OCTOBER 2010 $5.00
Carmel (Ind.) High School
Excellence as a Lifestyle UpFront Q&A:
MFAâ€™s Eric Martin Roundtable:
UPFRONT Q&A: ERIC MARTIN SBO chats with Eric Martin, the newly appointed president and CEO of Music for All.
FROM THE TRENCHES: GEORGE N. PARKS (1953-2010) Bob Morrison returns to SBO with a touching tribute to the great George Parks, who was the longtime band director of the UMass Marching Minutemen before passing away unexpectedly in September.
ROUNDTABLE: WOODWINDS Leaders of the North American Saxophone Alliance, the National Flute Association, and the International Double Reed Society shed some light on their respective organizations, as well as woodwinds in education at large.
UPCLOSE: RICHARD SAUCEDO Richard Saucedo, the band director who heads the performing arts department at Indiana’s Carmel High School, gives some insight into a music program whose motto, “Excellence as a Lifestyle,” is exemplified in his ensembles’ recent achievements, including a BOA national marching band title and orchestra performances at the Midwest Clinic.
GUEST EDITORIAL: REPERTOIRE Joe Allison continues his exploration of repertoire by sharing thoughts from composer and show designer Tim Hinton.
SURVEY: PRINT MUSIC
TECHNOLOGY: CASE STUDY John Kuzmich takes a look at the highly successful music tech curriculum of Jacksonville, Florida’s Douglas Anderson School of the Arts, run by educator Ace Martin.
COMMENTARY: SURVIVAL Educator D.L. Johnson reveals survival tips he’s learned since his institution became a labeled an (NCLB) “Program Improvement School.”
Columns 4 6 52
Perspective Headlines New Products
61 62 63
Playing Tip Classifieds Ad Index
Cover photo by Doug Pileri, Carmel, Indiana. SB&O School Band and Orchestra® (ISSN 1098-3694) is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/ SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2010 by Symphony Publishing, LLC, all rights reserved. Printed in USA.
2 School Band and Orchestra, October 2010
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Beyond Cost: The Value of Military Bands
n a series of recent articles in The Washington Post, columnist Walter Pincus took a notably negative look at the costs associated with the operation of our country’s military bands and music programs, with little or no representation of the extraordinarily positive benefits that these groups have had on our troops and public. He reflects on statements by defense secretary Robert Gates, who “often makes the comparison that the number of people in military bands is larger than the number of State Department Foreign Service officers.” The article by Pincus reads much more like a laundry list or budget sheet than a fair and overall representation of the reasons that our military bands exist or their rich cultural history, ignoring the positive impact that these ensembles have on our fighting and security units in the U.S. and around the world. In SBO’s interview (Dec 2008) with colonel Michael Colburn of the President’s Own United States Marine Corps band, which has served our country since 1798, he indicated that “our job requires that we be very versatile and flexible.” Duties include performances at the White House for the President and visiting dignitaries, for funerals, parades, free national concert tours, educational outreach, recruitment, and so many other beneficial programs. Other bands in our military organizations, which are stationed around the world, provide support in places where the troops are in dangerous combat situations. According to a New York Times article from September 3rd, a new field manual for military bands was recently issued, which “makes them more nimble and flexible, just as the Army has done for its fighting units. Their job is to sustain warrior morale, inspire leaders, build good will with the local populace, serve at ceremonies and foster military pride. They also play a crucial role at military funerals.” By providing smaller musical units, Colonel Thomas H. Palmatier, commander and conductor of the U.S. Army Field Band, suggests that the bands can reach out to soldiers in distant outposts via Blackhawk helicopters to provide morale-boosting performances. Mr. Pincus points out in his article that the military “uses thousands of musicians, spends many millions to strike up the bands,” yet his representation completely omits any sense of context or scale. He estimates that between all of the musical units, that the spending is approximately $500 million. Although this is a large figure, when you compare it to the overall military budget, which is $685 billion for 2010, it is quite small. Crunching numbers, the percentage of the budget allotted for music is .072 percent, less than one tenth of one percent. There are approximately 1.8 million people on current active duty and over 850,000 reserve troops. Estimates of the number of military musicians are approximately 5,000, many of whom also do other combat-related jobs for the military. Pincus is quick to point out that the Marine Corps band produces a CD each year featuring their latest recordings, at a cost of approximately $20,000. However, he fails to mention that all of these CDs are given out at no cost to students, teachers, and other individuals who are interested in their music. Personally, I have enjoyed CDs given out by all of our exceptional military musicians, having received them at various music educator events around the country. The benefits of the CD giveaway are immediate, educational, and significant. When you consider that our troops are often fighting in very harsh conditions and they are dedicated to the ideals of our country, the least we can do is to provide them with music that can help them persevere. Perhaps the real conversation should be how to make sure that veterans who have devoted their lives to the military can be assured of having a musician available to play taps at their funeral…
Rick Kessel email@example.com 4 School Band and Orchestra, October 2010
October 2010 Volume 13, Number 10
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HeadLines Midwest Clinic to Recognize Stars of Music Education The Midwest Clinic: An International Band and Orchestra Conference congratulates the recipients of its 2010 awards: Jim Catalano (Music Industry Award), L. Dean Angeles (Medal of Honor), Frank B. Wickes (Medal of Honor), and Paula A. Crider (Medal of Honor). The awards will be presented during the 64th Annual Midwest Clinic (December 15-18, 2010, McCormick Place West, Chicago, Illinois). The Midwest Clinic Music Industry Award recognizes individuals who have demonstrated outstanding support of music education through their work in the music industry. The Midwest Clinic Medal of Honor is given to conductors, composers, educators, and others whose unique service to music education and continuing influence on the development and improvement of bands and orchestras deserve special recognition. A list of previous honorees can be found at www.midwestclinic.org.
Fender Music Foundation’s New Leadership Hamid “Gadget” Hopkins has been appointed Chairman of the Board for the Fender Music Foundation. West L.A. Music’s senior account manager joined the board in June 2008 and is the second chairman in the foundation’s history. He replaces foundation founder Larry Thomas, who remains as an active board member. Thomas, founder of the music education charity, had served as chairman since the foundation’s inception in 2005. At the time, the organization was named the Guitar Center Music Foundation, as Thomas had recently retired as co-CEO of Guitar Center Inc. Thomas is the current CEO of the Fender Musical Instruments Corporation (FMIC). Also voted onto the board at the foundation’s September board meeting were Bruce Ross, CFO of Robbins Brothers, returning to the board after a hiatus; Laurel Kaufman, CEO of Los Angeles Consulting Group; and three executives from FMIC – director of entertainment marketing Del Breckenfeld, senior vice president of marketing Fender brands Richard McDonald, and senior vice president of marketing and communications Jason Padgitt. To learn more about the foundation, visit www.fendermusicfoundation.org.
NAMM Foundation Supports Americans for the Arts National Arts Roundtable The NAMM Foundation sponsored and participated in the fifth annual Americans for the Arts National Arts Policy Roundtable at the Sundance Institute 6 School Band and Orchestra, October 2010
on September 24, featuring a gathering of people from various professions and backgrounds who care about advancing the arts nationwide. This year’s roundtable drew 30 participants to the Sundance Institute, a non-profit organization founded by Robert Redford in 1981 that supports people involved in the arts. Representatives at the event ranged from young musicians and film directors to chairs of television network stations and presidents of corporations and nonprofit organizations. Redford and Robert Lynch, president and CEO of the Americans for the Arts, are the co-conveners of the annual event. This year’s topic was “The Role of the Arts in Educating America for Great Leadership and Economic Strength,” and encouraged discussion about how the arts can create vibrant learning environments that engage students by unlocking their creative potential and building the confidence that helps them succeed. To find out more, visit www.namm.org.
LaChapelle Joins Symphony Publishing Symphony Publishing is pleased to welcome Jason LaChapelle as its new sales and marketing manager. In this newly created position Jason will be responsible for business development, branding and digital content creation for School Band and Orchestra and its sister magazines, MMR, JAZZed and Choral Director. Jason comes to Symphony from the Avedis Zildjian Co., where he held the position of marketing communications manager. An avid guitarist, Jason received his BM from Berklee College of Music as a Music Business Major, and his MBA from the Boston University School of Management. He lives in Boston’s South End with his wife and his passions include everything from Parker to Pearl Jam with a little golf, skiing, and running mixed in. Jason can be reached at firstname.lastname@example.org.
Yamaha & Disneyland Celebrate Longstanding Partnership Marking its 50th anniversary in the United States, Yamaha Corporation of America has renewed its status as the Official Supplier of Musical Instruments to the Disneyland Resort. Yamaha will continue to provide a broad range of instruments for use by the resort’s performers and continue its music education partnership. Yamaha’s formal partnership with Disneyland Resort, located in Anaheim, Calif., dates to 2005, but the companies have had a long and fruitful relationship stretching back 20 years. In recognition of that partnership, Takuya Nakata, president, Yamaha Corporation of America presented George A. Kalogridis, presi-
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Grammy Signature Schools Awards Now Accepting Applications The Grammy Signature Schools Enterprise Award provides special awards and cash grants to public high school music programs across the country based primarily upon need. Grants range from $1,000 - $5,000. As the GrammyAward signifies excellence in recording, GRAMMY Signature Schools is designed to honor exceptional public high school music programs across the country. To apply for the 2011 Grammy Signature Schools Enterprise Award, visit www.grammyintheschools.com.
Competition Begins for Top Black College Marching Bands
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8 School Band and Orchestra, October 2010
The Honda Battle of the Bands Invitational Showcase is a platform to highlight and showcase the heritage and showmanship of Historically Black College and University (HBCU) college marching bands and an important facet of HBCU culture â€“ music education. Scheduled to take place on January 29, 2011, the Invitational Showcase gives HBCU marching bands a once in a lifetime opportunity to perform before 60,000 fans at the Georgia Dome in Atlanta, and also gives them the chance to earn much-needed funding for their schoolâ€™s music education programs. For the 2011 program, each of the 45 bands participating in the preliminary Celebration Tour will receive a $1,000 grant for their music programs, with an additional $20,000 awarded to the eight institutions selected to advance to the 2011 Invitational Showcase. For more information about the Honda Battle of the Bands and a list of participating bands please visit, www.hondabattleofthebands.com.
Festival of Bands USA The 23rd annual Festival of Bands USA was held on October 2 in Sioux Falls, South Dakota. The event is organized and staffed by parents and band directors from Sioux Falls and features bands from South Dakota, Minnesota, Iowa, Nebraska, and Wyoming. This yearâ€™s lineup featured 34 bands on parade and 24 bands in field preliminaries. There was also a parade that traveled thorough downtown Sioux Falls, with judging taking place on the route. During the parade and preliminaries, bands competed in four classes for rating and ranking, with judges offering evaluation and commentary to the competitors. Trophies were awarded to the top three bands in each class. At the finals, the 10 bands competed in one class for the top five places.
