a copy of the suggested solo, the solo it is to replace, and rationale for the change. The region representatives are: Region I – Darrell Hendricks, Lewis Kelly, Gregory Mulford; Region II - Brian Toth, Chris Vitale, Jahn Zazzali; Region III – Thomas Rafter, Deb Knisely, Phil Senseney. If you have any additional questions or concerns please contact Matthew Spatz, Band Procedures Chair.

Choral Performance Kathleen Spadafino 732-214-1044 kspadEB@aol.com

Welcome back to a new year! There are so many opportunities for your best year ever – new talent, new repertoire, many conventions, workshops and festivals to learn and share.

While I hope you took time to relax this summer, I hope you also had the time to stimulate your mind and expand your knowledge at a workshop or class. The NJ-ACDA Summer Conference in July and the NJMEA Summer Conference in early August both offered quality sessions and a chance to connect with familiar and new colleagues. Please keep up your memberships in both of these professional organizations for the most current information for you and your students.

But now for 2015-2016! Our present All-State Choruses are already rehearsing. Anthony Leach has started rehearsing with our Mixed Chorus students, and they are having the time of their lives preparing for their two concerts in November. Our Treble Chorus (NJMEA formally changed the name from Women’s Chorus) began rehearsing in September with their conductor Michael Semancik of Morris Knolls HS. Their performance will take place as part of the NJMEA convention in February 2016. Please try to attend these rehearsals or performances! While your students are getting a fabulous choral experience from you and your program, everyone will benefit more when you participate in your County, Region and All-State Choral groups. Your students will share a quality musical experience with other singers, and you will enjoy making new friends with others who are choir geeks like you!

Here is some basic information for the 2015-2016 school year: your best resource is our website, www.njmea.org. Please check it regularly, as well as the TEMPO Express emails, for updates for all activities. Mark your calendar for deadlines – they are 5-8 weeks BEFORE the actual audition.

High School Region Choruses: New Jersey has 3 regions: I (North), II (Central) III (South). Students in grades 9-12 are eligible to audition. Each region has a link on the njmea website.

Audition Dates: Region I (NJSMA) - Saturday, January 9, 2016

Region II (CJMEA) - Saturday, December 12, 2015

Region III (SJCDA) - Saturday, November 21, 2015 New Jersey All-State Chorus: Students in grades 9-11 are eligible to audition. Note: Students do NOT have to be accepted into their appropriate Region chorus to be eligible for All-State Chorus, unlike band and orchestra. There are 2 audition dates to choose from, and many schools split their students between the two dates/sites. All choral directors must help out at one of the audition sites each year, and MUST serve as a final room judge (both dates) once every four years. The All-State Chorus Audition Bulletin will be available online at www.njmea. org by January 25, 2016. Please read all sections carefully – all the information you need is there, but there is a lot to read! The audition dates for 2016 are Saturday April 9 (North) and Saturday April 16 (South). Mark your calendars now!

Honor Choirs: Both NAfME and ACDA have Honor Choirs that are open to your students. I am repeating myself, but you should belong to both organizations to afford all the opportunities for your students. continued on page 12

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OCTOBER 2015

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& News From Our Division Chairs ACDA: in 2016, ACDA will hold Regional conferences throughout the United States. The Eastern Division conference is February 10-14 in Boston. The audition process ended June 30, and results were released in September. Planning ahead: ACDA will hold a national conference in Minneapolis March 8-11, 2017. Look for the audition process next spring.

NAfME will only have a national conference in 2016. The next Eastern Division conference for NAfME will be in the spring of 2017 in Atlantic City, NJ! NJMEA is very proud to host this conference. The national conference for 2015 will be taking place soon in Nashville.

The application process took place in the spring, and students were chosen in June. As for the 2016 National NAfME Conference, I will have more information in the spring!

Please go to the ACDA and NAfME websites for more information about these honor choirs. If you missed any deadlines, plan ahead for the next time!

I know that the job of a Choral Director is exhausting! I also know that every year there is a growing number of new young directors in New Jersey who are ready to participate in our many activities. Please welcome these newcomers and help them navigate the ins and outs of these activities and auditions. I invite all of you, both seasoned professionals and enthusiastic new colleagues, to become involved with NJMEA and all the opportunities provided. Also get to know your Choral Procedures Committee – fantastic and dedicated individuals that I am honored to call my friends – Tom Voorhis, Steven Bell and Jamie Bunce from Region I, Hillary Colton, Judy Verrilli and Wayne Mallette from Region II, Helen Stanley, Cheryl Breitzman and Mike Doheny from Region III, and Barbara Retzko and Mike Schmidt, our historian and audition chair. We are at the Region and All-State auditions, rehearsals and concerts. Come say hi and let us know you would like to help! And you can always email me – Kathy Spadafino, Chair, at KSpadEB@aol.com. Here’s to your best year ever!

Choral Festivals

Donna Marie Berchtold 609-476-6241 x1013 berchtoldd@hamiltonschools.org

This year, NJMEA sponsored only one Middle School Choral Festival. The downsizing was due to the PARCC testing and a conflict with the 8th NJ ASK SCIENCE TEST. However, the event was held at Rowan University on April 1, 2015. A varied event featuring choirs from the North and South, presented a wonderful festival featuring Eleven (11) Choral Groups. Those choirs which participated were from the following schools: Haddonfield Middle, Memorial Middle from Medford, NJ, John Adams Middle School Choirs from Edison, Buena Regional Middle, William Davies Middle from Mays Landing, Goetz Middle from Jackson, West Deptford Middle, Glassboro Middle, Northern Burlington Middle, and Haddon Heights Junior-Senior High School.

The adjudicators for that event were: Christopher Thomas, Director of Choirs, Rowan University, and Lois Miller, Retired Faculty, Glassboro State College. Coordinators / hosts were: Donna Marie Berchtold, Wm. Davies Middle School, Mays Landing, Karen Blumenthal, Von E. Mauger Middle School, Middlesex, and Rick Dammers, chairperson, Music Education Department Technology, Rowan University.

Each participating choral group received written and aural evaluations by the adjudicators, along with a plaque from NJMEA which recognizes the commitment and involvement by the school, its chorus, and the director(s).

Any schools interested in participating in the Middle School – Jr. High Choral Festival(s) next year, should be sure to complete the application form in the January issue of TEMPO magazine, or online at www.njmea.org.

The Festivals are currently scheduled to be held at two separate locations. The first event (South Site) is set to take place at Rowan University on Wed. March 16, 2016. The deadline for applications is March 2, 2016. The second event (North Site) will be held at Rutgers University on Wednesday, April 13, 2016. The deadline for applications is March 23, 2016. The time of each event is 9:15 AM – 1:30 PM. A maximum of ten (10) registrations will be accepted at each site.

Anyone with questions or concerns may contact Donna Marie at: berchtoldd@hamiltonschools.org, 609-625-6600, x 1013, or 609226-7751

continued on page 14

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OCTOBER 2015

The College of New Jersey M U S I C The Department of Music is an accredited institutional member of the National Association of Schools of Music as well as a collegiate member of NAfME, the National Association for Music Education. The College of New Jersey has been named to Kiplinger’s Personal Finance’s list of 100 best values in public colleges for 2012-13. TCNJ Tops US News & World Report List of Best Colleges.

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OCTOBER 2015

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& News From Our Division Chairs Early Childhood Education Amy Burns aburns@fhcds.org 973-493-5797

NJMEA had two webinars over the past few months. The first was “Technology Integration in the Elementary Music Classroom” by Amy M. Burns. The second was “Keep Calm…and Teach Kindergarten Music,” by Lisa Ludwig Wichman. The third installment is currently running until 10/15/2015. It is titled, “Organizational iPad Apps for the Elementary Music Educator,” hosted by Amy M. Burns. Please contact me at aburns@fhcds.org or private message me through Facebook with your name and NJMEA/NAfME membership number to view the webinar. Every webinar can receive a professional development credit if you write a summary of the webinar and send it to me before the final date of the webinar.

Guitar Education Thomas Amoriello tom@tomamoriello.com 908-342-7795

NJMEA Honors Guitar has been approved! I am pleased to announce that the 2015-16 school year will be the first time that a NJMEA Honors Guitar Ensemble will exist for NJ guitar students in grades 9-12. This was a two year process of hosting guitar festivals, conference workshops/lectures, advocacy articles and tweaking proposals (see below) and thanks to the 2013-15 NJMEA Executive Board for supporting this with the approval at a meeting on May 12, 2015. This will have a positive effect on guitar education in New Jersey for decades to come.

Please spread the word and mark your calendars for April 16, 2016 as this will be the NJMEA Guitar Festival at The College of New Jersey in Ewing, NJ which will feature the chosen students as well as featured guest artist for performance and master class (TBA in January) We need to have student and teacher participation on many levels. Please consider volunteering your time to help as an adjudicator, sectional coach, and other festival duties. Otherwise this will be unsuccessful! Twelve students will be awarded the title through an audition process that is modelled after what the Virginia Music Education Association and their All-State Guitar Ensemble guidelines are. There will also be showcase performance opportunities for other school ensemble groups and soloists, concerts, workshops and master classes at the festival. It is important to spread the word to as many guitar educators and students as possible. A special note to students auditioning, teachers and parents: This is a commitment and 100% participation is required on all dates. If this cannot be honored please do not audition. In this issue you will find the appropriate sign up forms and audition requirements. These are also available at www.njmea.org on the Guitar Class portal.

continued on page 16

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& News From Our Division Chairs 2016 NJMEA Honors Guitar Ensemble

Auditions February 20, 2016 at The College of New Jersey (music dept), 2000 Pennington Rd.

Ewing, NJ 08628 9:00-1:00 pm (snow date Feb. 27 @ Bergen Academy 9:00-1:00 pm) Audition Requirements for students in grades 9-12 Study #1 in C Major by FRANCISCO TARREGA Revised and Fingered by Matthew S. Ablan which can be found in this issue and on the NJMEA website.

Scale Requirement: E Melodic Minor found in this issue and on the NJMEA website.

Ensemble Excerpt: This can be found online at the NJMEA website.

Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading.

Rehearsal 1 March 19th @ Bergen County Academies, 200 Hackensack Ave, Hackensack, New Jersey 07601 9:00 - 12:00 pm (snow date March 21st @ Bergen County Academies – 5:00 - 8:00 pm) Rehearsal 2 April 9th @ Rowan University 201 Mullica Hill Road • Glassboro, New Jersey 08028 9:00 - 12:00 pm (snow date April 10th @ Bergen County Academies – 9:00 - 12:00 pm) Performance April 16th @ TCNJ (no snow date) arrive at 2:00 pm for warm up/running ensemble performance 3:00 pm student showcase 3:30 pm guest artist 4:00 pm Audition Fee for NJMEA : $10 (non-refund) see form in this issue of TEMPO Participation Fee (if selected): $50 and receive 5 tickets for concert Personnel: Michael Lemma, Conductor Bergen Academy NJMEA Guitar Festival Directors: Keith Calmes & Thomas Amoriello I would like to thank the current past-president Joe Jacobs for his support of NJMEA guitar activities during the past two years and I look forward to working with William McDevitt.

Please feel free to share any classroom guitar news with tamoriel@frsd.k12.nj.us

continued on page 18

TEMPO 16

OCTOBER 2015

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OCTOBER 2015

17 TEMPO

& News From Our Division Chairs NJ Association For Jazz Education Mike Anzuini 609-631-4150 x3412 manzuini.njaje@gmail.com

Welcome back to another great school year! It is my pleasure to be taking over the reins of NJAJE. I would like to thank David Thomas May of Burlington City High School for his service as President over the past two years. Under his leadership, we continued our efforts to promote Jazz Education throughout the State of New Jersey. While David transitions to his new role as Past-President, the NJAJE Board of Directors bids a fond farewell to Jeffrey Kunkel of Montclair State University. Jeffrey served on the Board of Directors for 15 years, most notably as President (4 terms!), and we thank him for his service. In addition, our long time All-State Jazz Ensemble Manager, Brian Height of Overbrook High School, has stepped down. Brian has served as Manager for 14 years and we thank him for his time and talents.

There are many exciting activities happening this fall. Our All-State Jazz Ensemble and Honors Jazz Choir are currently rehearsing in preparation for a set of November performances. Trombonist Conrad Herwig and Vocal Jazz Musician Kerry Marsh lead each ensemble respectively. If you are traveling to Atlantic City for the NJEA convention, stop in the Claridge Hotel Theater on Thursday evening November 5 or travel to NJPAC of Friday November 13 to hear New Jersey’s finest student musicians under the direction of these world class Jazz Educators!

Our Vice-President, Jeffrey Haas, is hard at work planning the 11th Annual New Jersey State Jazz Conference on Friday November 13, 2015 at the Lucent Center of NJPAC. This year we are once again offering separate tracks for instrumentalists and vocalists. Saxophonist Jim Snidero will be leading the instrumental track, while Kerry Marsh will be leading the vocal track. Participation in this fantastic workshop is included with your membership.

Have you filled out your NJAJE membership application? By visiting our newly designed website, www.njaje.org, you can fill out our electronic application. Now included in your membership is a year’s subscription to Downbeat Magazine! As always, we are here as a resource for you. Please do not hesitate to contact myself or any member of the NJAJE Board.

Orchestra Performance Susan Meuse 732-613-6890 susanmeuse@gmail.com

Here we are in another school! The All-State Orchestra is currently preparing for the upcoming concerts in November. Helen Cha-Pyo is working with these talented students to prepare an exciting program, so we hope to see you in Atlantic City or NJPAC! Since the last issue of TEMPO, the All-State Intermediate Orchestra performed a wonderful concert at Community Middle School in Plainsboro. Conductor Patty Gonsky did a fantastic job preparing the talented students to perform a fantastic program. I must also include a big thank you to Penny Martin and Ian Miller for managing the group.

Once again this winter, NJMEA will be sponsoring two orchestra festivals. The dates are set for Friday, January 22nd for junior high/ middle school and Friday, February 5 for high school. Please go to the NJMEA website to apply online which is the preferred method. You can also use the application that may be found in the back of this issue of TEMPO. As you are settling into your new school year, if you are interested in getting involved with the All-State Orchestras or the orchestra festivals, please let me know. We would love to see some new faces!

TEMPO 18

OCTOBER 2015

& News From Our Division Chairs Retired Music Educators Kathleen Spadafino 732-214-1044 kspadEB@aol.com

I would like to introduce myself as your new president for 2015-2017. My name is Kathy Spadafino, and I am honored to serve as your representative with NJMEA! Although we are retired from everyday school life, many of us are still active. It’s difficult to stop what we have been doing most of our lives. Many of us still perform in bands and choruses, direct community groups, work or volunteer in churches, and work at the college level. “I don’t know how I had time for work!” is a line I often hear.

Our executive board has two meetings during the year, where we plan speakers for the general membership meetings at the NJMEA conference in February and in May. Our current board members are Frank Hughes (president-elect), Beverly Robinovitz (secretary), Dorian Parreott (treasurer), Paul Oster, Ron Dolce, and Joyce Richardson-Melech. We also form a Master Music Teacher Committee that evaluates applications sent in in the winter. We observed teachers in April and the winner(s) will be announced in the January 2016 issue of TEMPO. Please take the time to reflect on the many brilliant teachers you have worked with over the years and nominate them for the 2017 Master Music Teacher. The form will be in the January TEMPO – the deadline is March 15, 2016. Give yourself a reminder so you have yours in by the deadline.

Our most recent General Membership meeting was held on May 13, 2015 at the home of Frank Hughes. Our guest speaker was Mike Bonaduce from Adventure Travel in Red Bank, NJ. You all should have received a letter from me in July detailing a trip to northern Italy in September 2016. Mike has promised to add in some extra musical performances and activities for our group. We need at least 20 people to make this happen, and I am hopeful that by the time you are reading this that the trip is a reality. It may not be too late though! Please email me for further information at KSpadEB@aol.com.

I also sent out a letter inviting all of you (including the new retirees!) to our first Board meeting on October 7. I enjoyed meeting you! In case you couldn’t make that meeting, our next General Membership Meeting will be at the NJMEA convention on Friday, February 19, 2016. Please join us!

Meanwhile, enjoy your busy life of retirement!

Special Learners Maureen Butler 973-299-0166 mbutler@mlschools.org

I am thrilled that I have been asked to be a part of the current NJMEA Board of Directors, representing the needs of special learners.

Music teachers are seeing an increasing number of these students, both in inclusion situations and in self-contained classes.

Among the many and diverse workshops offered at the NJMEA Summer Session in August, four workshops focused on students with special needs. Music teachers participated in classes about movement activities for special learners, sign language in music class, students with autism spectrum disorder, and students with behavioral disorders. Participants agreed that it is vital to learn how to adapt and modify our curriculum to give all of our students successful opportunities in music.

I hope that we can continue to offer more opportunities for music teachers around the state to network, support each other, and grow in our abilities to better understand and teach our special learners.

If you have questions or concerns about the students that you teach, or if you have a specific topic you’d like to see addressed either in TEMPO or at the February convention, please contact me at the email listed above. continued on page 20

OCTOBER 2015

19 TEMPO

& News From Our Division Chairs Summer Workshop Joe Akinskas JoeA_NJMEA@comcast.net Summer Workshop Coordinator

NJMEA Summer Workshop VIII August 4, 2015 The eighth annual summer workshop was held on the delightful campus of The College of New Jersey in Ewing, in the Arts and Instructional Media building. As in past years, the workshop addressed six Music Education content areas that included: Choral Music, Instrumental Music, Technology Applications, Classroom Music Techniques and Strategies, Special Education implications in Music Instruction, and an SGO support and triage room staffed by Tom Maliszewski and Nick Santoro.

Additionally, a roster of Special Topic presentations included hands-on instrument repair techniques by our resident repair specialist Dave Kaplan; Sound System setup and manipulation sessions presented by Mat Gendreau and Stephen Bishop; the day ended with our grand wrapup coffee and dessert reception, sponsored by Ron Beaudoin for NEMC, with the phenomenal Rachel’s Raffle.

Our cozy lunch in the Social Science Atrium was highlighted by an entertaining and inspiring presentation by Peter Boonshaft, thanks to the sponsorship of Dave Kaplan and Music and Arts.

The workshop participants included 90+ music educators from across the State, along with a roster of 20+ clinicians namely: Barbara Weiner, Kathy Spadafino,, Beth Moore (accompanist), Sue Kaczor, Michele Moore, Eileen Gerardino, Andrew Lesser, Nick and Barb Santoro, Beth Maliszewski, Christina Restine, Chris Colaneri, Betsy Maliszewski, Rachel Klott, Marj LoPresti, Rick Dammers, Robin Hodson, Dan Schultz, Maureen Butler, Lucia Marone, Shawna Longo and Kurt Zimmerman, Greg Roman from Quaver Music, and Peter Nicolle.

Commendations and thanks are in order for the members of the summer workshop committee, who for all eight years, have shared the workshop vision and commitment to the benefit of their statewide colleagues. The committee members include: Maureen Butler, Joe Cantaffa, Rick Dammers, Rachel Klott, Shawna Longo, Betsy Maliszewski, Susan Mark, and Nick Santoro.

Likewise, I must publicly thank several members of the TCNJ Music Department, and Event staff, who were wonderful hosts. They include: Phyllis Rush, Richard Kroth, and Mark Kalinowski.

The entire workshop program, along with pictures from this year’s event, can be found on the conference-workshop link at NJMEA.org.

Workshop Nine is tentatively scheduled for August 2, 2016. Additional information will be posted in the January edition of TEMPO. Reserve the date now!

