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4 6 10

From The Editor

From The President

Future Executive Director




29 32 34 Using Popular Music in the Classroom: A User’s Guide On How Not To Look Awkward Teaching It

What is on the playlist of the 134th General Assembly?

Stepping off on the Right Foot to Protect Your Squad when Arranging for or Streaming Your Band




46 48 54 Bridging the Gap Between Early and Advanced String Technique

Bassersize: Movements & Metaphors

Teaching It All At Once: Musical Elements Included From the Start






14 19 24 Corporate/Institution

2022 PDC Outstanding

2022 PDC 25-Year


Award Winners


38 41 42 Traveling Teacher Tips

Using Music Technology in the Upper Elementary Classroom

Choosing The Right Method Book To Help Your Students Be Successful




56 58 66 Take Your Strings Up a Notch: Forgotten Tips from Primrose, Rolland, and Bunting

Allied Organizations & All-State Audition Information



Higher Education


FROM THE EDITOR If we have learned anything from the last two years, it is that music can lead the way for change in all other subjects. We have learned that WE are important to our students and our communities and music means the world to our students. They have shown us that we are the light in their day! We have learned that education is fluid and we can either dig our feet in and complain and refuse to change, or we can step forward and be the innovation and excitement in a student’s day with new ways of teaching and creative ways of making music. We had to learn to invert our teaching, then turn it in to retrograde, and then invert the retrograde. In the process we also learned a lot about ourselves and what is really important.

4) Don’t forget about YOU! One of the things I enjoyed most about the pandemic was the tradition of sitting down with my wife every day at 3:00 PM for a cup of coffee. It was “our” time to reflect on the stress and good of each day. Our three boys started joining us and partaking in meaningful conversation and family time and would get angry if we didn’t have afternoon coffee time. In addition, dinner included a new tradition of “What was your favorite part of today?” The simple conversations matter! You are more than a music teacher. Make time for YOU and YOUR FAMILY beyond the scope of your day job. 5) We all know music education went through various changes in the last two years. Explore the many ways we can reach ALL students through music in your schools and communities. Explore teaching ukuleles to a general music class or teaching them to a community center or local church. Consider being creative teaching a new general music class that isn’t the same old “Survey of Music History” or “Lets Learn to Read Notes and about Composers”. Spice up your teaching and expand your wheelhouse with “History of Rock N’ Roll” or a class about music technology or world drumming or bucket drumming. We can be a breath of fresh air in a changing educational climate! You can be the key to creating a new generation that supports music education when they become adults!

1) We went into music because we loved it! It affected us! We must continue to find ways to make music meaningful and affect our students for years to come. Find new ways to LOVE MUSIC AGAIN! 2) We as music educators will always learn to adapt and keep on learning new ways of teaching, no matter what! The way we used to do things may not be the way we do them now after a pandemic. Embrace change and new ideas to inspire a generation who learns completely different than any generation yet taught! 3) Teaching music day in and day out may seem like the ‘daily grind’ to you, but for your students you have the power to make each day a new adventure that reaches the depths of their minds and emotions. What may be ‘old hat’ to you may be the a whole new idea and a whole new world to your students.

This entire year the TRIAD focused on learning to “Love Music Again!”. Hopefully we all have! Continue to learn, grow, think outside the preverbal teaching box, and strive to keep that focus on Music Education 2.0! 4

Shawn Reynolds is in his 19h year of teaching. He teaches middle school band (grades 6-8) as well as high school marching and concert band. In addition, he instructs the world drumming ensemble, which is a part of the World Music Drumming general music curriculum at Howland middle school. He also serves as the professor of oboe and English horn at Youngstown State University (YSU) since 2015. Prior to his appointment at YSU he was the oboe professor at Westminster College in Pennsylvania for 12 years. He has presented numerous clinics on middle school classroom management, innovative music appreciation courses for both middle and high school, and middle level instrumental pedagogy at OMEA all-state and regional conferences. He has also presented at regional and all-state conferences in Pennsylvania and has presented internationally for the International Double Reed Society (IDRS). Shawn holds a BS in music education from Youngstown State University (YSU) and an MM in Oboe/English horn performance from the University of Cincinnati College-Conservatory of Music. (CCM). While at CCM he served as a graduate assistant/coordinator in the music education department and was instructor of record of woodwind method and techniques class.


In addition to rehearsing and performing on your instrument in small and large ensembles, students will also CHOOSE TWO of the following exciting electives to enhance their musicianship:


JUNE 12-17, 2022


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INFORMATION: For more information, contact Joseph Carucci, Director, Dana School of Music, at 330-941-1439 or email: TUITION: $250 RESIDENTIAL ROOM AND BOARD: $260 (multiple occupancy) Inquire about OMEA/PMEA All-State Participant Discount @danamusic_ysu




(pre-formed groups and individuals are welcome)




FROM THE PRESIDENT Welcome to the spring edition of Triad. As I write this, it is exactly two years from the week our world shut down because of the COVID pandemic. Two years later, mask mandates are finally being repealed, vaccines are available for all school-aged children and adults, and things are slowly returning to “normal.” These two years have been a roller-coaster of ups and downs. Last June we thought conditions were improving, only to be confronted with the omicron variant and another school year made difficult by the impact of an aerosol-driven virus. Yet, we persevered with a successful return of in-person events including State Marching Band Finals, Adjudicated Events, All-State performances, and our Professional Development Conference in Cleveland, thanks to the extraordinary efforts of the many volunteers, elected leaders, and staff of OMEA. We are grateful to outgoing trustees Mike Kelly, State Treasurer, and Kathy McGrady, Immediate Past President for the many, many hours of virtual meetings, emails, and work during these difficult times. Kathy has been a bastion of support for me personally during these challenging times and a much-appreciated relentless cheerleader. Our thanks also go to the district presidents, region chairs, and treasurers who will leave office on July 1st, and to all of the returning trustees and officers who have graciously given so much extra time this year for the benefit of all. Despite a global pandemic and a doozy of an Ohio snowstorm, the 2022 OMEA Professional Development Conference was a success thanks to the herculean efforts of staff members Mark Hensler, Amy Annico, Greg Taylor, and Roger Hall and PDC Team members Brett Benzin, Megan Arnica, Dale Nawrocki, Teresa Cosenza,

Frank Cosenza, and Sherry Niederkorn. All State Chairs Kent Vandock, Andy Feyes, Valerie Roman, Ben Lupo, Erik Moellman, Angie Perrine, and Danielle Jones managed to pull off incredible life-changing experiences for all five All-State Ensembles and Beth Ann Hepburn and Julia Kandel coordinated a mountain of general music equipment for participants’ enjoyment. Although we were tremendously disappointed to miss those performing ensembles that couldn’t get to the conference because of the weather, it was exciting to be together in person again. Thank you to all those that made it happen. Don’t forget that AllState applications for 2023 are open until May 31st – encourage your students to apply! We thank Jay Wardeska and the entire AE Committee, along with Bill Thomas, Director of Adjudications, and Dane Newlove, Director of Adjudicated Event Materials and Awards, for their efforts to modify our adjudicated event requirements that enabled thousands of Ohio students to still have meaningful, yet safe adjudicated event experiences. As we look forward to next year’s strategic planning process, we will build on the Town Hall idea the AE Committee has used several times to get your input on how we can evolve and grow as an organization. If there is one thing the pandemic has shown us, it is how to adapt and change and the appointment of Jay Wardeska as our next Executive Director will help us continue to do just that as we look toward the future. On the note of change, the 2022 ODE Fine Arts Academic Content Standards are under review with final public comment set to open this summer. It is hoped the new standards will finally be approved in the fall. If you have not yet looked at the changes, 6

School of Music

Congratulations to Holly Cowdery, recipient of the 2022 Distinguished Music Education Alumni Award. Cowdery (BM 1993, MM 2000) has taught in the Copley-Fairlawn School District for the past 21 years, is a frequent presenter at OMEA conferences, and is a member of the Ohio Department of Education’s Teacher Leadership Liaison Network.


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• Flute Weekend Saturday-Sunday, June 4-5 Contact Lindsay Sparks,

• Bassoon Camp Monday-Friday, June 6-10 Contact Cynthia Cioffari,

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please visit the ODE site at Topics/Learning-in-Ohio/Fine-Arts/Fine-Arts-Standards.

Advocacy continues to be vital as we hope for a better year in 2022-23. Have important discussions with your administrators now about what next year might look like and volunteer to be on planning committees in your buildings. Check out the dashboards from the Ohio Arts Education Data Project ( for valuable data to support your advocacy efforts. It is expected that the ODE data from the 2019-2020 and 2020-2021 academic years will be available in the dashboards soon, which will help provide concrete evidence of the impact of the pandemic on programs. Many music educators are finding ways to use ESSR funds to help rebuild – check out the resources from the Ohio Alliance for Arts Education on this and OTES 2.0 at It has been an honor and a privilege to serve as president of this organization, despite all the challenges of my term. As with every position I have held in OMEA, I have learned an immense amount, met incredible educators and students, and built valuable relationships with so many people. I encourage you to do the same in your career – volunteer to host an event, serve on a committee, or run for an elected office. It is the best professional development you can ever experience and gratifying to feel as if you have made a positive contribution to our profession. Thank you to all those that have supported me in this endeavor. I hope you have a safe, happy, and restful summer and look forward to seeing you in Columbus for the beautiful weather ordered for the Professional Development Conference on February 2-4, 2023!

Ann Usher

Ann Usher is the Associate Dean for Undergraduate Studies in the Buchtel College of Arts and Sciences and Professor of Music at The University of Akron in Akron, OH, where she teaches graduate and undergraduate courses, supervises student teachers, and coordinates the music education program. She has served OMEA in many capacities, including district president, conference co-chair, on the AE Committee from 1999-2013, and as the inaugural director of the All-State Children’s Chorus in 2014. Dr. Usher recently retired after her twentieth season as director of the Cleveland Orchestra Children’s Chorus. Active as a clinician and adjudicator, she holds a Bachelor of Music Education degree from the University of Northern Iowa, as well as a master of music degree in choral conducting and a doctorate in music education from Kent State University.






my nerves and helped me successfully complete a shaky solo performance. I was privileged to begin to observe great teachers and exemplary programs through volunteer opportunities that were offered to OCMEA members. The mentoring, feedback, and support that was provided to me at the onset of my career both helped me grow as a teacher and a human. As I began to get involved in the many OMEA volunteer opportunities that serve our students and teacher, I began to appreciate the sense of community that is unique to our organization. Collectively, we are OMEA. In addition to the challenges of the pandemic, we have been provided with opportunity. The pandemic has given us time to reflect on what we do well and what we need to improve. It has highlighted the importance of music as a discipline and the need to continue to refine our craft. In my opinion, for OMEA, it has highlighted its relevance and the need for change. Our relevance is in our mission—to ensure that every student has access to a well-balanced, comprehensive and high-quality music education. It is not enough that a child has a music class. Our mission is to ensure access to a high-quality music class for every student in every Ohio community. I am sure you will agree that we have not achieved this goal. We are OMEA. We must embrace the mission. In the coming months, I envision a three-stage process to address the challenges that remain from the pandemic and continue our progress in pursuing the mission. The first stage is somewhat of a “reviv-

Ninety years ago Ohio’s music educators had the foresight to unite under one umbrella organization which they named the Ohio Music Education Association. This significant moment not only established OMEA as an organization, it signaled that whether we are band, choir, and orchestra directors; general music, music theory and appreciation teachers; elementary, junior high, high school, pre-service, or college teachers; we are all part of one community whose purpose is to ensure the existence of comprehensive music education for all schools and communities. We are OMEA. All of us who are current members of OMEA are responsible for continuing to advocate for this purpose and to do so as a united music community. I am humbled by the opportunity to serve as OMEA’s next executive director. I am honored and appreciative of the confidence expressed by the OMEA Board of Trustees through my appointment. I appreciate the extensive efforts that they undertook through the selection process, and I will give my absolute best in my service to OMEA. Finally, we all owe a debt of gratitude to OMEA’s first ever Executive Director, Roger Hall. I can in no way fill his shoes, but I will do my best to protect his legacy and continue to move OMEA forward. I am looking forward to his mentorship as we transition in the coming months. Like you, OMEA has had a significant influence on my life. This began with my first solo and ensemble experience when a caring adjudicator eased 10


al.” It is to RESTORE the aspects of the organization that we have come to value to their pre-pandemic state. The second stage is to REFINE and/or RETOOL our existing infrastructures to provide a more diversified framework to our events and services. The final phases will be ongoing, and it is to REIMAGINE our organization. We must strive to create new initiatives and opportunities that align with the diverse needs and educational philosophies of our members and their teaching environments. This can only be done if each one of us embraces the mission and gets involved. We are OMEA. I imagine an OMEA where every Ohio teacher wants to be a member and every member wants to serve. OMEA is a service organization. For each of us teaching now, it was the selfless service of our music teachers that provided us the inspiration to follow in their footsteps. I am excited to serve the members of OMEA and through them their students. However, to truly meet the challenges that lie ahead and to embrace our mission of a high-quality music education for all students, we must all serve. We must all lead. We are OMEA. Jay Wardeska will become the Executive Director of OMEA on June 1, 2022. He is currently completing his second year serving as a graduate teaching associate in music education at The Ohio State University where he is pursuing a Ph.D. in Music Education. He has served OMEA in a variety of leadership roles including District President, All-State Ensembles Chair, All-State Task Force Chair, and Adjudicated Events Committee Chair. He is an active solo and ensemble, large group, and marching band adjudicator. He holds a Bachelor of Music Education from the University of Mount Union and a Master of Music in Instrumental Conducting from Kent State University. Jay taught middle school and high school in the State of Ohio for 30 years. He has been the recipient of many honors and appointments, including being named the 2013 National Band Director of the Year by the National Association for Music Education (NAfME) and the U.S. Army Band. Additional awards and appointments include selection to the NAfME U.S. Army All-American Band Directors Academy, Grammy Quarterfinalist for the Music Educator of the Year, the Medina County Arts Council’s Service to the Arts Award, National Band Association Citation of Excellence, and the National Excellence in Teaching Award. He is a Martha Holding Jennings Foundation Jennings Scholar and an Ohio Department of Education Master Teacher.