SBOUpfrontQ&A: Music for All’s Eric Martin
A New Voice, the Same Mission Eric Martin, Music For All’s new president and CEO
usic for All is one of the largest and most vocal advocates for music education in America. Founded in 1976 as Marching Bands of America, and known later as “Bands of America” before merging with and as-
suming the name of Music for All in 2006, the organization’s mission of promoting life-changing experiences through music performance has taken shape over the years through widely recognized music festivals, band competitions, camps and sympo-
sia, as well as advocacy efforts through partnerships with other leading music education organizations. From 1984 - 2010 Music for All was run by L. Scott McCormick, son of founders Larry and Joy McCormick. However, in late August of this year, the board of directors tapped longtime associate executive director Eric Martin to take over as the organization’s president and CEO. In a recent conversation with SBO, Martin discusses his background with Music for All and his vision for the organization’s future. School Band & Orchestra: Hi Eric, thanks for taking the time to chat. How were you first introduced to Music for All and Bands of America? Eric Martin: My first introduction to Music for All was back in 1978. I was a young lawyer practicing in Washington D.C. and read about a high school marching band show in Virginia. I went, and it was electric and fantastic. I asked people in the audience if there would be other shows like that because it was so different from what marching band had been when I was involved with it, only about seven years prior. I was told about this new organization – which was then called Marching Bands of America – and that they would be having an event at James Madison University. So I called up a good friend of mine who took the train down from New York and drove with me the next weekend. SBO: As neither an educator nor professional player, what was the basis for your connection to music?
10 School Band and Orchestra, October 2010
EM: I’m a native of Greenville, Mississippi and graduated from high school in 1971. In seventh grade, I found the band room at my middle school. That was very important for me, because I was one of seven children that integrated public schools in my town that year. For me, the band room was a safe place, a place where we could all make connections. We had great teachers, and that continued on when I went to high school. I was someone who was never looking to be a professional musician or even a music teacher, but someone for whom music and music making was always very important. I left Greenville and pursued my undergraduate degree at Dartmouth College, and went on to Michigan Law School, from which I graduated in 1978. An opportunity to be an aviation attorney took me to Washington D.C., where I saw that ad in the paper for a high school marching band festival. I connected with the organization as a spectator first, and two years later, I went to the first Bands of America Grand National
Championship in Jacksonville, Florida. I have attended every one since. SBO: And how did you become involved with the organization? EM: I moved to Atlanta, Georgia in
1983, where I became involved with Spirit of Atlanta Drum & Bugle Corps. I ultimately ended up on their Board of Directors, and it was around that time that I met Don Whiteley, who was Drum Corp International’s first marketing and PR director. He had left DCI, but he was the producer of parades and festivals and highly involved with the International Festival and Events Association. I helped him incorporate and do work producing parades at both the local and national levels as a volunteer. After years of working together, and at his urging, I decided that my heart was in special events, much more so than the law. I bought 25 percent of his business, Argonne Productions, and become a special event professional. I met Scott McCormick in the early ‘90s. By that time, I had become high-
ly involved in the IFEA, spoke at their annual and regional conferences, and Scott attended a session there that I presented on operating festivals and events as “big business.” He asked me a question afterwards, I immediately recognized the nametag, and we started up a conversation. This led to him inviting me up to attend a board meeting, and in 1994 or ‘95, I joined the board of Bands of America as a volunteer. In May of 1996, he was looking for some additional assistance at the organization, so I came up as a consultant with the temporary assignment of being his acting associate executive director. And I never left. SBO: Let’s talk about Music For All today and moving forward. How has the organization been effected by the down economy of the past few years? EM: In the events side of what we do, and that’s just a part of this organization, we certainly look at the impact of the economy, and we have been effected. Over the past two years we’ve
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seen our traditional ticket sales, which are typically parents and fans, decrease by probably about 20 percent. The way we’ve counteracted that is by trying to increase marketing to encourage attendance, while also managing expenses. Almost everyone involved with the event industry and business in general has been trying to earn more revenue while reducing expenses. We’ve also become better storytellers about the importance and commitment to music and arts education. We are trying, in many ways, to energize participants and their families to say, “This is important, even in a tough economy.” We are very blessed that we’re engaged in an activity – music performance – in a way that really does involve entire families. While audience attendance might be down, overall event enrollment – the number of bands and orchestras we serve – has actually increased. What we’ve found is that people are generally staying a little closer to home, but that parents and schools are still ensur-
14 School Band and Orchestra, October 2010
ing that the kids still have the experience, although the entire family might not be able to attend the events. SBO: Does your new role in the leadership position of Music for All indicate a new set of goals or vision for the organization? EM: Music for All’s mission – to create, provide and expand positively lifechanging experiences through music for all – hasn’t changed. The principles upon which we’re built are intact and in place. If anything, I hope to bring a degree of transparency to the organization, from both inside and out, so that everyone is engaged in our mission, understands it, and knows our strategy in terms of trying to advance our mission. To a certain extent, in an ideal world where every person were involved as an active music maker, there’d be no reason for us to exist. But that’s not the case now. We will still use our programming to elevate and put onto a world-class stage the high caliber and quality performances that show just what is possible and what can be ac-
complished. Our events and programs will always do that from a studentparticipant standpoint. We’ll continue what we’ve always been doing, which is be highly engaged in the high school band activity. We’re now expanding that upward toward college, downward toward middle school, and outward toward orchestra. If I ever am able to realize a great vision for the organization, and this is likely contingent on turns in the economy, we would also be involved in scholastic choral arts. We’ll also continue to be highly engaged in education and professional development. From the student educational standpoint, the first event started by Marching Bands of America was a summer workshop for both students and teachers, highly focused on marching band and really transforming it from steptwo drills to what people sometimes call “corps style.” That goes back to the summer of 1976 and we will continue offering our Summer Symposium, which we’re moving to Ball State
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University next year. We’re hoping the move will reinvigorate it and make sure it remains a premier national example of summer education and opportunities for students to continue their music study and engagement as human beings during the course of the summer. From the teacher development standpoint, the teacher track of that and other programs that we’re hoping to initiate are designed to make sure that teachers are empowered in terms of not just what they learn in college, but in every aspect of running a successful band program. It’s like running a business, so we will continue to try to empower them with the skills to work effectively with students, parents, administrators and the community to make sure music education is elevated. When Bands of America merged with the Music for All Foundation, we increased our involvement in advocacy and public policy. It really forecast what was happening with the economy. Now more than ever, those who believe in preserving and advocating music and
16 School Band and Orchestra, October 2010
arts education have to be engaged politically and actively as advocates. SBO: There have been a number of new educational initiatives and policies on the national level in recent years. From your vantage point, how have these affected the fight for music? EM: So far, there’s good news and bad news. The bad news is that the economy once again triggered challenges for districts and schools that may already be committed to the arts as to how to manage limited resources. We’ve had such an emphasis on reading, writing, math, and science, yet even under the former Bush administration and NCLB, music and the arts were included in the definition of core education. The question is whether or not schools truly mean it, understand it, and will commit the necessary resources when resources are stretched thin. Under the current administration, I think there’s a clear commitment to the arts. I would give credit to people in this organization for making music and arts education a topic in the electoral process,
as it was for the first time during debates in the last presidential election. Now, as the administration looks at reauthorizing the education act and what our funding initiatives will be in terms of points of emphasis, we all have to work to make sure that the arts are included and not forgotten in the face of a commitment to math and science – they go hand in hand. Music for All is working together with MENC, NAMM, and other partners of supportmusic.com and other music education resources. We just want to be another voice in that sphere. The best and strongest emphasis that we can have organizationally is to ensure that the world-class stages that we have created inspire and touch the 70-75,000 participant children and other attendees directly. We also reach out through our publications and the Internet. As important as the performances are, it’s equally important to address the fact that these opportunities cannot be taken for granted. For those people who do participate with us, it is a privilege, but that privilege is one that should be available to all.
SBOFrom the Trenches:
George N. Parks (1953-2010):
A Life inContext
BY BOB MORRISON
uch has been written, and remains
about the life of George N. Parks, professor of Music
and director of the legendary “Pride and Class of New England,” the University of Massachusetts Minuteman Marching Band, a group he led for 33 years. George was a husband, father, brother, son, student, teacher, mentor, friend, and colleague. In essence, he was just like you and I. Except… he wasn’t.
18 School Band and Orchestra, October 2010
Today, as George is being laid to rest, my writing serves two purposes: 1. Therapy (selfishly) through writing for me, and 2. To frame the context of the societal impact of George N. Parks First, some background: I had the pleasure of knowing George for 30 years. We first met when he burnishing his legend as the Drum Major for the renowned Drum Corps, the Reading Buccaneers. I was a senior in high school in 1978. My friendship and professional relationship with Thom Hannum (long time UMASS Band associate director) brought me to UMASS in the late fall of 1983 to help him with his master’s thesis and to work with the UMASS Band for a year. This is the I first chance to work with George on a professional level helping Thom with the drum line and wandering in and out of Old Chapel. It was there I saw up close the many attributes people are recalling today: Work hard, do your best the first time, always commit to excellence. Many people who would become lifetime fiends and colleagues of George’s were there at the same time: Heidi Sarver, Michael Klesch, Linda Hannum to name a few. These are a few of the people who I see immediately in my mind whenever I think of George. I left UMASS to find my way with a career in music manufacturing (Pearl Drums) before settling in as a full time non-profit executive, music education advocate, and researcher. For the next 25 years George and I would cross paths. Make no mistake, George and I had a warm and cordial relationship. One based on mutual respect and professional admiration. I would never describe our relationship as close. Friendly, yes. Close, no. It is because of this arm’s length relationship, my perspective as a commentator and advocate for the music and arts education, as a researcher in the field and a student of its history, that I can say with all conviction this: George N. Parks is an historical figure that future generations will view as a giant in the annals of music education.
School Band and Orchestra, October 2010 19
It is somewhat ironic that in the very members will soon rehearse in the new movement of the early 20th Centustate where public school music educaGeorge N. Parks Band Building. The ry in his role as “The March King.” tion was given birth by Lowell Mason parallels go on, and on, and on. George was cut from the same cloth. in the 1830s that George toiled at his It is no coincidence George has Always looking for places to take the craft. Lowell Mason pioneered public been referred to, by friends, colband, always prepared to put on a school music programs, just as George leagues and columnists as a “pied show. He criss-crossed the country helped pioneer instrumental sharing his ideas, wisdom music making and reshaped and music with all who the marching band as we would listen, just like Sounow know it today. It is also sa before him. is an fitting that one of his last As a Drum Major, conthat future acts on earth was the prepaductor and showman there ration of his UMASS stuwas arguably none better in generations will view as a dents to perform in the “Big than George. He is, withthe annals of House” at the University of out question, the greatest Michigan – where legendary drum major who has ever William D. Revelli led the graced a parade route, mighty University of Michifootball field, or band hall. gan Marching Band. Revelli was direcpiper,” not only for his UMASS band Anyone who has ever seen him work tor of the Michigan band for 36 years, program but for all music programs. his mace – the spins, throws, signals George was director at UMASS for 33. This is the very same way the conand the triumphant planting of the William Revelli was the pioneer of the temporaries of one other great band mace into the field (a signature of his marching band during his era, just as leader, John Phillip Sousa, often Drum Major performances) – knows George was a pioneer and innovator referred to him. Sousa was a “pied what I mean. To reinforce iconic statof the marching band in our modern piper” – an unstoppable force of naure: students flocked to his instrucera. The Michigan Band rehearses in ture who was responsible for sowing tional academies from all over the Revelli Hall just as the UMASS band the seeds of the instrumental music country (and some from overseas) heeding the words to “always do your best… the first time.” I do not know of many teachers, of any sport, art form or profession, who have more than 3,000 students showing up every year for weeklong boot camps led by the master of the field himself! George personally trained three generations of leaders. These leaders are now spread across this nation in all walks of life. There are not thousands of them and not tens of thousands of them. All told during the course of his career between the UMASS Band, his Drum Major Academies, and his guest conducting and clinic appearances, George personally worked with more than 100,000 young men and women, training them and shaping them hundreds at a time, as well as connecting with each of them personally. This is Rule your stage with not an exaggeration. All you have to LP HAND PERCUSSION. do is the math. When we measure the success of a music educator based on the number of students that have touched, 5,000 students is considered (rightfully) a Play the best. big success. Now consider that the fabled “Big House” at the University of LPmusic.com • hear it • learn it • buy it Michigan is not big enough to hold all ©2010 Latin Percussion, Garﬁeld, NJ the people George has taught through Brendan Buckley / Shakira
©2010 Latin Percussion, Garﬁeld, NJ
“George N. Parks historical figure giant music education.”