TEMPO 20

OCTOBER 2015

& News From Our Division Chairs Technology

Marjorie LoPresti 732-613-6969 mlopresti@ebnet.org

Thank you to all of the amazing presenters at the NJMEA Workshop VIII held at TCNJ on August 4th. Did you miss out on this relaxed day of learning and connecting? Feel free to reach out to the presenters if you have a question or a particular area of interest. Dan Schultz led the way with ways to streamline your workflow with Google Apps. Shawna Longo and Kurt Zimmerman added tech to general music classes.

MusicFirst shared cloud-based music solutions. Rick Dammers led the iBand Jam in the morning, then provided great resources on adaptive technology for special learners later in the day.

Rachel Michel deserves special commendation for facilitating a virtual Music Tech Sandbox with a huge compilation of web resources and apps for music educators in every specialization. is tremendous resource is now available online for all NJMEA members under the Technology link at njmea.org.

If you teach with technology, and your students compose and arrange, plan to attend the 6th Annual NJ Student Music Tech Expo.

This is a student-centered event featuring exhibits of adjudicated student works as well as hands-on workshops and performances. Mark your calendar now: Expo North will be held on Monday, May 16, 2016 at Rutgers, and the Expo South will be on Thursday, May 19, 2016 at Rowan. Registration details will be announced in February.

Do you use technology?

Please share your expertise! It’s not too late to submit a proposal for a session at the NJMEA conference in FebNAfME Broader Minded Print Ad 7 x 4.875’’ trim (built with 1/8’’ bleed) ruary. You don’t have to know everything about a topic to present a session. Share what you do in your classes that works with your students.

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It’s time for everyone to start thinking beyond the bubbles.™ We know music helps educate the whole student.

But now we need you to help us spread the word.

The true mission of education lies in shaping the students behind the scores, and “bubble tests” can measure only so much.

Visit broaderminded.com now to get started.

– Learn what to say and how to share it – Watch the broader minded video – Share your own story – Join the broader minded movement and receive advocacy updates – Order broader minded resources 800-336-3768 www.nafme.org

OCTOBER 2015

21 TEMPO

Reinventing The Wheels On The Bus: Music Improvisation With Young Children Abby Connors Early Childhood Music Specialist Connors419@aol.com

S

everal years ago, I was presenting a workshop on rhythm instrument activities to a group of elementary music teachers. It was going well, the participants seemed interested and engaged and were good sports about trying out the silly activities I’ve created for young children. There was one activity, though, which gave them a lot of trouble. It was a memory game where we each had a pair of rhythm sticks. One by one, each person in the circle had to play a different way. We’d copy them and then play all the different ways the previous people had played, in backwards order.

Remembering the different ways people had played was no problem for the grownup participants. In fact, it was downright easypeasy, because the first person had tapped the floor with the sticks; the second had tapped her feet; the third, his knees, and so on. I was amazed, amused and kind of appalled. Compared to the children I teach, all of whom are under seven years old, these people had no imagination whatsoever!

Well, how many things can you do with rhythm sticks? Sticks are sticks, right?

Wrong!

Over the twenty years I’ve been working with children, I’ve discovered that sticks can be paintbrushes, windshield wipers, stirring spoons, gearshifts, anteater snouts (yep!), skis, ski poles, rolling pins, walking canes, T’s, X’s and V’s (and more letters if children use more than one set of sticks), hot dogs, and seesaws – and more. I’ve seen them tap, scrape, walk, run, jump, fly, slide, turn upside down, and move in literally countless ways.

Young children are overflowing with creative ideas. They haven’t yet learned which kinds of responses are “correct” or “appropriate,” so their thinking is much more fluid and open than that of adults.

Their energy, curiosity and eagerness to express themselves make them highly original thinkers. Our job is to encourage them, to respect their ideas, and give them plenty of opportunities to express and develop their creativity. If teachers and schools did more to nurture children’s creative thinking, perhaps these children, far from losing their creativity as adults, would actually grow to become even more creative!

One way to develop children’s creative thinking skills is through improvisational music activities, particularly those involving rhythm instruments and creative movement.

Young children are constantly improvising, and it helps them learn in all kinds of ways.

1. Improvisation helps children integrate concepts and make them their own.

They may hear the word “wiggly,” and even watch something wiggly, but if they move an instrument like a wiggly worm, they understand the concept in a more meaningful way.

2. Improvisation helps children practice creative thinking skills by putting two or more ideas together to create something new, for instance playing a drum (one idea) as quietly as a mouse (another idea).

3. When young children improvise, they’re instantly involved and engaged in a learning task, whether improvising a way to keep the beat of a song, or improvising a new way to create sound with an instrument.

4.

Through improvisation, children create their own learning, rather than passively receiving information.

For instance, when improvising with musical instruments, children construct their own knowledge of the sound of the instrument, its physical

TEMPO 22

properties, and their own capabilities to make sounds with the instrument in various ways.

5. Improvisation reinforces to children the idea that learning is fun and gratifying in itself.

6. Improvisation builds young children’s confidence in their ability to share ideas with a group. This confidence is vital to cooperative learning and to school success in general.

7. Improvisational activities give children practice in respecting and appreciating others’ work. In my experience, children are tremendously interested in observing and listening to their classmates’ ideas.

8. Improvisational activities help a group of children bond as they create a joyful, beautiful or funny experience together.

9. Individual students’ improvisations can help teachers to identify students’ strengths and weaknesses in order to plan meaningful individualized instruction. We can often observe a student’s abilities and strengths through improvisations that we would not have been able to learn through more formal learning activities.

10. Improvisation helps children to see themselves as proactive learners and creative thinkers.

I’ve shared hundreds of ideas for music improvisation activities for young children, in my books and on my website, musicforyoungchildren.wordpress.com. Here are a couple from my new book, “Shake, Rattle and Roll: Rhythm Activities and More for Active Learning” (Gryphon House, 2015).

My Friend Shaky (Shakers) Making up silly names adds to the fun as children think of new ways to play the shakers.

OCTOBER 2015

Shake your shaker to the beat and sing to the tune of “Glory, Glory, Hallelujah”:

My friend Shaky likes to shaky, shaky,shake,

My friend Shaky likes to shaky, shaky, shake,

My friend Shaky likes to shaky, shaky, shake,

That’s why I call him Shaky!

Additional verses:

My friend Jumpy…

(Hold shaker by stem on the floor and make it “jump”

My friend Rubby…

(Rub shaker along arm)

My friend Tappy…

(Gently tap shaker on shoe or knee) Then ask the children for more silly friends!

Please Clap Your Hands (Movement) In this activity children can come up with their own ideas for movements. The ASL sign for “please” is made by using your open hand to rub in a circle over your heart. The sign for “thank you” is made by moving your hand out and down, starting near your mouth as though beginning to blow a kiss.

Children may be sitting or standing. Sing to the tune of “Frere Jacques”:

Please clap your hands,

(Make the sign for “please,” then clap)

Please clap your hands,

Clap, clap, clap, Clap, clap, clap,

Thank you all for clapping,

(Make sign for “thank you,” then clap)

Thank you all for clapping,

Clap, clap, clap, Clap, clap, clap.

Additional verses:

Please pat your knees…

Please nod your head…

Then have children suggest additional movements.

Helping children make their own music may be the most important part of music education, and easy improvisation activities like these are a fun first step for young learners.

&

NJMEA Music Ad_ 7.5 x 5 4C Aug 2015_Layout 1 7/29/2015 10:23 AM Page 1

PROGRAMS B.A. in Music B.S. in Music Education (Grades K-12) B.S. in Music Industry Minor in Jazz Performance (for music majors only)

Minor in Liturgical Music (for music majors only)

Minors in Music, Music Technology or Music Business (for non-music majors)

To schedule an audition, you may register online at www.strose.edu/visit or call the Admissions Office at (518) 454-5150.

The Saint Rose Music Department is accredited by the National Association of Schools of Music (NASM).

OCTOBER 2015

23 TEMPO

What To Do With All Those Saxophones?

Using Small Ensembles To Educate The Abundance Of Young Saxophonists In Public School Jordan P. Smith Georgian Court University Youth Orchestra of Central Jersey jsmith.saxophone@gmail.com

A

recent conversation at the end of the 2014-15 school year with a middle school band colleague revealed some startling news: he had 30 incoming saxophonists joining his 6th grade band the following year. Across the state of New Jersey the saxophone is one of the most popular starting instruments in elementary school, giving many other directors at all grade levels a similar problem: what to do with all those saxophones?

When I was in 4th grade, I knew right away which instrument I wanted to play.

Despite my director pushing me to be a clarinet player, I chose the saxophone. There are many theories explaining why young students seem so drawn to the instrument, but certainly the prominence of the saxophone in Jazz and pop culture, in addition to the unique sound quality each student can attain quickly leads students to choose the instrument. In addition, I’ve always said that the saxophone is one of the easiest instruments to produce any sound (good or bad), and that early accessibility gives the instrument staying power. Many educators wonder how they can not only deal with a huge influx of saxophonists, but how they can develop them into strong and sensitive musicians, well-versed in a multitude of musical styles and performance techniques.

The answer is chamber music.

As a performer, I have always felt that my chamber music experiences are the most valuable not only from a performance standpoint, but also pedagogically.

As an undergraduate at The College of New Jersey, I participated in both a saxophone quartet and saxophone quintet. Sub-

sequently, during my masters in saxophone performance at Manhattan School of Music, I continued to perform in a quartet, but also performed chamber music with violin, viola, cello, voice, and more. While completing my doctoral studies at Rutgers University, I had the exciting opportunity to work with Paul Cohen in a saxophone ensemble setting, a group which consisted of sopranino through contrabass saxophone!

These academic experiences heavily influenced my educational outlook as a saxophonist and led me to establish a saxophone ensemble program at French Woods for the Performing Arts in Hancock, NY. A few years later in 2010 I accepted the position of Saxophone Ensemble and Saxophone Choir director at Youth Orchestra of Central Jersey (yocj.org), a program located in West Windsor-Plainsboro, NJ for students in 6-12th grade that now supports over 30 saxophonists a year.

The idea behind saxophone ensembles is not a new phenomenon. Adolphe Sax, the inventor of the saxophone, was a strong proponent of creating and supporting families of like instruments. The saxophone patent from 1846 illustrates and describes a complete family of saxophones. Two years earlier in 1844, the first saxophone ensemble piece, Sextuor, was composed by Sax’s good friend, Georges Kastner. Throughout the nineteenth century, there was a small but steady flow of works for saxophone ensembles. Jérôme Savari wrote a sextet, septet, and octet in the 1860s and American composer Caryl Florio wrote a quartet in 1876, along with other quartet and quintet works by composers like Jean-Baptiste

TEMPO 24

Singelée, Emile Jonas, and Louis Mayeur.

The twentieth century saw an explosion of works for saxophone quartet by the likes of Alexander Glazunov, Philip Glass, and Eugene Bozza, among others. Building upon this success, the great saxophonist Sigurd Rascher worked hard to revive the idea and concept of the large saxophone ensemble in the mid-20th century. As a result, many colleges and universities such as the Eastman School of Music, Boston University, University of Miami, University of Southern Mississippi, and Rutgers University have thriving saxophone ensemble programs today. The growth of these ensembles has led to the collaboration and creation of a vast number of high quality works for all skill levels and in all musical styles in the last 50-60 years. With some careful planning, these works can be used to augment a band program in middle school or high school, provide an outlet for the vast number of saxophonists in that program, and help those saxophonists grow into mature and worldly musicians.

The first aspect to consider as a director is the instrumentation available. Many middle schools and high schools will have a plethora of alto saxophone players, a fair number of tenor players, and a few baritone players. Depending on student interest in the ensemble, doubling will be necessary and in many cases, is encouraged. If no soprano saxophone is available, a good setup to start with is four altos, two tenors, and one baritone (AAAATTB). This same configuration could acoustically handle 2-3 more altos if necessary, although any additional higher voices would necessitate OCTOBER 2015

adding an additional baritone or tenor to balance. A program that owns a soprano saxophone can add a soprano onto this configuration, creating a well-balanced group: SAAAATTB. One soprano player can typically be supported unless the group gets larger than 13 or 14 total players; after that, a second player could be added if possible.

To create a rich and balanced sound with good tuning, the two most important keys to success with a large group of saxophone players are mouthpiece and reed choice. While purchasing a better saxophone certainly improves intonation, ergonomics, and shadings of tone quality, a high quality mouthpiece with an appropriate reed choice will give a young player far more immediate and tangible results. This can also be an affordable option for students as opposed to purchasing a brand new instrument.

While there are many schools of thought on mouthpiece choice within the saxophone community, for classical music (orchestral, band, chamber, and solo), there are several recommended mouthpieces: Vandoren Optimum AL3, Caravan Large Chamber, Selmer C*, and Rousseau NC4 (models listed are for alto saxophone; tenor and baritone saxophone models may have slightly different names). The Vandoren model is perhaps the most balanced sound for a young student.

The Caravan tends towards a darker tone quality and the Selmer and Rousseau produce a brighter tone quality. Younger students will do well pairing these mouthpieces with Vandoren Traditional 2½ reeds. As they progress, moving up to a strength 3 reed is important. As a director, find the mouthpiece you feel works best and over time encourage your students to all purchase the same or similar mouthpiece. This will quickly give your saxophone section a uniform and controlled sound. The next step is to choose repertoire for the ensemble.

Smaller ensembles (especially those without a soprano) should consider starting with saxophone quartet works and doubling parts when necessary. Several quality starting quartets for an AATB ensemble include the separately written Nocturne, Serenade, and Scherzo by Frank Erickson, which can be performed by themselves or as a three movement suite (one may need to consult a local collegiate library for this work). Additionally, the “Adagio” from Adagio and Scherzo

by John Worley is appropriate for a younger

OCTOBER 2015

Music without

bounds.

Bucknell Music Students had Amazing Opportunities in 2015.

Music Education Research in Australia Studying Music in Bali with the Gamelan Working Closely with Artists on a World Class Jazz Series Debuting the Electro-Acoustic Ensemble World Premiere by the Bucknell Opera Theater

So Can You. bachelor of arts with concentrations in: Performance | Contemporary Composition | Critical/Cultural bachelor of music in: Music Education | Vocal

Studies

Performance

BucknellUniversityDepartmentOfMusic

ensemble and can be performed with an AATB or SATB scoring, published by Ethos 2015_TEMPO_AD_AUG_1.indd 1 Music (ethospublications.com). Quartet works appropriate for a talented middle school or early high school ensemble could include the Suite by Lawson Lunde (SATB or AATB), Foursome Quartet by Everett Gates (AATB), or the Quartet by Richard Lane (SATB). All are published by To the Fore Publishers (totheforepublishers.com).

Additionally, the Three Folk Dances by Bela Bartok (arr. Gordon) work well as an early AATB transcription, published by Southern Music Company. AATB ensembles that are more advanced would be musically and technically challenged by exploring Henry Cowell’s Sailor’s Hornpipe, a delightful and tonal work reminiscent of English folksong, published by Peermusic Classical. Walter Hartley’s Quartettino (AATB) provides a more modern-sounding piece that could still function well with a less advanced ensemble and is published by Ethos Music.

Smaller high school-level ensembles would benefit greatly from exploring more ad-

@BucknellMusic

bucknell.edu/music

vanced saxophone quartets by Glazunov, Florio, Bozza, and Singelée, among oth7/30/15 3:22 PM ers. Directors could transcribe the soprano part into an alternate alto saxophone part if need be for groups with no soprano player.

A larger list of additional AATB quartets ranging from holiday favorites and classical transcriptions, to newer original works can be found and ordered at Dorn Publications: (dornpub.com/ken/saxaatb.html).

As the saxophone ensemble starts to grow, finding high quality works becomes easier for the director. Three SAATB works

by Percy Grainger: Irish Tune from County Derry, Shepherd’s Hey, and Spoon River (all published by To the Fore Publishers) provide the players with charming folk melodies and lush textures. Other high quality original and arranged works include Intrada by Ron Caravan for SAATTB with a baritone II substitute for the bass saxophone part, Concertino by Brian Israel for SAATTB (optional bass), Portals by Carl Anton Wirth for SAATTB (optional bass), and Dance Suite

by John Dowland for SAATB (arr. Worley),

25 TEMPO

all published by Ethos Music. An interesting historical nineteenth century work to consider is Louis Mayeur’s Prelude for SAATB (pub.

Henry Lemoine). A larger work without bass saxophone is William Schmidt’s Four Early American Spirituals for SAAATTB (pub. Western International Music). As the size of the ensemble expands, directors may want to consider taking saxophone ensemble pieces that include bass, and transcribing the bass part for a second (or third baritone player). Excellent high school level works include One-Step

by John Phillip Sousa (SAATTBBs), A Lincolnshire Whimsy by Clarence Barber (SSAATTBBs) or the historical work that started it all, Sextuor (SSAATBBs). There are also a wealth of transcriptions and arrangements of orchestral, organ, and piano works for all sizes of sax ensembles, including ambitious scorings with sopranino and bass saxophone, percussion, and more.

The listing of above works is not meant to be exhaustive of the wealth of pieces that exist for saxophone ensembles of all sizes, but rather a starting point for those new to the idea of creating a

saxophone ensemble from their existing band program. Whether the group exists as something more informal, or a serious after-school weekly activity, saxophonists will gain significant musical knowledge through the spirited work of performing chamber music together.

Performing in a small ensemble can help students who need an extra challenge to have an additional outlet for their creativity, and it may inspire students who are lagging behind to have a strong aspirational goal. If you’re looking for a way to engage and challenge next year’s mass of young saxophonists in your band program, consider creating a saxophone ensemble program as an innovative way to give them an unforgettable performance and learning experience.

&

The Monmouth Symphony Orchestra in our 67th Season announces our 22nd Annual

Goldwasser Young Artist Concerto Competition Our first prize winner will perform their complete chosen concerto with the MSO in concert the following season ♪

Open to all students throughout the State of New Jersey not yet graduated from High School

♪

String, Woodwind, and Brass players are eligible*

♪

Monetary prizes will be awarded

♪

Application and recording due December 14, 2015

♪

Attend our first concert Saturday eve, NOV 7 at the Count Basie Theatre, Red Bank: Student tickets only $5. Music of Grieg, R. Strauss, Rachmaninoff. Soloist Victoria Cannizzo, Soprano

♪

Check our website www.monmouthsymphony.org for an application and full details

* Because of limitations at our venue, we cannot accept applicants competing on piano this year

TEMPO 26

OCTOBER 2015

You can rent the instrument, but you own the memories.

RENTAL

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WE ARE PERFORMERS, EDUCATORS & ENTREPRENEURS DEPARTMENT OF MUSIC AT MILLERSVILLE UNIVERSITY OF PENNSYLVANIA

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TEMPO 28 OCTOBER 2015 Millersville University is an Equal Opportunity/Affirmative Action institution. A member of the Pennsylvania State System of Higher Education. 6145A-MUSI-0715-CM

OCTOBER 2015

29 TEMPO

A Recap And A Look Forward Nicole Olearchik Collegiate Chapters President olearchn@kean.edu

bers and music educators. Whether the workshop was on advocacy, what makes a good music teacher, or the different career paths music has for you, the presenter was informative and had one goal: to continue the spread and development of music education.

With the start of a new school year, it is time to welcome in a new collegiate state board. Before we can introduce the new members we must first look back and thank the previous years board.

Thank you to Becky, Ken, Lee and especially past President Mary for their hard work and dedication to our fellow collegiates.

Now introducing the new collegiate state board: Alexis Rodriguez from Rowan University as Vice President/President-elect; Nick Mossa from Montclair University as Secretary; Eddie Easse from The College of New Jersey as Treasurer; and Ken Barry from Montclair University as Social Media Coordinator.