Support the Mission of the Ohio Music Education Association with a donation to the Ohio Foundation for Music Education. Yes, I want to support music education in Ohio and insure that the benefits acquired by students experiencing music are available for them now and in the future. Please apply my gift as indicated. Donor Information: (Please print legibly or type this form.) Name:__________________________________________________________________________________________ Street Address:___________________________________________________________________________________ City:______________________________________________ State:____________ Zip + 4_________________________ Email Address:___________________________________________________________________________________ Best Phone:_______________________________________ _____OMEA Member

_____OCMEA Member


_____Friend of Music Education

Donation Information: Donation Amount:


Donation Category:

_______ Foundation General Fund for Financial Growth

(Check area for donation)

_______ OMEA Memorial Scholarship Fund _______ Charles H. Benner Leadership Academy _______ This is my Annual Campaign Contribution for calendar year 2021.

Recognition/Memorials: Please list how you wish to be recognized on our website and in our publications. (Example: John and Jane Smith) _________________________________________________ , or

please do not list my/our names.

This gift is: In Recognition of:______________________________________________________________________ In Memory of:__________________________________________________________________________ ______ Certificate or _____ Card of Donation Acknowledgment. Send to: Address________________________________ City_________________ State________ Zip___________ Note: The Ohio Foundation for Music Education is a 501(c)(3) non-profit organization under the Internal Revenue Code. A donation acknowledgment letter will be provided for tax purposes. Checks made payable to: Ohio Foundation for Music Education Send this completed form with check to:

Ohio Foundation for Music Education Attn: Roger Hall, Executive Director 8227 Audubon St. NW Massillon, Ohio 44646


State and federal dollars through the Ohio Arts Council support artistic resources throughout the state.








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OMEA 2022 OUTSTANDING YOUNG MUSIC EDUCATOR JOHN MCCLAIN Each year the OMEA Board of Trustees awards the Outstanding Young Music Educator Award to recognize and honor an OMEA member for excellence in music education who has been teaching between three and eight years. This year’s recipient of the 2022 Ohio Music Education Association Outstanding Young Music Educator Award is John McClain, Director of Choirs for Logan High School and Logan-Hocking Middle School. John was nominated by Gretchen Weber, Assistant Director of Choirs at Logan Hocking Schools. He earned a Bachelor of Music in Vocal Education from Capital University, where he was awarded class of 2014 Distinguished Senior Leader, Class of 2014, Timothy E. Swinehart Award for Outstanding Senior in Music Education, Phi Mu Alpha Sinfonia Scholastic Award , Dean’s List/President’s List, and Outstanding Music Educator Award. Prior to his current position he was the Director of Choirs at West Jefferson school district for the 2014-15 school year. He started in his current position in 2015 and has received the Logan Hocking School District Outstanding Faculty Member, and the Ohio School Board Association Outstanding Faculty awards.



OMEA 2022 OUTSTANDING ADMINISTRATOR JEFF KRACKER Each year the OMEA Board of Trustees awards the Outstanding School Administrator Award to a school administrator who exhibits exceptional support for the music program. The 2022 recipient of the Ohio Music Education Association Outstanding Administrator Award is Jeff Kracker, Principal of Jackson High School in Massillon, OH. He was nominated by Michele Monigold, band director of Jackson high school, along with the entire music staff. Mr. Kracker graduated Summa Cum Laude from Bowling Green State University with a Bachelors of Science in Education with minors in History and Political Science in 2002. He obtained his Master’s Degree in Education from Ashland University in 2008. Mr. Kracker is a member of the Ohio Association of Secondary School Administrators. Before his work as principal for Jackson High School, he taught Social Studies at Jackson High School and also coached Football and Track. In 2011, he went on to become an assistant principal and coordinate the Jackson Academy for Global Studies. Most recently in 2016, Mr. Kracker became Jackson High School’s building principal.


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OMEA 2022 OUTSTANDING MUSIC SUPPORT GROUP FIRELANDS BAND BOOSTERS Each year the OMEA Board of Trustees presents an award recognizing a Music Support Group that has contributed considerably to the development and maintenance of a comprehensive music program in Ohio. The 2022 winner of the Ohio Music Education Association Outstanding Music Support Group is the Firelands Band Boosters from Oberlin, OH. The president of the organization is Tanya Clark. They were nominated by Firelands Band director Dustin Wiley.The Firelands Band Booster organization has worked tirelessly over the past 10 years to help build and maintain a strong music program at Firelands High School. Over the past 10 years they have expanded the booster organization to help the elementary and middle school programs, and they have advocated for the music program, when it was needed the most. They have raised tens of thousands of dollars every year to ensure the program continues to be successful and has the resources the students need.




Row 5 Robert J. Antonucci, Pete Cibulskas, BettyAnne Gottlieb, Toby Biederman, John H. Montgomery, Karen Butler Row 4 Christopher Chidsey, Edward Zunic, Gretchen Zunic, Mary Pokrywka, Travis Pierce, Heather Pierce Row 3 Mary L. Fancher, Jennifer Gilbert Mercer, Melissa Pahl, Heather L Criazzo, Cheryl Manbeck Row 2 Susan O’Rourke, Andrea Tippery, Bev O’Connor, Gwendolyn Johnson Row 1 Andrea Lewis, Alice K. Maggard, Denise Petersen, Jennifer Mollenkopf, Andrew Grega 24


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USING POPULAR MUSIC IN THE CLASSROOM: A USER’S GUIDE ON HOW NOT TO LOOK AWKWARD TEACHING IT John Anthony When I began my undergraduate career, I was thrilled to begin the quest to become a music educator. I was a budding guitarist who was extremely passionate about rock and pop music and I was easy to spot in every class; I sat in the back wearing a circulating wardrobe of heavy metal t-shirts with hair resembling Eddie Van Halen’s circa 1984. As I progressed through various classes within my major, I quickly noticed that the music I was most passionate about was strictly taboo. In later history classes, popular music was seen as a footnote that was typed with rolled eyes and the attitude was “it happened” while pages and pages of the textbook had the reader on the edge of their seat learning about serialism of the 1900s. In method courses, popular music was mentioned to make the students “happy” by playing a pop song at the end of the spring concert. Generally, these pop arrangements were seen as throw-away pieces with rhythms that were either too complicated for a middle school student to grasp or they never truly lined up with how the vocalist sang them. Ultimately, it caused more headache to my band director because we were interpreting the rhythms as we heard them from the recording rather than what was written on the page. What is the educational value in this? Are music educators inadvertently showing negative perceptions of pop music to their students? In my ten years of teaching, I have noticed that the tide is turning in music education. History of Popular Music classes and “Rock Ensembles” have been flooding public schools and universities throughout the country. Further, teachers are being thrown into situations that I like to call “by the way” classes. These classes are the ones where at the beginning of the year an administrator approaches you and says: “Oh by the way, you’ll be teaching this brand new class!” This very situation may end up with you teaching something similar to a History of Rock and Roll class. At this point, it would be easy to become jaded because this may justifiably be out of your wheelhouse and something you never learned in method courses. However, there are many resources that exist that will make your life and your students’ lives much more enjoyable. I have provided

several resources to help you survive if you are in need of guidance in this area. TRIED AND TRUE CAN NOT BE ACCOMPLISHED ANYMORE… In terms of popular music, we as educators need to be aware that musical groups we find to be important in the pop music echelon, such as The Beatles, are further removed than ever before from our students’ daily awareness. Consider this: the Get Back documentary released on Disney Plus over the holidays is like a student in 1969 watching a documentary about a group recording music in 1917. Also, if you have not had a student call a band like Nirvana or blink-182, “Classic Rock,” it’s an absolute thrill and horrifying at the same time. When Target stops selling the beloved rock band shirts, these bands will likely begin to fade faster than Marty McFly at the end of the first Back to the Future movie, but this time with a much sadder ending. Many times when we present history, especially when trying to connect the students to a piece of music that reflects a time period, we provide them little relevance to their everyday life. Consider any protest song from Crosby, Stills, Nash & Young’s “Ohio” or “Say It Loud - I’m Black and I’m Proud” by James Brown. Our students are so far removed from these events that the ultimate question should be “how can we connect the dots effectively?” A few years ago, I sat in on a presentation with music journalist Greil Marcus at the Rock and Roll Hall of Fame and a similar question was brought up. His recommendation was that we begin to introduce music history backwards to our students, rather than starting from the beginning. In my own teaching, I have witnessed that when trying to get students to discover older influential artists, it is much easier to start on ‘their side of the court’ and slowly bring them to where you want them to be. A few years ago, I taught a student named Marino, who was a phenomenal rock drummer obsessed with Dave Grohl. But, he had no experience playing jazz. By connecting his influence backwards up the “musical influence family tree,” he learned that Grohl’s main influence was John Bonham 29


of Led Zeppelin, but after that point was stumped. We connected the dots backwards one more musical branch to find that John Bonham’s main influence was jazz drummer Max Roach. I gave Marino a copy of the Clifford Brown and Max Roach album Study In Brown and a metaphorical light bulb turned on. While listening to the album, he was able to hear a wide range of drum patterns, especially shuffles, which were similar to ones Bonham, and later Grohl, used on recordings. In his own way, he was also able to connect how Roach played to the same way that a rock drummer would play. Hearing Roach attack the drums, the way he incorporated fills, and how the spirit of his drumming was the essence of “going for it in the moment,” Marino was able to find a love and appreciation for jazz drumming.

lesson is. The lessons give you step by step instructions on executing it in your classroom and contains all of the handouts needed. The site also provides videos, pictures, and audio appropriate for classrooms, which is a life saver, especially when trying to frantically find a video appropriate to show in class. Don’t know much about a topic? Each lesson provides a brief narrative for the teacher to better understand what they are about to teach. This gives teaching authenticity in classes when students may be a hard sell on a topic or they don’t believe you know anything on the topic. HAVE YOU HEARD THE ONE PODCAST NOT ABOUT TRUE CRIME? Podcasts are everywhere and free! The best thing about podcasts is that anyone can make them. The worst thing about podcasts is that anyone can make them. So many have been recorded that it can be hard to sift through what is good, valid, or engaging to an audience. Similar to my experiences with Netflix or any other streaming service, I have stopped more podcasts minutes into an episode than I have actually completed one. Podcasts can be fantastic to incorporate into varied classrooms such as music history, theory, or can serve as an alternative to a “paper and pen” student project. The following serves as the ‘tip of the iceberg’ with regard to excellent popular music podcasts: The Ongoing History of New Music by Alan Cross is a wonderful radio syndication turned podcast, that focuses its attention primarily on the last 35 years of rock and alternative music. Cross’s program has been on the air in Canada since 1993. As residents of Ohio, we are extremely fortunate to be the only United States audience to hear his syndication on airwaves thanks to The Summit FM, the fantastic AAA station, that broadcasts out of Akron, Youngstown, and Athens. What I enjoy so much about his programs are how Cross is able to break down the information in a way that engages the audience and gives you the meat and potatoes of the influence of the artist, why they’re important, and one or two tracks that stand out. As an educator, this is a perfect way to supplement your lessons with a different style of teaching. Whether you have the kids listen to the program or incorporate the information into your own lessons, you can’t go wrong with his programs. Switched On Pop is a podcast, created by musicologist Nate Sloan and multi-instrumentalist and songwriter Charlie Harding, that focuses mostly on the last two decades of popular music and also discusses how music works. It also dives into a bit of music theory as well. Another great resource is a book published last year entitled Switched On Pop: How Popular Music Works, and Why

BUT, I JUST DON’T KNOW WHAT TO TEACH… Today, numerous educational resources are available for music educators to access with many of them being free to educators. My absolutely favorite resource for any music teacher is TeachRock ( TeachRock was founded by Steven Van Zandt, guitarist for Bruce Springsteen’s E Street Band. It is a free educational resource for teachers, designed around the time of the No Child Left Behind Act. Van Zandt’s forward-thinking about how the arts would negatively be impacted by NCLB created a wonderful resource that promotes crosscurricular learning including general music, social studies, STEAM, language arts, and science. There are a plethora of lessons found on the website, include a section called “Core Lessons.” These lessons are divided into virtual “Books” (volumes 1 through 5) which give the teacher a detailed plan for teaching the history of rock, blues, and hip-hop. These lessons are set up to be versatile so that any teacher can move in sequential order, jump around, or even plot various lessons to travel backwards in time. There are also targeted “Unit Plans” that help to create various lessons centered on topics including Civic Environmentalism and Mathematics. TeachRock has also partnered with recent documentaries including The Beatles: Eight Days A Week - The Touring Years, Rumble: The Indians Who Rocked the World and Long Strange Trip: The Untold Story of the Grateful Dead. Incidentally, I have the honor of having two lessons I created included on the website, respectively focused on Social Emotional Learning and Music Business. TeachRock has also partnered with Little Kids Rock ( to create lessons specifically for learning to play easy-to-read pop charts in any general music classroom. The best part of TeachRock is how user-friendly each 30


It Matters. Without a doubt, when teaching music theory, it’s so important to use musical references that students will understand versus ones that we believe they should know. Again, I am not saying that we shouldn’t mention the great composers, but we need to find ways to connect to our students on a level they can relate. From discussing modulation using Beyoncé to introducing counterpoint melodies in Britney Spears’ “Oops!...I Did It Again,” this book is a perfect way to supplement materials to help your students understand music theory. Dissect is a unique serialized podcast that, over the course of the season, dives specifically into one album and gives each song their own episode. In recent seasons, the podcast has examined albums by Kendrick Lamar, Kanye West, Mac Miller and Tyler, the Creator. This is such an awesome launch point for a class project. Consider taking an album discussed in class and put the students into groups to create a serialized podcast. However, consider strengths of the students in your class when determining episode focus. Students who are involved in your instrumental and vocal classes could touch more on the musicianship of a track whereas a student who has no musical training but is involved in every AP English class, could focus on the lyrics of a certain song. At the completion of this project, you will win “Cross-Curricular Teacher of the Year!”

NOW WHAT? I hope that this article serves as a launching point for your classroom and helps you to find ways to implement new styles of teaching in your various classes. At this point, you may be posing the same hypothetical question Axl Rose poses night after night: “Where do we go now?” Take small bits of ideas and develop them over time and see what resonates with your students’ and the demographic that you teach. The most important thing to remember is that we fell in love with music in our own weird way. Embrace what the students love, open more doors for them, and you will always have a packed classroom of students ready to connect Kanye West to Shakespeare.