20 School Band and Orchestra, October 2010
the course of his shortened career. It is through this lens that the real context of his contributions begin to come into focus. He was a pied piper, indeed. George did not to create great musicians, he helped to create great people… lots of them. My last extended conversation with George came when I was a speaker at the College Band Directors National Association meeting in Stoors, Connecticut (an association founded by William Revelli). I had completed a presentation on the challenges and opportunities facing music education and the role of college band programs to advocate for and protect these programs in a No Child Left Behind environment. We spoke about the challenges to music education in Massachusetts and he shared his concern that musical opportunities were being denied to students. This is where his focus always was: creating opportunities for young men and women to discover their own greatness through music. Today, the memorials being posted on Facebook, Twitter, and on Web sites across the Internet are a tribute to a generous man who has touched and inspired the lives of so many. They are the manifestation his accomplishments, embodied in the students he was committed to inspire. This is one way his life may be measured. His professional life, and his contribution to our country, will be measured not by his student or colleagues, but by our nation’s historians. When the historians have their say they will recognize George N. Parks has taken his rightful place standing shoulder to shoulder with William Revelli and John Phillips Sousa. He will do as their peer. Actually, they are probably hanging out now. It is not a place he sought nor a comparison he would ever make. It is, however, the distinction he has so clearly earned. And just Sousa is eternally revered today, so too will George N. Parks. And for all of us whose lives he has touched, we are all the better for it. Another way his life will be measured will be by his family and his friends. On a personal note: To his
wife, Jeanne and his children Michael and Kathryn, my sincerest and deepest condolences. To his close colleagues and my friends Thom, Michael, Linda, Colin, Timmer and Heidi, my family and I share our thoughts and prayers with each you as you work through all the emotions of this sudden loss. To honor George you may make a donation to the George N. Parks Memorial Fund, with information at www. umass.edu/development/give/?a=375.
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Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. Before this, Mr. Morrison was the founder of Music for All, one of the nation’s largest and most influential music education organizations where he remains chairman emeritus. Mr. Morrison helped develop and then served as the CEO of the VH1 Save The Music Foundation, where he took a small promotional idea and created a major national brand donating more than $25 million of musical instruments to restore more than 1,200 music programs. Previously, Mr. Morrison was a senior executive for NAMM (the International Music Products Association), serving as executive director of the American Music Conference, where he worked with the late Michael Kamen and Richard Dreyfuss to create the Mr. Holland’s Opus Foundation. He may be reached directly at firstname.lastname@example.org.
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Woodwinds Continue Winning Over Would-be Students
aining a national perspective on trends in the woodwind world can be a daunting task.
there are several prominent organizations dedicated to promoting the awareness and popularity of partic-
ular woodwind instruments, among them the North American Saxophone Alliance, International Double Reed Society, and National Flute Association. SBO recently reached out to leaders of these three national and international groups, who were happy to share their thoughts on the goings on in the reeded world from their uniquely informed vantage point. School Band & Orchestra: What’s your impression of the popularity of woodwind instruments these days? Has it been affected by the increased access to music via iPods, the Internet, social networking sites, and so on? John Nichol: The saxophone continues to be very popular. I believe that music performance has been impacted in a very positive way by the quick and easy availability of digital downloads. Sigurd Rascher told us, “Music is not something you need, but it is something you want,” and that is very true. When meeting with parents, I often list equipment that I think their children will need, and one of the things I list is an MP3 player or iPod and a budget of $7.00 per month to pay for downloads. People are listening, but their taste is often eclectic. We music teachers need to appreciate the various music our students listen to, but also guide them toward the music we want them to listen to.
22 School Band and Orchestra, October 2010
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Leonard Garrison: I have no figures, but my sense is that the flute is as popular as ever. The NFA has around 6,000 members in over 50 countries. There are many more manufacturers than when I was growing up, and young people are fortunate to have access to so much flute music so easily. I hope they see the importance of hearing good flute playing live, not just on a recording or over the Internet. Martin Schuring: Double reed instruments are as popular as ever, perhaps even more. Part of this is due, no doubt, to the “low tech-ness” of oboes and bassoons. There is little about double reed instruments that relies on the latest in cutting-edge technology. SBO: Are you happy with the way in which your particular instrument is being incorporated into high school curricula? Is there anything you’d like teachers to be doing more or less of in regards to teaching it, including it in ensembles, or encouraging students to pick it up and try it out? JN: I would love to see music teachers construct a listening curriculum for each student and then police it in some way. This listening curriculum would list important standard pieces germane to the specific instrument. A student will learn so much by having tonal and stylistic models via these recordings. What is the instrument and/or piece supposed to sound like? Even without private lessons, the right kind of listening can lead to beautiful sounds and enthused, aware students. I often tell our university students that they need to be well read, well listened, and well traveled. A listening curriculum can help our students the “well listened” part. LG: There is no shortage of flutists in bands! Fortunately, students can start the flute at an early age, especially with curved headjoints that are now widely available. I am glad that flute choirs are now prevalent, as they provide excellent experience in ensemble, intonation, blending, and performing music of varied styles. Students have fun playing flutes of all sizes from bass flute to piccolo. There are three things I encourage band directors to do in teaching the flute: • Students should learn that a good marching band posture is not the same as a good flute posture, in which the body is at an angle to the flute itself, with one’s right foot further back than the left foot. • The flute is so popular that in many bands, the director is always asking the flutists to play softer, which is not healthy for young players, as they should be blowing well and developing a full sound before they learn to play softly. • Choose repertoire that engages the woodwinds as well as brass. MS: Double reeds are the instruments that most school teachers know the least about. School music teachers would be doing themselves and their students a real service if they were to inform themselves about the best private teachers in the area and then refer the students there. SBO: One of the areas hurt by budget cuts and economic difficulty is access to and ability to pay for private lessons. Have you seen any effects of this? Do you have any suggestions for educators to maximize learning opportunities for their students? JN: Private lessons help so much! My hope is that band directors will do all they can to encourage students to take regular private lessons. In order for the student to be successful and skilled at the highest level, four 24 School Band and Orchestra, October 2010
John Nichol North American Saxophone Alliance John Nichol is professor of Saxophone at Central Michigan University, where he has taught since 1980. A Yamaha Performing Artist, Nichol has performed at jazz festivals around the world, with numerous orchestras and celebrated artists, as well as by invitation at six World Saxophone Congresses. Nichol can be heard on Flights of Fancy (Centaur Recording, 2003), Caught in the Act (White Pine Recording, 2007) and Woodwind Echoes (White Pine Recording, 2008). He is the president-elect of the North American Saxophone Alliance (www.saxalliance.org).
Leonard Garrison National Flute Association Leonard Garrison is assistant professor of Flute and Aural Skills at the University of Idaho. He served as chair of the National Flute Association (www.nfaonline.org) from 2008 to 2010. Leonard performs in the Northwest Wind Quintet, the Walla Walla Symphony, and The Scott/Garrison Duo, and teaches at the Red Lodge Music Festival in Montana and Blue Lake Fine Arts Camp in Michigan. Previously, he taught at The University of Tulsa and performed in the Tulsa Philharmonic.
Martin Schuring International Double Reed Society Martin Schuring held orchestral positions with the Hong Kong Philharmonic, The Florida Orchestra, and the Phoenix Symphony before joining the Arizona State University faculty in 1992. He has played with the Grand Teton Music Festival Orchestra since 1980 and serves on the festival’s Board of Directors. He also serves as president of the International Double Reed Society (www.idrs.org). Martin Schuring has prepared a new edition of the Barret Oboe Method for Kalmus and his comprehensive book on oboe technique, Oboe Art and Method, was published by Oxford University Press in 2009.
things are needed: a determined student, parental support, a knowledgeable band director, and a skilled private teacher. If these four things are present, the student will have the ingredients for success. I would love to see each high school program have a saxophone quartet, either SATB or AATB, and possibly a large saxophone ensemble. The more a student plays, the better he will get. Central Michigan Universityâ€™s director of bands, Jack Williamson, often comments on how small ensemble participation, with private lessons and wind band performance, helps to produce stronger players and better overall musicians. Another way to gain experience with or without private lessons is by finding resources that can help increase musical awareness. One of these resources is the North American Saxophone Alliance. A membership for a youth to join the NASA is currently only $25 per year. The membership includes access to discussion forums, recordings, publications, and Nasapedia. I encourage students to join, so we can work together to enjoy and promote the saxophone. LG: In my high school band, almost every student took private lessons. As I visit various schools, I notice that fewer students now study privately except in affluent areas. Perhaps band programs can make more use of music education majors from local colleges, who need experience teaching and would be willing to visit schools. MS: I have not noticed this, but my private studio is small and somewhat recession-proof. I think, however, in order to maximize resources, having group lessons of three or four students at a time is almost as useful as individual lessons. Most school oboe students need basic instruction that can easily be transmitted in a group lesson setting. SBO: What are some of the educational initiatives that your organizations are engaged in? JN: We plan to start a Young Artists Competition for saxophonists between the ages of 15 and 18. It is important to reward these young musicians and encourage their participation at our next national conference. This com-
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petition will be held at the next NASA Biennial Conference, at Arizona State University, in the spring of 2012. We are also working on a project to provide historical and pedagogical YouTube links in our Nasapedia section of the NASA Web site. We also hope to invite artist/teachers to provide the North American Saxophone Alliance with pedagogical articles and videos for the pedagogy area of our new Web site. These sessions will focus on tone, vibrato,
playing posture, articulation and other saxophone performance techniques. LG: Our mission is “Inspiring Flutists, Enriching Lives.” We offer a student membership at a discounted rate, and all members receive The Flutist Quarterly, an outstanding journal with a diverse array of interviews with flutists and articles on repertoire, pedagogy, performance, history, and manufacture. Our annual convention is the
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largest gathering of flutists in the world and features four days of first-rate soloists, opportunities to perform in flute choirs, presentations on a variety of subjects, and a large exhibit area. Beginning with the 2010 convention, we offer a special “Kid’s Camp” for flutists age 8-13. There are 15 competitions for high school, college, and adult flutists. The Frances Blaisdell Convention Scholarship provides financial assistance to one high school or undergraduate student (U.S. citizen or legal resident) with financial need to attend the NFA convention. We also offer Cultural Outreach Scholarships for flute study in underserved communities in 14 U.S. Cities. Our Pedagogy Committee develops educational resources, including Selected Flute Repertoire and Studies: A Graded Guide. MS: The Double Reed contains many articles on pedagogical topics as well as frequent reports of happenings at various double reed events around the country. In this publication, we strive to be of service to all of our members, who range from school-age to avocational to professional to retired. So, a school-age student might not be interested in all of the material, but should certainly find something educational and inspiring in every issue. Our Web site has hundreds of educational items, ranging from fingering charts to bibliographies to downloadable scores. I believe that the IDRS Web site is the premier resource for double reed materials in the world. However, most of the really interesting materials are restricted to members only. Our international conference includes master classes and clinics on many different topics, many directed at younger players. The competitions are, of course, directly educational. We have two: the “Young Artists Competition” for players aged 21 and younger and the “Fox/Gillet Competition” for players aged 30 and younger. We do not have any active educational initiatives directed specifically at school-age students. This is primarily a budgetary issue: in order to really have an impact educationally, we would have to neglect other aspects of our activities, which are equally important.