I

n June, six collegiate took the journey to Washington D.C. to attend the National Association for Music Education’s Capitol Hill Day. Collegiate across the country traveled to attend the day and contributed their voices to advocate for music education. Capitol Hill Day consisted of a congressional debriefing, meetings with congressional offices, workshops and a night tour of Washington D.C.. While attending the congressional meetings, the NJMEA collegiate got a chance to attend meetings with five NJMEA board members. During the congressional meetings, the staff members received our information well and most agreed that music education needed to stay a part of a students education.

The main focus of Capitol Hill Day this year was a bill being proposed in the Senate house that was a reauthorization of No Child Left Behind. The new bill named the Every Child Achieves Act, is a nonpartisan agreement made and finally passed through the Senate house in July. Included in this bill is music written as a core subject.

This would ensure that schools would require students to have music in their education.

After our March On The Hill, all participants of Hill Day attended a dinner to celebrate the accomplishments of states, individuals and San Fermin. San Fermin is an indie band based out of Brooklyn, New York with all trained musicians, composer or music educator. The band received the “Stand for Music Award” for their work supporting music education and sharing the importance of music in schools. After accepting their award, we attended a concert that showcased the band and their music.

The collegiate attended a day full of workshops and performances from various performing groups from the Army. The workshops were given by NAfME staff members, NAfME board memTEMPO 30

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OCTOBER 2015

The Caroline L. Guarini Department of

Music, Dance and Theatre The Caroline L. Guarini Department of Music, Dance and Theatre is an accredited institutional member of the National Association of Schools of Music (NASM) and a collegiate member of The National Association for Music Education (NAfME).

Degree Programs

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Min Kim, D.M.A. Chair The Caroline L. Guarini Department of Music, Dance and Theatre (201) 200-2025 mkim@njcu.edu

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31 TEMPO

Rhythmic Counting Systems Jacques Rizzo Retired Jbrizzo@optonline.net

O

ne of the keys to becoming an “independent” musician is developing the ability to read rhythm patterns. Rather than “independent,” a better term might be “un-dependent.” That is, not dependent upon a teacher or someone else to sing the music or play a recorded version first. Through the years, counting systems have been the primary tool used to help students develop rhythmic independence in both vocal and instrumental music classes.

Teachers often adopt the counting system found in the general music series or instrumental method books they use. (And this may be one of the reasons they have chosen that particular series or method book.)

Factors To Consider In Comparing Systems • Are numbers or syllables used to count the beats?

• How are rests counted? Should they be counted aloud?

• How are notes with durations longer than one beat counted? Are tied notes and syncopations counted in the same manner?

• Should the same syllables be used for simple subdivision (8th notes in 2/4) and compound subdivision (8th notes in fast 6/8)?

• How are subdivisions of the beat in four parts (16th notes in 2/4 time) counted?

• How are compound beats in simple meter (triplets) counted? And, although less often encountered, how are simple beats (duplets) in compound meter counted?

• How are superimposed meters (quarter note triplets in 4/4 time) counted?

• In more advanced repertoire, how are subdivisions of the beat into five parts, seven parts, etc. counted?

Review Of Common Counting Systems Traditional instrumental music counting systems count each beat of the measure, whether it is a note or a rest. Beats that are subdivided into two parts are counted “1 and” which is sometimes written “1 &.” Beats that are subdivided into four parts are counted “1 e and a” or “1 e & a,” with the “a” pronounced “uh.” See example 1. One weakness in this system is that the count for sustained notes does not match the sustained sound of the music. See example 1.

1

Some systems count a subdivided beat at all times. A four-quarter measure with a whole note would be counted “1 & 2 & 3 & 4 &.”

The foot tap in this system is thought of as an even down-up; i.e., down on the numbers and up on the “and.” The premise of this system is that, by subdividing the beat, a steadier tempo is maintained and the student is less inclined to “rush” the tempo. And this is probably true.

But if students tap an even up-down in simple meters (2/4. 3/4, 4/4), how would the foot be tapped in compound meters (3/8 in one, 6/8 in two, etc.)? As with the traditional system in the above paragraph, the count for sustained notes does not match the sustained sound of that note. See example 2.

The Kodaly system (tah, ti-ti) is used by many vocal music teachers. Some elementary instrumental music teachers also adopt this system, the advantage being that students have already internalized the counting system in their general music classes. This system, although satisfactory for teaching rhythmic independence to elementary students, does not address more advanced rhythm patterns found at the secondary school level. In this regard, chanting “Mississippi” for sixteenth notes, “blueberry” for triplets, etc., although effective in particular instances, also does not lend itself to a comprehensive counting system.

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OCTOBER 2015

There are two schools of thought on counting beats that are subdivided into three parts as occurs in 3/8, 6/8/, 9/8, and 12/8 time signatures when the dotted quarter note is given one beat (or in 3/4 time when the dotted half note receives one beat). The first adapts the traditional system used for duple subdivision of the beat by adding another “and” for the third part of the beat, counting “1 & & 2 & &” for a measure of eighth notes in 6/8 time. Subdivision of all three eighth notes into sixteenth notes might be counted “1 e & a & a”, or “1 a & a & a”. See example 3.

The second advocates using different syllables to count subdivision in three than those used in two. Thus, if beats subdivided in two use “and” to represent the second part of the beat (1 and), beats subdivided in three parts would use a different syllable (1 ta ta 2 ta ta). Some of these systems use different syllables for the second and third parts of the subdivided beat (1 la lee 2 la lee). This makes sense as it allows different syllables for an eighth note-quarter note rhythm pattern (1 la) and a quarter note-eighth note rhythm (1 lee) . See example 4.

The “breath impulse” system developed in the Norman, Oklahoma schools has been used with beginning and early intermediate students 2 to help them “feel” the beat. Sudden rhythmic contractions of the diaphragm provide the “impulse,” similar to a panting dog. See example 5.

3

Ed Sueta has developed a similar system that uses syllables to count notes (although he advocates teaching both a syllable system and a number system simultaneously). See example 6.

4

Allen Irvine McHose and Ruth Northrup Tibbs have a comprehensive system of counting rhythm in their “Sight-Singing Manual.” The advantage of this system (and Sueta’s) is that, when students sing or chant their parts, the rhythms they articulate are the same as the music, that is, no extra beats are enunciated. See examples 7 (McHose/Tibbs) and 6 (Sueta).

Conclusions Some systematic approach to reading rhythm is essential if students are to become fluent readers. A comprehensive system of counting should address all the questions posed at the beginning of this article.

In many school districts, elementary school students learn one counting system in vocal music classes and another in band classes (and perhaps a third system in orchestra classes). As students advance to middle and high school, additional systems may be introduced. If all the music teachers in a school district agreed to use the same system of counting, the reinforcement of rhythmic reading brought about by this would certainly promote greater student competency and avoid the relearning that arises when students use a variety of systems.

There are two systems in which the rhythms articulated are the same as the music. The McHose/Tibbs system, which covers all rhythmic patterns from the simplest to the most advanced, is suitable for both vocal and instrumental music. The Sueta system, which cover all but the 5 most advanced rhythms, is also suitable (provided rests are not counted aloud). Charts illustrating the McHose/Tibbs and Sueta systems are appended. continued on next page OCTOBER 2015

33 TEMPO

References 1

Sandy Feldstein and John O’Reilly, Alfred’s Basic Band Method. Alfred Publishing Co., Inc., 1978.

The ASBDA Curriculum Guide. Volkwein Bros., Inc., 1973. Pp. 84-86.

3 Ed Sueta, Rhythm Vocabulary Charts, Books 1 and 2. Macie Publishing Company, 1986. Sueta Rhythm Syllables excerpted from Book 2, p. 3.

4 Allen Irvine McHose and Ruth Northrup Tibbs, Sight-Singing Manual, F. S. Crofts & Co., 1947 5 The two McHose/Tibbs charts were prepared by the author from various exercises in their book.

2

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OCTOBER 2015

McHose/Tibbs Rhythmic Syllables Simple Rhythms

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* The authors state "Occasionally the time duration of an established simple meter may have another simple meter superimposed upon it. This is in reality a 3/4 meter in the same time duration as that of the 2/4 meter. The rhythmic syllables. . . should be those used for 3/4."

McHose/Tibbs Rhythmic Syllables Compound Rhythms 1

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1

OCTOBER 2015

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20 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 35 TEMPO 1 la lee 2 ta ta ta la ta ta ta lee ta ta ta

Influential Guitarists: Part 2 Thomas Amoriello Flemington Raritan School District tamoriel@frsd.k12.nj.us

T

his guitar education article is a continuation of the article Influential Guitarists first published in the January 2012 issue of TEMPO. Here is a listing of 100 additional guitarists to share with your students via iTunes or YouTube. Though the first listing in 2012 had many well-known names, these listings are more obscure that only die-hard guitar fanatics may be familiar with. These players could have easily made the first list but I had a funny feeling there was going to be a part 2. As a collector of vinyl, compact discs, cassettes and digital downloads, I needed to look no further than my living room to complete the listing. Though we currently live in a world of alternately tuned, capoed, steel string acoustic guitar strumming, there are still “guitar heroes” on the fringe of the music industry. What makes a guitar hero?

It is more than a pair of sunglasses, tattoos or a stack of Marshall amplifiers! Many of these artists have unique approaches to the instrument that revolutionized the genre. In the pop music world, ultimately the writer of the catchy tune that relates and makes a connection to a broader demographic will win over larger audiences but there are still many who have love for the undiluted sound of a six string.

Classical: Tilman Hoppstock, Stephan Rak, Lorenzo Micheli, Carlos Barbosa-Lima, Eduardo Fernandez, Scott Tennant, Ricardo Cobo, Fabio Zanon, David Starobin, Cristiano Porqueddu & Frederick Zigante Jazz: Mimi Fox, Jimmy Bruno, Kevin Eubanks, Charlie Byrd, Bucky Pizzarelli, Phil Upchurch, Laurindo Almedia, Jim Hall, Larry Carlton, Baden Powell, Larry Coryell, Kevin Eubanks, John Pizzarelli,

Tuck Andress, Kenny Burrell, Grant Green, Barney Kessell & Freddie Green Blues: Lonnie Mack, Eric Gales, TModel Ford, Derek Trucks, Earl Hooker, Peter Green, Ry Cooder, Johnny Winter, Michael Bloomfield, Clarence “Gatemouth” Brown, Blind Willie Johnson, Elmore James, Huddie “Lead Belly” Ledbetter, Charlie Patton & Lightnin’ Hopkins

Adrian Legg, Shawn Lane, Vieux Farka Toure, Jorma Kaukonen, Tommy Tedesco, Dave Matthews, Tosin Abasi, Paco Pena, Guthrie Govan, Tommy Emmanuel, Lindsey Buckingham, Alan Holdsworth In the past I have come across many Top 100 musician lists in magazines that are subjectively compiled by non-players of the instrument. I have dedicated the last

What makes a guitar hero? It is more than a pair of sunglasses, tattoos or a stack of Marshall amplifiers!

Rock: Jeff Loomis, Uli Jon Roth, Akira Takasaki, Adrian Belew, Jerry Garcia, Steve Hackett, Brad Gillis, George Lynch, Steve Howe, Alex Masi, Hank Marvin, Ernie Isley, Ted Nugent, Ronni LeTekro, Ron Thall (Bumblefoot), Johnny Marr, Terry Kath, Robert Smith, Eddie Hazel, Tony MacAlpine, Michael Fath, Gus G. John Frusiante, Jake E. Lee & Greg Howe Country: John Jorgeson, James Burton, Joe Maphis, Waylon Jennings, Doc Watson, Glen Campbell, Jimmy Bryant, Carl Perkins, Arlen Roth, Leo Kotke, Albert Lee, Hank Snow, Clarence White, Joe Maphis, Buck Owens Other: Alessandro Allessandroni, St. Vincent, Vittorio Camardese, Wes Borland,

TEMPO 36

30 years of my life practicing, listening, attending concerts, reading interviews and researching everything guitar related and I hope this list is unique and relevant and will benefit the listening interest of your students. Stay tuned for part 3 in a future issue. Enjoy.

Thomas Amoriello currently teaches guitar classes at Reading Fleming Intermediate School in Flemington, NJ where he has introduced the instrument to over 5000 students and counting. He earned his Master of Music in Classical Guitar Performance from Shenandoah Conservatory and Bachelor of Arts in General Music from Rowan University. He resides in Lambertville, NJ. You can learn more about Tom by visiting www.tomamoriello.com

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OCTOBER 2015

Interactive Composition A Book Review

Marjorie LoPresti 732-613-6969 mlopresti@ebnet.org Audio Workstation recording and composing programs (DAW’s), and a non-traditional Session View which is like an improvisation and performance sketchpad.

Live’s Session View is widely used in live performance by DJ’s and in EDM (electronic dance music).

Max for Live is an embedded computer-programming tool that uses the visual programming language Max MSP. Max for Live enables the user greater flexibility to customize instruments, effects, and tools.

I

nteractive Composition, by V.J. Manzo and Will Kuhn, is a complete how-to guide for creating technology-based music in a variety of popular styles. It contains clear, concise instructions, and examples for new users with little or no computer programming experience. This treasure-trove of lessons on creating synthesized music including hip-hop, rock, pop, and dubstep can be applied to other software platforms as well. A remarkable history of synthesizers and notable artists is sprinkled through the text.

Before providing more detail about Interactive Composition, here’s a short primer on Ableton Live and Max for Live: Live is a computer software program that has two modes: a traditional Arrangement View that is much like other Digital OCTOBER 2015

Interactive Composition is a complete guidebook for using Live and Max to create new music. This is a welcome and necessary addition to the music technology library. Expert guides and educators such as Manzo and Kuhn are needed to help teachers and students step up from GarageBand, Mixcraft, FL Studio, and other DAW’s. Early chapters walk the reader step-by-step through Live’s Arrangement View and Session View. For users who are familiar with another DAW like GarageBand, early chapters provide valuable scaffolding. Clear written instructions, screen clips, and a companion website with sample and tutorial files complete the support for new users.

As the text progresses, the authors provide a clear, concise, non-technical chapter on programming with Max. They directly address the issue of, “Why would I want to start programming?” Max provides composers and performers an easy and logical way to create new effects and instruments. Instructions and visuals guide the reader through steps for pro-

gramming, with no prior computer programming experience necessary.

The bulk of Interactive Composition contains complete instructions for creating music in classic electronic styles: how to compose ambient music using synthesis techniques like Brian Eno’s; creating effects like Trent Reznor of Nine Inch Nails; and step-by-step instructions for classic Dubstep wobbles. Each chapter is devoted to a specific style with its own unique effects. Detailed instructions walk the reader through creating and customizing each effect. The files from the companion website provide clear working examples, enabling the reader to move forward with original projects.

Is Interactive Composition for everyone? If you teach music creation with technology, it is a must-have. No music tech lab should be without it, even if the content is beyond the scope of your curriculum. Every teacher has advanced students who are eager to explore and experiment. The beauty of Interactive Composition’s clean writing style, detailed instructions, ample visuals, and companion website make it an ideal resource for lesson planning or for advanced students’ independent study.

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TEMPO 38

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The Problems With Please And Thank You David Newell www.kjos.com

Y

our rehearsal has already us to grant us a favor. The teacher is watching and listening, “Thank started. A student walks absolutely does not mean “Jason, you, Jason, for being such a good in late, and the door please sit down.” That sends the boy and for sitting down like I so doesn’t close behind him. You do not wrong message. It implies that Jason politely asked you to. I appreciate want to disturb the teacher across the has a choice – that the teacher is begit.” Who is in charge here? And once hall, and so you stop the class Jason sits down afand say to the student sitter hearing simply, ting nearest the door, “Chris, “Jason, sit down,” The word please should never be used would you please close the nothing more should by a teacher who is issuing a management door? Thank you.” be said. The power directive.

Simple, short management is where it belongs. directives said quietly and without the word What could possibly be Literally, enough has please, register the most loudly on the student wrong with using the polite been said. brain. terms please and thank you in the above situation? AbsoClassroom manlutely nothing! As a matter of agement is Job #1 fact, it is important that all teachers ging him to please sit down so that in the music room. The music canmodel and insist upon the very best the class can get on with its work. I not start until the management is in in good manners in their classrooms do not believe that it is a coincidence place. Effective classroom manageat all times. It is an unfortunate fact that the word please starts with the ment programs take a lot of thought that some students will only hear letters plea. The word please should and planning, but the simple elimigood manners in school. However, never be used by a teacher who is isnation of the words please and thank there are multiple times everyday in suing a management directive. Simyou from your management vocabuour classrooms when teachers should ple, short management directives laries can give you a “Quick Start” not use these polite and considerate said quietly and without the word pathway to your ultimate goal of exwords, and that is in classroom man- please, register the most loudly on cellent classroom management. agement situations. the student brain. “Jason, sit down.”

The instant the word please escapes a teacher’s lips when issuing a management directive, that teacher has unknowingly placed him or herself in a subservient position. Please is a word that we use when we are asking someone with more power than OCTOBER 2015

The same concept applies to the polite phrase “Thank You.” It implies that a teacher is thanking a student for a favor granted. Once again, it sends the wrong message. It is saying to the student and, unfortunately, to the rest of the class that

This article was previously published in Kjos Band News, Vol. 17.

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New Jersey Young Composers 2015-2016 Competition Andrew Lesser Burlington City Public Schools NJ-YCC Executive Committee andrew.lesser@yahoo.com

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he New Jersey Music Educators Association (NJMEA) is proud to announce the 7th annual New Jersey Young Composers Competition (NJ-YCC). The competition contains two primary divisions: Middle School (Grades 6-8) and High School (Grades 9-12). Students graduating in June 2016 are welcome to enter the competition.

Finalist composers will be invited to attend a critique session to be held in conjunction with the NJMEA February Conference at the East Brunswick Hilton. The composition recordings will be played and the finalists will participate in the critique session. In addition, the winning composer(s) will be announced at that time and awards will be presented. All other participating student composers are welcome to attend. The exact date, time and location will be announced in January 2016.

The deadline for online application submissions is November 27, 2015. Endorsement page and application fees must be postmarked by November 27, 2015. Questions about the competition may be directed to Robert Frampton at: rtframpton@comcast.net.

Recordings of previous finalists’ compositions are currently posted on the NJMEA website. For more information on the NJ-YCC or becoming a member of the NJ-YCC Committee, contact Andrew Lesser at andrew.lesser@yahoo. com. Everything you ever wanted to know about the YCC and more may be found on the following three pages.

Please note that NJMEA is changing its website provider and we are publishing the information on the following pages in case this information is unable to be obtained at any point in the transfer.

Please use the website registration process as long as it is available and not the “paper” registration form in this issue of TEMPO. This information is available at the NJMEA.ORG website under the drop down menu for Projects.

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OCTOBER 2015

2015-16 NJMEA Young Composers Competition

The New Jersey Music Educators Association is proud to announce the 2015-16 Young Composers Competition.

This year the competition will include two divisions, one for middle school students in grades 6 – 8, and one for high school students in grades 9 – 12 (graduating June 2016).

Categories for Submissions Composers may submit works in the following categories. All works must be 100% original. No arrangements or transcriptions will be accepted.

Compositions may include combinations of instrumental and vocal parts Solo Player (including piano) Small Instrumental/Vocal Ensemble (2 – 10 parts/performers) Large Instrumental/Vocal Ensemble (11 or more parts/performers)

Competition Guidelines 1. Applicants must be New Jersey residents and must be sponsored by a current NJMEA/MENC member.

2. Students may submit multiple selections in each category. However, a $20 application fee must be accompanied with each selection.