Described for his “lead guitar dazzlement” in Music Connection Magazine and “guitar virtuosity” in The Repository, John Anthony is a freelance guitarist playing with regional and national touring acts including The Vindys and Saved by the 90s. Currently, he is endorsed by EarthQuaker Devices and Ultimate Ears Pro. John is an adjunct professor at Youngstown State University where he leads the Contemporary Ensemble and teaches Guitar Methods. Recently, John has contributed cross-curricular lessons focused on The Grateful Dead to the nationwide curriculum TeachRock. org. When he is not busy, he teachers elementary general music at McDonald Local Schools in McDonald, Ohio.







Becky Brown, retired We all know by now that what happens in the statehouse doesn’t stay in the state house. Our elected officials are proposing and passing bills that can affect what you are able to do in your classroom ranging from funding, curriculum, to school safety. The 134th Assembly is making some big decisions that will have an impact on what you are able to accomplish. If the information shared concerns you, please, contact your representative and tell them how you feel. It can make a difference! Unfortunately, at the time this article was written, the redistricting committee had not yet fulfilled their obligation to redraw the maps. In the meantime, use this link to locate your legislator. members/directory So, what is on the playlist for the current general assembly? “Blurred Lines” written and performed by Robin Thicke and Pharrel Williams “Money” Roger Waters, performed by Pink Floyd “Money, Money, Money” Andersson and Ulvaeus, performed by ABBA “Money (That’s what I want)” Berry Gordy and Janie Bradford, performed by many artists including the Beatles Yes, friends, it is all about the money… House Bill 290 (aka the Back-Pack Bill) was introduced by Riordan T. McClain, Republican representing District 87 and Marilyn John, Republican representing District 2. The purpose of this bill is to establish a school funding formula that allows families to choose the option where all computed funding amounts associated with students’ education to follow them to the public and nonpublic schools they attend. This bill has been referred to the House Finance Committee. What does this mean? This bill would allow anyone currently in a private school to get a public tuition subsidy. If that happened, the cost would be approximately $1.2 billion if the voucher amount were $5,500.00 per child for K-8, and $7,500.00 per child for 9-12. These amounts

are higher than most schools are currently allocated from the State. There is no provision in the bill for these expenditures to be audited. Therefore, taxpayers would not know how this voucher money will be spent. Does anyone remember all the money that the owners of ECOT and other irresponsible Charter Schools couldn’t account for? Supporters of the bill always focus on the adults taking the vouchers. Instead, the focus should be on the devastating consequences this bill would have on the 90% of Ohio students who choose Ohio’s public schools. This proposed law violates a strict interpretation of the Ohio Constitution regarding school funding as it prevents a “thorough and efficient” system of common schools. It also violates the Ohio Constitution by funding religiously affiliated schools. The Cincinnati Enquirer reported last year that 88% of students left public school to attend a private school where the test scores were worse than the school they were choosing to leave. This proposed bill also has no guarantee of a formula for funding this program. You might be asking “Where does the money come from?” You guessed it: public school funding. Our students have been through enough inadequate funding. If you want further information on the history of school funding in Ohio, follow this link: https:// chronology-of-the-derolph-v-ohio-school-funding-litigation-412 “You Don’t Own Me” by Madara and White, performed by Lesley Gore (doesn’t a teacher have enough to do?) House Bill 529 was introduced by Bill Roemer, a Republican representing District 98 and Brett Hillyer, a Republican and school-choice advocate representing District 38. The purpose of this bill is to require public and nonpublic schools, as well as colleges participating in the College Credit Plus Program (CCCP) to post course curricula and other related information online. This bill was referred to the House Committee (Primary and Secondary Education) on 1/25/2022. How do you feel about posting an entire year of course curricula for each class you teach? This means that class 32


materials, lesson plans, long range goals, and whatever else this law deems relevant would need to be posted publicly before school every begins. Teachers are already too busy, and this bill would require a great deal of extra work outside of school hours. What happens if a parent doesn’t like your plans for the year? What about an alternate curriculum? What is the real purpose of this bill? And while we are talking about posting everything you teach…Perhaps our legislators need to take a listen… “Teach Your Children” written by Graham Nash and performed by Crosby, Nash, and Young “You’ve Got To Be Carefully Taught” from South Pacific by Rodgers and Hammerstein

licensure, and students course credit. It would be better to focus on fully funding the Fair School Funding Plan (FSFP) instead of attacking school funding. A substitute bill has been accepted. “Lawyers, Guns, and Money” written and performed by Warren Zevon HB 99 (Guns in Schools) was proposed by Thomas Hall, Republican representing District 53. If this bill is passed, it would exempt persons authorized to be armed within a school safety zone from having to take a basic safety training course qualifying them as peace officer. Peace officer basic training requirements for those handling a gun require 700 hours. If this bill passes, a maximum of 20 hours of initial gun training and an additional 4 hours to be completed annually, would be all that is required moving forward. Is it really a good idea to have teachers and other school officials armed? This bill has been referred to the Senate Veterans and Public Safety Committee. “The Greatest Love of All,” written by Masser and Creed, performed by Whitney Houston

HB 322 was introduced by Don Jones, Republican representing District 95. This bill is concerned with the teaching of certain current events and certain concepts regarding race and sex in public schools. ….But wait! There’s more! HB 327 “The Promoting Education, Not Indoctrination Act” was introduced by Diane Grendell, Republican representing District 76 and Sarah Fowler, Republican representing District 99. The purpose of this bill is to stop the promotion of division concepts by primary and secondary schools, state institutions of higher education, political subdivisions, and state agencies. If passed the enforcement mechanisms attack school funding, teacher

Education should be all about the students. What do these contain that are good for all children? Contact your legislators and voice your opinions on these bills. Please use this link: to let your elected officials know how you feel. It can make a difference.



STEPPING OFF ON THE RIGHT FOOT TO PROTECT YOUR SQUAD WHEN ARRANGING FOR OR STREAMING YOUR BAND Dr. Brandt Payne, Atty. Matthew Vansuch, and Joan Reardon WHY ARRANGE? The major publishing houses have a wide range of arrangements available for purchase. These are commonly referred to as “stock charts.” These companies will have already secured the appropriate permissions for you. Legally, you must play these charts “as is.” So when would you want a custom arrangement? Think of the following: · There is no published chart or what may have been available is now permanently out of print. · The only published chart is too difficult – or too easy – for your group or is too long – or too short – for what your group’s needs. · The published chart does not fit the strengths of, and the weaknesses in, your group’s instrumentation. · You would like to do a different setting of a song than what is commercially available.

Cool, crisp fall nights under the lights; You may not be ready for it, but your students are likely putting together their wishlist for your marching band’s setlist. Unless you plan on buying off-the-shelf arrangements that are commercially available, now is actually a good time to start planning your fall season. Competition bands should be very familiar with this process, as they often commission custom arrangements for their performances, and the adjudicating organizations often require them to submit the copyright permissions for their competitions. But, other directors should not shy away from putting something other than a stock chart on the field. Beyond the cost for the arranger and the copyright, the benefits to your program can be great. What you do want to avoid is a nasty surprise when you (or your superintendent) receive a cease-anddesist letter (or email) and a bill from the copyright holder. This article will help you walk through the steps that you need to follow to secure the appropriate permissions to create custom arrangements for your band program to perform in public, along with the potential ramifications of not doing so. While we are focusing on marching bands, the same general steps apply for your pep, jazz, or concert band, with some differences that we will note. We hope that this article will encourage you to take the next step and consider custom arrangements for your ensemble. This article is not intended to be a full legal treatise on copyright laws or to provide you with any legal advice. For example, we are not going to discuss public domain. There are several excellent resources available on the Internet that can provide you with more information and specific details.

Collegiate marching bands have relied on custom arrangements for a long time. Your band can also benefit from a custom arrangement for these same reasons. Your students will appreciate that they are playing something written just for them that no other band will play. They may even have helped to choose the selections. They can often come up with unusual combinations of songs that surprisingly work well together in a medley of one or more songs to fit a theme. For example, Vivaldi’s Winter and the Bangles’ version of Hazy Shade of Winter opened an “Ice Castle Mixtape” show by the YSU Marching Pride that focused on the school mascot (Pete the Penguin), the stadium’s nickname (Ice Castle), and a common theme (cold). 34


LICENSING AND ROYALTIES The fee that you will pay for the right to arrange a composition will give you the right to publicly perform that arrangement. The licensing and royalty costs generally depend on the song’s popularity and how recently it was written. Please know that some catalogs are not easy to secure, if not impossible. You should expect a cost of at least a couple hundred dollars. Again, that all depends on the composer and the piece. For example, John Mackey’s Undertow will cost ~$575 to arrange, while Taylor Swift’s Shake It Off can be ~$420. But you won’t know until you inquire. Your license will be for a specific period of time. You will have the opportunity to renew your license when the initial period expires. Contrary to what some may think, it is not impossible to secure a license for Disney music. The cost is, not surprisingly, higher than for other songs. And there are other restrictions. To end the “Ice Castle Mixtape” show, the YSU Marching Pride ended with Paula Abdul’s “Cold-Hearted” and “Let It Go” from Frozen…a pretty cool combination that could only be done with custom arrangements. There was no difficulty in securing the licensing for “Let It Go”, but there were some additional icicles attached. For example, the Penguinettes (majorettes) could not dress in Anna, Elsa, or any other character during the performance; that is a separate license.

Unless you are using music that is in the public domain, doing this correctly costs money. But it may not be as much as you think. The reason is because you are creating a “derivative work” of an existing work under the US copyright law (17 U.S.C. 101). (An arranger does not own an arrangement.) That requires you to get permission – and pay a fee called a royalty – to the person or entity that owns the copyright to the existing work. (That may or may not be the song’s writer. Bob Dylan, Bruce Springsteen, and Shakira are some popular artists that recently sold the rights to their catalogs.) ARRANGERS There are many professional arrangers who work with school groups. Many have websites where they tout their experience with well-known bands, drum corps, or other groups. Or you – or a student – may be the next Tom Wallace or Jay Dawson. Each often has their own style or “sound.” While we do not endorse any particular arranger, be mindful of “you get what you pay for.” Some may charge by the measure or the composition’s length. Some may charge more for a more complex piece. Some may not prepare percussion parts. It all depends. And, so does their fee. While you could expect an arranger to charge $3,500 to $8,000 for a full-length competition show, the fee for a single chart, particularly a popular song, could be much less. A good rough estimate would be between $300-$500 per minute. Keep in mind that paying arrangers for their work does not mean that you have the legal right to perform the arrangement they crafted for you. Some may take that extra step for you, and it may be worth the cost to have them take on that headache. Ultimately, the goal is for your ensemble to sound its best. That will only happen if your arranger knows the group for which they are writing. They will need to know the strengths and weaknesses of each section, including playable ranges and rhythms. The arranger may even be willing to make some adjustments for you. But let the arranger know what worked and what didn’t; the feedback can help with the next arrangement. And a positive long-term relationship with an arranger could lead to your ensemble to having its own signature “sound.”Purchasing an arrangement your band cannot play – whether stock or custom – is never a good return on investment.

VIDEOS AND STREAMING We’re going to discuss the practical steps for securing custom arrangement and performance rights. But, unless you also obtain a license to synchronize your performance with the music for video recording and distribution, then you are not permitted to record the performance and make copies of it (i.e., DVD) or stream it on the Internet. Even if you bought a stock chart and did not need to purchase the permissionto-arrange license, you still must purchase the sync license to legally distribute content on YouTube, Facebook, Vimeo, or other streaming platform. In general, the starting cost for a sync license popular song for marching band, pep band, color guard, or dance team can be $380 per chart. WHY NOT RISK IT? Unlicensed arrangements of popular songs likely went unchecked decades ago. But YouTube has changed all of that. The Internet and YouTube has 35


given many performing groups visibility that they would not have otherwise had. That is particularly true if a group is performing something unique or, in the case of an Ohio collegiate marching band more than a decade ago, a viral performance of “Party Rock Anthem” while it was still on the pop charts. The songwriters and publishing companies do pay attention. You may not even have a channel or page on the major social media platforms, but nothing is stopping your students, parents, and fans from posting their videos. We do not claim any special knowledge of the algorithms that these platforms use or how they work or what motivates one copyright holder over another, but we do know that directors have received letters from copyright holders who sent letters demanding royalty payments and fees after-the-fact. That must be a difficult conversation to have with the principal, superintendent, and treasurer. It is much easier to get the permission before you put the piece on the field (or in the concert). And then you (and your school) won’t have to worry about or deal with the possibility of a copyright infringement lawsuit that could cost tens of thousands of dollars and possibly your job. Of course, if you are going to participate in an adjudicated competition, the organizer is likely to require you to provide proof of your licensing for your show.

then review the arrangement before issuing you the final permission. Putting it all together: (1) YSU paid: (a) Its arranger to arrange “Cold Hearted” and “Let It Go” (b) The copyright holders through Tresóna for the rights to arrange and perform his work. (2) When the arranger finished, he uploaded the arrangements to Tresóna. (3) Tresóna reviewed the arrangements, and, finding them in line with the rights that were secured, issued YSU the arrangement with the appropriate licenses. (The score and parts will contain the appropriate licensing language to let everyone know that you followed the law.) CONCLUSION Why go through all this trouble and expense? It comes down to the experience you want to, and can, provide your students. A single custom arrangement can make a show or a fall season. That is especially so when the arrangement is customized to your ensemble’s strengths, something you’re not likely to get with a stock arrangement. And that can make the difference for your students, prospective students, and your program.

HOW-TO How to receive permission depends on from whom you are seeking that permission. But a good place to start is Tresóna Licensing Exchange™ (tresonamusic. com), an online service whose library includes works owned or managed by major studios or publishing companies. Some of these companies include EMI, Universal, Alfred, Sony/ATV, BMG, and Hal Leonard. You can also purchase sync licenses here. It is free to get an account, and there is no obligation to look around and see what may be available. Not all composers are available on Tresóna. Many have their own websites and many composers provide the option of licensing directly through them. (John Mackey and Steven Bryant are two examples, although some of their compositions are available through Tresóna.) The wait time can vary, from instantaneous to days to weeks. Some pieces may take longer. When your arranger is done, the final version will need to be uploaded and processed through Tresóna, which will

Brandt Payne, D.M.A. is currently the band director for grades five through twelve in the Interstate 35 School District in Truro, Iowa. Brandt has taught at numerous universities, including most recently at Youngstown State University, in addition to staying active as an author, guest conductor, and clinician throughout the United States. Atty. Matthew Vansuch is a partner at Brouse McDowell, LPA, in Canfield, with a broad practice in business, litigation, land use, and governmental matters. Matt is also the announcer for the Howland Tiger Marching Band and the YSU Marching Pride. Joan Reardon is a law student at Case Western Reserve University and an intern and summer associate at Brouse McDowell, LPA. Joan has also finished her first novel and plans to publish it in the near future.