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UpClose: Richard Saucedo
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28 School Band and Orchestra, October 2010
a Lifestyle I
by Eliahu Sussman
n many music education circles, Indiana’s Carmel High School is already a familiar name. A finalist in the Bands of America Grand National Championships for each of the past
14 years, Carmel’s Marching Greyhounds won the competition in 2005, and the high school’s orchestras have recently performed at such venues as the Midwest Band & Orchestra Clinic and the Bands of America National Concert Band Festival. With approximately 600 students participating in instrumental music at Carmel High School, it may not be much of a surprise that Carmel Clay was named one of the top communities for music education in 2010 by the NAMM Foundation.
“Everyone likes to win. But for us, as instructors, it can’t be about that.” School Band and Orchestra, October 2010 29
Richard Saucedo is the director of bands and chair of the performing arts department at Carmel High School, where he has taught for 29 years. Saucedo credits the success of the program to his administration’s commitment to the arts, noting that this commitment has helped spark an infectious enthusiasm for music in the community, which in turn helps boost student participation and instill a pride that drives their performance level ever skyward. For a closer look at exactly what is going on in this prolific music community, SBO recently caught up with Saucedo, a director, educator, composer, and adjudicator, who was gracious enough to provide some insight
into the approach that has yielded such consistent results. Read on as Richard discusses the basics of his program and provides some tips that every director should keep in mind when preparing a marching band for festival or competition. School Band & Orchestra: During your own early experiences with music, what kinds of music did you gravitate towards? Richard Saucedo: I enjoyed all of them, to be honest, and I still do. That’s something that we believe in strongly here at Carmel, that the kids should get a really well rounded experience in band. We have a pretty full program that includes marching band, four jazz bands, and five concert bands, so we
make sure that the kids get involved with a little bit of everything when it comes to the band world. I would have to say that I gravitated a little more to the marching side of things, and that’s what led me to become an arranger and composer for marching band. Ray Cramer, who was in charge of the Marching Band at Indiana University when I studied there, asked me to do an arrangement for the IU Marching 100, and it actually included the university choir, the Singing Hoosiers. Hearing that group, with the choir, perform that piece had a strong impact on my life. From that point on, I knew that I always wanted to write music, as well. SBO: Tell me about the early years in your career as an educator? RS: This is my 29th year at Carmel High School. I was only in my third year of teaching when I came here and, like a lot of young teachers, I thought I knew what I was doing. Now, 30 years later, I’ve realized that I still don’t know what I’m doing. [laughs] When I started out, I was ready to tell kids what to do and that sort of thing, but it was rough for me, as it is for a lot of young teachers. I was ready to teach music, but I think I really wasn’t ready to work with kids. I learned a lot those first couple years, about what works and what doesn’t work with kids, and I’m still learning a lot about those things today.
30 School Band and Orchestra, October 2010
SBO: Is there anything that you think could be emphasized in colleges and universities to better prepare future music educators? RS: I think what’s really important, and I know that Indiana University and a lot of other colleges are doing this now, is that they demand that their students get a lot of practical or outside experience when they’re in college. They did a little of that when I was a student, and they do a whole lot more of it now. When student teachers from IU come work with us, they usually have had experience with marching bands during the summer or have worked with a high school jazz band or concert band during the year. They’ve had a lot of experience in front of kids, working, teaching and finding out what works and what doesn’t. That’s the most important thing: you have to have practical experience before your first year of teaching so you don’t go into it blind. SBO: Let’s talk a little about the Carmel band program. Your program has had great success with a wide range of ensembles, including marching, concert, and jazz. Does that happen all at once, or do you work on polishing different areas one genre at a time? RS: For us, it starts with the concert band. Even though the marching band is pretty serious, the concert bands and orchestras here now have way more importance. As a matter of fact, when I got to Carmel, we were just starting
Carmel High School Bands At a Glance Location: 520 East Main Street, Carmel, Indiana On the Web: www.carmelbands.org Number of students: 4,700 Chair of Performing Arts department: Richard Saucedo Students in instrumental music program: 600 2010 Accomplishments: • Bands of America Louisville and Kettering Regional Champions • Marching Band invited to participate in the 2011 Macy’s Thanksgiving Day Parade • ISSMA Orchestra State Champions (Symphony Orchestra) • ISSMA Concert Band State Finals – State Runner-up (Wind Symphony I) • WGI Scholastic World Class National Runner-up (Color Guard)
the orchestra program, and now we have three wonderful orchestras here and the top ensemble played at Midwest last year. I think it’s because of the development of the concert band and orchestras that our marching band continues to be so strong, because of the focus on the classroom fundamentals during concert band time. SBO: How is your department organized? RS: There are 4,500 kids at Carmel High School, and about a third of those are in band, choir, orchestra, or drama. We have a lot of kids involved. There are between 400 and 500 kids in the concert band. Students in the concert bands are not required to be in a jazz band or marching band – those things are strictly voluntary and take place outside of the school day. We’re fortu-
nate that our administration here allows our kids to get academic credit for participating before or after school in marching band and jazz band. Marching band is first semester and jazz band happens during second semester. We have four full jazz bands, usually with more than 120 kids involved in it every year, and we have a couple of huge jazz concerts that are great successes here. The marching band has been in the top five in nationals the past couple of years, and we won the national title in 2005. We’ve had a lot of great success in different areas, but I still think that the reason the marching band is so solid is because of what we do from a concert band standpoint. SBO: How, specifically, have you approached the concert band that has yielded such strong results that it can pay such dividends in the other ensembles? RS: The concert band setting has to be a lab class for kids to get better on their instruments. I think a lot of time directors, and I’m guilty of this at times, as well, sit down and try to prepare music instead of trying to prepare kids. You can’t just talk to kids about the music, you also have to talk about alternate fingerings on the clarinet, remind them about the French horn embouchure, remind them about the way they use their air. At least in the high school setting, the kids have to come out of their ensembles being better musicians, not just better prepared on a particular piece of music. School Band and Orchestra, October 2010 31
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SBO: Beyond music, whatâ€™s the bigger goal youâ€™re trying to achieve as an educator? RS: The bigger goal is to develop great people through band. That has always been our biggest goal. In the front of our band room is a sign that one of our drum majors put up at the beginning of the year that says, â€œExcellence as a Lifestyle.â€? Thatâ€™s what we try to teach, and not just in band, but the entire performing arts department. When youâ€™re in the classroom,
SBO: Seeing as weâ€™re in the middle of the marching season, can we talk nuts and bolts about marching band? Whatâ€™s the one element to marching band that students are generally not prepared for, which you try to hammer home? RS: Quality of sound. That is defi-
nitely number one. Iâ€™m probably as guilty as any director, but a lot of times weâ€™re willing to sacrifice quality for volume. I think if weâ€™re not careful, kids get the wrong idea of what their instruments should sound like on the march-
â€œAt least in the high school setting, the kids have to come out of their ensembles being better musicians, not just better prepared on a particular piece of music.â€?
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MADE IN THE USA 32 School Band and Orchestra, October 2010
in the rehearsal hall, out in the hallway, at home, or out in the community, you practice excellence. As tough as society is these days, and as competitive as it is, you have to think that way. You donâ€™t want to slide through the cracks. You want to be a person that really participates in life and gets better at everything you do. Thatâ€™s our number one goal: developing people that are going to contribute. Of course, we hope that in the process of doing that, the kids will be a performer of some kind, and if not, at least be audience members with an appreciation for the arts.
ing band field. A trumpet should still sound like a good sounding trumpet. A flute should sound like a good sounding flute, and a snare drum should still sound like a good sounding snare drum. That shouldnâ€™t be any different just because youâ€™re in marching band. Of course you have to play louder, but thatâ€™s probably the thing that Iâ€™m most critical of when I judge around the country, and I know a lot of my colleagues feel the same way. No matter where we go, we just find that everyone, including ourselves, can do a better job of making sure that our kids play with better sounds on the marching field.
SBO: Has the quality of sound problem gotten worse as field shows continue to become more dynamic? RS: Definitely. That’s one great thing about the Bands of America activity. The judges in those competitions are great musicians and very knowledgeable. You can’t get away with playing poorly if you compete in the Bands of America events. When we come back from a BOA performance and listen to the directors’ tapes, we learn so much. People can’t always say that about contests or festivals that they go to. I give Bands of America a lot of credit for the quality of sound improving and just the quality of performance improving when it comes to marching bands.
We make them. He plays them. You need them.
SBO: Carmel High School won the BOA Grand Nationals in 2005. What did that do for your program? RS: You know what? I tell people
this – and they think I’m crazy – but the year that did the most for our program was the year after we won, when we finished eighth. In 2005, we had a very experienced group. If that group hadn’t finished in the top two or three, they would have underachieved. In 2006, we had 80 new members out of a band of 200, so about 40 percent of the kids were new to the group. When we finished eighth with all of those newcomers, we felt like that was almost a bigger accomplishment than winning the year before, and that’s still the year that I’m most proud of.