Each entry must be accompanied with a separate completed application form and entry fee in order to be considered for eligibility.

3. All compositions must have a title or opus number, and all names must be omitted from the score and CD so that submissions may be judged anonymously.

4. Students must submit a brief program note that includes the composition title with composer name omitted, describing the composer’s intention of the work.

5. All scores must be submitted electronically as a PDF. No handwritten scores will be considered for entry.

6. All measures must be numbered in the score.

7. Students must submit an audio file of their composition. This file can be an mp3 or wav file, either live recording or audio recording created by their notation software. Submissions without recordings or PDF score will not be considered for entry.

8. All Scores (PDF), Recordings (mp3 or wav) and Program Notes (PDF) must be emailed to andrew.lesser@yahoo.com 9. While the applicant will retain ownership of their submission, all submissions will be kept by the NJMEA. No materials will be returned to students. NJMEA reserves the right to use student submissions for publicity and/or display. Finalist compositions will be posted on the NJMEA website.

10. Submissions must be no longer than 7 minutes in length and within the difficulty range of Grades 2-4.

Evaluation Criteria Evaluation of all submissions will be received by NJMEA approved Competition Judges. This panel will judge all works according to the following guidelines: Originality: Demonstrating a personal/unique style showing individual creativity.

Compositional Technique: Must have identifiable form, structure, and development.

Correct usage of musical notation and score markings.

Accessibility: Must be playable by student ensembles on limited rehearsals.

Compositional Maturity: Knowledge of medium, effective use of instruments/voices, and look of professionalism in score and recording.

Overall Appeal: Must be innovative, imaginative, and enjoyable.

Finalist composers will be invited to attend a critique session to be held in conjunction with the NJMEA February Conference at the East Brunswick Hilton. The composition recordings will be played and the finalists will participate in the critique session. In addition, the winning composer(s) will be announced at that time and awards will be presented. All other participating student composers are welcome to attend.

The exact date, time and location will be announced in January 2016.

continued on next page OCTOBER 2015

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Suggestions for Students and Teachers • Remember that the submission must be able to be played by a student ensemble on limited rehearsal time. Make sure to adhere to the grade level and length specifications listed in the guidelines.

• Parts must adhere to the generally accepted instrument and voice part ranges for grade 2 to 4 music.

• Remember, neatness counts! An excellent piece will lose credibility if the score is sloppy or shows careless errors.

• Consider all aspects of a good piece when writing: dynamics, articulation, variety of melodic and harmonic ideas, orchestration and timbre, etc.

• Above all, this piece should be personal and meaningful to you. You must consider your creative ideas above anything else combined with your musical knowledge.

2015-16 NJMEA Young Composer’s Competition Application Form It is preferred that you use the online registration form if possible Please send completed form, entry fee, score, and recording to: Andrew Lesser, NJMEA 6 Christopher Mills Drive, Mt. Laurel, NJ 08054 Postmark no later than November 27, 2015 Finalists will be notified by January 18, 2016

Personal Information 1. Student Composer’s Name __________________________ Grade ______ 2. Home Address ________________________________________________ City _______________________ State _______ Zip Code _____________ 3. Student Home Phone ( _____)_______________ E-mail __________________________________________ 4. Name of School ______________________________ 5. Teacher Name _______________________________ 6. School Address ___________________________________________________________________________

City _______________________ State _______ Zip Code _____________ School Phone Number ( ____)___________ Teacher E-mail __________________________________________ 7. Teacher NAfME ID Number ______________________

Composition Information

1. Composition Title/Opus Number _______________________________________ 2. Category of Submission (Check One) • Solo (one performer) • Small Ensemble (2 – 10 performers) • Large Ensemble (11 performers or more) 3. On a separate piece of paper, write a short description of your work and program notes for any significant information. Do not write your name or any other personal information on this paper, only the title of your piece. continued on next page TEMPO 46

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NJMEA YCCC 2015-16 Authorization for Competition POSTMARK DEADLINE: November 28, 2015 To complete the submission process, you must print this page and get the appropriate endorsements. This signed form must be sent with a check for the $20.00 application fee made payable to NJMEA and postmarked by November 28, 2015.

Please mail the form and check to: Mr. Andrew Lesser, NJMEA Composition Committee 6 Christopher Mills Drive Mount Laurel, NJ 08054 The following items MUST be emailed to andrew.lesser@yahoo.com 1. Submission Score - PDF file 2. Recording - mp3 or wav file 3. Program Notes - PDF file I hereby certify that the musical composition submitted by this student is the original work of this student. Furthermore, any copyrighted materials, including texts, have been cleared for use. I also attest that this piece has not been published by an outside party, and that if selected, the student is responsible for providing parts for performing ensembles. I agree to the rules and regulations stated in the Guidelines of the NJMEA Young Composer’s Competition and understand that all sent materials will not be returned.

Student Name________________________________________ Composition Title: ______________________________________ Student’s Signature: _______________________________________________________________________ Date _____________ Parent/Guardian Signature: _________________________________________________________________ Date ______________ Sponsoring Teacher’s Signature: _____________________________________________________________ Date ______________ For NJMEA use only: ___ Completed Application ___ Signed Endorsement Page ___ PDF copy of composition description ___ $20.00 Application Fee made payable to NJMEA ___ Composition recording in MP3 format ___ PDF copy of score

Checklist for Submissions 1. Completed and signed application form.

2. Entry fee of $20 per submission. Make checks payable to NJMEA. 3. Description of work and program notes on separate paper. Do not write any personal information on this paper.

4. Computer generated score of piece, preferably Finale or Sibelius. Do not write your name or any personal information anywhere on the score.

5. An audio file, either live recording or midi, on CD format. Only write the title of the work on the CD, no name or any personal information.

6. A PDF or digital version of the score. This should be submitted on the same CD as the recording.

For any questions or concerns, contact: Robert Frampton at rtframpton@comcast.net This box is for NJMEA use only

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A New Era For Arts Education In New Jersey Begins: New Jersey Arts Education Partnership Launches As An Independent, Non-Profit Organization Kristin Wenger New Jersey Arts Education Partnership, Director kris@artsednj.org

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or the past eight years, students, teachers, parents and proponents of arts education in New Jersey have had a strong ally: The New Jersey Arts Education Partnership (NJAEP). The NJAEP has been analyzing the arts education landscape, providing invaluable data on student arts participation, advocating for state-wide policies, and engaging leadership in a meaningful dialogue about the importance of the arts for all children, in every school, every day of their educational lives.

The organization’s charge is to protect arts education for nearly 1.3 million students.

arts education.” Established in 2007 following years of planning and input by arts and education leaders statewide, its core beliefs remain unchanged: a) arts education is essential to basic knowledge and a fundamental right of every citizen in our schools and across our communities, and b) the collective voice of diverse stakeholders is the most effective means for advancing the arts in education.

Launched in conjunction with the release of the first-ever Arts Education Census Report, the Partnership’s first task was to focus on carrying out the recommendations of the Report.

education in local school district accountability reviews; • In 2009, NJAEP coordinated the revision of Core Curriculum Content Standards for the Visual and Performing Arts – the document used to guide the development of local arts curriculum; • In 2012, NJAEP worked with other subject area associations to protect the role of non-tested subjects as part of the states Core Curricular Content Standards; • In 2014, NJAEP worked with

NJAEP: A TIMELINE OF SUCCESS From that point forward, NJAEP made significant progress:

NJAEP’s work so far has had a deep impact on the state: to date, NJAEP’s efforts have led to increased access to arts education for more than 75,000 students.

From its inception, NJAEP has worked to create “a unified voice for

• In 2007, NJAEP released the first state wide census report on the status and condition of arts education providing accountability for state policies and highlighting both strengths and areas for improvement; • NJAEP worked with the New Jersey State Department of Education to include arts

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the New Jersey State Department of Education to include arts education measures as part of the School Performance Reports released for every school becoming the first state in the nation to have such measures;

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• In 2014 and 2015 NJAEP released a series of interactive dashboards to allow citizens to review and compare arts education information for every school in the state.

Until now, NJAEP has operated as a special project of Art Pride New Jersey with support from the New Jersey State Council on the Arts, the New Jersey Department of Education, the Prudential Foundation, and the Geraldine R. Dodge Foundation. These well-respected, wellestablished organizations have fostered the organization’s growth, provided encouragement and direction, and made it possible for NJAEP to evolve into a thriving, indispensable champion of arts education.

As of July, NJAEP formalized its role as a leader in arts education for the citizens of New Jersey as a fully independent, non-profit organization. This is great news for the 1.3 million K-12 students in New Jersey schools.

The Partnership will continue to be the unified voice of arts education for New Jersey but with a new sense of determination; now that NJAEP is “independent,” it not only must become self-sustaining, but it must also help the state strike the proper balance between the rise of common core standards and state-mandated tests with the need to foster the creativity and innovative capacity of students.

“The good news is, 97% of New Jersey students have access to arts education in their schools, and access to arts education is on the rise,” says Bob Morrison, Chairman of the NJAEP board of directors, “However, the majority of schools fail to offer instruction in all four mandated disciplines, per pupil arts spending has decreased and educators across the state are grappling with the rising tide of Common Core standards and state-mandated tests leading to the unintended consequences of displacing the value of creative work and decreased time and access for arts education. We need to change this dynamic from the focus on testing to a focus on a well-rounded education.”

To this end, NJAEP will continue to research the status and condition of arts education, implementing arts education initiatives across the state, and securing the place of arts OCTOBER 2015

education as a fundamental right for every student in our state. The Partnership has built deep and mutually beneficial relationships with statewide organizations such as The New Jersey Department of Education, The New Jersey State Council on the Arts, New Jersey Principals and Supervisors Association, New Jersey School Board Association, and Art Pride.

With this new era underway, NJAEP is poised to expand its role in the stewardship of a robust education in the arts for all of New Jersey’s children. But without awareness and support, their reach will be limited.

Working with the belief that arts education is not a luxury to be enjoyed by a few; it is an essential part of the educational process for all students, equally as important for those who go into non “artistic” careers as it is for those who aspire to be artists. In order to assure the futures of an engaged, innovative, disciplined, successful, arts-educated workforce, NJAEP is working diligently to act on their behalf, and requires individual financial contributions to succeed in its mission.

NJAEP continues to strive for its original vision: arts education for every child, every day, every school, every year. As an independent organization, it will continue to raise the bar, and champion arts education for every child at every stage of learning.

To make a secure, tax-deductible donation to NJAEP, please visit their website: http://www.artsednj.org/donate/ The New Jersey Arts Education Partnership (NJAEP) was originally founded in 2007 as a cosponsored program of the New Jersey State Council on the Arts, with additional support from the Geraldine R. Dodge Foundation, New Jersey Department of Education and Music for All Foundation. Additional support has been provided by the Prudential Foundation, and ArtPride New Jersey. The mission of the NJAEP is to provide a unified voice for a diverse group of constituents who agree on the educational benefits and impact of the arts, specifically the contribution they make to student achievement and a civilized, sustainable society.

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Whole Notes Are NOT Four Counts David Newell www.kjos.com

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ood morning everyone.

We’ll begin today’s rehearsal with the Concert E-flat Major Scale in whole notes.

Good posture, deep relaxed breath, ready, play…” The students respond as expected, playing each pitch of the scale for four counts. A typical start to a typical band rehearsal but, unfortunately, the students are once again being unintentionally misled by their talented, dedicated, hard working band director.

It is in the primary grades that students are first introduced to rhythmic notation.

They are shown four quarter notes, often without any indication of meter, and they recite Ta Ta Ta Ta, or similar sounds that are clearly one count each. When shown a half note, they chant Ta-a, a two-count sound. The whole note is, of course, Ta-aa-a, a single extended sound that lasts for four counts. When students later join our instrumental programs, chances are their first method book will deal exclusively with time signatures whose bottom number is a four. As a result, they continue to experience only four-count whole notes. Continuing throughout all their band years, many of them will be frequently warmed up as described above, playing scales whose pitch durations are described only as note symbols. Warm-up scales “in half notes” result in scales in which each scale degree has a duration of two counts. Quarter note scales are performed as one count for each pitch.

These experiences over a number of years with rhythmic notation lead students to conclude that our system of rhythmic notation is based on the four-count whole note, the two-count half note, and the one-count quarter note.

Given this kind of early, thorough, and extended indoctrination into the theory of rhythmic notation, is it any wonder that

our students react negatively and are confused when we try to introduce any music in which the whole note is not four counts?

Looking at things from the students’ perspective, it should not surprise us that cut time, for example, gives our students so much trouble. Students don’t like cut time, because it’s just “not right.” Whole notes are four counts. Everybody knows that! To the students, the whole note is music’s icon for the number “4.” Teachers have not intentionally taught that, but when teachers ask for scales to be played “in whole notes,” and the students play four-count notes, isn’t that being implied? Are not the students being unintentionally misled?

Students are convinced that, if the writer of this new idea called “cut time” wanted a two-count note, he or she should have just written a two-count note, obviously a half note. I once observed a fine young teacher introduce cut time to a seventh grade band.

He did a terrific and thorough presentation of the concept, telling the students the same things we have all told our students at one time or another: The time signature numbers for the cut time symbol are 2/2 and therefore, because the bottom numbers of time signatures indicate the kind of note that gets one count, the half notes in this piece will be one count. If the half notes are one count, then the whole notes have to be two, and so forth.

At the end of his presentation, he asked the students to play the first etude in the cut time unit of their method book. He suddenly realized, however, that he had been so anxious to teach his cut time lesson that he had neglected to have the students warm up. And so he said, “…. but before we play the exercise, we need to warm up.

Let’s play the B-flat scale in whole notes.

Ready, play.” With no hesitation whatso-

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ever, the band played each pitch of the scale for four counts! Without realizing it, this young teacher had just confirmed what the students had known all along. “Real” whole notes are four counts while cut time whole notes are obviously some kind of phony, illegitimate whole notes. So much for the cut time lesson. So much for any chance that the students will have a positive attitude toward cut time.

We all know that note durations do not have default, unchangeable, set durations attached to them, but our young students do not know that. Their experience over a number of years has led them to conclude just the opposite. True, we have probably told them at some time or other that whole notes will not always be four counts, but during their most formative years, the only whole notes they have ever known have been four counts. Students have very likely forgotten that anyone ever told them that whole notes could be anything other than four counts. As much as we don’t like to admit it, the spoken word truly does tend to often go in one ear and out the other.

What students actually do is what stays with them. For years they have done only fourcount whole notes. Therefore, whole notes are four counts.

When we unwittingly allow our students to conclude that note symbols represent specific, unchangeable numbers, we make it very difficult for them to develop a true understanding of rhythm theory. It is our responsibility to make certain that our students know that note symbols do not each have a set duration. This important lesson cannot be internalized through lectures, no matter how often the information is repeated. Students must do whole notes that are not four counts. They must do half notes that are not two counts, and so forth. Before cut time is ever approached in OCTOBER 2015

the literature or the method book, students should have played many two-count whole notes, one-count half notes, and so on. Before simple 6/8 is seen in the book, students should have played many eighth notes that are one count and many quarter notes that are two counts. The earlier students experience these kinds of lessons, the better.

As soon as beginning instrumentalists have successfully completed the whole note unit in their method books, it should be explained to them that only some whole notes are four counts. Their book just happened to start them out with four-count whole notes, but whole notes are very often two counts. They should then immediately pick up their instruments and play one or two of those first exercises, this time giving the whole notes only two counts. Over the next several lessons, the class warm-up should be a couple of those same whole note etudes, sometimes with four-count whole notes, sometimes with two-count whole notes and, yes, even occasionally with one-count whole notes. Playing these short, review exercises

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in this fashion during warm-up periods will not confuse the students. In fact, it will broaden their perspectives and understanding of basic rhythmic concepts. Later in the year, when students are competently playing quarter notes and eighth notes as written, they should go back and perform some of those exercises with one-count eighth notes and two-count quarter notes. The subsequent book introductions to simple 6/8 and to cut time will go much more smoothly if the students have already experienced these types of preliminary lessons. They have not just heard about two-count whole notes; they have done two-count whole notes.

They have done one-count eighth notes, and so forth. The learning is in the doing.

Finally, at all levels of instruction, we need to stop asking for scales in whole notes or half notes or quarter notes. Such requests lead students to develop an incorrect understanding of the system of rhythmic notation, and that is certainly not our intention. The system is not based on an unchangeable, four-count whole note. Stu-

dents need to know that it is, in fact, based on a changeable whole note. When we ask our students to play a scale in whole notes, we need to immediately assign a value to the whole note and very often, the assigned value should not be four. Whole notes are not four counts.

David Newell taught instrumental music for thirty years in the public schools of Brea, Ohio. In 1979 he received the Martha Holden Jennings Foundation’s “Master Teacher” Award for Excellence in the Classroom. He also received the Alumni Achievement Award from Baldwin – Wallace College in 1987.

This article was previously published in Kjos Band News, Vol. 16.

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Navigating The Road From Student Teacher To Reflective Practitioner: A Shared Responsibility Between Cooperating Teachers And University Supervisors Lindsay Weiss Adjunct Professor of Music Education Kean University liweiss@kean.edu

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ne of the most important attributes that a teacher of the 21st century can possess is the ability to reflect. Recent changes in teacher evaluation, educational policy, and the increasing requirement to provide student data is requiring teachers, regardless of their level of experience, to become more reflective in their daily practices. Student teachers need to be prepared to think critically if they are going to survive and thrive in our rapidly changing post-modern society.

The relationship that a student teacher develops with his/her cooperating teacher is one of the most important aspects of their entire teacher education program. It is not a coincidence that a commonality among music teachers is that we can all remember specific details about the teachers we had when we were students. Fast forward to our own student teaching experiences and most likely we can reminisce about our cooperating teachers just as well. The type of feedback, guidance, and modeling that we observed during this fragile time of our pedagogical development affected all of us then and possibly still now.

Promoting self-assessment through reflection is an important responsibility that cooperating teachers and university supervisors must share if we are going to prepare our student teachers to be successful educators. In this article, I describe several strategies that I have found to be effective in providing pre-service music teachers with the tools necessary to reflect on their teaching in a critical manner.

One approach is that when providing 1. Alleviate early anxiety by focusstudent teachers with feedback on their ing on student effort more than natural instructional delivery I begin the semester ability or talent. Similarly to learning how with discussing actions such as: eye contact, to play an instrument or fine-tuning our voposture, clarity of speech, timing of cal technique learning how to teach takes activities, and physical position in the room. hard work and practice! Educational psyThroughout the semester I give student chologists have found that when students teachers daily and/or weekly challenges believe that their success is based on the intended to stretch their pedagogical ZPD. amount of effort they put into a task rather For example, I have asked student teachers than natural ability or talent they become to research and include one formative motivated to continuously contemplate and assessment (e.g. “fist of five�) into a mini apply alternative ways of succeeding.

Whether our student teachers admit Student teachers need to be it or not, it is prepared to think critically if they are very intimidating to enter going to survive and thrive in our someone else’s rapidly changing post-modern society. classroom and try to pick up exactly where lesson. Through their experience of learning they just left off. We need to remember about and implementing this strategy that our student teachers tend to view our we then discuss the spur of the moment instructional delivery and classroom mandecisions they made to promote higher levels agement skills as innate talents that we posof student engagement and achievement. sess rather than refined practices of trial and Isolating the focus of reflection on exerror. ercises like this one provide student teachers 2. Scaffolding teacher developwith guided practice of reflective thinking ment. According to Vygotsky, the Zone of about their teaching practices.