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TRAVELING TEACHER TIPS Sarah Penney INVEST IN A GOOD BACKPACK Tote bags and briefcases can cause unbalance and back pain. A backpack will help you maintain a better posture when going in and out of buildings and will even keep your hands free to hold your giant set of school keys.

Specialist teachers are often licensed to teach K-12 or PK-12, which means that we can be expected to teach various grade levels in multiple buildings. With schools facing budget cuts and unconstitutional state funding, the responsibility of teaching in multiple buildings has become a common occurrence in music education. Currently, and for most of my teaching career, I have had to manage traveling among three buildings every day. Across those buildings I am teaching general music, beginning band, and high school band. There is no perfect solution for teachers being spread too thin, but you may find some of these tips helpful in maintaining organization and balance, despite the chaos of traveling.

WEAR LAYERS Each building and classroom is a different; that includes the temperature. This is especially true if you work in a district with older buildings. To stay comfortable, wear layers that can easily be added or removed. A rain-resistant coat with a hood is a good option so that you do not have to juggle an umbrella on rainy days. You get bonus points if you can find one with a removable fleece liner to double as a winter coat during the brutally cold Ohio winter months. Speaking of cold…

TECH TIPS Use cloud-based programs as much as possible so that you can work on any device in any building. You will be able to pick up where you left off no matter what building you are in or where your planning period is scheduled. Scan your resources into PDF format and save them to the cloud (Google Drive, iCloud, Dropbox, etc.) This will ensure you have access to the materials that you need no matter what building you are working at. Utilize a lightweight computer that you take with you ‘on the go’. This can be helpful if you do not have a computer at each of your desks or you have to share a computer with another teacher. Create a digital library of musi, or working digital versions of your inventory of instruments with details that include where they are located. It is a time consuming task, but well-worth the extra time to keep you organized in the long run. Create email folders within your email system to keep emails organized. This way, emails can be sorted and a neat and tidy inbox which is easily maintained. I personally have created folders for each building I work in, the different types of classes I teach, professional development, absences, and more.

INVEST IN A REMOTE START FOR YOUR CAR It is worth every penny! Your car will become your mobile office. Keep your car organized by using a trunk organizer tote (usually advertised to hold your groceries). This will help you transport school supplies and materials between buildings without them scattering everywhere and taking over your car. Hatchback cars are really useful if you find yourself often transporting large instruments. MEALS ON WHEELS Your car may become your mobile cafeteria, as well. I pack my lunch in a manner so that I can eat whenever there is time in my schedule. Despite the contract requirement that I receive a 30-minute lunch, sometimes it means I am eating in my car as I travel between buildings. Keep a few extra snacks in your car in case you forget your lunch or end up working late with no time to buy food. The good thing about those cold months is it provides a natural refrigerator for your lunch. 38


Keep a garbage bag in your car so that trash doesn’t end up rolling all over the floor and taking over your passenger seat. Every Friday when I get home, I make sure to clean out any garbage that has accumulated during the week so that things don’t get out of hand or smelly. Also, bring water with you so you stay hydrated. I bring multiple water bottles with me to school; one in my bookbag, one in my lunchbox, and one I leave in my car. This way I stay hydrated even when there isn’t time to find a water fountain to refill.

could result in being scheduled in two places at once or missing your lunch. Be sure to communicate with your administrator(s) about the conflict and if coverage is necessary. COMMUNICATION WITH ADMINISTRATION Communication with your administrators is very important. When working in multiple buildings, it can be impossible to attend every staff meeting. Request that meeting minutes or a weekly digital bulletin be communicated with you so that you can stay informed of special events or deadlines for each building. You should also establish who will be completing your evaluations at the beginning of each school year. This way, you will be able to cater your OTES goals and data to the grade level and subject in which you will be getting observed.

SHOES Wear comfortable shoes. We teach on our feet all day long and then when we aren’t teaching, we have to run to our car and quickly travel between buildings. Choose shoes that will keep your feet warm and dry but will also prevent slipping when going in and out of the elements. Further, comfort for your feet is often more important for the traveling teacher than fashion or adhering to a specific dress-code. Your feet will thank you if you choose comfort over fashion!

SUBSTITUTE TEACHERS Be sure to create a schedule that combines all your different buildings and class times in one document. Make sure it includes when travel time is allocated so that it can easily be read by substitute teachers. Always leave lesson plans in an obvious place so that they can be located by the substitute. Create a basket of emergency lesson plans and back up activities that can be taught by non-music teachers in the case that you have an unplanned absence or must be absent for an extended period of time. Do this for every building that you teach in. Traveling is a reality for many music educators. Whether you travel between buildings every school day or spend each day at a different building, I hope that some of these tips can help you tame the chaos.

PARKING If parking is an issue at certain buildings, request a designated “traveling teacher” parking spot to ensure that you can make it to your classes on time. You should also have conversations with and remind your administration and union about reasonable travel times between buildings. If they are not already in your contract, consider talking to the correct people to get them added to your contract. Some contracts may even include an item referencing teachers who teach in multiple buildings being required to have a prep period in each of the buildings in which they teach. (We can dream, right!?) Don’t forget to request reimbursement for your mileage, too!(If that is in your contract!)

Sarah Penney is a general music and band teacher in the Howland Local Schools District. She received her Bachelor’s Degree in Music Education from Youngstown State University. She also has a Master Degree in Educational Administration from the University of Findlay. Sarah currently serves as OMEA District 5 Treasurer/ Secretary and is a member of the Sigma Alpha Iota WarrenYounstown Alumnae Chapter. She lives in Warren, Ohio with her husband and two (soon to be three) children. She also enjoys performing in the surrounding community and teaching private oboe and piano lessons.

STAY ORGANIZED Make a “TO DO” list for each of the buildings that you work in. This way, you can prioritize and stay focused on what you need to accomplish in each building when you are there. There are many apps that allow you to use cloudbased lists that move with you on your personal devices to accomplish this. Keep your calendar as up-to-date as possible. Whether you use a digital or paper calendar, it is important to always be planning so that when there are days off school or adjusted schedules, you are not caught off guard. Be VERY familiar with all your different bell schedules in each building. Sometimes early release, assembly, or testing schedules can create conflicts which 39


USING MUSIC TECHNOLOGY IN THE UPPER ELEMENTARY CLASSROOM Linda T. Sabo Music technology is a powerful and engaging tool to use in the upper elementary general music classroom. It can be used to teach the basics of music theory, music history, composition and even performance. Gamification of subject matter has proven to be an appealing element for students to learn and practice music fundamentals by making the material fun, colorful and exciting. The following list of music technology resources is available free to the elementary music teacher will help students learn and review the elements of music. If you are fortunate enough to have 1:1 devices for your students to bring to class, it will be possible for you to have all students on the same website. Headphones will help students concentrate on what they are doing. However, if you do not have access to 1:1 devices and have only a few, you can still use the devices in learning centers. Centers (or stations) are excellent activities for your students to practice what was previously taught in the large group setting. Students can be placed into groups of three to five students each and rotate throughout the room to the different centers – usually spending 10-15 minutes at each center. You can include manipulatives, worksheets, or instruments at the some centers and have devices at one of the learning centers. Another alternative to 1:1 devices is to use your classroom SmartBoard or Interactive TV as one of the centers. The website should be displayed and ready on the Smartboard/Interactive TV for the students to use as the groups as they cycle through the centers. Finally, to introduce your students to multiple websites during class, you can create a “Choice Board” on your LMS (Learning Management System). Using a “Choice Board” will allow your students to choose from various activities to explore the different websites that interest them. The teacher can include many different website options and the students can choose where they would like to explore. There are numerous Youtube videos to assist you on how to create a “Choice Board”. Students will be able to access these websites quickly and easily through their LMS rather than having to type complex website addresses. Following is a list of websites for you to use in the classroom. As always, with any new software, practice it yourself to become comfortable with the material before presenting to your students.

• • • music.php - This website allows students to compose a 4-measure melody and share it with the teacher. An online piano is used to help in composing. - Students create their own music with a group of beatbox makers. - Students will create their own village with a road running through the village. A melody or drum pattern is created by putting trees, streetlights, buildings etc. along the road. The sounds change according to the object as the car drives past the objects. By clicking on the keyboard displayed at the item placed on the road, the students can choose a sound to correspond with that object and create a melody or rhythmic motif.

FORM COMPOSER BIOGRAPHIES PRACTICING THE STAFF • • RHYTHM • • - The Rhythm Randomizer is a rhythm tool that allows you to create many rhythm patterns. This is a good way to play the game “Poison” with your class to reinforce rhythms skills. • - The Rhythm trainer is a website that has two modes for practice learning to identify rhythms. One Mode will play the rhythm and students pick from 4 choices. In the second mode the students must construct a rhythm that they just heard.

COMPOSITION • - Click on the settings “gear” at the bottom to choose a pentatonic, chromatic or major scale to create a composition. There is also an option to subdivide the beat into eighth or sixteenth notes in addition to choosing the number of measures, length, and range of up to two octaves. The color of the pitches also corresponds to boomwhackers so students can hear their composition played online or have classmates play the composition on the boomwhackers. Students can also send the link of their composition to the teacher’s email for critique, grading, etc.

INSTRUMENT IDENTIFICATION • listen-watch/instruments/ • - Based on “A Young Person’s Guide to the Orchestra to take students on an African safari in search of musical instruments that are grouped by families with interactive games. • - This website is being converted from Flash and will be available sometime in 2022. • 41


CHOOSING THE RIGHT METHOD BOOK TO HELP YOUR STUDENTS BE SUCCESSFUL Jim Volenik Do you use a method book? Do you have time to teach from a method book? Did you use a method book when you took lessons in middle school or high school? Did you use a method book in college for your weekly lesson? If you answered yes to one or more of these questions, then by all means, you should be using a method book with your middle school students in the classroom. Teachers say they don’t have time for a method book because there is always another concert or contest right around the corner. Nonsense, if you don’t use a method book, how can you begin to prepare for that next concert? Method books help teach the necessary concepts in order to teach the concert music. Most of the concert music you choose should be one half to one grade level below where your students are in the method book. This way you can focus on tone, blend, balance, intonation, along with note, rhythm, and articulation accuracy. We all want to challenge our students, but we must pick literature that can be thoroughly learned in the time frame we have until the next concert. I use method books throughout middle school and can spend up to 55% of a rehearsal from a method book or supplements. Remember, method books(supplements) make your job of teaching concert music easier. With so many method books available, how do you choose which one you will use to teach your students? Whether you are a beginner teacher or a veteran teacher, the method book you choose will likely become the lifeblood of your program. Regardless of the method book you choose, your approach should be one of genuine care and concern for the students in front of you who simply want to learn how to play their instruments. Which method book or books do you feel present the concepts necessary for your students to progress in a logical and sequential manner? There probably is not one method book that teaches all the concepts in a manner that fits your particular teaching situation or style. Therefore, you need to think about how you will supplement various concepts, no matter what method book you choose. This supplemental material might be from other method books, however, it may also be created by you specifically for your students within the context of your teaching environment and schedule. It is always important to keep students engaged in learning. Whichever method book you choose and

whatever materials you use as a supplement, be sure they are materials you believe can move your students forward in their music education journey. As you begin to review the countless method books available, you will notice that some are full of color; some have a lot of text, some have a lot of exercises per page, and some have more than one new concept per page. Others may seem to be somewhat plain with little text or color, have few exercises per page, or only teach one concept per page. Some teachers prefer the method books with a lot of color, text, exercises, theory, history, etc. because they feel it may keep their students engaged. In my opinion, this is more of a distraction for my students and takes their attention away from the music. I prefer a method book with very little color, sparse text, and few exercises per page so “the what, how and when” can be addressed and streamlined for the students’ learning. What are some considerations you should keep in mind when choosing a method book for your students? · How often do you see your students? · Are they in homogeneous or heterogeneous groups, or a combination of those groupings? · Are your students highly motivated to practice on their own or is band time considered “guided practice” for them? · Do the majority of your students take private lessons and are therefore expected to progress more quickly, or do very few take lessons and you are their sole teacher? I am currently using Band Fundamentals Book 1 by Steve Hedrick with my beginning 5th grade band. I chose Band Fundamentals for its clean look, encouraging text, and thoughtful and sequential teaching. This book gives adequate, meaningful repetition to ensure success for your beginners. There are usually eight to ten exercises per page that are mostly eight measures in length. The book consistently uses long tones to encourage proper embouchure, air flow, and tone production which is the basis for a successful musician. Steve throws in some small texts throughout the book that help remind students of what they should be thinking about as they play. The last couple of pages introduce chromatics in a simple way for students to understand an often difficult concept. However, the teacher can introduce these chromatic pages at any time 42


throughout the book rather than waiting till the end. Some may feel this Percussion book moves too fast, as they often do. If so, percussion students can use the Roy Burns Elementary Drum Method as a supplement. Used in conjunction with Band Fundamentals, this book provides the beginning percussion student more meaningful repetition. Both of the books are set up using eight measure exercises, therefore you can have the winds playing from Band Fundamentals while the percussionists use the Roy Burns Elementary Drum Method. I do have percussion students use the Band Fundamentals book at times, but with modifications such as removing the flams or buzzing until the students are ready to progress to that particular concept. After the students have completed the first three pages of Band Fundamentals, Book 1, I introduce the First Semester Workbook, by Steve Hommel to use along with Band Fundamentals. This is a quick workbook that will get your students playing melodies immediately. I use songs from the First Semester Workbook for our Holiday Concert to showcase the beginning band. The First Semester Workbook contains an introduction to simple theory concepts of writing whole, half and quarter notes that one can supplement into a small composition project that incorporates stem direction.