Scott Johnson, The Blue Devils
SBO: How much of the performance and that whole experience is about the results? RS: Everyone likes to win. But for us, as instructors, it can’t be about that. It just can’t. It has to be about more than that: it has to be about the experience and the development of the kids in the program. If it’s not about those other things, then every band but one is going to walk away disappointed. It just can’t be about the placing. Of course our kids want to place as high as anybody, but what’s more important to our kids is that we sound good and that people think we’re really good. They want people to walk away thinking, “Wow, Carmel was great today!” The students are very proud of that; School Band and Orchestra, October 2010 33
even before the announcements are made about the placing, they want to impress people. And when kids want to do that, they’re more worried about the process than the actual results. Our kids are like that and I’m really proud of them being that way. SBO: Do you have any other tips for marching band directors who may be preparing for marching band festivals and competitions as we speak? RS: Yes, I do, and it’s very simple: don’t do it all by yourself. Even if you are the only music teacher in your school, find someone in the county who’s more experienced, call a friend, call a college director in the area, and have them come out to watch a rehearsal. Have them make comments and put it together in a list of things to work on. One of the things that we have found to be very beneficial is having two or three people whom we consider to be experts – especially towards the end of our season when we think things are just the way we want
34 School Band and Orchestra, October 2010
them – come in and watch us and write up ten pages of notes of areas that could use improvement. Of course, we might get a little depressed about the
list right when we see it, [laughs] but in the long run, we find that we get ten times better again when someone else with a new set of eyes and ears is able
to come in and give feedback to our program. Especially for young people, I think it’s really important to get experienced people into the rehearsal to help you along. I think that’s really important. SBO: What’s the secret behind all of your program’s success? Do you see it as the culmination of 30 years spent building a solid musical foundation? RS: I think it came together a long
time before I got here, to be honest. It started with the administrators in Carmel-Clay schools. Since I’ve been here, we’ve had four different superintendents and three principals, and all of them have been super supportive of the arts. They all recognize that the arts are important. Whether it’s band, choir, orchestra or drama, we get a lot of support in the community for the arts, and that’s one of the reasons that Carmel thrives the way it does in music. SBO: So it all starts with administrative support?
RS: Because of that, the parents are more supportive. They see that the school believes in the program, so they believe in the program, too. And once more parents begin to get involved, then more students become involved in the program, too, and all of a sudden it’s this huge family of people believing in these common goals. And that’s really neat in this community. SBO: What can band directors – and music educators in general – do to help build that support if it isn’t already there? RS: One of the things that band directors have to work at is really becoming a part of their school, not just a part of the music program. They have to be willing to be willing to play pep rallies or at basketball games or wherever. A lot of directors would rather do other things than play at athletic events, but we do it because we want to be supportive and we are a part of the school. Probably the biggest way band directors can get support for their programs is by going out and
supporting other parts of the school. This holds especially true for young band directors. SBO: Last question: Where would you like to take your program in the next few years? Where do you set your sights after already having achieved so much? RS: I’d like to see our program get to the point where every kid, no matter what their ability level is, loves the experience. To do that, we’re going to have to continue to make sure that kids are taking private lessons, we’re going to have to make sure that we’re playing varied literature, we’re going to have to make sure that we’re teaching in a manner where our kids will enjoy coming into class every day. My number one goal for this program is for all of the kids who come through here, when they eventually leave Carmel High School, to miss the performing arts as much as they miss any other part of the school. My goal is really for kids to just enjoy the process.
School Band and Orchestra, October 2010 35
SBOGuest Editorial: Repertoire
Whose Show is it, Anyway? Thoughts on Programming with Tim Hinton BY JOE ALLISON
months of examining the performance literature for instrumen-
tal groups, we have debated the trends and specific attributes of new material being composed for school music groups and, in particular, programming for outdoor performance ensembles. Reader reactions have been plentiful, and in some cases impassioned. One particularly interesting and noteworthy response comes from Tim Hinton. Tim is an accomplished freelance composer/designer/fitness consultant who can be found at www.timhinton.com. As a professional who both writes musical scores and designs visual programs, his is a significant and considered perspective. Enjoy his thoughts on the conversation!
36 School Band and Orchestra, October 2010
“Who are we writing the show for, the judges or the audience?” Whenever I ask this question, every single client always says, “Both,” because we all want our audiences to love our shows, while also ensuring our groups do well at contests. And my goal as a designer is always to make the show effective and to move the audience in some way. That’s how all great shows should be. Or so I always thought… I am disturbed by many of the recent trends in our marching activities that seem to move away from these basic tenets of show design. These include choosing music that seems to be a “means to an end,” rather than a moving experience, and trends in the visual show feature a “glut of complexity” that I find exhausting. All of this seems calculated for scores rather than moving audiences. Let’s explore these concerns in terms of both the musical and visual elements.
Music Concerns There was a time in the early ‘90s when a debate raged about what music was appropriate for the field. A number of groups were stretching the boundaries with some very challenging classical music selections – challenging to both the audience and the performers. I remember sitting in Jackson, Miss. at DCI ’93 and, just before one group began to perform, an older gentleman sitting next to me leaned over and said, “And now for 10 minutes of silence!” Fast forward to 2010, and another ensemble was entering the field, everyone was saying, “And now for 10 minutes of noise!” The thing that concerns me is that back in the early ‘90s I was enthralled, excited, on the edge of my seat. Far from boring silence, I found these shows to be incredibly musical and engaging. Today, I find my level of interest has changed. I realize that personal taste and experience come into play, but my gut tells me that something else might be going on. It has always been my belief that in a great musical production, we plant a seed and then nurture it over the course of the show, so that it grows into something exciting, moving, and wonderful for the listener. But some current groups seem to have gotten away from this concept. If the music only serves the purposes of the visual effects, with no melodies or through-composed thoughts, it feels like eating a platter of sugary runs from woodwinds, a giant plate of potato notes from the brass, and lots of empty calories from musical effects, which might fill us up, but don’t leave us with any nutrition or true satisfaction. When groups omit real musical substance, it feels like the audience is being manipulated by these musical fireworks just to get us to clap – which we do, but then the empty feeling returns and we’re left with no memory of the meal at all. Real nutrition, like real effective music design, is work.
Another element directors should carefully consider when working with arrangers is maintaining a respect for the original composition. At times, it seems like some groups find this less important than their desire to satisfy their own thirst for creativity. When a number of disparate compositions are thrown together in seemingly irrational ways, it can lead to what some have coined as “unnecessary creativity.”
Unfortunately, I’ve found that on some occasions these musical choices are being rewarded by the judges, and thus reinforced in the activity. However, I am certain that these very talented arrangers and show designers could create original and exciting arrangements which take fewer liberties, but thrill us more… if the judging community rewarded them for their efforts.
School Band and Orchestra, October 2010 37
‘Do’s and ‘Don’t’s
It seems that we live in a “short attention span” society. No one has time to listen Do to an hour-long symphony • Pay attention to melody and hear it develop and grow and compositional strength over time. Who has time to • Stay true to the original read an 800-page novel and composition be moved by the development • Control the focus of the show of characters and story over a span of time? We all go to the Don’t Tim Hinton movies to watch some excit• Chase trends ing action sequences, but the • Pander to short attention spans current fad of short cuts and • Sacrifice musical value in favor of “effects” fast flashes of shots makes it totally impossible to follow have many, many things going on the action. at the same time in order to satisfy When shows are so busy, and have a judge’s opinion that a show is efseemingly five, 10, or 20 things gofective and worthy of high scores. I ing on at the same time, I find that couldn’t disagree more. they are impossible to watch. I call Rather than having numerous this trend the “glut of complexity.” things going on at the same time, It seems that it’s now required to
why not try controlling our focus and shifting the top responsibility from one group to another? I find that these “super-complex” shows are like watching a video screen with constantly flashing images that change constantly. What am I to see? How can I focus? Even a three-ring circus rotates from ring to ring. I always work from the tenet that the visual designer’s job is to control the focus of the show. A great show always tells the audience where to look at any moment, and a good drill designer can use this to great advantage by highlighting performers and music, while also hiding weaknesses or creating surprises for the audience. If the audience is going to be engaged
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38 School Band and Orchestra, October 2010
and moved by a performance then it must be taken on a journey, guided by the performers and the design to know what to watch, what to feel, and then grow to a place where they’re emotionally involved. I want the audience to feel something.
The Bottom Line Ultimately, it could be that some designers are creating “needlessly creative” music books and “overly complex” visual programs because they want to win. And as long as judges are rewarding these kinds of productions, all those whose goal is “to win” will follow the path. There is no doubt that the music arrangers and drill designers writing today are incredibly talented and passionate about their work, so perhaps the bigger issue is with the judging community, which seems to be encouraging a direction that I feel is less effective, not more. Our goal as directors and designers must always be to engage and move audiences with both music and visual design. I hope that both judges and designers will take a step back, remember our roots, remember why those shows were effective, and reconsider what is being given credit. Today’s shows are less effective, not more, and I worry about the direction we are headed, if we don’t stop and have a conversation. We’re losing audiences and participants as we’ve lost our way. Back in the early ‘90s we faced a challenge and the activity found a way to take this “new” music and discover ways to keep the audience engaged. I hope that these new trends find similar methods to moderate and not leave generations behind. Are we only writing for a video-game generation who needs constant stimulation and can’t hold a thought? We all love our activity because it has the power to move audiences and performers in a very special way. Let’s not lose that. Let’s talk!
Dr. Joseph H. Allison is currently professor of Music at Eastern Kentucky University, serving as the director of bands and Graduate Conducting Activities. He taught in the public high schools for 18 years, where ensembles under his direction regularly appeared in regional and national settings. His Sumter (S.C.)
High School Bands were the first internationally to be awarded both the Sudler Flag and Sudler Shield for concert and marching excellence. Dr. Allison is in demand as an adjudicator, clinician and consultant for concert, marching and jazz events throughout North America, Europe, and Japan.
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School Band and Orchestra, October 2010 39
SBOSurvey: Print Music
To Buy(Online) or Not to Buy(Online)
hile many factors contribute to a successful musical experience, perhaps none is as critical as the actual music itself. Students need to be able to perform it well and understand it (to some degree, anyway), educators need to be able to
teach it, and audiences need to be able to connect with it. The good news is that with ever-increasing print music resources available online, finding and sampling new music has never been easier. Yet, in spite of the veritable digital revolution taking place in all areas of the print industry, it seems that educators are still more comfortable heading over to the local music store (or calling them on the phone) than making purchases over the Internet. Read on as the SBO faithful share their thoughts on all things print music in this latest reader survey. 40 School Band and Orchestra, October 2010
What is your annual budget for music purchases? 0-$100
38% $1,500-2,500 $2,500+
considerably less if I’m printing it on my own paper?” Dennis Carroll Hoover High School Hoover, Ala. “Our school has a complicated purchase order procedure that we must follow. They do not allow online purchasing. It would be nice if they did!” Pauline Lanz Todd County Hgh School Mission, S.D.
Conferences & Conventions
Recommendations from colleagues/associates/friends
“Buying online means the convenience of having all parts digitally available and the ability to print only the parts you need and the amount you need to use.” Rich Guillen Arlington High School LaGrangeville, N.Y. “I haven’t tried to buy music online yet, but there are a couple of questions I have: Will the format be 8.5”x11” or 11”x17”? And why is the cost not
Music Festivals & Competitions Print Music Store
How do you typically discover new music?
Is the print music industry adequately up to date with new technological advancements?
Where do you buy your sheet music?
stock the item and we would have the great works of the past available.” Marion Roberts Blue Valley North High School Overland Park, Kan.