Proximal Development (ZPD) is the differBy the end of the semester student ence between what a learner can do on their teachers at Kean University are assessed on own without expert guidance and what they their instruction in terms of: questioning can do with expert guidance. Just as we scaftechniques, engaging students in learning, fold the rote teaching of an Orffestration or and communicating expectations for learna syncopated rhythm it is important for us ing, behavior, and achievement. to scaffold basic teaching skills.

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3. Incorporate videotaping and video viewing of teaching to promote reflective thinking. It is common practice to videotape and review oneself teaching especially when conducting large ensembles. The usage of digital devices such as smart phones and tablets are providing easier access to this reflective self-assessment of one’s teaching. In addition to watching one’s own teaching I suggest the viewing of teaching videos from the Internet, particularly on sites such as YouTube. I have challenged student teachers to find at least three different teaching (and/or conducting) videos that they can compare and contrast to their most recently taped video of themselves. Stretching the focus beyond their own teaching also stretches student teachers’ perceptions of what the music classroom can look and feel like.

I believe that promoting the research and viewing of diverse teaching videos has a positive impact on student teachers’ pedagogical development and promotes dispositions of life long learning.

4. Promote student reflection through the usage of positive presuppositions. I have observed more positive attitudes amongst my undergraduate students when we reflect on topics that are posed as positive presuppositions rather than direct questions.

For example, after observing a student teacher that did not provide any constructive feedback to his students during the lesson I asked, “What happened when you gave the students feedback?” As he re-

played the lesson in his head he focused on the students’ responses to his feedback rather than how and what he said and did. Through this guided reflection he realized that his responses of, “OK” and “Good Job” did not contribute to the achievement of the learning goals that he had carefully crafted in his lesson plan.

Concluding Thoughts Student teachers must wear many different hats during their final semester of their teacher education program. The shift from learner to teacher back to learner is one that is equally arduous and rewarding. Each of us has a unique style of teaching that is marked by our own identities, years of prior experiences, and cultural backgrounds. The mentorship of a student teacher is a conversation that should be led by that pre-service teacher and empathetically guided by their cooperating teacher and university supervisor. Coaching student teachers to become reflective practitioners is one way that we can help prepare student teachers to become successful music educators.

&

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Improvisation: Learning Scales Dean Sorenson sorensonmusic@icloud.com

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hen discussing improvisation, chords and arpeggios are often referred to as vertical sonorities or vertical motion. In order for there to be a balance in the music, it is important to account for horizontal, or more linear motion as well. This type of movement is generally rooted in scales, and understanding the relationships between chords and scales is very important for the developing jazz soloist.

Jazz scales are drawn from the modes of the major scale.

There are certainly many other scales to choose from, but these are the most common and easiest to approach. We all studied these modes in freshman theory class. They may have been called church modes, but the method of construction is still the same. We will use Bb as our example, as Bb is such a common key in the band world. The major (or Ionian) mode is the mode built on the first degree, or Bb-Bb. The scale built on the second degree (C-C) is the Dorian mode, the scale built on the third degree (D-D) is the Phrygian mode; the scale built on the fourth degree (Eb-Eb) is the Lydian mode; the scale built on the fifth degree (F-F) is the Mixolydian mode; the scale built on the sixth degree (G-G) is the Aeolian mode; and the scale built on the seventh degree (A-A) is the Locrian mode.

There are two ways of realizing each of these scales. The first is the RELATIVE method, which involves relating a given mode to its “parent� or relative major scale. For example, if you wanted to realize an F Lydian scale, you would first remember that the Lydian scale is built on the fourth degree of the major scale. Second, you would realize that F is the fourth degree of the C major scale, and third, play a C scale beginning on F. This method is consistent with how we learned about modes in theory class. To realize scales quickly, however, it is a bit cumbersome and involves introducing a different root (the relative major) that may or may not have any bearing on the musical situation at hand.

The second realization method is the PARALLEL method, in which the given mode is compared to its parallel major scale. To utilize this method of realizing modes it is necessary to relate each mode to its parallel major scale, or the major scale that shares the same root. Understanding the differences between the major scale and the mode that begins on the same note will allow for a quick realization. Using F Lydian as an example again, you would first understand that a Lydian scale

is the same as a major scale with a raised fourth degree. You could then play an F major scale with a B natural instead of a Bb. This method is often easier and quicker because you are keeping the same root between the mode and the parallel major scale.

Learning the differences between the modes and their parallel major scales is very easy. Most involve only one or two changes from the parallel major. A Dorian scale is a major scale with a lowered third and seventh degrees; a Phrygian scale is a major scale with lowered second, third, sixth, and seventh degrees; a Lydian scale is a major scale with a raised fourth degree; a Mixolydian scale is a major scale with a lowered seventh degree; an Aeolian scale is a major scale with lowered third, sixth, and seventh degrees; and a Locrian scale is a major scale with lowered second, third, fifth, sixth, and seventh degrees. In all of these examples, the scale degrees are raised or lowered by a half step. This table provides a quick and easy reference for comparing the different modes to their relative major scales.

Mode Changes from parallel major scale Major None Dorian b3, b7 Phrygian b2, b3, b6, b7 Lydian #4 Mixolydian b7 Aeolian b3, b6, b7 Locrian b2, b3, b5, b6, b7 Of all the scales listed, the most commonly used are the major, Dorian, and Mixolydian. These are outlined in bold in the above table. Familiarity with these three modes is a good first step. The next most common are the Lydian and Aeolian, and these should come rather easily after learning the first three. The Phrygian and Locrian scales are less commonly used, and can be saved for more advanced study.

Modes should be practiced using the same techniques used with major scales. They should be played on various roots (preferably all 12), in thirds, etc. The goal is the make these modes as familiar as major scales are. The big difference in learning scales to use in jazz improvisation is that we want to internalize the scales as deeply as possible, whereas traditional scale practice often emphasizes instrumental technique over scale internalization. Make sure that student practice is fo-

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cused on memorizing and internalizing the notes of the scales.

If we are familiar with scale construction, and can execute them comfortably on our instrument, the only remaining task is to determine which scales go with which chords. Choosing which scale to use is not as big a mystery as one might think. Most jazz harmony is created by three forms of seventh chord: MA7, mi7, and dominant 7. If Bb were the root of all of these chords, their symbols would be BbMA7, Bbmi7, and Bb7. If you understand the scales that relate to these three seventh chord qualities, you will be able to solve the vast majority of questions you and your students have about which scale goes with which chord. It is important to remember that the root of the scale matches the root of the chord.

A BbMA7 chord commonly uses the Bb major scale, or in some cases the Bb Lydian scale. These two scales are identical except for one pitch (the fourth degree). Since the major scale is most common, that is usually the easiest starting point for students. A Bbmi7 chord uses the Bb Dorian scale, or in some cases the Bb Aeolian scale. Again, these two scales are identical except for one pitch (the sixth degree). A Bb7 chord uses the Bb Mixolydian scale.

Sometimes the blues scale can also be used over dominant seventh and Dorian sonorities.

Certainly none of this can be accomplished without individual practice on the part of the student. While this element of the process is so basic as to be taken for granted, it is extremely important to remember, especially in the context of the jazz ensemble - which is often an extra-curricular activity.

Dean Sorenson received his bachelor’s degree in trombone performance from the University of Minnesota and his master’s degree in jazz arranging and composition from the Eastman OCTOBER 2015

John J. Cali School of Music

Degrees: Bachelor of Music Bachelor of Arts Master of Arts Artist’s Diploma Performer’s Certificate Programs: Music Education Performance Jazz Studies Music Therapy Theory/Composition

montclair.edu/music

Email: musauditions@montclair.edu School of Music. He is currently an Associate Professor and Director of Jazz Studies at the University of Minnesota. www.deansorensonmusic.com sorensonmusic@icloud.com

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An earlier version of this article was originally published in Kjos Band News, Volume 14.

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“Choosing Kutztown and getting involved with KUMU will take you farther than you thought you could go!”

– Dan Neuenschwander Director, Kutztown University Marching Unit

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Major Programs of Study: Music Education Music Minor Programs: Music Music History Audio Engineering Jazz Studies Entrepreneurship Audition Dates: October 2 & 23, 2015 November 3 & 6, 2015 January 30, 2016 February 27, 2016 March 26, 2016 or by individual appointment

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KU Marching Unit Performance Dates: September 11: Half-time, Bedford H.S. September 12: PA Interscholastic Marching Band Association, Kiski Area H.S. September 19: Cavalcade of Bands, Chichester H.S. October 4: Collegiate Marching Band Festival, J.Birney Crum Stadium October 17: Lancaster County Marching Band Coalition, Manheim Township H.S. November 7, Allentown Halloween Parade November 26, Philadelphia Thanksgiving Day Parade

www.kutztown.edu/Music College of Visual and Performing Arts Open House: November 2 610.683.4550 TEMPO 56 OCTOBER 2015

THE NEW JERSEY ASSOCIATION FOR JAZZ EDUCATION

Presents the 11th Annual

New Jersey

STATE JAZZ CONFERENCE FREE TO ALL NJAJE MEMBERS Non-members $60 Includes 1 year NJAJE Membership

9:00 AM—2:00 PM

Instrumental Track

Friday, November 13, 2015 Center for Arts Education at NJPAC Newark, NJ FEATURING TOP NAMES IN JAZZ EDUCATION Brian Height

Conrad Herwig

~Jim Snidero~

How to Teach Improvisation and Integrate into a Jazz Band Rehearsal

Kerry Marsh

Registration includes breakfast and a three course luncheon honoring NJ Jazz Education Achievement Award winner Mr. Brian Height

- EVENING OPTION (7:00 PM)-

Vocal Track

The Language of Vocal Jazz Decoded: Don’t Live in Fear of the Jazz World!

~Kerry Marsh~

Purchase a ticket for a great student jazz event

NJ HONORS JAZZ CHOIR Directed by Kerry Marsh

NJ ALL STATE JAZZ BAND Directed by Conrad Herwig SPONSORED IN PART BY FUNDING FROM THE FOLLOWING:

REGISTER BY MONDAY, NOVEMBER 2nd at www.njaje.org Or for further information contact Jeffrey Haas, Conference Chair at (201) 207-6736

jhaas.njaje@gmail.com

OCTOBER 2015

Professional Development Credit Issued

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B A C H EL • Co O R • Ed mp D EG • Ja uca osi R t • z tio io EE z Li n n be St S • u M di us ral • Pe St es ic u rf I M n or du die A m ST s an str ER y • c Co e D • EG Co mp R • EE Ja nd osi tio uc • z S z Pe n St tin rf g u or m die s an ce

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OCTOBER 2015

SU SU ND SU ND AY, SA ND AY, NO SU TU AY, DE VE M C R J N D DA AN EM BE AY R Y B U , F , FE AR ER 8 EB B Y 6 17 RU RU A AR RY Y 28 6

NJEA Convention Music Sessions November 5 - 6, 2015 –­­ Atlantic City Sponsored by

New Jersey Music Educators Association An affiliate of the New Jersey Educators Association

Thursday 9:30 am - 11:00 am Convention Center - Room 419 Elementary/Middle School Choral Reading Session Category: Middle School - Visual & Performing Arts Presenter: CHRISTINE C. SEZER Repertoire will be performed that is tried and proven by the clinician with her children’s choir. Selections implement varied choral/vocal skills and techniques appropriate for elementary and middle school.

Thursday 9:30 am - 11:00 am Ambassador Room, Sheraton Hotel All-State Band Procedures Meeting Category: High School Presenter: AL BAZZEL All-State Band Procedure Meeting Thursday 12:00 - 2:00 pm Ambassador Room, Sheraton Hotel New Jersey All-State Choral Procedures Open Meeting Category: High School - Visual & Performing Arts Presenter: KATHLEEN E. SPADAFINO Our meeting discussing All-State Chorus is open to all New Jersey choral directors.

Thursday 1:00 - 2:30 pm Convention Center - Room 421 Creative Programming for Band Directors: How to Enhance Performance Opportunities Category: High School - Visual & Performing Arts Presenter: JOSEPH HIGGINS This workshop will explore quality new music, innovative performance spaces, how to better engage our audience, and ideas for unique collaborations that will inspire our young musicians.

OCTOBER 2015

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Thursday 1:00 - 2:30 pm Convention Center - Room 419 Quaver’s Cross-Curricular Elements: Reach Beyond The Music Room Walls Category: Elementary - Visual & Performing Arts Presenter: GRAHAM HEPBURN This session will focus on three steps to make cross-curricular lessons quick, easy, and academically sound using tools in Quaver’s QK - 8 Curriculum.

Thursday 3:00 - 4:30 pm Convention Center - Room 421 Demystifying jazz improvisation and inspiring more students to take risks Category: High School - Visual & Performing Arts Presenter: HAYES GREENFIELD In jazz pedagogy five basic elements are often overlooked causing students to opt out of taking risks with improvisation. Applying them fosters a better sense of personal growth and achievement.

Thursday 3:00 - 4:30 pm Convention Center - Room 419 High School Sight Reading Session Category: High School - Visual & Performing Arts Presenters: HILLARY B. COLTON & THOMAS C. VOORHIS We will sing through a variety of repertoire for SATB, SSA, and SAB for high school chorus.

Friday 8:00 - 10:00 am Claridge Hotel NJMEA Executive Board Meeting Category: Higher Ed Presenter: WILLIAM MCDEVITT NJMEA Executive Board will meet to discuss on going business within the orgainization.

Friday 9:30 - 11:00 am Convention Center - Room 421 Elementary String Intonation: Tools for Success Category: Elementary - Visual & Performing Arts Presenter: MARY (BETSY) E. MALISZEWSKI This session will discuss strategies for helping elementary string students develop the intonation skills necessary for successful orchestral experience.

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OCTOBER 2015

Friday 9:30 - 11:00 am Convention Center - Room 419 Sharing is Caring Category: Middle School - Visual & Performing Arts Presenter: NANCY L. CLASEN Wanted: All general music teachers! This is where we can get together and share ideas.

Friday 9:30 - 11:30 am Crown Ballroom, Sheraton Hotel NJMEA Collegiate Meeting Category: Higher Ed Presenter: RICHARD DAMMERS Collegiates will meet and discuss the future. Meeting to be held in Sheraton Hotel Friday 1:00 - 2:30 pm Convention Center - Room 421 Does It Hurt to Play a String Instrument?

Category: Pre-K - Gr. 12 - Visual & Performing Arts Presenter: MIMI BUTLER Bring one and discover that it doesn’t need to. It’s all about muscle memory, the best accessories, appropriate exercises, stretching and correct instrument positioning.

Friday 1:00 - 2:30 pm Convention Center - Room 419 Utilizing Technology in the Music Classroom Category: Pre-K - Gr. 12 - Visual & Performing Arts Presenter: RICHARD DAMMERS This session will be focused on technology-based strategies for general and performance music classes (K-12). These strategies will use affordable music technologies and require a minimum of technology expertise.

Friday 3:00 - 4:30 pm Convention Center - Room 421 String Repetoire Overview : How to Spot What Works Category: Elementary - Visual & Performing Arts Presenter: MARY (BETSY) E. MALISZEWSKI This session is a hands-on examination of string music that will satisfy both curricular assessment goals and concert programming demands. Method/technique books, orchestral arrangements and online resources will be examined.

OCTOBER 2015

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Anthony Leach, Chorus New Jersey All-State Chorus and Orchestra The Eighty-Fifth Annual Program THE NATIONAL ANTHEM Chorus, Orchestra and Audience Conducted by William McDevitt, President New Jersey Music Educators Association

Helen Cha-Pyo, Orchestra Conductor Toccata & Fugue in d minor......................Bach, arr. Stokowski West Side Story Symphonic Dances............................Bernstein Orchestra PRESENTATION OF PINS TO THE CHORUS AND ORCHESTRA Wendell Steinhauer, President New Jersey Education Association Anthony Leach, Chorus Conductor Selig Sind die Toten................. Heinrich Schutz/Stuart McIntosh Swell the Full Chorus............................................... G. F. Handel Justorum Animae....................................Charles Villiers Stanford Ca the Yowes............................................... R. Vaughan Williams Afternoon on a Hill...................................................Eric Barnum Ode To Joy...................................................... Z. Randall Stroope Clap Praise..................................................Diane White Clayton Chorus Lift Every Voice and Sing............................................Roland Carter Combined Orchestra & Chorus Friday, November 6, 2015 at 8:0 p.m.

Adrian Phillips Ballroom of Boardwalk Hall Atlantic City and Sunday, November 15, 2015 at 3:00 p.m.

NJ-PAC Prudential Hall Newark, NJ

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Anthony Leach is a professor of music and music education at Penn State. A native of Washington, D.C., he taught choral and general music for fourteen years in Maryland, New York City, and Pennsylvania prior to joining the School of Music faculty in 1994. At Penn State, Leach teaches graduate and undergraduate courses in music education, conducts the University Choir and “Essence of Joy,” and was honored to serve as Penn State Laureate during the 2009-2010 academic year. He is also the conductor of the “Essence of Joy Alumni Singers” and “Essence 2,” a community choir in State College, Pennsylvania. In addition, he is artist-in-residence at New Bethel Baptist Church in Washington, D.C. Choirs under Leach’s direction have performed in festivals, competitions, and tours of the United States, Canada, Europe, and South Africa. He has served as guest conductor for choral festivals in Pennsylvania, Connecticut, Kentucky, Nebraska, Utah, Maryland, Virginia, North Carolina, New Jersey, New York, Florida, Vermont, Massachusetts, and Washington, D.C. He has adjudicated choral festivals in the United States and Canada. Leach holds membership in the American Choral Directors Association, the International Federation of Choral Musicians, Chorus America, the National Association for Music Education, and Gospel Music Workshop of America. He is a graduate of Lebanon Valley College (PA) and Penn State.

Helen Cha-Pyo, Orchestra Since September 2002, Music Director Helen Cha-Pyo has inspired hundreds of young musicians to perform at the highest levels, resulting in Empire State Youth Orchestras (ESYO) being recognized as one of the premier music organizations for youth in the United States. As Conductor of ESYO’s Youth Orchestra, she has programmed a wide range of music embracing many different cultures. Her vision resulted in ESYO being awarded a $100,000 grant to partially fund a music festival that commissioned nine works (one for each of ESYO’s nine ensembles), and winning three prestigious ASCAP awards for programming. From 1996 to 2002, Helen served as Artistic Director and Conductor of the Riverside Philharmonic Orchestra and Choir and Associate Director of Music at The Riverside Church in New York City. A committed music educator, she pioneered the Riverside Music Educational Program, which served thousands of New York City public-school children. She has recorded 3 CDs with the Riverside Choir under the JAV label.

Helen Cha-Pyo served as the Artistic Director for the Kenya Jirani Choir and Harlem Jirani Ensemble of the Jirani Cultural Organization from 2010 – 2013. In that capacity, she traveled regularly to Kenya and Korea to oversee artistic activities and train music staff and choirs.

In 2011, she toured Korea with Kenya Jirani Choir and conducted its 5th anniversary concert at the famed Sejong Cultural Hall in Seoul.

Born in Seoul, Helen immigrated to the USA when she was 12. She studied piano and organ in the Pre-College Program at The Juilliard School. She holds a Bachelor of Music in Organ Performance from Oberlin Conservatory and Master of Music degrees in conducting and organ performance from the Eastman School of Music. She has conducted orchestras and choruses in the United States, Africa, Asia, and Europe and annually travels to Korea to teach and lecture at conductors’ seminars.