Usually around the beginning of January, we will begin the First Solo Songbook, by Sandy Feldstein. This book is POP (Permanently Out of Print) but is a great source for playing melodies that the students are familiar with. The print is large and the teacher can add repeat signs to allow the students to get used to playing longer songs. Or the teacher can have them play all the songs on one page without stopping so they can begin to develop endurance. My second year students begin the year by reviewing Band Fundamentals, Book 1. Percussion will continue to use the book mentioned earlier. During this review, you can begin to increase tempos, so the students begin to develop faster, cleaner, and accurate technique. As you review book 1, you can supplement by having the students play these familiar exercises in cut-time or alle-breve. Another way to supplement during this review is to add articulations, when and how you want to introduce them. This allows the student the flexibility of already having played the exercise so they are not struggling with notes and rhythms, but they can now concentrate on the appropriate articulation. One can also can add dynamics to any of the exercises, allowing for the same flexibility as adding the articulations did. Once again, the students already know the notes and rhythms thus the scaffolding of two concepts simultaneously.



As we reach about three quarters of the way reviewing book 1, we begin Band Fundamentals Book 2, by Steve Hedrick. For the next few weeks, students work from both books. Book 2 starts with some warm-ups, scales, and technique exercises. It also introduces a rhythmic foundation leading to sixteenth notes, eighth and sixteenth groupings, dotted eighth-sixteenths, triplets, cut-time, 6/8 time and an extension of chromatics that began in book 1. Steve suggests that you don’t follow the book in order. In fact, he gives a suggested sequence of instruction but also allows the flexibility to teach the concepts in any order you wish. My only critique of book 2 is that it is not very tuneful, and you will likely need to supplement with other material. My third year students begin the year doing a quick review of Band Fundamentals Book 1. They are ready to play at faster tempos along with the articulations and dynamics that were added the previous year. This is a great way to kick-start the year since most of my students have not played much over the summer. I also introduce two great books at the beginning of the third year: Skill Builders Book 1 by Andrew Balent & Quincy Hilliard and Rhythm and Technique by Jack Bullock. In year 3 our students begin having band five days a week, which is a good time to introduce these books. Skill Builders

helps to develop overall musicianship and Rhythm & Technique does a beautiful job of teaching both rhythm and technique. I have created play along tracks for the Rhythm & Technique book to use with third and fourth year players. One of the play-along tracks is set at a slow tempo and one at a fast tempo. When the students complete their playing assignments, they have the option to do either tempo so that they can be successful. At this point these students review Band Fundamentals, Book 2, after which the students will start Essential Elements, Book 2. The fourth year students start the year by reviewing Band Fundamentals Book 2, Skill Builders Book 1, and Rhythm & Technique, usually exercise #one through #sixteen. Essential Elements Book 2 is started by the end of September and is finished by the end of the school year. In my opinion, if students can REALLY play any book 2 from the most popular series, (i.e. Standard of Excellence, Tradition of Excellence, Accent on Achievement, Essential Element) they are more than ready to be outstanding contributing members to the high school band program. Many method books today have interactive play along tracks, recording capabilities, and closed -communication systems so that the teacher can offer feedback. Many method books are also available within SmartMusic©. You may find these options advantageous if you and

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Youth Summer Music Programs RESIDENT PROGRAMS — with a commuter option Flute Workshop • June 19–23 Saxophone Camp • June 26–29 Music Leadership Intensive • June 26–29 Bass Camp • June 29–July 2 Jazz Camp • June 29–July 2 Clarinet Academy • July 6–9 Double Reed Camp • July 6–9 Ohio State Marching Band Summer Clinic • July 8–10

DAY PROGRAMS Global and Pop Music Experience • Weekdays • June 20–July 1 Middle School Concert Band Academy • July 10–15 All events are subject to change.

Details and registration at in whatever order makes sense to your teaching situation or style. You as the educator should feel free to add or delete anything that is being taught in any method book. Music teachers are instinctively creative people! Let that creativity flow as you teach the joy of making music to young inquiring minds sitting in the chairs before you. They need you more now, than ever before!

your students do not encounter too many difficulties with technology. If the method book you choose does not have play along tracks, consider making your own play along tracks for each exercise in the book. The teacher can record each exercise at two different tempi to allow each student tempo options for them to feel successful or to challenge their technical proficiency. You might even find a colleague to record each instrument so the students have a good tonal model starting from exercise #1 in book one. Having a good tone to imitate is extremely important for young musicians! Brass players will greatly improve their pitch and partial placement if they have a good recording to match. If you choose to make your own play along tracks, they can be uploaded to Google Classroom for making assignments. I have created play along tracks for most of the material in my curriculum. These are posted in my Google Classroom. These resources include method books, supplements, and even band arrangement parts. Once the students have had an opportunity to sight read, the recordings can be a great resource to reinforce what has been taught in the classroom. The students can also use these sound files to practice with and to record their playing assignments. I have found these play-along tracks to be the best solution to helping my students progress. I believe that no matter what method book you use, you have the freedom to move around within the method

James Volenik is in his 39th year of teaching music. He has been the band director at Canfield Village Middle School since 1985. Mr. Volenik received his Bachelor of Music Education from the Dana School of Music, Youngstown State University. He received his Masters degree from the College of Mount St. Joseph. Mr. Volenik has served as President of OMEA District V. He has also been chairman of OMEA District V Adjudicated Events, both Solo and Ensemble and Large Group, as well as chairman of the District V Middle School Honors Band as part of their Winter Conference. He is active as an adjudicator for OMEA Solo and Ensemble events. Mr. Volenik has served as a limited service faculty member at Y.S.U. Mr. Volenik was awarded the Outstanding Arts Teacher Award in Music from the Youngstown Area Arts Council in 19981999. In May 2000, he became a Martha Holden Jennings Scholar. His bands at Canfield Middle School have performed at numerous OMEA State Professional Conferences as well as the Ohio Band Directors Conference at the University of Akron. He is a member of the National Association for Music Education, Ohio Music Educator’s Association, Phi Mu Alpha, and Phi Beta Mu. He continues to play professionally with the WD Packard Concert Band and Rudy and the Professionals. 45


BRIDGING THE GAP BETWEEN EARLY AND ADVANCED STRING TECHNIQUE Wendy Case Much has been said about beginning violin and viola technique, and many excellent methods have developed over the years, contributing much to the furtherance of string education. This brief article is one approach to bridging the boundaries between beginner and advanced technique with fluidity. As a teacher I have found that often, artificial boundaries between one technique and another causes a mental or physical inhibition in technical development, and the student must “relearn” their technique multiple times throughout their playing career. I would like to outline a different approach that aligns with science, since professional technique coordinates rather wonderfully with physics and kinesiology. Below are three basic principles that underline this science-forward approach. The first is an important principle for the student to master during the first lesson or class. Advanced playing is stable for precisely the same reason that stability can be achieved while riding a bike. The motions of the violin and body create both the musical line and inertial balance. The concept of stationary “holds” with the shoulder and neck often introduced to beginners cause a false sense of stability that later inhibit the real signatures of professional playing. Therefore, it can be useful to present no shoulder rest on the day of the first placement of the violin. This has both ergonomic and anti-tension benefits for the student, creating a long-term trusting relationship with the instrument. As soon as the beginner has gained an intuitive understanding of the balance of the violin or viola on the collarbone, a small shoulder rest or sponge can be added for subtle friction on the back, and indeed is useful for most young players.

The second principle is that the left shoulder position, vibrato, and shifting are all intricately related, but most students are unaware of the kinesthetic principles that form the foundation of these complex movements. Exercises to develop good habits and train muscles can begin from the earliest lessons, and one of the most important roles of the teacher is to identify the nearly invisible internal tensions that result in limited motion. A full range of kinesiology exercises to make vibrato, shifting, and high position playing easier for beginning and advanced students can be found via the Theorhym App, an application designed by performers for public school students and instructors. Third, very few string players are aware of how supple the bow hand can be in the beginning stages of playing. Professional string players have a wide range of bow holds unique to their individual physiology, sound production preferences, and the school of thought in which they were trained. Rather than teaching a single fixed bow hold, therefore, teach a basic, flexible position using a hexagonal pencil. It is safe for the student to drop the pencil, so they can experiment with confidence. For most younger students, it takes only a week or two to build flexibility, and it is well worth the investment. In the process, mobility and strength develop in the sensitive tendons, ligaments and muscles of the hand and arm. The teacher can also pay focused attention to strengthening double joints and assist the student to find the perfect balance of their own hand simply by a few well-known bow hold instructions and the intuitive nature of movement. Far fewer position problems result when mobility is pursued first. 46


In summary, I recognize that no approach to playing such a complex instrument is perfect or can solve every problem that may arise within the years of string study. It is my hope that the brief observations outlined here can spark just a few extra creative thoughts for the many remarkable teachers who read this publication. More information on specific exercises from beginner to professional can be found at www.wendycase. com/violin-physics.

Dr. Wendy Case has performed all over the world as a chamber musician and recitalist. She currently serves on the music faculty Youngstown State University and performs with the Dana Piano Trio. Influential teachers include Andrew Jennings, Yehonatan Berick, Philip Setzer (Emerson Quartet), Soovin Kim, Hai Xin Wu, and William Preucil. Wendy is the founder of Theorhym, a research project that combines cutting edge scientific discoveries in acoustics, kinesiology, and performance psychology with string education and performance.

Havas, Kato. A New Approach to Violin Technique. (London, Bosworth & Company Ltd., 1961, pg. 17. 1



BASSERSIZE: MOVEMENTS AND METAPHORS Barry Green Are you a bass player, string teacher, bass teacher, student, amateur, or professional? I love teaching the bass. But for me, the joy of teaching is in the journey. I love being present during growth, illumination, and inspiration. It’s easy to be obsessed with technique and forget that making music is really about expressing energy and feelings with the international language of music. The music we play is not found in the notes on the page, the fingerings, the bowings, or even the instrument. It’s in you! This can be communicated and taught from day one and continue throughout all stages of learning. However, playing music is a balancing act between the two elements of technique and expression. They are both important. The challenge is that the mind can only monitor a few things at a time. In order for this to take place, the technical side has to be mastered to the level of physical memory. Then the mind and body are able to focus on the essence of music: the energy and life in our lullabies, dances, songs, and musical stories. Bassersize has helped me master the technical part of bass playing with a more human connection to feelings and expression. We are in the age of technology and short attention span. I take an exercise class at the YMCA, where we do potentially boring physical exercises but with the accompaniment of popular music. We sing and dance throughout the workout. One of my favorite popular songs used in the exercise class is CC Music Factory’s “I Wanna Make You Sweat.” It’s an infectious groove with rap set to an energetic B-flat drone—no melody or harmony, just fun energy. Most of the children under twenty know it well! While lifting weights to the music, I thought this music would really transform practicing scales, shifting, or string crossings. I brought the CC Music Factory tune in for my seventh- and eighth-grade junior high bass students, and they played their basses while dancing through five minutes of octave shifting. After class, the violinists and violists wanted to know what was going on in the bass room. They thought we were

having a party and wanted to join in on the fun. There are many apps for your cell phone available with rhythm patterns that can be used for technique exercises. I especially like an app called Drum Genius, with world-music rhythms and adjustable tempi to accompany scales, shifting, bowings, string crossings, vibrato, sound quality, bow changes, feelings, and articulations. I have since developed this concept to include original music and videos for all string instruments and will debut the Stringersize workout during my upcoming AUSTA National tour in 2020. Let’s explore some of these techniques in my Bassersize Program. THE BASS SOUND When using the bow one can often hear two sounds resonating. I call this the “double bass” sound (pardon the pun). The first sound might be the sound of the bow on the string: perhaps a scratch, an articulation, or a unique sound. The second sound will be the ring or vibration of the bass inside the body of the bass. Play a pizzicato. After the finger leaves the string, you only hear the vibration of the note inside of the bass. This vibration is what we should be hearing all the time, even when we are using the bow. An exercise to connect with the inner sound of the bass is to watch the string vibrating while bowing. Look for the widest part of the vibration in the middle of the string. (See the photo to the right showing the E string vibrating.) It should be wide and free. If it isn’t, adjust your bow speed, weight from the arm, and distance from the bridge. THE BOW CHANGE When you make a bow change, notice whether the string stops vibrating or continues to vibrate through the bow change. Your goal is to maintain an uninhibited, wide vibration of the string. Work to keep the string vibrating even when you change bow directions. Practice these smooth, continuous bow changes at the frog, middle, and the tip on all strings and in all registers. I compare 48


the bow change to jumping on a spinning merry-goround. When you change your bow direction, you must re-engage the string vibration at the same speed that the string is rotating. It’s like jumping on a spinning merry go-round. The bass bow does the same thing. At the change of bow direction, it re-engages the string at the same speed it is vibrating.

This same kind of maneuver can be applied to shifting within a slur. You lighten the bow weight in your bow hand during a shift and sometimes slow the bow down between notes. This bunny hop with your bow hand minimizes the sound of the shift! When I think of a trombone player moving the slide, I notice it is a very quick movement. On the bass we have to move large distances between notes. I believe we should move quickly like trombone players! Applying this to the bass, one has to move the left hand between the fastest possible subdivision of any two notes. For example, if you are shifting between two quarter notes, shift after you hear four sixteenth notes (a subdivision of a quarter note) and then move quickly. This way you do not cheat the sound of a quarter note by moving during that note. When you are moving this fast, it is important to have the minimum weight of your fingertips on the string. I suggest a three-step exercise to achieve the minimum friction on the string for a fast tromboneshifting technique! 1. Without pressing down, move your first finger from A on the G string to D and back to A on the G string. Glide your finger on top of the string both up and

SHIFTING I have a pet peeve: slurpy shifting! With the bass being so large, notes are located further apart and require more shifting than with smaller string instruments. The sound of shifting more frequently on the bass should always be musical, not technical. The first solution is to avoid shifting within slurs. Explore either changing the phrasing or playing across the bass on lower strings rather than shifting up and down on one string. When you cannot avoid a shift within a slur, I suggest “bicycle shifting.” This is how you avoid a bump in the road when riding a bike. It’s sometimes called a bunnyhop maneuver. You elevate or lift your rear end off the seat so you don’t feel the bump. It is absorbed by the bike rather than your body. 2021-10 OMEA TRIAD-Spring-HalfPage Ad.pdf



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1. Start the vibrato after you play the pitch. Let it be heard, then give it some shakes! 2. Control the actual speed of the vibrato as it relates to the rhythm of the music. Creating a naturally sounding vibrato with your entire arm can be as simple as moving your arm with your fingers on top of the string, sliding a fourth of a step above and below the note but on top of the string. Imagine shaking a rattle in an up-and-down motion. After you do this, grab your left index finger with your right thumb and index finger. Continue to move the left arm. Then press and hold your left index finger with your right thumb and index finger and allow the arm

down between these two notes without any weight on the finger. 2. Repeat the movements but put only enough weight on the string to press the string halfway to the fingerboard without touching the fingerboard. 3. Now repeat this movement with the minimum weight to press the string in contact with the fingerboard. VIBRATO Bass vibrato should be used sparingly. Please do not use vibraphone or opera vibrato on the bass. That sounds mechanical, unnatural, and nervous! I believe there are two keys to the sound of a natural bass vibrato!



to slightly create an up-and-down movement. Finally, release your left index finger and use your arm weight to press the finger gently into the string. Continue the up-and-down arm movement as before, with your finger firmly on the A pitch. Experiment with a rhythmic vibrato. In the exercises below, first play the note without vibrato. The pitch name is located over the rest on the first beat of every bar. The notes represent shakes or oscillations of vibrato. Stop on the last shake in each measure. For example, in the exercise pictured: 1. Play a D on the quarter-note rest without vibrato. 2. Do three shakes on the two eighths and half note. 3. Stop the vibrato at the end of the shakes. You may find it helpful to place your thumb on the neck opposite the finger you are vibrating. This means moving the thumb behind every finger that is expressing vibrato. This should allow your arm to move more freely. Listen to jazz singers or celebrated string players. You will notice they often delay the use of vibrato until a pitch is clearly established. Explore vibrating primarily on longer notes. Delay the vibrato on passing tones for the longer note or the apex of the phrase.