13% Music Publisher Sales Rep
“All of the above. I spend most of the time at Midwest and state conventions listening to new music. I have several excellent print music stores who are a great help (Shattingers, Senseney and the old Wingert-Jones). I will search the Web for new works and order online if it’s not available from a ‘real’ store. I do prefer handson, working with professional people in a live environment, where I’m able to return music if I need to. “It would be amazing if the print services would make available outof-print literature (when copyright allows) that could be printed after purchase. They would not have to
Additional thoughts on print music? “I make my decisions by looking online, and order purchases on the phone to have them shipped to my school. If I buy the music online, I am thinking I will be questioned at contest to the authenticity of the music. I also like the size of the printed music from the publisher. The paper from my printer may not always be a good quality paper. I would also want the conductor’s scores to be as they are printed now – I would not want to have to tape them together. “I am a big fan of catalog and CDs. I also look at printed catalogs, read the description and, if available, I listen to a recording. If a recording for a particular piece is not available, I will usually not purchase it. “One change in the industry that I would like to see is a grading system that is universal across the board, using either med-med advanced style or the number system.” Rachael E. Lewis Bluffton Exempted Village Schools Bluffton, Ohio
School Band and Orchestra, October 2010 41
“I would like to see publishers license the copyright for as many copies as necessary and make them available through PDF or in both Finale and Sibelius formats. Composers could then update arrangements as they wish. Errata would be eliminated and composers would be able to upgrade without reprinting/republishing.” Michael Wallace Bloomington Junior High School Bloomington, Ill. “Publishers should carefully review the extant copyright laws; they are out of step with reality. Music teachers aren’t out to defraud ASCAP, they simply want publications to better match their ensembles.” Tom Crawford Pusch Ridge Christian Academy Tucson, Ariz. “I would love the opportunity to purchase a single copy of each part and have PDFs that we could print of for extra parts. I would also happily pay extra for this ability.” Jim Jolley Center Hill Middle School Olive Branch, Miss. “It would be nice to have each individual measure numbered. Some publishers do this; more would be good.” Bill Manka Fond du Lac High School
If you are interested in participating in upcoming
music education surveys, please contact editor Eliahu Sussman at email@example.com
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Teaching Band in a “Program Improvement” (NCLB) District BY D.L. JOHNSON
or years our school district prided itself on the high caliber of its student population. The high school offered more Advanced Placement courses
than most schools in the area, and it still does. Even based on the demographics of the area’s student population, we were doing very well. Then No Child Left Behind (NCLB) hit. At first we had no problem staying out of trouble. However, we noticed right off the bat a couple of our elementary schools and the middle schools were struggling to get the API scores needed. Then it happened. The middle school became a Program Improvement School, and five years later the high school had a sudden 10-point drop in their score, and the state came down hard on the entire district. We became a Program Improvement School District. In other words, those students who were not meeting educational skills in the middle school were now at the high school.
44 School Band and Orchestra, October 2010
From 1990-2004 our band program exploded to as high as 140 musicians, but after peaking, it began a gradual drop back to an average of about 110-120 musicians out of 1250 in the student body. When the middle school became Program Improvement six years ago, the instrumental music teachers struggled almost immediately to find time to work with their band students. With increased time suddenly needed to work on language and math skills, electives began to be cut back. By 2007, the band students were meeting less than half the time that they had been before NCLB. This was not only a major blow for our middle school band program, but also our high school band program that relies on a good feeder system. At first I thought there would be a major drop in participation at the high school level. To my surprise, there was little change in the numbers. What changed, however, were basic music skills. We could no longer do as much as quickly as we had done no more than a couple of years before. Years ago I noticed the demographics of our school district were changing. We had a major military base closing in our area, and many of the higher-ranking military families living in our district moved away. As the military moved away, our population was replaced. We
went from a large number of high-motivated educationally skilled students, to students who needed increased educational help. We would still have great kids, but not as many with high basic educational skills. Don’t tell me affluence (in terms of finances and the parents’ education level) has nothing to do with educational skills. Affluence creates so much more opportunity for so many more students. Poor school districts suffer, and the wealthy get stronger. The results of No Child Left Behind are widening the gap. Most educators know this. Education is not equal, especially in my state of California, which is also being hit with the biggest budget crises in its history. All of this is easily seen in the effects on schools. The band programs in the affluent communities see very little change, the rest are being ripped apart. I knew I had to make a change or my program would not survive.
program in other ways. Remember, “politics is perception.” We live near a vacation and convention area. So we are constantly making ourselves available for those kinds of events. Kids like to perform, and ours are no exception. No Child Left Behind is a classic example of how out-of-touch government officials thinks they can solve the problem. Instead, in my view, all it has done is make the gap between low and high achievers wider. Afflu-
ent schools provide a wide variety of electives, while low achieving schools provide few electives. High academic and motivated students caught in Program Improvement Schools get little in the elective world, and we all know how important electives are to young minds. For some, it is the only reason they go to school. Even before NCLB was adopted, I knew my high school band could not compete against the mega-bands in the
What Can Be Done? The key is patience, patience, patience! First, it’s important to admit you have had nothing to do with all this, and second, remember that your students are not to blame. It is not their fault they are not getting the musical training they deserve. The next point is to “quit trying to keep up with the Jones’s,” which in this case means other schools. This may be the time best time in band education to make the political changes many of us know should have been done years ago. Not all communities are the same. Design a music program that fits your community. The perceived design of today’s band program has never been required. Therefore, build your program on its strengths, not its weaknesses. For my program, we decided to spend all of our time, efforts, and money building a well-rounded program that could travel easily and can get out into the community. In the past 15 years, we have been to China four times, Italy, Washington, D.C. (Clinton’s Inaugural Parade, and the WWII Memorial Dedication), Colorado, Hawaii, and Canada. We may not get all of the highest scores in competition, but we get all of the great invitations, because we are very well known. Band has become fun again. If you can’t compete, then make a name for your
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state. We just didn’t have the resources in our district for it. Once I was able to convince my district we needed to focus on what we could do and do well, we were able to move in the right direction, considering what’s going on throughout the state. Competition is no longer the focus for us. Quality performance is. Focusing on the state and national standards for band is the priority, not the whims of the school administration or the directives of the athletic program’s schedule. They could no longer push their whims at us anyway. There was and is no money. Everything we seem to do, we have to pay for ourselves. That doesn’t, mean we can’t or won’t support where high school bands traditionally play. We just don’t let a schedule dictate what we have to do. For example, we stopped trying to provide half-time shows at every home football game, especially if there was an important band review or other conflict that week. Did you ever want to go back in time and shoot the guy who de-
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46 School Band and Orchestra, October 2010
cided the high school band should be reguired to go to every football game? We spend more time focusing on doing fewer performances, while at the same time focusing on performing at the best level we can achieve with what we have when we do perform.
No More Rehearsals Outside of the School Day Extra band rehearsals are too easily becoming the excuse for poor achievement in academic classes. It also makes band look like an activity rather than a class. I have decided to only do what I can in the hour I see my students each day. Therefore, I have limited my performance schedule to what can be achieved in that amount of time. At the three band reviews we do attend each year, we compete in Parade Competition only. Due to the geography of our community and lack of facilities at our school, field show competition was ruled out long ago. We divide the large band after marching season into two concert bands, with the wind ensemble fully auditioned. With the above paragraph in mind, we found the trophy is no longer the most important thing. It is only a standard to strive for. We still compete so we can at least see if we are heading in the right direction. With our students’ overall basic music skills below other schools when they come in, it is going to take longer for us to catch up each year, but catch up we will. This is where both the middle school instructors and I have noticed something very strange happening: The kids are far more focused on and wanting to learn music than we have seen in the past. Could it be they are so burned out on being force fed language arts and math skills that anything new is welcome? I have been in education for over 35 years and this is the first year I am thoroughly enjoying working with all of my band students, and I believe those feelings are reciprocated by my students. It’s a great lesson learned: Talent is not everything to music education. Winning that trophy or getting that superior rating is not what it’s all about. Learning music is what’s important. Teaching is becoming rewarding again.
So much has changed in the last couple of years. Some may see it as the end for music education at their schools. I see it as an opportunity to redesign music education to fit the needs of our students, rather than the needs of an ideology that is way behind the times, that cannot possibly fit the community which it is supposed to serve. Maybe it’s time for band directors to be the change. Being in a Program Improvement District doesn’t have to be the beginning of the end.
D.L. Johnson is director of bands at North Monterey County High School, in Castroville, California. Mr. Johnson has served as president of the California Music Educators Association (CMEA) and he is presently doing consulting for bands, orchestras, and choirs wanting to travel overseas, with a specialty in China. He may be reached at email@example.com.
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SBOTechnology: Case Study
Meet Ace Martin: Music Technology Architect BY JOHN KUZMICH, JR.
n exciting future awaits the well-prepared music student. This is particularly evident by taking a look at the results of Ace Martin’s teaching at Douglas Anderson School of the Arts in Jacksonville, Florida. At the 2010 TI:ME Na-
tional Conference, I met this trailblazing educator and discovered that his substantial success in the classroom and the community was no accident. His secret lies with how he has incorporated music technology into his music program over the years.
Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America. For more information, visit www.kuzmich.com.
48 School Band and Orchestra, October 2010
Martin’s odyssey began with his first electronic music course in while in junior college. He recalls his first project created on a Moog Synthesizer. Later, during a trumpet recital in college, Martin performed a piece for tape and trumpet that also used electronic music sounds. After that, the next time he become interested in music technology was when a colleague, Tom Haller, showed Martin the studio Haller had built in his garage. “Tom and I were the first band directors at Douglas Ander-
son and the first electronic music teachers,” recalls Martin. “He and I took summer classes in electronic music from Don Muro at the University of Florida, and later I would sit in on every one of Don’s clinics that came to the Florida Music Educators Convention and Midwest Clinic that I could possibly attend. Then a new guy named Tom Rudolph came on the scene at conventions and clinics I attended.” Like Ace Martin, Rudolph was also a trumpet player. “I would pick his brain whenever I could,” says Ace. “Eventually, I wound up taking TI:ME 1A and 1B courses from him. After five years of convincing administration at school and the district, we finally got a lab. I took the ideas from Don Muro, Tom Rudolph, Lee Whitmore, Dennis Mauricio, and Jim Frankel after years of visiting their clinics and started implementing them in my classes.” Ace Martin began building his electronic music lab in 1998, starting with 15 stations and a recording station in a small room. He remembers, “We have been very fortunate at our school to have these facilities. We had to literally crawl over the chairs to fit everyone in back in those days.” Now the lab has grown from 15 stations with a recording station to 24-station lab with a full-blown recording studio. In addition to the school’s success with music technology, the Douglass Anderson Jazz Band has won the Essentially Ellington National High School Jazz Band Competition and made an award-winning documentary film called “CHOPS.” Their thriving orchestra, symphonic band, Great Guitar Gathering, piano and vocal department achievements earned the school a 2010 National Grammy Signature School Award. The way Ace sees it, “It has always fascinated me how important it is to be a well-rounded musician and know something about all types of music. Now with the growth of technology, I really think all music students should have some sort of introduction or survey of electronic music and recording.”