OCTOBER 2015

Kerry Marsh, Jazz Choir Director The New Jersey Music Educators Association proudly presents The 2015 New Jersey All-State Jazz Ensemble and Honors Jazz Choir Kerry Marsh, Jazz Choir Conducttor Program to be selected from: The Humming Bird................Kerry Marsh and Julia Dollison Painted on Canvas.......................... Gregory Porter/arr. Marsh Blame It On My Youth....................... Oscar Levant/arr. Marsh Sent for You Yesterday......... William “Count”Basie/arr. Marsh Travelin’ Light.......................................................... arr. Marsh

Kerry Marsh is a composer and arranger specializing in contemporary music for vocal jazz ensembles. In high demand as a commissioned arranger for many of the nation’s top educational vocal and instrumental jazz ensembles, Marsh has a large and varied catalog of music performed regularly around the world. Kerry publishes over 160 compositions and arrangements at KerryMarsh.com, and also has published arrangements through UNC Jazz Press and Sound Music Publications. Kerry is a proud member of the jazz studies faculty at The University of Northern Colorado in Greeley, where he directs two advanced vocal jazz ensembles and teaches other courses within the music department.

Kerry graduated in 2000 from the University of Kansas with a B.M.E. in Music Education and in 2003 with a Master of Music in Jazz Studies from the University of North Texas.

Conrad Herwig, Honors Jazz Ensemble Conductor

Conrad Herwig, Jazz Ensemble Director

Program to be selected from:

New York-based jazz trombonist Conrad Herwig is considered one of the world’s complete jazz musicians, atop both the performing and jazz educational fields with an abundance of composer and arranger credits, as well. To date, he has released 20 recordings as a leader in addition to contributing to nearly 200 other recording sessions with some of the most notable artists in jazz. He has performed and recorded with Miles Davis, Joe Henderson, Eddie Palmieri, Tito Puente, Frank Sinatra, Joe Lovano and Tom Harrell, among many others. Since 2004 he has taught at Mason Gross School of the Arts in the prestigious jazz program at Rutgers University in New Brunswick, N.J. He is currently Professor of Jazz Trombone, Jazz Improvisation and Jazz Composition and Arranging. He is also a visiting Professor of Jazz Studies at the Juilliard School, NYC.

Prayer for Passive Resistance.........Charles Mingus/arr. Herwig It Ain’t Necessarily So................ George Gershwin/arr. Herwig Lonnie’s Lament............................. John Coltrane/arr. Herwig You Know I Care............................. Duke Pearson/arr. Beavers Body & Soul................................... Johnny Green/arr. Herwig Triangle.........................................Conrad Herwig/arr. Beavers Syeeda’s Song Flute.................John Coltrane/arr. Holderbaum

Finale NJ Honors Jazz Choir & All-State Jazz Ensemble TBA

Thursday, November 5 , 2015 Claridge Hotel Theater 8:00 p.m. and Friday, November 13, 2015 NJ-PAC Victoria Theater 7:00 p.m.

OCTOBER 2015

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2016 NJ Elementary And Jr. High Honor Choir Festival Carol Beadle carol.dory.beadle@gmail.com Pamela Crockett pcrockett@npsdnj.org The New Jersey Music Educators Association in cooperation with the New Jersey American Choral Directors Association is proud to announce the annual statewide Honor Choir program for outstanding elementary and junior high singers.

Why Send Your Students To This Festival?

• Students have the opportunity to sing with some of the best conductors from our state and from around the country • Students are able to be challenged at an advanced level with other students who are equally as talented and who love to sing • Although students are required to learn the music on their own, there are only two days of commitment required – the rehearsal day and the festival day • Directors have the opportunity to network and meet other teachers throughout the state • Directors are able to sit in on rehearsals and watch fantastic conductors • Directors only have two Saturday dates to attend – Audition Day, Rehearsal Day, or Festival Day • Rehearsal tracks are provided to make practicing at home easy for the director and student

Student Information • Students must be residents of New Jersey.

• Students must prepare their audition as well as the concert pieces, if accepted.

• The Elementary Honor Choir is for grades 4-6 (treble voicing).

• The Junior High Honor Choir is for grades 7-9 (mixed voicing).

• Students will audition with two vocalise warm-ups and a preselected short melody.

• Students will be judged on Vocal Quality, Intonation, and Musicianship.

Director Information • Any church, school, or community choir director who is a member of NAfME and/or ACDA is eligible to sponsor students for membership.

• There is a limit of 16 student applicants from each school, church, or community chorus for each honor choir.

• All communication is done via email.

• The director will be responsible for: • Supervising the preparation of audition and application materials.

• Ensuring that students are musically prepared for the first rehearsal.

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• Coordinating efforts with parents and sponsoring organization to assure that singer is financed and has transportation provided.

• Ensuring all required paperwork is completed and submitted according to guidelines.

• Attending and assisting at both the Rehearsal Day and the Festival Day in their entirety. (If director is unable to attend, a pre-approved member of either NAfME or NJACDA must take his or her place.)

• Directors who serve as an audition judge may be excused from either the Rehearsal or Festival day.

Important Dates Wednesday, January 13, 2016 – Audition materials due Saturday, January 30, 2016 – Audition Day – begins at 8:30am, Grace Church, Madison NJ Saturday, February 6, 2016 – Audition Snow Day (if necessary) – begins at 8:30am, Grace Church, Madison, NJ Saturday, April 30, 2016 – Rehearsal Day - 8:30am-1:00pm, New Providence High School, New Providence, NJ Saturday, May 7, 2016 - Festival Day – rehearsal starts at 8:30am and concert starts at 4:30pm, JP Case Middle School, Flemington NJ

Audition Information • Audition materials must be postmarked by Wednesday, January 13. 2015 • Required materials – Application form, recording, and $8.00 audition fee • Audition day is Saturday, January 30, 2016 at Grace Church in Madison, NJ • Audition results will be emailed following auditions.

• If a student is accepted and wants to participate, there is a registration fee of $25.00 per student which must be postmarked no later than Monday, February 9, 2015 • Information about audition requirements will be posted on www.njacda.com during the Fall of 2015. There you will find the vocalise and song the students will be required to audition with as well as information about how to send the recordings and the application forms. (You do not have to be an ACDA member to find this information on the NJACDA website.)

OCTOBER 2015

Honor Choir Committee Coordinator: Carol Beadle - carol.dory. beadle@gmail.com

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Elementary Auditions Manager: Brenda McCulley - brenda.mcculley@ oakknoll.org Elementary Festival Managers: David Gordon - dgordon@mtsd.us Jocelyn Keefe - jkeefe@mtsd.us Junior High Auditions Manager: Joanna Scarangello - jscarangello@ mtlakes.org Junior High Festival Manager: Megan Siegel - megan.siegel@gmail. com

Bachelor of Arts in Music Bachelor of Arts in Music with a Double Major Bachelor of Music Education Bachelor of Music in Performance For Open House and Audition dates, go to:

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THE MARCHING COLONELS

JOIN THE SPIRIT OF THE BLUE & GOLD!

www.wilkes.edu/marchingband

OCTOBER 2015

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Highly Talented Panel Instructs ASO Sectionals Michael Kallimanis Auditions Chair/Co-Manager mrkorchauditions@aol.com

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ll-State Orchestra students met in sectionals at the end of September in preparation for the upcoming concerts that will take place in Atlantic City during the NJEA Convention and the New Jersey Performing Arts Center in November.

Sectional coaches from professional orchestras and colleges gave of their time and expertise amounting to an incredible day of music learning and practice. Coaches for this year were still being booked at press time so the photos below are from last year’s sectional day. The rehearsal was hosted by Andrew Havington, the newlyappointed Region I Orchestra Division Chair, at Montville Township HS. Those guest artists were: Mary Ann Mumm (Violin I) – MET Opera, Montclair State University; Susan Heerema (Violin II) – Spectrum Symphony, Ramapo-Indian Hills HS District; Todd Van Beveren (Viola) – Ravina Youth Symphony, Northern New Jersey Youth Orchestra, Columbia HS, Maplewood; Erika Boras Tesi (Cello) – past president of NJ-ASTA, recently retired from Tenafly MS; Jonathan Storck (Bass) – NJSO, William Paterson University; Robert Cart (Flute) – Georgetown Symphony, Montclair State University; Joseph d’Augustine (Clarinet) - Professional Music Academy of Woodbridge, New Jersey City University, Kean University; Robert Ingliss (Oboe) – NJSO, Santa Fe Opera, Columbia University, SUNY-Purchase; Robert Wagner (Bassoon) – NJSO, Princeton University; Brian McLaughlin (French Horn) – West Milford HS; Garth Greenup (Trumpet) – NJSO; Gilles Bernard (Trombone) - New Jersey City University, Manhattan School of Music Pre-College Division; Greg Giannascoli (Marimba/Percussion) - Juilliard Pre-College, New Jersey City University.

All students were provided with in-depth, informative bios of all coaches. Please Google their names to see educational backgrounds and musical accomplishments, all together, practically a manual of how to succeed in the music world, of course, each one with talent!

Photos courtesy of Laura Kearney Region III ASO Procedures Committee

Brian McLaughlin and recent inductee into the American School Band Directors Association,, Band Director at West Milford HS in action during the horn sectional.

A former principal player for the Bolshoi Ballet, Erika Boras Tesi conducts the cello section.

Principal trumpet of the NJSO, Garth Greenup shares his expertise with our AllState students.

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Gilles Bernard, a frequent performer with the National Orchestra of France, at work with the ASO trombones.

Master marimbist, Greg Giannascoli instructs the percussion section.

Joseph d’Augustine watches over the ASO clarinets.

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Co-creator of Symphony Strings, an educational quartet program, NJSO member Jonathan Storck gives the basses a workout.

As director of the music program at the John J. Cali School of Music at Montclair State, Robert Cart enjoys working with young people, especially potential recruits!

After performing with the Milwaukee Symphony, the Lyric Opera of Chicago and 17 years at the MET, Mary Ann Mumm still finds time to work with our ASO violins!

NJSO principal player, Robert Ingliss first wanted to play violin, but there was no string program in his hometown and thus started oboe, and provided an insightful experience for our ASO students.

A performance major from The Julliard School, Susan Heerema now teaches both chorus and strings in Ramapo-Indian Hills HS District and always looks forward to working with the ASO violins.

The ASO viola section was bedazzled

by Ridgewood’s Festival Strings Music Director, Todd Van Beveren, who incidentally is a huge Jets fan!

As a member of the NJSO since 1979 and principal chair, Robert Wagner certainly gave our ASO bassoons a workout!

OCTOBER 2015

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Tech Tools For Student Engagement And Interaction Marjorie LoPresti 732-613-6969 mlopresti@ebnet.org

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oes your principal or supervisor use jargon like engagement, data-driven, flipped classroom, or blended learning? Many music educators are aware of free online tools, but have not realized how to use them for student interaction in ways that administrators recognize as engagement (and all of those other buzz-words too).

This is a summary of a few free, online tools. This is not some all-inclusive list, nor a comprehensive how-to guide. Some of these tools are new to me, and some I’ve used before. Several of the suggested activities will work on several of these platforms. Please experiment, mix, and match. These tools can help you document student engagement, music metacognition, and help provide data about student progress. (And maybe put a smile on an administrator’s face.)

Google Tools (https://www.google.com/docs/about) Many educators use Google Docs and Google Forms. If you haven’t tried these tools for yourself, it’s well worth investing a few minutes. Anyone who can use email and word processing can use these tools with students. The beauty of Google Tools is that students can use them during and outside of class, making them the kinds of tools you’ll need to get started with flipped classroom and blended learning strategies. If your students have access to the Internet during class through iPads, Chromebooks, or their own devices, you can assign some students to work on a response journal, survey, or quiz, while you work with small groups or rehearse with just one or two sections.

Use Google Docs For Student response journals. Rather than taking time in class or rehearsal to write on paper, students can share their views on what’s going on in class or in rehearsal using a Google Doc which they share with you.

Require students to put all of those docs in a folder, which is also shared with you. Voila: student journals that you can read and respond to online!

Cooperative activities. While having students listen to recordings of their own rehearsal, they can collaborate with members of their section to make a list of things that need improvement, as well as areas of growth and strength. This is just one idea.

Opportunities for collaboration through Google Docs are endless.

Use Google Forms For Student surveys and info collection.

Rather than creating, making copies, and collecting a stack of papers, post a link to the Google Form online (or on the board, or with a QR code). When students fill out the form, Google turns their submissions into a handy spreadsheet for you. You can use the data right in Google Sheets, or copy it into Excel.

Quizzes. Google Forms are great for making quizzes or pre-tests. Simple questions might be, “How many sharps are in the E Major key signature?” or “Which type of note receives the pulse in cut time?”

Quick and easy quizzes like this might even help with your SGO’s.

Exit Tickets. Exit Tickets are short post-tests given at the end of class for formative assessment. Use a few simple prompts like: “Tell about one section in the music we rehearsed today that you feel we improved?

What aspects were improved? What do we

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still need to rehearse?” Student responses will document their levels of engagement and metacognition. Exit tickets can also use multiple choice questions. Consider using two multiple choice questions, listing the pieces you rehearsed as answer choices for both questions: “On which piece did you personally make the most progress today?” coupled with “Which piece do you most need to practice on your own?”

TodaysMeet (https://todaysmeet.com) Similar in some ways to Google Docs, TodaysMeet is an online forum. The teacher or session leader sets up a TodaysMeet forum, which displays much like a Google Doc or chat room window. Participants (students) join the Meet. Encourage students to log in with initials or first names so that you can identify who has commented, but privacy is protected. Be prepared to moderate the discussion to keep it on track, with consequences for the inevitability of a student posting something off-topic.

Use TodaysMeet For Suggestion box. Open a TodaysMeet for rehearsal periods. Depending on your school’s technology policy and your classroom management needs, allow time for students to comment on what they feel is going well (Clarinets: Nice work fixing the rhythm at measure 42), or areas where they need more support (Tenor section is dying on the high notes at measure 37). If you are in a school where every student has a schoolissued device or a Bring Your Own Device (BYOD) situation, consider allowing comment time during transition between pieces, OCTOBER 2015

or allowing 1-2 minutes at the beginning or end of rehearsal for students to comment.

Musical Interpretation. Play two or more examples of a piece you are currently rehearsing. Ask students to comment while listening. Prompt them to note differences of interpretation using appropriate music vocabulary, and to share the aspects they like/dislike. Consider this use of TodaysMeet shared note-taking and interaction simultaneously. Students will be engaged in music listening while having a silent conversation online. Afterwards, you will have a written record of their thinking

Poll Everywhere (https://www.polleverywhere.com) A free K-12 educator subscription to Poll Everywhere provides 40 responses per poll (40 students per class). Students can use their phones to respond using text messaging, Twitter, or internet. Poll Everywhere also works with tablets, laptops and Chromebooks. Polls can have multiple choice, open-ended, and clickable-image types of questions. Poll Everywhere will work for some of the same activities as Google Forms.

If you would like to upgrade, the $50 paid annual subscription provides the advantage to automatic grading, record keeping, and censoring.

Use Poll Everywhere For Pre- and post-tests. Document student assessment of their own performance with daily or weekly polls; or create selfassessment polls to use when first learning a new piece, then again closer to concert time.

Students should be involved in documenting their own learning and growth. Polls also work for written assessments like music theory quizzes. With the upgrade to the paid subscription, you will have automatic grading and the kind of record keeping needed to support your SGO. Surveys. Any time you need to collect information, know how many slices of pizza to order, vote on something, or need student input and buy-in, a quick poll can gather information quickly, then tally it for you.

OCTOBER 2015

Kahoot! (https://getkahoot.com) Kahoot! is a free, online quiz game, with pre-made games for note reading and key signatures. Kahoot! users create quizzes, and share them online for others to use. Teachers can create a free account. Students sign in to answer with any internet-connected device, and do not need to create accounts.

Kahoot! shows a leader board for each quiz, so the competition among students can be fierce. Points are awarded for both speed and accuracy. Students love it!

Use Kahoot! For Testing days. In the age of PARCC, we all seem to have many days with missing students, or when we have to “be quiet.”

Kahoot! quizzes can keep students engaged in musical thinking.

Reviews. Is it concert season, or are you approaching end-of unit test in a general music class? Quiz your students on the facts about music they are performing, concert expectations, and etiquette. You can even have students submit questions with possible answers and distractors for an endof-unit review.

EDpuzzle (https://edpuzzle.com) Do you use online videos of exemplary performances with your students? EDpuzzle allows you to edit the videos to shorten them as needed, and to embed questions that students must answer before the video will continue playing. I haven’t used this with students yet, but I can’t wait!

Use EDpuzzle For Flipped classroom and blended learning. Videos can be a great resource.

EDpuzzle allows teachers to locate and reuse ANY video, not just from YouTube, then edit them to select just the segment needed.

The icing on the cake is the question-embed feature. The video stops while students

are viewing, and students must answer the question before the video will continue.

This feature is perfect for flipped classroom activities--students do this work outside of class, then class time is spent exploring, expanding, and applying those ideas. In addition, EDpuzzle allows for the kind of differentiation expected for blended learning. Likewise, differentiation is needed in typical mixed-instrumentation ensembles.

Customize the questions for different student groups based on instrument, reading level, or other needs.

Sub plans. Don’t leave your students with “just a video.” EDpuzzle will give you details about how much they were engaged with the video through online responses-no photocopying, reading, and grading question sheets!

Make-up assignments. Most every ensemble director who includes performances in the grade formula has been faced with creating a make-up assignment.

Every teacher who has a student on home instruction faces a similar problem. By using EDpuzzle to embed questions in a video of the repertoire being prepared for concert performance, the make-up assignment can be related to the missed live experience in a meaningful way.

Final Thoughts Don’t spend hours trying to figure everything out on your own. Ask your colleagues from all disciplines how they use technology. You never know what ideas you may pick up and be able to apply in your music classroom. If you teach in a collegial environment, you are likely to find someone (even a student) who will walk you through a technology platform you haven’t used before. If you’re reluctant to ask for help or are pressed for time, search for a tutorial video on YouTube. (I do that all the time!)

Thanks to Brad Campbell from Cinnaminson High School for sharing this paraphrase of Pete Carril (famed Princeton basketball coach) at the South Brunswick Technology and Learning Conference: “The smart steal from the strong.” Among teachers, the “strong” are happy to share, and they are flattered when you “steal” ideas and run with them.

&

69 TEMPO

NJMEA 2016 Orchestra Festival Application The registration fee is $150. Please mail all checks (payable to NJMEA) to: Susan Meuse c/o Hammarskjold Middle School 200 Rues Lane East Brunswick, NJ 08816 Fill out the entire application before submitting.

Please PRINT & do not write in all caps or all lower case letters.

All applications and checks are due by Friday, December 18, 2015.

Name of Director: _______________________________________________________________________ Name of School/Ensemble: _______________________________________________________________ Choose which date you would like to attend: You may choose either date. January 22nd is suggested for junior/middle school, and February 5th is suggested for high school. ______ Friday, January 22nd (Junior High/Middle School)

______ Friday, February 5th (High School)

School Address: ________________________________________________________________________ School Address City/Town: _______________________________________________________________ School Address State: ______

School Address Zip: ___________________

School Phone: _____ ______ __________ Director’s Email Address: _______________________________ Director’s Cell Phone Number: (For emergencies only) _____ ______ __________ Number of Students Performing: _______ Number of Adults Attending: (including chaperones): ________ Grade Level(s): _______________________________________ NAfME #: ____________________ NAfME Expiration Date: ___________________________________ Pieces to be performed: (Not to exceed 15 minutes: Please choose your preferred time: (circle one)

3:00-5:00 pm

5:00-7:00 pm

TEMPO 70

7:00-9:00 pm

OCTOBER 2015

a defining moment More than just a degree, your choice of university will follow you throughout your lifetime.

Discover your music potential!