BOW SPEED, PLACEMENT AND RESISTANCE When striving for a nice bass sound, I have searched for the sweet spot where the bass seems to vibrate best. When this happens, you will feel a subtle resistance from the bow hair, pulling the string much like pulling in a fish with the reel on a fishing pole. If the fisherman doesn’t maintain a steady pull on the line, the fish will get away. The same goes for a smooth bass sound. If you don’t sustain a consistent resistance, your hands are likely crushing the sound or inhibiting the strings from vibrating. I have found a good place of average resistance to be about one-seventh the string length. This can be calculated for any pitch on any string. If you play an open string and find the third octave harmonic above the fundamental, that equals one-eighth of the string length. Then just back up a little bit and you should be at one seventh. A way to test this sweet spot is to play an A on the G string. When you get to the middle of the bow, take the bow off the string while keeping your left hand on the pitch (A) and notice if the string continues to vibrate

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as freely as when your bow was on the string. If the sound changes or the string sound improves after you lift the bow, then you could experiment with different bow speed, weight, or distance from the bridge. Finally, once you have found this sweet spot on any string and string length, moving closer to the bridge will produce more overtones—a clearer sound—and further from this spot, you get fewer overtones, or a more mellow sound. Remember to maintain the same bow speed from frog to tip. If you play in front of a mirror, you can watch the bow staying in its lane. If you close your eyes while playing, you can concentrate on the feeling of bow resistance. Bassersize connects us to movements and metaphors that help bring our music to life. Striving for expression and discipline is a balancing act. There is joy in movement and vibration as we practice to achieve the inner double-bass sound, perfect our merry-go round bow changes, master trombone shifting without slurping, vibrate with childlike joy, and don’t let that perfect “fish” sound swim away. I love Chinese food. However, I learned a wonderful music lesson from my fortune cookie:

Barry Green, a native Californian, served as Principal Bassist of the Cincinnati Symphony for 28 years. As former Executive Director of the International Society of Bassists, and currently teaches double bass at The Ohio State University. Formerly professor of bass at U. of Calif. Santa Cruz and U. of Cincinnati CCM. Green has also written 3 bass method books and many solo recordings. As a bass soloist, Green has created three new multimedia productions called Anna’s Way, from Inspiration to Artistry, Anna’s Gift, the Way of Passion, and Anna’s Promise. These unique hour-long productions are for solo bass, narration with background visuals and have been performed internationally in combo version as well as with full concert band and orchestra. In 2021 Barry created another 58-minute multi-media concert program called From Russia with Love including history, hobbies, and trivia of many Russian composers highlighted in this 3 minute trailer: . Barry also partnered with co-host Jason Heath in a series of eight 30 minute international episodes of Buckeye Bass Bashes for all styles of bass playing and artists: Green is author of three books dealing with the philosophy of music, the mind, body and spirit: The Inner Game of Music (Doubleday, 1986), The Mastery of Music, Ten Pathways to True Artistry (Broadway/Doubleday 2003) and Bringing Music to Life! (GIA, 2009). Green has collaborated with ten renown music educators including Rebecca MacLeod and Brenda Brenner on a unique string exercises program sets to popular music grooves and videos called Stringersize and was published in December 2020 at For information on Green’s personal appearances, publications and mini-workshops please see his website,, or e-mail him at barry@ .

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TEACHING IT ALL AT ONCE: MUSICAL ELEMENTS INCLUDED FROM THE START Roberto Iriarte The start of the process is when you take the time to edit the music correctly for your students before passing it out. Time is often wasted in rehearsals and lessons, not only waiting for the musicians to mark something in their music, but often figuring out where the students’ pencils are. The teacher can avoid all of this by clearly editing the music with all of things you want the musicians to write in their parts during your preparation of the parts. It is worth the time, effort and planning to do this as part of your score study and part preparation in order to help your preparation for performance go smoothly. Sure, there are things that you may still want to add in rehearsal but give your musicians the bulk of it so that you and your students maximize rehearsal time playing instead of figuring out how to write things in the music. Example: Mozart “allegro” movement from a symphony. Yes, even an arrangement for your youngest musicians can include important written performance instructions in order to help them learn how to play in this challenging style period. The same kinds of markings should also be added to the other parts of the orchestra. When working with symphony orchestra, the wind parts require the same number of editorial markings, particularly custom dynamics, to help with balance and hierarchy.

In the process of teaching a piece of music, one can easily fall into the habit of teaching the notes and rhythms first to the point of no return. What does that mean? The musician (particularly the young musician) can feel completely satisfied once mastering the notes and rhythms. The experienced musician (you, the teacher) has to challenge yourself and your students to build a piece of music through the process of including more of the musical elements from the start. If this is included in every rehearsal, the musicians are building the technical and musical components simultaneously. The “what” in the music is the notes, rhythms, and all other printed instructions such as dynamics and articulations (printed and non-printed). The “how” is what to do with all the printed items plus the non-printed items that make the music come to life as a communicated language among the musicians that is ultimately shared with the audience. Think about how the many aspects of the bow that affect the delivery of the music. Bow placement, speed, weight and distance are all variables that affect the delivery of the musical sound. One can instruct this very well using math and geography: Bow Math Bow weight = lbs. Bow speed = mph Bow distance = feet or inches Bow Geography Frog = F Balance point = BP Lower Half = LH Middle = M Upper Half = UH Tip = TP



By adding these musical performance symbols, you are able to effectively show your students what to do with them in order to perform a passage of music, or an entire piece, using all of the musical components that are not included by the publisher, but are included to make the performance musical language in a particular style. Bow markings: Too often, young musicians play all over different parts of the bow in any given section of the orchestra. Preparing their parts with the bow markings, like the example above, gives your students clear instruction to attain bow-matching on the correct part of the bow chosen for musical considerations. In rehearsals, choose one passage of music 4-8 measures long. Have the students play it one section at a time for all to hear. After hearing all sections, let the students decide the hierarchy of importance for each part. Write the name of the prominent instrument (melody) in their music. Some publishers do this in advance but not very often. You are now having them use their pencils for something interactive and using their ears to decide the hierarchy. Begin incorporating these items in your part preparation and your lessons. You will see the students become empowered and engaged by listening to and watching each other more consistently. Every orchestra is chamber music. We give them the blueprint and they build the music with our guidance.

Roberto Iriarte is the director of orchestras at Hudson Middle and High Schools and directs jazz ensembles at Hudson High School, where he has taught since 1996. He is a member of the Cleveland Pops Orchestra, the Canton Symphony Orchestra, and the Akron Symphony. He holds music education and performance degrees from Kent State University and a master’s in orchestral performance from Temple University.

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TAKE YOUR STRINGS UP A NOTCH: FORGOTTEN TIPS FROM PRIMROSE, ROLLAND, AND BUNTING Perry Kiser, Jaryn Danz & Lydia Smith HOLDING THE VIOLIN & VIOLA A perennial issue for upper string players is simply holding the instrument in a way that doesn’t inhibit movement or cause pain. Achieving proper posture allows for freedom of movement of the left hand between upper and lower positions and a lack of tension in the shoulders and neck. Many string students start by learning the “Statue of Liberty” method, which has them turn the instrument upside down midair and place the newly raised chinrest under their chin. This method, however, is unclear about where to place the instrument; some students end up with the instrument almost perpendicular to their body with their chin pointed down, putting strain on the neck. Viola pedagogue and well-known soloist William Primrose (1904-1982) presents another possible idea. In Playing the Viola: Conversations with William Primrose by David Dalton, Primrose suggests first holding the instrument’s lower bout in the right hand with the thumb on top and the scroll pointing down. Then, the left hand is crossed

over the chest and placed on the front of the right shoulder. Leaving the left hand in place and taking care to keep the shoulders down, the right hand then carefully brings the instrument up to the left shoulder, crossing the arms over the chest. The left arm moves to hold the instrument at the neck as normal and the instrument is at a 45 degree angle from the body, which Primrose believed was ideal and natural. INTRODUCING SHIFTING & VIBRATO The beginning stages of shifting and vibrato can be daunting to both the teacher and the student. String pedagogue Paul Rolland (1911-1978) was adept at breaking down multifaceted techniques into simple motions, or “actions” as he termed them. Rolland developed approachable exercises that pinpoint the actions of playing, focusing on total body involvement in a relaxed and natural state. One of the exercises he employed was “Tapping.” The exercise of “Tapping” can be applied to both the left and right hand. To introduce vibrato, students place their hand in a middle position with the thumb anchored behind the neck. They reach around the fingerboard and tap their third finger on the wood to the left of the lowest string. This exercise creates a bouncing motion that resembles wrist vibrato. This tapping movement can be transferred to each string and eventually transitioned into vibrato. For tapping in shifting, players first divide the fingerboard into three areas: first, middle, and high positions. The student taps their third finger in first position, in the middle of the fingerboard, and then in the upper register. This exercise encourages shifting with a destination and proper hand shape while removing the complication of intonation work. In the right hand, students can tap their pinkie on the bow to encourage a flexible and strong finger shape. Rolland’s method often advocates introducing advanced techniques early 56


on in instruction in these simplified forms. Tapping exercises connect simple motions to the potentially intimidating techniques of shifting and vibrato.

Perri Kiser is a violinist from Victor, WV currently pursuing a Master of Arts in String Pedagogy and Performance at The Ohio State University. She has co-directed the Coda Fine Arts summer music camps in Fayetteville, WV alongside her mother Kathie Kiser since 2016 and worked arts administration for Coda Mountain Academy, Inc. Perri’s teaching experience includes directing the ensemble Emerging Strings, teaching preschool music in Seville, Spain, and maintaining a private teaching studio since 2008. Perri received a Bachelor of Music in String Performance and a Bachelor of Music in Instrumental Music Education from Liberty University and currently resides in Columbus, OH with her cat Fig.

BOW DIVISIONS Some common challenges for cellists—as well as violinists and violists—are bow distribution and bow placement. One of the causes for these challenges comes from a lack of visualization of the divisions of the bow. Cello pedagogue Christopher Bunting (19242005), suggested a strategy for visualizing the bow and its divisions which can easily be implemented into a school orchestra classroom or private studio. As a former engineering major at Bristol University, Bunting was noted for his mathematical and scientific approaches to the cello. He wrote detailed exercises which were transcribed by Dorothy Churchill Pratt and Christopher Bunting in Cello Technique: “From One Note to the Next” based on Bunting’s Essay on the Craft of Cello Playing. Bunting recommended dividing and numbering the bow into nine equal parts: 1 being at the frog, 5 in the middle, and 9 at the tip. Students can practice exact measurements of bow distribution and bow placements using these “points” on the bow which can be imagined by the student or even marked with tape or chalk. Thus, rather than ambiguously instructing a student to “place the bow close to the frog,” one can instruct the student to place the bow on “number 2.” Similarly, one can instruct students to “play from point 2 to point 5.” Furthermore, students can quickly scribble these numbers in their parts as instructed by the teacher. Ideally, then, students can consistently play passages in the correct part of the bow rehearsal to rehearsal or lesson to lesson.

Jaryn Danz, a native of Madison, Wisconsin, is pursuing a Doctor of Musical Arts degree in viola performance. Jaryn was drawn to the viola in elementary school, choosing it from the string family because cello and bass were “too big” and because “everybody plays violin.” In addition to playing with regional orchestras such as the Boulder Symphony, and the Newark-Granville Symphony, Jaryn also has experience working in arts administration. Prior to attending Ohio State, Jaryn received degrees from the University of Colorado Boulder and the University of Wisconsin-Eau Claire. Lydia Smith is currently a graduate fellow at the Ohio State University pursuing a Master of Arts in string pedagogy. She graduated from Ohio Northern University with a Bachelor of Arts in Music in May of 2020. During her time at Ohio Northern University, she studied cello and violin simultaneously, although her master’s degree is focused primarily on the cello. She has taught cello, violin, and piano for seven years, both as a self-employed private teacher as well as an employee of various music studios in the Lima, Ohio area. In addition to her love of teaching and performing, Lydia has pursued an interest in world music and ethnomusicology research. Presently, she is a student of Professor Mark Rudoff and resides in Columbus, Ohio with her cat, Jay and fiancé, Luke Butterfield.