50 School Band and Orchestra, October 2010
Creative Curriculum Let’s take a look at the creative curriculum and wide range of material covered in the electronic music classes at Douglass Anderson School of the Arts. The first year electronic music course is a basic survey of lots of software, getting students creating projects right out of the gate. Programs covered can include Garage Band, Logic Express or Logic Pro, Digital Performer, Reason, Band in the Box, and Practica Musica. The second year curriculum is designed to provide a lot more depth and variety of projects, including pod casting, video/film, and creating new sounds with manipulations of virtual instrument plug-ins. Programs include Logic Plug-ins, iDrum, Reason Plug-ins, Rewire, BandStand, Sample Tank. This course will give music students a basic understanding of electronic music from its inception in the late 1800s to the latest music technology available today. A stellar music technology curriculum like this is destined to prepare students for a productive future. Ace recalls, “One year I had an exchange student from Switzerland
The 64th Annual Midwest Clinic:
An International Band and Orchestra Conference
Wednesday, December 15 – Saturday, December 18, 2010 • McCormick Place West, Chicago, Illinois Be Part of The 2010 Midwest Clinic At this year’s conference, the band, jazz, and string programs will be fully integrated, creating a stronger sense of community and an atmosphere in which music educators can enjoy insights from all of their peers. It is a pleasure to announce a few of the world-class concerts and clinics that will make The 2010 Midwest Clinic an event you won’t want to miss. United States “President’s Own” Marine Band (Washington, D.C., Colonel Michael
Tim Lautzenheiser presents “When We Change the Way We Look at Things, the Things We Look at Change”
Seika Girls High School Band (Fukoka City, Japan, Yoshihisa Fujishige, Conductor) Michael Steinel presents “Secret Ingredients to Successful Jazz Improvisation: 12+ Ways to Reinvent a Melody” Kathleen DeBerry Brungard presents “Developing the Expressive Bow: Strategies for All Levels of Instruction” Texas A&M University Wind Symphony
(College Station, Texas, Timothy Rhea, Conductor) Yo Goto presents “The Secret is Revealed: Japanese Ideas for Band Teaching and Their Practical Use for Your Classroom” Mountain View High School Chamber Orchestra (Mesa, Arizona, Walter Temme,
William Bolcom presents “A Discussion of William Bolcom’s First Symphony for Band”
West Ridge Middle School Wind Ensemble
(Austin, Texas, Susan Glover, Conductor)
Larry Clark presents “Marches: The Key to a Successful Band”
Greg Byrne presents “You Too Can Be a Barrier Breaker”
Rob Parton Big Band (Oak Park, Illinois, Rob Parton, Director)
Fontainebleau High School Jazz Ensemble One (Mandeville, Louisiana, Lee Hicks, Director)
Paula Crider presents “Old Wine in New Bottles: Sources of Inspiration to Make Teaching More Efficient, Innovative… and Fun”
Ralph T. Jackson presents “Start Early: Building a Successful Elementary String Program Beginning in Kindergarten” VanderCook College of Music Symphonic Band (Chicago, Illinois, Charles T. Menghini,
Michael Colgrass presents “Teaching Teachers How to Teach Children to Compose Music” Carlton J. Kell High School Wind Symphony (Marietta, Georgia, David McGrath,
Roy Holder and an American Bandmasters Association Panel present “School Funding, Scheduling and Reform: Is There a Crisis for Music?” Grand Symphonic Winds (St. Paul, Minnesota,
Matthew George, Conductor)
A full list of performers and clinicians can be found at www.midwestclinic.org. Would you like to appear at the 2011 conference? Performance applications and clinic proposal forms will be available on our website this winter.
The Midwest Clinic: An International Band and Orchestra Conference 828 Davis Street, Suite 100 Evanston, Illinois 60201 (847) 424-4163 Fax: (847) 424-5185 firstname.lastname@example.org
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who had some background in MIDI: he just took off in the class. He is now doing sound design for a company in Switzerland.” Proffessional Musician and former student, Jamison Ross was very involved in every aspect of what Douglas Ander-
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First year electronic music course outline: 1ST 9 Weeks: • Overview of History of Electronic Music • Basic Understanding of Synthesis • Analog • Digital • Basic Understanding of Electronic Music Terms • Overview of using the Computer and Electronic Music Equipment in the Classroom • Basic understanding of sequencing and electronic music projects 2nd 9 Weeks: • MIDI • Interaction with Computers, Keyboards, and Software • Sequencing Projects and Arrangements 3rd 9 Weeks: • Understanding of Music Education software & Music Theory software • Understanding of Recording: Analog & Digital • Basic Electronic Music Projects
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4th 9 Weeks: • Developing Basic Electronic Arranging Techniques • Electronic Music Publication • Understanding Electronic Music and SMPTE with video • Electronic Music Projects – commercials, video, arrangements, and original compositions – develop a portfolio with all the work from the class.
son had to offer to a percussionist. He says, “Aside from performance groups, I found a fatal attraction to Ace Martin’s Electronic Music class. I learned the inner workings of MIDI and various recording software by producing my own
Full year course outline:
1ST Quarter Grading Period: • Students prepare and update a power point presentation of History of Electronic Music with the latest up to date developments • Project 1 – Develop a grove/melody using 4 notes only – include chord progression with melody developed • Project 2 – Understanding Reason with the use ReWire in Logic Pro • Project 3 – Develop an original arrangement with the use of Reason Instruments with Rewire & Logic Pro • Develop mix meter Drum Tracks 2nd Quarter Grading Period • Sequencing Projects • Holiday Sequencing Projects • Fast Tempo Project – In Logic Pro • Slow Tempo Project with Full Orchestra using Reason • Program Piece Project – Fun Style – Digital Performer • Produce Class CD, Sibelius Score and Personnel DVD of Holiday Projects 3rd Quarter Grading Period 1 Overview of Music Education Software • Practica Musica – Ear Training Software and use of knowledge from drills in Music Theory in forthcoming arrangements and compositions • Band in the Box – Development of writing/learning of other styles of music and improvisation • SmartMusic - overview • Record using Band in the Box and Logic via standard MIDI file • Transfers of Band in the Box – record vocals and instruments in project productions 4th Quarter Grading Period 1 Creation of Audio Commercials Projects with verbiage/lyrics • Public Service Announcement(PSA) • Commercial for something that all ready exist • Advertisement for a new product, place, or event that you have created and want to advertise 2 Original Music Project 3 Create a recruitment video for Electronic Music Class – collaborate with Cinematic Arts Department for the filming of video. Must incorporate voice over and other aspects of sound recording in video. 4 Final Exam – CD/DVD Portfolio of all projects from Day 1 to Last project of the year with Final notebook
commercials and songs. Who would have known that at D.A. I would learn a lifetime of knowledge. As a graduate, I now have my own electronic music and recording set-up that I use in my personal and professional life. I would have never had the knowledge to even start using this gear without Mr. Martin’s electronic music class. Many former students, like Ross, are performing all over the world and incorporating things they learned in Ace’s electronic music classes, including John Mayer’s saxophonist, who was in Douglass Anderson’s jazz band. He continued his studies at Berklee and now uses a lot of electronic music for his compositions. Two former students have their own recording studios in Los Angeles, right next to Randy Jackson’s studio. Ace’s son, Matt, also envisions a future in music for himself. Matt says, “The survey of electronic mediums at Douglas Anderson School showed the vast possibilities in the music field. This got me interested in film music as a career. In the lab I had the ability to use Digital Performer 5 and Logic 7 with which I created mock-ups of my compositions. I am currently in my senior year at Florida State University and have written music for close to 30 films. All of these skills came from interactions with Sibelius, Logic/DP, and MIDI/Audio – concepts taught in my D.A. Electronic Music class.” With all his accomplishments, Ace acknowledges there are challenges to teaching music technology. “Probably the most difficult problem I have faced is trying to stay current with all the changes that happen in technology,” he admits. “Upgrades to software and computers are the same problems that I am sure all labs face. I have been fortunate to be able to upgrade computers every five years and software about every two years, depending on funding. Trying to keep the class-size at 23 students, and all students on the same level, has been a challenge. Another problem is that both Electronic Music I and II students are in the same class. We have worked that out by keeping the upper level students at one end of the room. They become mentors to the first-year students. It can be hard to hustle keeping these students on course with more innovative projects at a faster pace. But School Band and Orchestra, October 2010 53
we have worked the kinks out of this problem for the most part.”
VIRGINIA INTERNATIONAL MUSIC FESTIVAL at the 2011 Norfolk NATO Festival | April 29 – May 1, 2011 Let Performing Arts Consultants help you orchestrate an unforgettable trip! Join us in Norfolk for a weekend filled with outstanding entertainment and performance opportunities for your students. Exciting events include the Virginia International Tattoo and the Parade of Nations along with Choral, Jazz and Instrumental groups performing at Chrysler Hall and much more. Call 1-800-USA-FEST or email email@example.com and start planning today.
54 School Band and Orchestra, October 2010
Keeping up with ever-changing technology is a challenge that all electronic music teachers face, and there are always funding issues to confront. However, educators need to realize that in this day and age, electronic music is an integral part of a complete music education. One of the biggest obstacles for teachers who have not become involved in electronic music really is fear. “Believe me,” says Ace Martin, “it is intimidating for me every day, but Electronic Music is one of the most creative classes I teach or am a part of. Most of the students catch on quicker than you think and can often surpass you. Isn’t that what it is all about – giving them the tools and watching them grow and go beyond whatever you thought they might be capable of doing?” These links show the music technology curriculum that Ace Martin has developed, as well as his impressive bio. www.kuzmich.com/Martin/Electronic Music.html w w w. k u z m i c h . c o m / M a r t i n / Courseware%20I.html w w w. k u z m i c h . c o m / M a r t i n / Courseware%20II.html www.kuzmich.com/Martin/biocredits.html www.da-arts.org. www.da-arts.org/martina. Perhaps this curriculum can be a springboard of music technology ideas for other teachers across the country!
NewProducts CodaBow’s JOULE Designs for Violin, Viola & Cello
The CodaBow’s JOULE features a trademark Graphite Diamond Weave architecture that extends precisely from button to tip. This technology
NS Design’s NS WAV Series Electric Violin
is said to contribute to the balance between strength and flexibility. The JOULE’s Acoustic Core, comprised of a medley of advanced fibers, imbues a natural sensitivity and organic characteristic. The frog design is said to increase effective hair length while preserving thumb position and dynamic balance, which encourages more sound from the lower range while heightening string control.
Epilog Laser EXT
Epilog Laser’s equipment provides a fast way to add initials, text, or even
Position: Applied Woodwind(s) with strong background in music theory or orchestral conducting.
GibraltarQuick Release Drum Key
justments. The Quick Release Drum Key hooks onto any lanyard or carabineer clip.
Rico’s Reserve Classic Bass Clarinet reed was designed in conjunction with clarinetist J. Lawrie Bloom, bass clarinetist of the Chicago Symphony Orchestra. Reserve Bass Clarinet reeds feature a special 3.0+ strength that is unique to bass clarinet reeds. Each Reserve reed is precisely cut on Rico’s reed manufacturing machines. The Reserve Classic Bass Clarinet reeds are made from lower-internode cane to yield the highest-density cane available.
Gibraltar’s new Quick Release Drum Key includes a knurled grip for quick and easy head changes and ad-
Rico’s Reserve Bass Clarinet Reed
NS Design’s WAV5 is the five-string version of the NS WAV series electric violin. The WAV5 features a carved maple body and adjustable shoulder rest molds to fit the contours of the shoulder for optimum grip and comfort. Fitted with the optional Balanced Shoulder Rest, the WAV5 rides almost weightlessly on a counterweighted arm, freeing the musician’s upper body and providing support for highimpact playing. By raising or lowering the adjustable rock maple bridge, players can set the strings to the height they desire – high action like a classical violin or lower fiddle-style action for quick response. The WAV5 is built around NS Design’s patented Polar pickup system, and the passive pickup system does not require a battery.