Bachelor of Arts Degree in Music Certification K-12 Music • Outstanding Liberal Arts Program • Accredited by Middle States Association • Multidisciplinary Minor in Music Industry • Performance Opportunities – Wind Ensemble – University Chorale – Jazz, Woodwind and Percussion Ensembles – Popular Music Ensemble – Opera and Music Theatre

scholarship & entrance audition Available to majors and non-majors!

Spring 2016 Audition Date: Saturday, February 27 For more information on the program and to schedule an audition contact Rebecca Vega at 973-618-3446 or

undergraduate open houses OCTOBER 24 Jazz ensemble performing at 10:00 aM

NOVEMBER 21

percussion ensemble performing at 10:00 aM

Rvega@caldwell.edu

caldwell.edu OCTOBER 2015

71 TEMPO

2016 NJMEA Honors Guitar Ensemble Audition Application Form The NJMEA Honors Guitar Ensemble Audition will take place in person on Saturday, February 20th from 9:00 - 1:00 pm at The College of New Jersey in Ewing, NJ (Music Building). Those accepted as Honors Guitar Ensemble members (see dates on website: www.njmea.org) must attend all rehearsals and prepare music with conductor Michael Lemma for the Saturday, April 16th festival date at TCNJ at 2pm. Concert dress is semi-formal. The non-refundable Audition Fee is $10.00 per student. All applicationts send check payable to the NJMEA and enclose a copy of your school music teachers current NAfME membership card postmarked by Wednesday, January 15, 2016 to Tom Amoriello, Guitar Festival Director, PO Box 651, Lambertville, NJ 08530.

Each participating student must fill out an application and if accepted will pay $50 and receive 5 tickets to the festival.

Be sure to bring your music and footstool!

Please Print Legibly Using Ball Point Pen Only Student Name: ________________________________________ ______________________________________________ _________

First

Last Grade

Address: __________________________________________ __________________________________ ________ ________________

Street

City

State Zip

Teacher Name: ____________________________________________ ___________________________________________________

First Last

School Address: ___________________________________________ ___________________________________ ________ _______

Street

City

State Zip

Director Phone: (H) (________)________________ (W) (________)________________ (C) (________)______________________ Director Email: ________________________________________________________________________________________________ Checklist: 1) Postmark deadline for all materials is Wednesday, January 15, 2016.

2) Mail applications, check and copy of NAfME card to:

2016 NJMEA Honors Guitar Ensemble Audition Thomas Amoriello PO Box 651 Lambertville, NJ 08530 More info, e-mail only - tamoriel@frsd.k12.nj.us. Phone for emergencies on April 16th only: 908-342-7795. * All students must perform on a nylon string classical guitar (no steel string acoustic or electric guitars)

Audition Requirements for students in grades 9-12: Study #1 in C Major by FRANCISCO TARREGA Revised and Fingered by Matthew S. Ablan which can be found in this issue on page 73 of this issue and at http://www.njmea.org/classroom.cfm?subpage=479 (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal) Scale Requirement: E Melodic Minor edited by Matthew S. Ablan can be found on page 74 of this issue and at Ensemble Excerpt: http://www. njmea.org/classroom.cfm?subpage=479 (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal)Ensemble Excerpt: http://www.njmea.org/classroom.cfm?subpage=479 (Ensemble Excerpt found on NJMEA.org Website (Guitars in Classroom portal) Students will be judged on a point system for correct notes and rhythms, tone quality, musicality: dynamics, phrasing, interpretation and overall quality of preparation for prepared piece, ensemble excerpt, scale and sight reading.

CONTRACT ENDORSEMENTS: I am aware that I must attend the entire Festival, Saturday, April 16, 2016.

STUDENT SIGNATURE: _______________________________________________________ DATE: ____________________________________ As parent/guardian, I give permission for my child to apply to the 2016 NJMEA Honors Guitar Festival. I understand that the NJMEA does not assume responsibility for illness or accident. I further attest that I will assist my child with obligations related to this activity. I am aware that any photos of me that are taken at the festival may appear in TEMPO Magazine or on the website.

PARENT SIGNATURE: _________________________________________________________ DATE: ____________________________________

TEMPO 72

OCTOBER 2015

NJMEA Honors Guitar Ensemble Audition

Estudio in C

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OCTOBER 2015

73 TEMPO

NJMEA Honors Guitar Ensemble Audition E Melodic Minor Scale Edited by Matthew S. Ablan

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2016 Caprio Young Artists Competition Presented by The Riverside Symphonia

$2000 First Prize

And a guest performance with The Riverside Symphonia

$1000 Second Prize $500 Third Prize Application and audition recording due January 4, 2016.

Live final competition open to the public:

Saturday, March 19, 2016 2:00 p.m.

Thompson Memorial Presbyterian Church, New Hope, PA

Open to classical instrumentalists, including keyboard, who reside or study in NY, NJ or PA and who will be no more than 22 years of age on March 19, 2016.

Download application at riversidesymphonia.org.

This program is made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts; and the Arts & Letters Foundation.

TEMPO 74

OCTOBER 2015

NJMEA MUSIC CONFERENCE REGISTRATION INFORMATION If you plan on attending the NJMEA 2016 State Conference Please Read Below!

There is a new registration process to attend the Conference this year.

All attendees must register online.

Even though you register online you will still have 3 options for payment: credit card, check or PO. 路 If you pay by credit card you will be registered immediately. 路 If you pay by check or PO your registration will be pending until the check or PO is received.

If you want to put a purchase order through now, please use the following information:

. ates of Conference: D February 18-20, 2016 .Price of Conference for Member: $165.00 .Price of Luncheon: $35.00 .Send PO to: NJMEA 1806 Hwy. 35 Ste. 201 Oakhurst, NJ 07755

The registration portal is expected to open by mid-October.

A TEMPO Express will be sent when it is ready.

OCTOBER 2015

75 TEMPO

2016 Region Jazz Ensembles Junior Jazz Ensemble Audition Requirements (Grades 7 - 9) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 14, 2016 Rehearsals: March 21, April 11 (4 - 8 PM) April 15 & 16 (9 AM - 3 PM) Concert: April 17 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

•

SOLO - All students are required to prepare the solo listed below in its entirety. Note new solo editions!

All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

•

SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.

Scale sheets & basic drumset patterns may be downloaded from the NJAJE Website: www.njaje.org

•

SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

All Saxophones: *Required solo: NJAJE Junior Saxophone Etude No. 2A *Scales [ALL SCALES MEMORIZED]: Alto/Bari : G & D Blues - 2 Octaves, A Blues - 1 octave.

G & A Dorian mode - 1 octave, D Dorian mode - 2 octaves.

Tenor : C, D, & G Blues - 2 octaves.

C & D Dorian mode - 2 octaves, G Dorian mode - 1 octave.

Trumpet: *Required solo: NJAJE Junior Trumpet Etude No. 2A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, D, & G - 1 octave.

Trombone: *Required solo: NJAJE Junior Trombone Etude No. 2A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 1 octave.

Piano: *Required solo: NJAJE Junior Piano Etude No. 2A *Scales [ALL SCALES MEMORIZED and 2 HANDS]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Guitar: *Required solo: NJAJE Junior Guitar Etude No. 2A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Bass: *Required solo: NJAJE Junior Bass Etude No. 2A *Scales [ALL SCALES MEMORIZED]: Blues & Dorian mode C, F, & Bb - 2 octaves.

Drums: *Required solo: NJAJE Junior Drum Etude No. 2A *Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba).

Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase. *Free Improvised Solo included as part of the solo etude.

Students should demonstrate creativity, technique, and musicality.

TEMPO 76

OCTOBER 2015

2016 Region and All State Jazz Ensembles Senior Jazz Ensemble Audition Requirements (Grades 9 - 12) All Solo Etudes, Scales, Applications, and Locations may be found on the NJAJE Website: www.njaje.org ***IMPORTANT DATES FOR ALL REGIONS*** Audition Date: Monday, March 14, 2016 Rehearsals: March 21, April 11 (4 - 8 PM); April 15 & 16 (9 AM - 3 PM) Concert: April 17 (3 PM) ***Audition Requirements for ALL INSTRUMENTS***

•

SOLO - All students are required to prepare the solo listed below in its entirety.

All Solo etudes may be downloaded from the NJAJE Website: www.njaje.org

•

SCALES / STYLES - Saxes, brass, piano, guitar, and bass students are required to prepare the scales listed below. Scales are listed in WRITTEN pitch. All scales should be played in a swing style. Drummers are required to demonstrate the ability to keep time in the styles listed below.

Scale sheets for all instruments may be downloaded from the NJAJE Website: www.njaje.org

•

IMPROVISATION - All students are required to play an improvised solo demonstrating creativity, technique, & musicality. *Saxes, brass, piano, guitar, and bass students must improvise a solo over 2 choruses of Blues in F or Bb concert using the Jamey Aebersold "New Approach to Jazz Improvisation, vol. 1." Student will pick a card to determine key. *Drum improvisation is included as part of the solo etude.

•

SIGHT READING - All students are required to perform a short excerpt never previously seen. Students will be given 30 seconds to look over the piece before playing.

Saxophones: * Required solo: NJAJE Senior Saxophone Etude No. 2A NOTE - Bari Sax: Students will play the entire saxophone etude using the bottom lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: Alto/Bari: C, G, D Blues - 2 octaves, A Blues - 1 octave.

G & A Dorian & Mixolydian modes - 1 octave. C & D Dorian & Mixolydian modes - 2 octaves.

Tenor: F, C, G, D Blues - 2 octaves. G Dorian & Mixolydian modes - 1 octave. F, C, D Dorian & Mixolydian - 2 octaves.

Trumpet: * Required solo: NJAJE Senior Trumpet Etude No. 2A NOTE - Lead Trumpet: Students will play the entire trumpet etude using the top lines in the ossia section. * Scales [ALL SCALES MEMORIZED]: C, D Blues - 2 octaves; F, G Blues - 1 octave.

C Dorian & Mixolydian modes - 2 oct.; D, F, G Dorian & Mixolydian modes - 1 oct.

Trombone: * Required solo: NJAJE Senior Trombone Etude No. 2A * Scales [ALL SCALES MEMORIZED]: Bb, C Blues - 2 octaves; Eb, F Blues - 1 octave.

Bb Dorian & Mixolydian modes - 2 oct; C, Eb, F Dorian & Mixolydian modes – 1 oct.

Bass Trombone: * Required solo: NJAJE Senior Bass Trombone Etude No. 2A * Scales [ALL SCALES MEMORIZED]: Bb, C Blues, Dorian & Mixolydian modes - 1 octave (begin below the staff.)

Eb, F Blues, Dorian & Mixolydian modes - 2 octaves (begin below the staff.)

Piano: * Required solo: NJAJE Senior Piano Etude No. 2A * Scales [ALL SCALES MEMORIZED and 2 HANDS]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Guitar: * Required solo: NJAJE Senior Guitar Etude No. 2A * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Bass: * Required solo: NJAJE Senior Bass Etude No. 2A * Scales [ALL SCALES MEMORIZED]: C, F, Bb, and Eb Blues, Dorian, & Mixolydian modes - 2 octaves.

Drums: * Required solo: NJAJE Senior Drum Etude No. 2A * Styles [ALL STYLES MEMORIZED]: Swing (slow w/brushes, medium w/sticks, and fast w/sticks), Jazz Waltz, Shuffle, 8th Note Rock, 16th Note Rock (Funk), Latin (Samba). Styles must be memorized. Students must be able to play 2, 4, & 8 bar phrases with a fill at the end of each phrase.

OCTOBER 2015

77 TEMPO

CJMEA

Central Jersey Music Educators Association cjmea.org

W

elcome back to another school year. I hope your summer was restful and left you energized for the year we have just begun. I am very excited to be starting my term as president and look forward to meeting and working with as many of you as possible to continue to make CJMEA a supportive organization for your programs and professional endeavors. My heartfelt thanks go to Jeff Santoro and all the work he did as president for the past two years. I am excited to continue working with him as he transitions into the role of past-president for CJMEA and president-elect for NJMEA. I’m also grateful that Andrew Veiss will be continuing his time with the CJMEA board in a new role, as secretary. Let’s also give a huge welcome to David Westawski who is our new president-elect and your president two years from now.

At this time we are preparing for our auditions which will be taking place in the next few months. Please be sure to read the division reports below to see how you can help make these events run smoothly. We are always looking for help! Hosting CJMEA rehearsals and concerts at your school can be a tremendous form of professional development as you work with some of the finest teachers and conductors in New Jersey and beyond. It can also serve as a great fundraiser for your program. If you are able to host any of our events, please get in touch with me or contact the appropriate chairperson below.

Lastly, please be aware of the many ways we are communicating with our members. A visit to www.cjmea.org will give you all the audition information and provide you with an opportunity to sign up for our mailing list. You can also get up-to-date information by liking/following us on Facebook and Twitter.

I am honored to be a part of a community of teachers that dedicates their lives to guiding students on the path of self-discovery and creative passion through the joy of music. We need to be a support system for each other and my hope is that CJMEA can play a leadership role in offering that support. Please reach out with ideas for how CJMEA can continue to do that and improve. Best wishes for a wonderful school year.

Adam Warshafsky - President president@cjmea.org Brian Toth-High School Band hsband@cjmea.org Welcome back to a new school year and a new set of eager faces! I’d like to start the year off with reminders as we gear up for region auditions on December 12th.

We will continue on our track with online registration for these auditions and All-State. Links for the application website and information will be available in mid- to late-September. (Solo lists can be found on the njmea.org website. Note the addition of Soprano Sax as a standard instrument.)

Please help the audition chairpersons and leadership involved by familiarizing yourself with the process ahead of time so you can field questions and complete your responsibilities correctly. Finally, be involved in your students’ preparation for the audition. Let them know what to expect when they walk in the room and encourage them to develop their skills as much as possible. Have a great year and keep in touch!

Hillary Colton & Jeffrey WoodworthHigh School Chorus hschorus@cjmea.org Welcome back! We hope your year is off to an invigorating start; full of new faces and exciting music. Once again we invite you and your students to participate in the outstanding performance opportunities this season that Region II has to offer. Auditions will be here before we know it. This year

TEMPO 78

promises to be terrific with two excellent guest conductors lined up for our Women’s and Mixed Honors Choirs. Last year’s season was a huge success; with an increase in audition numbers and participating schools.

This is due to your dedication and support of your students’ desire to grow as musicians. Let’s keep it going; please continue to get the word out about what we have to offer!

Are you new to Region II? If so, now is a great time to get involved! Participation in Region Choir not only provides an invaluable audition and performance experience for your students, it also benefits you, the sponsor in the following ways: • Networking opportunities with your colleagues.

• Professional development credit.

• Repertoire ideas for mixed and women’s choirs.

• Rehearsal and conducting strategies to glean while attending open rehearsals.

• A memorable culminating concert to be proud of!

Auditions will be Saturday, December 12th at J.P. Stevens High School in Edison.

We will be continuing to use and tweak our online registration process so please check any changes to the procedure for this year on our website. Here are some additions and changes for this year: • Our choirs will be selected in a new way. The girls selection will alternate between Mixed Chorus and Women’s Chorus (with senior girls having the choice between which ensemble in which to participate).

• Practice tracks for the Quintet and the Solo will be available for download for teachers and students to help in preparation.

Please check often on the CJMEA website for audition information! With that in mind, if you have an questions, feel free to email our Auditions Chairperson, Hillary Colton: hschorus@cjmea.org.

Best of luck with your year and we’ll see you at auditions!

Seth Davis-Intermediate Band k8band@cjmea.org Welcome back to school! I hope you have had a great start to the academic year and still recall a restful but productive sumOCTOBER 2015

mer. Just to keep us on the same page for the school year, here are some reminders as we get ready for our intermediate band events for the year. Auditions for the intermediate bands will be 9am on January 30th at South Plainfield Middle School. The audition requirements have been posted on the CJMEA website as well - please email me if you have any questions. Also, please check the CJMEA website calendar for the other rehearsal dates and events. Good luck with your start of the school year and we’re looking forward to seeing you in January.

Heather Mount-Intermediate Chorus k8chorus@cjmea.org I hope everyone’s school year is going smoothly. I am working to make sure all our Intermediate Choral events are great experiences for our students. As we approach audition time, please be sure to check the website for all the information you need to register your students. I am currently looking for rehearsal sites for the upcoming year. I am looking forward to continuing to work for our K-8 students. Please send me an email if you’d like to help or if you have any suggestions!

Penny Martin-Intermediate Orchestra k8orchestra@cjmea.org Welcome back to school! I hope you all had restful and rejuvenating summer.

We have some excellent conductors lined up for the ensembles this year and if you are interested in watching them work then please consider volunteering at a rehearsal or concert, especially if you’d like to conduct some time in the future. All rehearsals are tentatively scheduled at the New Jersey Youth Symphony building in New Providence, NJ. The concert weekend will be at the Neptune High School PAC in Neptune, NJ. Good luck with your start of the school year and we’re looking forward to seeing you in January at the auditions.

Yale Snyder-Percussion percussion@cjmea.org I hope everyone is doing well. This year is shaping up very nicely in Region II percussion. I am beyond excited to announce that Jonathan Haas, NYU percussion professor and world renowned timpani virtuoso will be coming to conduct the 2016 HS Percussion Ensemble! This is going to be a phenomenal experience for the percussion OCTOBER 2015

students of Region II. Jonathan is very excited to work with our great students. The HS percussion ensemble concert will be shared with our orchestra on January 9th at Montgomery HS. I am always looking for people to get involved as a manager for either our HS or Intermediate Percussion Ensembles. You do not need to be a percussionist to manage.

In fact, if you are a non percussionist that is required to teach percussion in your district or school, managing one of these ensembles is a perfect way to further your knowledge of percussion. Please let me know if you are interested. As always, if anyone has any questions about anything please feel free to email me. I am looking forward to another great year!

SJBODA

South Jersey Band And Orchestra Directors Association sjboda.org

O

ur first membership meeting for this school year will be held on Wednesday, October 14, 2015. This breakfast meeting will take place at Seven Star Diner in Sewell at 9:00 AM. Please notify Patrick O’Keefe (609457-0590 or patrickaokeefe@gmail.com) if you are able to attend. Audition materials will be available and our online registration process will be explained.

The new officers elected at our Spring meeting are: Ian Miller, President-Elect (Thomas E. Bowe ES); Joe Jacobs, Secretary (Ventnor MS); Tony Scardino, Treasurer (Indian Mills MS); and Phil Senseney, Auditions Chair (Retired). Ben Fong (Reeds Road ES) will serve as Past President and Patrick O’Keefe (Smithville ES) is our President.

Auditions for the 2016 All South Jersey Orchestra, Wind Ensemble, Symphonic Band and Junior High String Ensemble will take place on Saturday, December 12, 2015 at Eastern Regional HS. John Stanz will be our host. Applications and directions are available on our website. Deb Knisely (Cinnaminson HS) is our senior high auditions chair.

Congratulations to Jeffrey Tedford (Grove City College) who was selected to conduct the 2016 Junior High String En-

semble. Our 2016 Orchestra conductor is Paul Bryan (Curtis Institute of Music). The conductor for our 2016 Wind Ensemble is Tom McCauley (Montclair University) and Scott Visco (Point Pleasant Borough HS) will conduct the Symphonic Band. Nichole Delnero (Toms River HS South) will continue to be our High School Band Coordinator along with Mark Kadetsky (Fernwood Ave. MS) who will be our Orchestra Coordinator.

This year SJBODA will be offering two new performance opportunities for our students.

The inaugural Elementary String Festival will take place on Saturday, April 30th at Cinnaminson HS. Ian Miller will coordinate this event. Our Chamber Ensemble Program has been expanded to include a Tuba Euphonium Quartet. Patrick O’Keefe will coach this ensemble.