BIBLIOGRAPHY Dalton, David. Playing the Viola: Conversations with William Primrose. Oxford, Oxford University Press, 1988. Pratt, Dorothy Churchill and Christopher Bunting. Cello Technique “from one note to the next.” Cambridge University Press, 1987. Rolland, Paul and Marla Mutschler. The Teaching of Action in String Playing: Developmental and Remedial Techniques. Urbana, Illinois String Research Associates, 1974. 57


ALLIED ORGANIZATIONS OHIO CHORAL DIRECTORS ASSOCIATION Doug O’Neal I relish in cautious optimism as our professional organizations start reviving their conferences and offerings IN PERSON. OCDA sponsored reading sessions at the OMEA Professional Development conference and the ACDA Regional Conference in Chicago featuring Ohio professionals and musicians. Our forthcoming Summer Conference will continue to help bring life back into our career development. We are very excited to return to the campus of Otterbein University from June 20-22, 2022 for our OCDA Summer Conference. OCDA plans to feature Jason Max Ferdinand, Elaine Hagenberg, Lisa Wong, along with expanded music reading sessions, performances from choirs around the state, and two honor choirs. This conference promises to stimulate and educate. The conference, titled “Together We Sing” will focus on musical greatness and supporting the communities we represent. While we may have known it before this pandemic, our roles in keeping our communities together and supported has only been heightened in the last few years. Our first clinician, JASON MAX FERDINAND, Professor – Conductor – Composer - Speaker, is the founding artistic director of The Jason Max Ferdinand Singers: an ensemble of exceptional talents. Jason is the director of choral activities at Oakwood University where he conducts the Aeolians of Oakwood University. His published material includes Teaching with Heart: Tools for Addressing Societal Challenges Through Music (GIA), and The Jason Max Ferdinand Choral Series (Walton Music). He maintains an active schedule as a guest conductor and lecturer in schools, universities, churches, choral festivals and conferences, domestic and international. Elaine Hagenberg’s music “soars with eloquence and ingenuity” (ACDA Choral Journal). Her award-winning

compositions are performed worldwide and frequently featured at American Choral Directors Association conferences, All-State festivals, Carnegie Hall, and other distinguished international concert halls from Australia to South America and throughout Europe. In addition to composing full-time, Elaine actively engages in bringing her music to life. She is a guest artist and featured clinician for professional conferences and festivals both in the U.S. and abroad as a composer, conductor, and accompanist of her work. Dr. Lisa Wong is concurrently Director of Choruses for The Cleveland Orchestra and Associate Professor of Music at The College of Wooster. At The College of Wooster, she co-chairs the Music Department, directs the Wooster Chorus, and teaches courses in conducting, choral literature, and music education. Lisa has worked with student musicians of all levels, ranging from prekindergarten through college. Before moving to Ohio, she was active as a music educator for sixteen years in New York, Pennsylvania, and Indiana. A strong advocate for music education, Lisa remains active as a clinician, guest conductor, and adjudicator. Her insights into current trends (and what should be trends) in choral music are outstanding and thought provoking. We are excited to offer two scholarships for the 2022 OCDA Summer Conference. This was supposed to start in 2020 but due to COVID was delayed. Thanks to Ben Ayling (Past-President, 2009-2011) and his annual Ayling Golf Outing, both active and student members will have the opportunity to have their conference registration fees covered. The application is due by May 1. All applicants will be notified of recipients in plenty of time to still register for the conference at the early, lower rate. The form will be available in the conference area of the OCDA Website using the following link: https:// 58


While we are incredibly excited about the conference, the work of OCDA continues throughout the year. As part of our Diversity Initiatives, we are hoping to gain knowledge from choral musicians and specialists about how OCDA can help facilitate and serve diverse communities. As an OCDA member, if you represent a program with a diverse musician population and can get involved, please contact me at ocdapresident@gmail. com. We value your insight and thoughts. While the ability to meet via video conferencing has been a silver lining of the past two years, the fatigue of “Zoom meetings” is becoming apparent! As a result, OCDA has programmed some of our virtual professional development sessions away from a live video conference format, to a posted webinar on our OCDA YouTube page. On this page viewers can find past webinars that focus on choral music. Recently, we added two new sessions that may be of interest: • “Ungrading” by Kohn and Blum explores the idea

of removing the pressure of grading and replacing it with hands-on, experiential learning. Lesley Maxwell Mann from Belmont University recently implemented the concept and will share her experience, tips, and suggestions. • In her recently published book, “A New Perspective for the Use of Dialect in African American Spirituals: History, Context, and Linguistics”, Felicia Barber discusses African American English (AAE) dialect in choral singing. This lecture provides insight about the phonological and grammatical features identified in early performance practice. It was great to see so many colleagues at the OMEA Professional Development Conference in Cleveland! The sharing of ideas through conferences or webinars are so important as we rebuild and renew our communities and emerge from this pandemic. We hope to see you at our OCDA Summer Conference in Westerville. We promise…….NO SNOW!

ALL-STATE CHILDREN’S CHORUS Angie Perrine Music” by Lowell Mason in either the key of F or G, as well as “America, the Beautiful” in the key of C. Recordings must be sung a cappella and must be submitted via the application process through the “Accepted LLC” website. The All-State Children’s Choir performance is planned for February 2nd, 2023 in Columbus, OH. If you have any questions, please contact the ASCC co-chairs at Full information is available at

The All-State Children’s Chorus is eagerly preparing for performance in 2023! Once again, we will add 6th graders. This means that any current 3rd, 4th, and 5th graders with an unchanged voice can submit an audition recording. We know that many of our 4th graders were disappointed not to have another opportunity to have an All-State experience, so we have decided to allow them an additional opportunity for 2022. Auditions will be accepted until May 31st. Each audition must include a single recording of “O



2023 OMEA All-State Children’s Chorus Audition Info


OMEA Professional Development Conference Columbus, Ohio • February 2nd, 2023 PROFESSIONAL DEVELOPMENT CONFERENCE

All-State Children’s Chorus Chairs: Danielle Jones & Amanda Rasey

OMEA is pleased to announce auditions for the OMEA All-State Children’s Chorus on February 2, 2023 in Columbus, Ohio as part of the OMEA Professional Development Conference. Selected choristers will participate in three regional rehearsals prior to this event and a full group rehearsal on February 2nd. The day will conclude with a final concert at 5:00. We are thrilled to extend this opportunity to elementary students and teachers in the State of Ohio. The concert day and rehearsals will follow health guidelines that are required by the state of Ohio at that time. ONLINE APPLICATIONS: In order to assure an efficient review process, applicants will apply using the “Acceptd, Inc.” online website. All application material MUST be submitted electronically through this web-based company. This process includes a $15 application fee to Acceptd LLC for administering the on-line process. Applications submitted by any other means will not be considered. Please read the following information carefully. Failure to do so may disqualify deserving students. You will need a parent email address, the music teacher’s name, contact information, and NAfME number, and a credit card for the application. STUDENT ELIGIBILITY FOR THE ALL-STATE CHILDREN’S CHORUS: Auditions will be open to all public, private and home-schooled students in grades 4, 5, and 6 during the 2022-2023 school year whose teachers are members of OMEA. Home-schooled students whose parent or private teacher is a member of OMEA are also eligible. OMEA members are asked to encourage and assist their finest students in the application process described below. Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full day rehearsals. APPLICATION TIMELINE: • April 1: Application and audition material available online through Acceptd. • May 31: Deadline for all applications to be submitted. Please carefully note the specific performance requirements below. • Early Fall 2022: Results posted to the OMEA website and mailed via post office to all students. Teachers will receive an email notification when results are posted to the website. • October 15th: Acceptance forms and $85 participation fee made payable to OMEA due for all applicants. APPLICATION PROCESS FOR ALL APPLICANTS: • The profile should be created under the student’s name. Directors are welcome to assist students in setting up their profile. • Under “PROGRAM GROUP” select “OMEA All State Children’s Chorus” • Under “PROGRAM” select MALE or FEMALE • Answer all of the questions. • Upload clearly named audio recordings. Recordings must begin with the student announcing their name and grade level. Recordings of individual selections should NOT be edited or spliced, but rather performed continuously. Attention should be given to the quality of the recording. Soloists will perform acappella. Recordings can be made on digital recorders, iPhones, iPads. • Teachers are urged to review application information and recordings before submission. • The final step of the application includes a $15 application fee to Acceptd LLC for administering the on-line application process. A pre-paid card, commercially available at various retail locations may suit your needs if a personal credit card is unavailable. Please note that the application fees are paid to “Acceptd, Inc.;” OMEA will not receive this money. • Once your application has been submitted, a confirmation e-mail and receipt will be sent. Failure to meet the deadlines or follow application instructions may result in the rejection of an applicant. All evaluation proceedings are confidential and decisions are final. 60



REQUIREMENTS: America the Beautiful - Key of C Major, A Cappella O Music by Lowell Mason - Key of F or G Major, A Cappella *Please ensure that all applicants can match pitch, access the head voice and possess the focus and stamina to participate in full-day rehearsals.

NOTIFICATION & FEES: The 2023 All-State Children’s Chorus roster will be posted to the OMEA Website early fall 2022. Teachers will receive email notification when results are posted to the OMEA Website. Each applicant will also receive a mailing to his/her home address with audition results. Results are final. If accepted into the 2023 OMEA All-State Children’s Chorus, an $85 participation fee made payable to OMEA is due for all applicants by October 15. ALL-STATE CHILDREN’S CHORUS REHEARSAL & PERFORMANCE EXPECTATIONS: REGIONAL REHEARSAL SCHEDULE: The regional rehearsal schedule and details will be posted to the OMEA website All students are required to attend three regional rehearsals prior to the February 2nd event. Students are encouraged to attend the regional rehearsal in their area but may elect to drive to a different region if there is a conflict. Regional rehearsals are mandatory – a schedule will be communicated in the acceptance letters. February 2nd, 2023 Schedule - All students are required to attend the full day rehearsal on February 2nd, 2023 in Columbus, Ohio. A detailed schedule will be communicated in the acceptance letters. CONCERT ATTIRE: All students will be given a performance t-shirt on the day of the performance. Students are expected to wear black dress pants or long skirts, black socks and black dress shoes for the performance. Please reach out to with any questions regarding audition information or the event.



OMEA All-State Ensembles

2023 OMEA Professional Development Conference Columbus, Ohio • February 1st - 4th, 2023


Coordinator – Rob Cebriak

Band Co-Chairs – Greg Miller & Jonathon Bradshaw Choir Co-Chairs – Holly Lewis & Jeff Rone Jazz Ensemble Chair – Andy Rice Orchestra Chair – Mark Sholl


2023 ALL-STATE APPLICATIONS ARE EXCLUSIVELY ONLINE! APPLICATIONS SUBMITTED THROUGH THE POSTAL SERVICE WILL NOT BE CONSIDERED! All Applicants must be enrolled as members of their school’s performing ensemble while applying, and must continue their participation during the 2022-2023 academic year (ex. All-State band applicants must be members of their school’s band, All-State choir applicants must be in their school’s choir, All-State jazz applicants must be in their school’s jazz ensemble, All-State orchestra applicants for wind/ percussion must be in their school’s orchestra or band ensemble.) Home school students may apply if sponsored by their private teacher (must be an OMEA member). The parent of the home-schooled student will serve as the school administrator. Students must be enrolled in grades 9-12 for the academic year 2022-2023. Failure to observe these rules will nullify the student’s All-State eligibility. OMEA continues the use of online applications for the 2023 All-State Ensembles. Please be aware the online application does not change how recordings are made, only how applications and recordings are submitted. You will need the following items to apply: 1. Student and parent e-mail addresses. 2. Digital recordings of required etudes/solos/scales/warm-up (as listed below) 3. Your director’s contact information 4. Your director’s 9-digit NAfME identification number 5. A credit card for the $15 application fee (paid to Acceptd)


March 1 - Application and audition material available.

May 31 - Deadline for all applications to be submitted. Please carefully note the specific etude and performance requirements. They are all different for 2023.

August 31: Notification of results to applicants and directors.

September 30: Due date for acceptance form and membership fee of $325 that covers hotel lodging and 5 meals.

All participants must stay in the All-State housing hotel (4 people to each room).

2023 CHOIR RECORDING REQUIREMENTS: Each student (after announcing name and voice part) should record a vocalization (any vocal warm-up exercise) of the student’s choice that best demonstrates the extent of his/her range from bottom to top. Next, record a solo from the OMEA Class “A” or “B” list.

2023 BAND & ORCHESTRA WIND-PERCUSSION RECORDING REQUIREMENTS: Each student (after first announcing name and instrument) will next record all required Etudes as listed below and next record a Solo from the OMEA Class “A” or “B” list. Note that percussionists are required to record all three etudes (snare, timpani and mallet), then record a solo (OMEA Class “A” or “B”) on a keyboard instrument.



2023 ALL-STATE BAND & ORCHESTRA WINDS & PERCUSSION ETUDE REQUIREMENTS: Flute • Selected Studies for Flute by Voxman, published by Rubank - p. 10 and p. 27 Oboe • Selected Studies for Oboe by Voxman, published by Rubank - p. 8 and p. 50 Bb Clarinet • Selected Studies for Clarinet by Voxman, published by Rubank - p. 12 and p. 23 Bass Clarinet • Advanced Studies from the Works of J. Weissenborn, arr. Rhoads, published by Southern - #22 (p. 17) and #34 (p. 28) Bassoon • Method for Bassoon by J. Weissenborn: 50 Studies section in back of book (Catalogue #CU96) - #22 (p. 130) and #34 (p. 140) Saxophone • Selected Studies for Saxophone by Voxman, published by Rubank - p. 18 and p. 29 Trumpet • Selected Studies for Trumpet by Voxman, published by Rubank - p. 18 and p. 53 French Horn • Preparatory Melodies to Solo Work by Pottag, published by Belwin - #35 (p. 13), #41 (p. 16) and #92 (p. 37) Trombone and Euphonium • Selected Studies for Trombone by Voxman, published by Rubank - p. 17 and p. 50 Bass Trombone • 50 Etudes for Bass Trombone and Tenor Trombone with F Attachment by Grigoriev, ed./arr. by Randall Hawes, published by Encore - #24 (pp. 24-25) and #25 (p. 25) Tuba • 70 Studies for BBb Tuba by Blazhevich, Volume No. 1, published by Robert King - #22 (p. 21) and #25 (p. 24) Percussion • All players will audition using all three of the following instruments. The required class A or class B solo must be played on either xylophone, vibraphone, or marimba. Two or four mallet solos are acceptable, and the solo may be played accompanied or unaccompanied. Fundamental Method for Mallets by Mitchell Peters, published by Alfred – Reading Study #1 in Ab Major (p. 108). Timpani • Fundamental Method for Timpani by Mitchell Peters, published by Alfred – Etude No. 44 (p. 175) Snare • Advanced Snare Drum Studies by Mitchell Peters, published by Try Publishing Company – Etude #5 (pp. 10-11) .

2023 ALL-STATE ORCHESTRA STRINGS RECORDING REQUIREMENTS: Each student (after announcing name and instrument) will next record all TECHNICAL Etudes listed below and next record the LYRICAL passages listed for their instrument. Finally, Orchestra strings must record the required scales listed for their instrument. See details below. Violin Scales: G Major 3-octave scale and arpeggio, Bb Major 2-octave scale and arpeggio. • Etude: Mazas Etudes Brilliantes, Op. 36, Book II No. 43 mm1-24 (double bar line) • Excerpt: Brahams, Academic Festival Overture, mm84 – 137 (cut time) Viola • Scales: C Major 3-octave scale and arpeggio, Eb Major 2-octave scale and arpeggio. • Etude: Bruni 25 studies #3 (no repeats) • Excerpt: Brahams, Symphony #4, MVT IV, mm 41-64



Cello • Scales: C Major 3-octave scale and arpeggio, Eb Major 2-octave scale and arpeggio. • Etude: Popper Op. 73, Etude #36 mm 1-45 • Excerpt: Brahams, Symphony No 3, Movement #3 mm 1-39 Bass • Scales: G Major and Bb Major 2-octave scale and arpeggio. • Etude: Bottesini, Method for Double Bass, Part 1. Etude No. 25 • Excerpt: Beethoven, Symphony No. 3, Movement 2 mm 69-114 - *PLAY THE LOWER LINES. Harp • Scales: A Major 3-octave scale and arpeggio. • Excerpt 1: Rimsky-Korsakov, Scheherazade Op. 35, Movement 2, Letter Q to 13 before Letter R (Start bracket to End bracket) • Excerpt 2: Berlioz, Symphonie Fantastique, Movement 2. Un Bal Skip Long Rests

2023 JAZZ ENSEMBLE RECORDING REQUIREMENTS: • Billy’s Bounce, Confirmation, and Yardbird Suite are from Charlie Parker (vol.6). • April Recall (Medium), Relaxin’, and Runnin’ and Gunnin’ are from Good Time! (vol. 114). • Both volumes are Jamey Aebersold Publications. ALL WINDS: • Perform a chromatic scale evenly up and down to demonstrate range ***Trumpets/trombones - if interested in playing lead, please play up to at least a high C (trumpet) and high Bb (trombone) • With the play-along, record the head to Billy’s Bounce - play head TWICE • OPTIONAL: after playing the head, improvise TWO choruses (required for solo chair, not required for other chairs) SAXES: • With the play-along, record the head to Confirmation - play head ONCE • OPTIONAL: after playing the head, improvise TWO choruses (required for solo chair, recommended but not required for other chairs) BRASS: • With the play-along, record the head to Yardbird Suite - play head ONCE • OPTIONAL: after playing the head, improvise TWO choruses (required for solo chair, recommended but not required for other chairs) VIBES, PIANO, & GUITAR: • With the play-a-long (USE CD #1), record each of the following: • April Recall (Medium) - play the head ONCE and comp one chorus. (OPTIONAL - improvise one chorus following the comping chorus) *PLEASE BE CAREFUL TO OBSERVE THE LATIN/SWING SWITCHES!* • Relaxin’ - play the head ONCE, comp for one chorus, improvise 2 choruses BASS: • With the play-a-long (use CD #4 RIGHT CHANNEL), record each of the following: • Relaxin’ - improvise/walk a bass line with the recorded piano/drums for TWO choruses. (OPTIONAL - improvise a solo for one chorus following the required two choruses of walking.) • April Recall (Medium) - improvise a bass line with the recorded piano/drums for ONE chorus. *PLEASE BE CAREFUL TO OBSERVE THE LATIN/SWING SWITCHES!* • Include a recording of you performing a swing chart with your home jazz ensemble or a combo. DRUMS: With the play-a-long (use CD #4 LEFT CHANNEL), record each of the following: • April Recall (Medium) - play ONE chorus of time. *PLEASE BE CAREFUL TO OBSERVE THE LATIN/SWING SWITCHES!* • ‘Runnin’ and Gunnin’’ (#) - play TWO choruses • Include a recording of you performing a swing chart with your home jazz ensemble or a combo. This chart should include a drum solo of at least 4 bars.

If you have any issues, questions, or concerns, please contact: Rob Cebriak: or Andy Rice: 64

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HIGHER EDUCATION (CWRU MA ’22) in International Journal of Music in Early Childhood. Congratulations to Dr. Marsha Kincade (CWRU PhD ’21) who defended her dissertation, Women High School Band Directors’ Perceptions of the Relationship Between Their Gender and Professional Identities. Congratulations to Dr. Bethany J. Nickel (CWRU PhD ’21) who defended her dissertation, High School Band Communities of Practice During COVID-19: A Multiple Case Study.

CASE WESTERN RESERVE UNIVERSITY The CWRU Music Department welcomes Dr. Christopher Clark as Director of Choral Activities and Lecturer in Music Education. Before coming to CWRU, Dr. Clark was the Director of Vocal Music for the Southern Berkshire Regional School District in Sheffield, Massachusetts, teaching choir to students in grades 3-12 with 9 distinct choral ensembles. During his time in the Berkshires, Dr. Clark was also the Music Director at Grace Church in Great Barrington, Massachusetts, conducted the Albany Gay Men’s Chorus, conducted the Sheffield Messiah Choir, and associate conducted the Cantilena Chamber Choir. Dr. Matthew Garrett, Associate Professor of Music Education, Coordinator of Undergraduate Studies in Music Education, and Director of the University Center for Innovation in Teaching and Education (UCITE), recently presented “Honoring Trans and Gender-Expansive Singers” for synchronous online and in-person conferences, including the Ohio Choral Directors Association, Ohio and Florida Music Educators Associations, and regional conferences of the American Choral Directors Association. These practitionerfocused interactions are associated with his recent book, co-authored with Joshua Palkki, Honoring Trans and Gender-Expansive Students in Music Education (Oxford University Press, 2021). Dr. Lisa Huisman Koops, Area Head, Coordinator of Graduate Studies, and Professor of Music Education, co-authored two articles with CWRU graduate students. “Children’s librarians’ and library associates’ use of music and perceptions on music in library programming: An initial exploration” in Early Childhood Education Journal with Lauren E. Hodgson (CWRU MAL ’22) and Madison E. Wise (CWRU MAL ’20). “’Something is better than nothing:’ Early childhood caregiverchild music classes taught remotely in the time of COVID-19,” co-authored with Samantha C. Webber

COLUMBUS STATE COMMUNITY COLLEGE In September 2021, the Gospel Vocal Ensemble of Columbus State celebrated its 15th Anniversary under the direction of Emma L. Easton. Various guest choirs and soloists appeared in Nestor Auditorium to celebrate GVE’s commitment to presenting gospel music to the central Ohio community. The Ensemble concluded the year by braving the cold temperatures to sing a joyous outdoor holiday concert at the State Auto Nativity Display. Despite the chilling temperatures, the show was well-attended and well-appreciated by the spectators. Columbus State Concert Band presented its Autumn Concert on November 30. The featured work was the first performance of “Lost Prayer” composed by long time Columbus State faculty member Rocco Di Pietro. The work was written especially for the band and is dedicated to its director Thomas Lloyd. Guest artist Olev Viro performed “Being 3” for solo violin, a companion piece also composed by Di Pietro. The program included two other new works, co-commissioned by Columbus State, “Where Words Cannot Go” by Columbus resident Nicole Piunno and “Reunion” by Giovanni Santos. The band played Thomas Lloyd’s arrangement of the famous “Carolina Fox Trot” composed in 1914 by African American composer Will Vodery. Selections from “The Mandalorian” were also heard. 66


Resta also delivered a presentation, Progressive Policy through Artful Image: An Enlightened Agenda for Music Educators Journal from 1965-1971 at the conference of the European Association for Music in Schools, held in Freiburg, Germany. In January, the Kent State Youth Winds participated in the Northeast Ohio Band Invitational in performance at Severance Hall in Cleveland. The program also featured Margeretta High School, Clyde High School, Ontario High School, and Wooster High School Bands, along with the Cleveland Youth Wind Symphony under the direction of Dan Crain. KSYW Conductor and music education faculty member Wendy Matthews was joined on the podium by Darin Olson (Director of Athletic Bands and Associate Director of Bands), and the performance featured Matthew Holm (Director of Percussion) and Perry Roth (Assistant Professor of Saxophone). Also included in the program was a premiere of For Those Who Fell by Adam Roberts (Assistant Professor of Composition), dedication to the victims of the Kent State shootings in 1970. Congratulations to all involved on a very fine performance! Butch Marshall was the invited general music

KENT STATE UNIVERSITY Kent State was well represented at the 2022 OMEA Professional Development Conference with more than a dozen presentations by faculty, graduate, and undergraduate students. We offer our thanks and appreciation to the OMEA professional staff who ran a wonderful conference despite difficult weather and health circumstances. We look forward to welcoming our alumni back to our annual reception in Columbus next year! Jay Dorfman, Wendy Matthews, Craig Resta, and Chris Venesile collaborated on a research article, Looking into the Virtual Space: Teacher Perceptions of Online Graduate Music Education, which was published in the Bulletin of the Council for Research on Music Education. In January, the second edition of Jay Dorfman’s book Theory and Practice of Technology-based Music Instruction was released by Oxford University Press. Craig Resta’s article Looking Back to Move Forward: Charles Fowler and His Reconstructionist Philosophy of Music Education was published in the Journal of Historical Research in Music Education. Professor

BRIAN D. MEYERS, EDITOR (CONTRIBUTIONS@OMEA-OHIO.ORG) Did you know that Contributions to Music Education, the research journal of OMEA, has been a recognized publication for almost 50 years? Since 1972, hundreds of music teacher researchers have presented their work to the wider national and international profession, and is available in print and electronic format in nearly all 50-states, and more than 100-countries abroad. With more than 400 articles in 43 volumes, CME can help you be a better music teacher. Topics over the years have centered on improving the musical experience for students and teachers. · · · · · · · ·

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Urban and suburban music programs Teacher professional identities Listening in music classrooms Band, choral, orchestra, general music Sight-singing attitudes and influences Early childhood music education Programming choices and policies Historical traditions and methods

Best practices in band rooms Beginning musical instruction Instrumental and choral programs Intrinsic and extrinsic motivation Issues of social justice in schools Current music technology practices Innovative ways to teach music And many, many more

Now is your opportunity to support OMEA and CME by becoming a subscriber to this important publication. Consider joining today, and for a minimal contribution, you can add to your library of resources to increase your own expertise. Subscriptions are now available in print and electronic format. NEW FOR OMEA MEMBERS: electronic access for only $10 a year! For further information and subscription details, please visit our comprehensive website: We look forward to hearing from you!



specialist for the Illinois Music Educators Conference in January where he presented about Orff, Kodály, and Dalcroze in three sessions and coordinated two panels. In February he shared early childhood repertoire and techniques at a snowy OMEA, followed by a musical theatre rehearsal strategies session at the Texas Music Educators Association conference. In March will share the stage with Dalcroze and Orff colleagues to present another Alliance for Active Music Making panel demonstration at the national conference of the Organization of American Kodály Educators in Pittsburgh.

students at Berea-Midpark High School and Brunswick High School. Thank you to Jeff Fudale, Dan Barth, Ethan Eraybar, and Brian Bennett for hosting us! The OMEA Performance was Thursday and included repertoire by David Skidmore, Rudigar Pawassar, David Hall, Brendan Mason, Minoru Miki, Jackson Riffle (WSU Alum), and Phil Andrews (current WSU student). On Friday, our Professor of Percussion Jerry Noble presented a timpani clinic. Also in February, the WSU Wind Symphony conducted by Dr. Shelley Jagow presented a combined concert with the University of Dayton New Horizons Band. The concert featured faculty tuba professor Dan Honaker, performing Martin Ellerby’s Tuba Concerto. In March, Dr. Jagow conducted the WSU Wind Symphony in their performance at the “Music For All Festival” at Mason High School. On April 29, the WSU School of Music will serve as host site for OMEA Large Group State (Band) Festival. We look forward to welcoming performing ensembles to the Creative Arts Center. On May 6 we will be hosting a new festival for bands, orchestras, and choirs. Silver Melted Into Sound is an event designed to support and encourage the programming of music by underrepresented composers. The event includes ensembles performing for adjudication on campus and meeting with composer Katahj Copley for an interactive discussion on the importance of our literature including many voices. In addition, there is a composition competition in which composers will submit works for band, orchestra, or choir inspired by the poetry of Paul Lawrence Dunbar. Registration and Composition entry is open and all the information can be found at https://liberal-arts.wright. edu/music/silver-melted-into-sound Finally, Wright State is excited to announce that the search for a tenure-track, full-time professor of trumpet has begun. In addition, this spring we will be holding a search for a full-time director of choral studies. Interested candidates can find the job postings and application portals at human-resources/careers/find-a-job

OHIO NORTHERN UNIVERSITY Associate Professor Dr. Rebecca Casey presented a lecture on the topic of her sabbatical research at the ONU Symposium in February: “Concert Pianist in a Nazi Ghetto: The Story of Bernard Kaff.” WRIGHT STATE UNIVERSITY Wright State University School of Music is glad to return to the Triad Magazine College Notes page. COVID shut so many things down and we are having a great year roaring back into music making. The School of Music resumed to hosting live instrument specific festivals throughout the year starting with the Fall Strings Festival and Saxophone Festival and, in January, a Brass Festival. These events brought guest artists, WSU faculty and students, and high school musicians who are passionate about music making together for specialized instruction and music performance. In December, WSU students and alumni performed in the demo band for a clinic presented by Richard Saucedo and Dr. Shelley Jagow at the Midwest International Band and Orchestra Clinic in Chicago. Lecturer of Clarinet John Kurokawa gave the world premiere of a new transcription of Reena Esmail’s Clarinet concerto on January 7th and 8th as a part of the Dayton Philharmonic Orchestra’s Masterworks series. The transcription was done by the composer for these performances and will enable many more clarinetists to perform this most important and significant contribution to the clarinet solo repertoire. A transcription by Reena Esmail for clarinet and piano is forthcoming. In February, the Wright State University Percussion Ensemble toured snowy Northeastern Ohio during OMEA week. They performed and worked with 68

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