The South Jersey Band and Orchestra Directors Association offers many opportunities for instrumental music teachers to expand their involvement and expertise as music educators. We provide excellent vehicles for professional development including conducting and managing our ensembles.

Many teachers have gained wonderful ideas and strategies by observing rehearsals and meeting with colleagues. You can enhance your school music program to include excellent performing opportunities for your students and ensembles. We encourage all music teachers to take advantage of the wonderful resources offered by SJBODA this year. Please contact Patrick O’Keefe at patrickaokeefe@gmail.com or 609-4570590 for additional information.

We encourage you to check our website, which is maintained by Keith Hodgson and Derek Rohaly, (Mainland Regional HS) for the latest SJBODA updates. www. sjboda.org We wish everyone an exciting and successful year.

Joseph Jacobs Secretary, SJBODA

continued on next page

79 TEMPO

SJCDA

South Jersey Choral Directors Association sjcda.net

T

he South Jersey Choral Directors Association (SJCDA) Board of Directors has worked throughout the summer on the planning of our activities for the 20152016 school year.

Elected officers for the next twoyear term are as follows: Nancy Dickinson (Bunker Hill MS, Washington Township) President Kahlil Gunther (Woodstown HS) President-Elect William Yerkes (West Deptford HS) Past-President Duane Trowbridge (Audubon HS) Secretary Louis Spinelli (Millville HS) Treasurer Hope Knight (Moorestown Schools) Festival Coordinator Our 58th annual Choral Festival will be held again at Eastern Regional High School, in Voorhees, NJ, on January 30th and 31st, 2016. Festival conductors this year will be David Taylor, Northern Burlington High School (Senior High Chorus) and Sarah Mickle, Clayton High School (Junior High Chorus.) Auditions will be held on Saturday, November 21st. Kahlil Gunther will once again host on audition day, at Woodstown High School. Thank you very much to Kahlil and the supportive Music Parents of Woodstown HS for always doing an outstanding job!

The South Jersey Choral Directors Association offers many opportunities for choral music teachers to get involved and in doing so, expand their knowledge as music educators. Teachers have gained useful ideas and strategies by collaborating with other directors, observing rehearsals and attending meetings.

We encourage all music teachers to take

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advantage of the wonderful resources offered by SJCDA this year. Get involved by managing or assisting one of the choruses and take advantage of the professional development opportunities offered. Please contact Nancy Dickinson at ndickinson@wtps.org for additional information.

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see anew

The SJCDA Executive Board looks forward to another exciting year working with the teachers and students of vocal music throughout South Jersey.

We encourage you to check our website for the latest updates. www.sjcda.net Nancy Dickinson, SJCDA President

OCTOBER 2015

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81 TEMPO

This column salutes the lives and careers of recently departed colleagues. It is the way NJMEA and NJRMEA can express appreciation for the work that they have done and the lives that they have touched. We mourn their passing and salute their contributions, which are the basis for music education in the state of New Jersey.

Anne C. Boyer Anne C. Boyer, 91, of Zephyrhills, FL , formerly of Delran, NJ, passed away peacefully on July 21, 2015 at Gulfside Center for Hospice Care. A graduate of Susquehanna University, PA; Anne was an elementary school music teacher for 38 years and retired from the Willingboro, NJ schools district in 1992 .

at East Brunswick, School District; 1982-1999 Teacher of Strings at Trenton School District; 1981-2004 Teacher and Chamber Music Coach for the NJ Summer Conference for Strings, Rowan University; she also taught private music lessons for many years. Linda played cello for The Orchestra of St. Peter by the Sea; The Monmouth Symphony Orchestra; The New Jersey Pops; The Strawbridge Baroque Orchestra; The Essex County Summer Orchestra; The Highland Park Recorder Society; The Summit String Quartet; The Windsor Quartet; The Ambassador Quartet; and The Fourelle String Quartet.

Judith M. Eisner

Ruthelaine MacIntyre

Millburn high school music teacher Judith M. Eisner, 88, of Short Hills, N.J., passed away on Aug. 15, 2015. Judith was a music teacher at Millburn High School, a longtime member of the NJ Symphony, and a founding member of The Interludes String Quartet. She also taught private music lessons from her home right up to the present.

Ruthelaine MacIntyre, 82, of Collingswood, formerly of Whiting, passed away on Sunday, August 2, 2015. Ruthelaine was a cum laude graduate of New England Conservatory in Boston. She had been conducting choirs for over fifty years, 25 years as a high school teacher and fifty years as a church organist and choir director. She was elected to Pi Kappe Lambda, Delta Omicron and was twice listed in “Who’s Who in America’s Secondary Teachers”. In 1989 she received the Master Music Teacher Award from the New Jersey Music Educators and in 1990, she received the Governor’s Medal for excellence in teaching in the arts. She was the Organist and Choir director for St. Paul’s in Ocean Grove, First United Methodist Church of Toms River, then Whiting United Methodist Church of Whiting.

Linda K. Fink Linda K. Fink, 77, of Highland Park, NJ died Monday April 20, 2015 at her son’s home in Highland Park, NJ. She was born on September 30, 1937 in Delaware, OH and was raised in Wayne, NE where she graduated in 1955 from Hahn High School. In 1960 she received her B.M. ED from the University of Michigan; in 1961 a M.M. from the University of West Virginia and finally completed her education in 1967 with a M.A. from Rutgers University in NJ. Linda was a member of The National Society of Daughters of the American Revolution. Linda taught music education for 50 years, starting 1965-1969 General Music at Bridgewater Raritan, School District; 1980-1982 Teacher of Strings

Sharon Pugliese Sharon Pugliese, of Sayreville, passed away Thursday August 13, 2015 at St. Peter’s University Hospital in New Brunswick. Born in Scranton PA, she had resided in Sayreville for 45 years. Before her retirement, she worked as a music teacher in the Sayreville school system for over 40 years.

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OCTOBER 2015

Sharon dedicated her life to music and shared her gift as the music director and organist at Messiah Lutheran Church in Parlin for over 35 years. In addition to her love for music, she had a passion for teaching children the music she loved.

John Michael Santini John Michael passed away on May 18, 2015, at his home in Pompton Plains, NJ after suffering a lengthy illness. He was born on September 4, 1930 in Haledon, NJ. John graduated from Manchester High School and served in the Korean war as a trumpet player in the Navy Band. On December 18, 1955, while on leave from the Navy, John married Victoria “Vicki” Zangari. During the early years of their marriage, John studied music at the Manhattan School of Music in NY, NY from which he earned both a bachelor’s degree and a master’s degree in music and music education. He later studied at Seton Hall University and earned a second master’s degree in Education Administration. John was elected Councilman for the borough of Haledon during the early 1960s. He was employed by the Elmwood Park (formerly East Paterson) Board of Education from 1960 1988 and held the positions of instrumental music teacher & band director, school administrator and superintendent of schools. Teaching and leading children and young adults in musical study and performance were John’s passions; passions he passed on to his children and grandchildren, all of whom share his love, talent and appreciation for this transformational art form.

program in the Glassboro Public Schools, and the same year, started the Glassboro High School Orchestra. In 1965, this orchestra was chosen by competitive audition to represent New Jersey at the Eastern Division of the Music Educators National Conference held in Buffalo, NY. In January of 1983, she conducted the All South Jersey High School Orchestra – the first woman to have this honor. Later that year, in conjunction with members of the music faculty of Glassboro State College (now Rowan University), she organized the Youth Orchestra at GSC, with a membership of 83 students. She conducted this orchestra for three years.

In later years, when she was in her 80’s, she performed with The Philharmonic of Southern New Jersey as a member of the viola section. In 2013, she received an award from the Gloucester County Education Association for outstanding service to the students and employees of the Gloucester County Public Schools. In 2014, Byrnina was a finalist for the first Ovation Award, given by the Philadelphia Youth Orchestra, for inspirational leadership in music education. She was a member of MENC, had twice been a member of the New Jersey State Board of Directors for the American String Teachers Association, and was a member of the New Jersey All-State Orchestra Procedures Committee for four years.

Brynina taught string music, primarily viola and violin, for more than 70 years! In fact, she taught until illness forced her to retire a few months shy of her 94th birthday! Hundreds of fine viola and violin performers and music educators trace their roots to years of intense and well-prepared lessons in her studio. In addition to teaching students how to play well, she also gave them many life lessons, such as the value of hard work, determination, confidence, and mastery of the English language. An inspiration to everyone, she was a stickler for hard work and success, and she always got it; not only from her students, but especially from herself.

Byrnina Socolofsky Byrnina Brooks Socolofsky, 97, passed away peacefully in her home on July 14, 2015. She was graduated cum laude from Ottawa University in Kansas with a BA in music, studying violin, viola and conducting with Everett Fetter.

Later, she studied viola with Harry Zaratzian, principal violist of the Philadelphia Orchestra, and with Leonard Magill, also of the Philadelphia Orchestra. She played violin and viola professionally, including participating for eight years in conducting workshops of the American Symphony Orchestra League in Virginia and California. She was a founding member and principal viola of the Woodbury Symphony for fourteen years and principal viola of the Haddonfield Symphony for three years. In 1960, Byrnina organized a string OCTOBER 2015

Loretta J. Shotwell Loretta J. Shotwell, age 77, of Brick, NJ passed away June 5, 2015 at Laurelton Village Nursing Home. She was born in Linden, NJ and lived in Brick for forty five years.

She was a member of St. Paul’s United Methodist Church, and was a music teacher in Lakewood Schools for fifteen years.

& 83 TEMPO

NJMEA 2014-2015 Board of Directors Executive Board

Appointed Members Administration Ronald Dolce Retired rdolce561@aol.com 732-574-0846

Corporate/Industry Ron Beaudoin rbeau1959@gmail.com 301-662-2010

Advocacy Nick Santoro Retired nb1331@quixnet.net 732-246-7223

Early Childhood Music Ed. Amy Burns Far Hills Country Day School aburns@fhcds.org 973-493-5797

President-Elect, Jeff Santoro W. Windsor-Plainsboro District jeffrey.santoro@ww-p.org 609-716-5000 x5262

Band Festivals/Classroom Music Nancy Clasen Thomas Jefferson Middle School nancydidi@hotmail.com 973-766-5343

NJ Association For Jazz Ed. Mike Anzuini Steinert High School manzuini.njaje@gmail.com 609-631-4150 x3412

Executive Secretary-Treasurer Deborah Sfraga Ocean Township Schools debnjmea@aol.com 732-686-1316

Band Performance Albert Bazzel Winslow Twp. Middle School fenwayfollower5@comcast.net 856-358-2054

Communications (TEMPO/Web) Thomas A. Mosher, Retired tmosher@njmea.org 732-367-7195

Choral/Opera Festivals Donna Marie Berchtold William Davies Middle School berchtoldd@hamiltonschools.org 609-476-6241 x1013

Orchestra Festivals/Performance Susan Meuse Hammarskjold Middle School susanmeuse@gmail.com 732-613-6890

Chorus Performance/NJRMEA Kathy Spadafino, Retired kspadeb@aol.com 732-214-1044

Special Learners Maureen Butler Lake Drive School mbutler@mlschools.org 973-299-0166

Chorus/Orchestra/Jazz Joseph Cantaffa Howell High School jcantaffahhs@hotmail.com 732-919-2131

Technology Marjorie LoPresti East Brunswick High School mlopresti@ebnet.org 732-613-6969

President, William McDevitt Vineland High School billnjmea@aol.com 856-794-6800 x2539

Past-President, Joseph Jacobs

Ventnor Middle School jjacobs@veccnj.org 609-335-6429

Region Executive Members

NJSMA President, Russ Batsch Madison High School batschr@madisonpublicschools.org 973-593-3117 ext 7190 CJMEA President, Adam Warshafsky Montgomery Twp. School District awarshafsky@mtsd.us 609-466-7602 x6203 SJCDA President, Nancy Dickinson Bunker Hill Middle School ndickinson@wtps.org 856-881-7007 x5136 SJBODA President, Patrick O’Keefe Smithville School o’keefep@gtps.k12.nj.us 609-748-1250 X4653

Guitar Tom Amoriello Flemington Raritan Schools tamoriel@frsd.k12.nj.us 908-284-7650

Collegiate/Research/Higher Ed. Rick Dammers Rowan University dammers@rowan.edu 856-256-4557 Conferences Marie Malara Sayreville Middle School malara97@aol.com 732-525-5290 x2370

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OCTOBER 2015

NJMEA RESOURCE PERSONNEL Area of Responsibility

Name

Email Address

Administrative Matters......................................................William McDevitt.............................................................billnjmea@aol.com All-State Band Coordinator................................................Donna Cardaneo............................................................ dcardaneo@aol.com All-State Chorus, Orchestra, Jazz Coordinator.....................Joseph Cantaffa................................................... jcantaffahhs@hotmail.com Association Business............................................................ Deborah Sfraga.............................................................. debnjmea@aol.com Band Procedures Chair.........................................................Matthew Spatz................................................matthew.spatz@millburn.org Choral Procedures Chair................................................... Kathleen Spadafino..............................................................kspadeb@aol.com Composition Contest.........................................................Robert Frampton....................................................rtframpton@comcast.net Jazz Procedures Chair......................................................... Michael Anzuini................................................. manzuini.njaje@gmail.com Marching Band Festival Chair.............................................. Nancy Clasen....................................................... nancydidi@hotmail.com Membership........................................................................ Deborah Sfraga.............................................................. debnjmea@aol.com Middle/Junior High Band Festival.....................................James Chwalyk, Jr............................................. james.chwalyk.jr@gmail.com Middle/Junior High Choral Festival..............................Donna Marie Berchtold ................................. berchtoldd@hamiltonschools.org Music In Our Schools Month................................................. Amy Burns....................................................................aburns@fhcds.org NJMEA Historian.................................................................Nick Santoro..............................................................nb1331@quixnet.net NJMEA State Conference Exhibits Chair............................. Nancy Clasen....................................................... nancydidi@hotmail.com NJMEA State Conference Committee.................................. Ron Beaudoin......................................................... rbeau1959@gmail.com NJMEA State Conference Manager.......................................Marie Malara................................................................malara97@aol.com NJMEA/ACDA Honors Choir.............................................. Carol Beadle................................................. carol.dory.beadle@gmail.com NJMEA Summer Conference..............................................Joseph Akinskas.................................................... joea_njmea@comcast.net November Convention – NJEA............................................ Nancy Clasen....................................................... nancydidi@hotmail.com Opera Festival Chair......................................................... Michael Kallimanis........................................... MrKOrchAuditions@aol.com Orchestra Procedures Chair................................................... Susan Meuse......................................................... susanmeuse@gmail.com Research.............................................................................. Rick Dammers..........................................................Dammers@rowan.edu Students with Special Needs................................................ Maureen Butler........................................................mbutler@mlschools.org Supervisor of Performing Groups...........................................Joseph Jacobs................................................................ jjacobs@veccnj.org Tri-M................................................................................William McDevitt.............................................................billnjmea@aol.com REPRESENTATIVES/LIAISONS TO AFFILIATED, ASSOCIATED AND RELATED ORGANIZATIONS NJ American Choral Directors Association............................ Carol Beadle................................................ carol.dory.beadle@gmail.com Governor’s Award for Arts Education.....................................Joseph Jacobs................................................................jjacobs@veccnj.org NJ Association for Jazz Education....................................... Michael Anzuini.................................................manzuini.njaje@gmail.com NAfME.............................................................................William McDevitt............................................................ billnjmea@aol.com NJ Music Administrators Association..................................Robert Pispecky..................................... Robert.Pispecky@edison.k12.nj.us NJ Retired Music Educators Association........................... Kathleen Spadafino............................................................. kspadeb@aol.com NJ TI:ME............................................................................ Rick Dammers.......................................................... dammers@rowan.edu Percussive Arts Society........................................................ Domenico Zarro.....................................................DEZarro@optonline.net

COMMUNICATION SERVICES/PUBLIC RELATIONS Executive Secretary-Treasurer............................................... Deborah Sfraga....................................................... debnjmea1@gmail.com Editor - TEMPO Magazine.............................................. Thomas A. Mosher..........................................................tmosher@njmea.org Web Master (njmea.org)................................................... Thomas A. Mosher..........................................................tmosher@njmea.org

OCTOBER 2015

85 TEMPO

GENERAL ADVERTISING RATES

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NJMEA Past Presidents 1924 - 1926 1926 - 1930 1930 - 1930 - 1931 1931 - 1933 1933 - 1935 1935 - 1936 1936 - 1938 1938 - 1939 1939 - 1941 1941 - 1942 1942 - 1944 1944 - 1945 1945 - 1947 1947 - 1949 1949 - 1951

Josephine Duke R.W. Laslett Smith Jay W. Fay Wilbert B. Hitchner Thomas Wilson John H. Jaquish Clifford Demarest Mable E. Bray Paul H. Oliver K. Elizabeth Ingles Arthur E. Ward John T. Nicholson Frances Allan-Allen Philip Gordon Violet Johnson Samuel W. Peck

1951 - 1953 - 1955 - 1957 - 1959 - 1961 - 1963 - 1965 - 1967 - 1969 - 1971 - 1973 - 1975 - 1977 - 1979 - 1981 -

1953 1955 1957 1959 1961 1963 1965 1967 1969 1971 1973 1975 1977 1979 1981 1983

Janet G. Gleason Henry Zimmerman Agnes B. Gordown Leroy B. Lenox Elizabeth R. Wood Harold A. Brown E. Brock Griffith Robert C. Heath Edward Brown Rudolph Kreutzer Charles Wertman Stephen M. Clarke Herman L. Dash Buddy S. Ajalat Alyn J. Heim Robert Marince

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1983 - 1985 1985 - 1987 1987 - 1989 1989 - 1991 1991 - 1993 1993 - 1995 1995 - 1997 1997 - 1999 1999 - 2001 2001 - 2003 2003 - 2005 2005 - 2007 2007 - 2009 2009 - 2011 2011 - 2013 2013 - 2015

Anthony Guerere Joan Policastro Joseph Mello Dorian Parreott David S. Jones Anthony Guerere Sharon Strack Chic Hansen Joseph Mello Nicholas Santoro Frank Phillips Joseph Akinskas Robert Frampton William McDevitt Keith Hodgson Joseph Jacobs

OCTOBER 2015

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Gettysburg College, Sunderman Conservatory of Music gettysburg.edu/music

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admissions.mansfield.edu

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New Jersey Performing Arts Center NJ City University Dept. Music, Dance & Theatre

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Rowan University

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russomusic.com

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masongross.rutgers.edu

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The College of New Jersey, Music Dept.

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The College of Saint Rose

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Russo Music Center Rutgers: The State University Susquehanna University

Umass Amherst Department of Music & Dance University of Maryland Wilkes University William Paterson University Yamaha Music Corp.

OCTOBER 2015

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An Unforgettable INSPIRATIONAL Experience Instruction from Master Teachers!

Motivation for Continued Learning.

We partner the Nation’s top judges with the finest performing facilities.

Exceptional Performance Venues Web-based, Complimentary Virtual Director’s Meetings Prior To The Festival Superior Attention To Detail

By Experienced Music Educators Cancel Up To 60 Days Before The Festival And Receive A Full Refund Of Festival Fees No Application Or Group Fees Online Account Access

Audio Critique And Printable Score Sheets Available Online After Your Performance On Stage Clinics Three Nationally Known Adjudicators Plan Your Trip On Your Own Or Use Any Travel Planner

Performance Dates Are Available Online At www.festivalsofmusic.com | 800.323.0974 | info@edprog.com Proud Corporate Member