Responsibilities: Full-time, tenure-track appointment to teach applied woodwinds and teach music theory or conduct the orchestra. There may be additional teaching assignments according to the candidate’s strengths and the school’s needs. Qualifications: An earned doctorate in music is preferred. College level teaching experience is desirable. The candidate must be supportive of the Christian mission of the university. Rank and Salary: Open, based on expertise and experience. Appointment Date: Aug. 1, 2011. Review of applications begins Nov. 1 and will continue until the position is filled. General Information: For more information, go to www.samford.edu. Application Process: Submit a letter of application, complete curriculum vitae, appropriate samples of scholarship/performance and at least three current letters of recommendation to: Woodwinds Search Committee Dr. Ronald Shinn, chair Division of Music, School of the Arts Samford University 800 Lakeshore Drive Birmingham AL 35229 firstname.lastname@example.org Samford University is an Equal Opportunity Educational Institution/Employer.
School Band and Orchestra, October 2010 55
NewProducts images to musical instruments and accessories. Epilog’s Legend EXT is the company’s large-scale laser engraver that offers easy to use features that provide a fast way to add initials, text, or even images to musical instruments
doren. Previously only available as a clarinet reed, the V12 cut is said to produce a deeper, richer sound with more body to the attack and color to the tone. The Vandoren V12 tenor saxophone reeds are currently available and can be ordered from any authorized Vandoren dealer.
www.vandoren.com chure. The OcToBrass Kit comes with a lightweight polycarbonate mouthpiece, leather pouch, and instructions.
Valentino Directors Fix Kits
and accessories. Due to the large work area and cutting capabilities of the EXT, users can create designs that add style to large or uniquely shaped items such as guitars.
The OcToBrass is a concert level ocarina that can be used with a trumpet, trombone, bass trombone, horn, or tuba mouthpiece. The OcToBrass is designed to help the brass musician develop and strengthen their embou-
Valentino’s Directors Series Fix Kits offers quick and easy service of instruments from piccolo to tuba and features an illustrated instruction manual. The top section of the case contains an assortment of tools necessary for maintenance of woodwinds and brasswinds. The lower section houses the Directors woodwind and brasswind supply assortments. Individual replacement assortments of supply items are available for each instrument.
Drum Aerobics from Hal Leonard
Hal Leonard’s Drum Aerobics book/two-CD pack by Andy Ziker is a 52-week, one-exercise-per-day workout program for developing, improving, and maintaining drum technique. Drum Aerobics is designed to help increase speed, coordination, dexterity, accuracy, and lick vocabulary. The two accompanying CDs contain all 365 workout licks, plus play-along grooves in styles including rock, blues, jazz, heavy metal, reggae, funk, calypso, bossa nova, march, mambo, and New Orleans second line.
Vandoren V12 Sax Line Expands
Vandoren’s V12 tenor sax is the latest in a new line of reeds from Van-
Free video content to supplement Drum Aerobics will soon be available using the Closer Look feature on Hal Leonard’s Web site. Ziker and Dan Tomlinson, long-time touring drummer for Lyle Lovett and Acoustic Alchemy, will add drums to the 25 (drumless) play-along tracks that com56 School Band and Orchestra, October 2010
Yamaha Disklavier Piano App
Yamaha has announced that its entire line of reproducing instruments is now compatible with the company’s updated Disklavier app (version 1.1.1), available for download in the Apple iTunes store. The free app, introduced last June for Mark IV model Disklavier pianos, enables wireless WiFi remote control of the instrument using an Apple iPod Touch, iPhone, or iPad. At the touch of a button on any of these devices, the user can control many Disklavier performance functions, including selection and playback of sources, albums, individual songs, volume, basic record, balance, transpose, and part cancel. In addition, the app can be used to control playback of DisklavierRadio, an unlimited, subscription-based service that lets users listen to hundreds of fully orchestrated songs on demand over the Internet, which are then performed “live” on the Disklavier.
Carl Fischer’s 18 Christmas Favorites
Carl Fischer’s new 18 Intermediate Christmas Favorites collection contains 18 popular holiday songs in a variety of different styles, from classical, to jazz, to rock, and Latin. Each play-along track on the included CD uses background instruments. The CD also contains printable PDF files of piano accompaniments for all songs, so that they may be performed in concert. Features favorites include “The First Noel,” “Joy to the World,” “O Little Town of Bethlehem,” “We Wish You a Merry Christmas,” and more. Veteran arrangers Carl
Strommen and Larry Clark have teamed up to create this offering for instrumentalists of all ages looking to play some holiday music.
Levy’s Drum Hardware Gig Bag
Levy’s new polyester drum hardware roller-bag features 1/2” foam padding, polyester lining, reinforced hard plastic base, padded handles on top and ends, detachable 2” adjustable rubber-padded shoulder strap, and two extra-large zippered accessory pouches. Inside dimensions are 44” X 15” X 13”.
prise CD two. Viewing these clips will give book purchasers a point of reference, seeing and hearing how two professional drummers approach playing along with the tracks. Free downloadable charts for all 25 play-along tunes in Drum Aerobics will also be available in the coming months. These charts will detail chords, melody, and important hits and fills. Educators, including school band directors and private instructors, will find the charts (along with the video clips) instrumental in teaching chart reading. Other instrumentalists can also use the charts to play along with the drummer in a live setting.
That Your School and Students Can Afford
We are one of the leading suppliers of band and orchestra instruments to schools and music dealers throughout the United States. We offer a full line of brass, woodwind, orchestra and percussion instruments designed and crafted to educational standards. For a list of dealers in your area, or a catalog contact: email@example.com by email or call. We respond to all school bids through local dealers. Samples are available for evaluation.
Hunter Music Instruments
3300 Northern Boulevard, Long Island City, NY 11101 (718) 706-0828 Fax: (718) 706-0128 www.huntermusical.com School Band and Orchestra, October 2010 57
NewProducts Theodore Presser’s Orchestral Excerpts for Timpani
Orchestral Excerpts for Timpani contains authentic parts for 57 of the most-requested audition excerpts for timpani. The 78-track audio CD includes these excerpts played by major orchestras, plus 21 play-along practice tracks. This collection also features comments and performance suggestions by Randy Max, timpanist of the Rotterdam Philharmonic, who also offers detailed tuning plans, advice for practicing timpani and ear training, and historical information.
Vic Firth Stick Caddy
Vic Firth’s stick caddy remains locked in place on the cymbal stands. The caddy features a rubber insert at the bottom of the metal tube that
58 School Band and Orchestra, October 2010
protects the stick tips when being thrown into the tube and prevents any noise when the sticks hit the bottom of the metal tube. The screw clamp design locks the stick caddy firmly in place and fits all standard hi-hat stands, cymbal stands, and can be securely fastened on a Tom leg as well. Lock washers firmly hold the stick caddy at the perfect angle for the drummers’ preferred location. Both adjustments are quickly made with wing nuts. The stick caddy will hold three pairs of 5A. Other model capacity will depend on the specific stick diameter.
professional clarinet and saxophone player who has also been involved with woodwind instrument design for several Elkhart instrument makers.
The initial, limited production run will be aimed at professional saxophone players. The acoustical design is based on an American model, and will include unique improvements on this design.
E. K. Blessing: Made in the USA
Powell Flutes has announced plans to introduce the only saxophone “Made in the USA” during the grand opening reception of its E. K. Blessing division in Elkhart, Indiana. The design of Powell’s Sonaré saxophone is the brain child of Mike Smith, jazz sax player from Chicago. Smith plays with the Frank Sinatra Jr. band, and for many years handled artist relations for Keilwerth brand saxophones. In addition to Mike Smith, the development team includes John Weir and Chris French, known as perhaps two of the most experienced developers of woodwind products in the world. Weir, based in Toronto, previously worked for various Elkhart instrument makers and now produces his own Taplin-Weir clarinets. French is a
Kaces’ Razor Express Series Bag
Kaces’ Razor Express Series messenger bag features a spacious main compartment measuring 12.75” x 11.25” x 3”. The bag can carry laptop computers, small mixers, digital recorders, and wireless mic systems. Sporting a 3-D “razor slash” look that is sewn into a ballistic polyester exterior, this bag is designed to be an allpurpose small gear transporter. The outside features a contoured poly hand grip and an adjustable shoulder strap featuring a specially designed shoulder grip pad to reduce slippage. A double-stitched cover flap is secured with Velcro that opens to a spacious interior. On the inside, a large zippered mesh compartment is sewn into the
NewProducts cover flap to hold cables, patch cords, AC adapters, and other accessories. A third zippered pocket is located on the inside front for even smaller accessories like cord adapters, USB cables, strings, and business cards and also features an elastic strip to hold small flashlights, markers, and pencils for easy access.
I N T E R N AT I O N A L T O U R S
Consider this, Since 1957,
Connolly Offering Bazzini Student Stringed Instruments
Connolly Music Company has been named the U.S. distributor of Antonio Bazzini, a new line of step-up violin and cello outfits especially designed for adult amateur and progressing student musicians. Bazzini instruments are designed in Italy and manufactured in China under German supervision to exacting specifications. Every instrument is set up in Germany using quality parts and strings, tested under the strictest quality control standards, and play-tested before leaving the workshop. Three different levels of instruments – Studio, Concerto, and Maestro – provide a pathway for students to progress; from an entry level stepup model to the aspiring professional’s musical companion. All Bazzini instruments are fully set up and come with a bow and a case or a bag.
Notes can be entered with a computer keyboard, a MIDI keyboard, with the exclusive MicNotator, or by scanning existing music. PrintMusic includes Drum Groove and Band-in-a-Box Auto-Harmonizing. Music plays back using hundreds of built-in sounds or additional external sound libraries (sold separately), and can be shared with others using the free downloadable Finale Reader and by creating MP3 files for use on iPods and beyond.
MakeMusic, Inc. has released Finale PrintMusic. This updated version of the music notation software includes new features and provides compatibility with current operating systems and files created with Finale 2011, MakeMusic’s flagship software package. PrintMusic makes the ability to create publisher-quality sheet music affordable. Songwriters, teachers, band and choir directors, church musicians, students, and other musicians can arrange pieces of up to 24 staves and extract individual parts from the score.
Intropa has delivered 2500 performing ensembles to 72 countries
Cymbag Cymbal Protectors
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Cymbag cymbal protectors are easy-to-use sleeves that help keep cymbals clean and shiny by protecting them from fingerprints and dirt during set-up, pack-up, storage, and travel. Patent pending and made from an advanced microfiber material that’s snug, secure, and super-soft yet rugged and durable. Cymbags slip on and off any cymbal while it’s still on the stand and perfectly into any hard or soft case. Available in a full range of popular sizes from 6 to 26”, Cymbags fit all types of cymbals and can be used for schools, stages, studios, stadiums, or any drumming situation.
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INTROPA TOURS 713 or 800 666.3838 e-mail: firstname.lastname@example.org www.intropa.com School Band and Orchestra, October 2010 59
NewProducts Alfred Music’s Scott Joplin: Complete Piano Works
Alfred Music Publishing has released Scott Joplin: Complete Piano Works, featuring the complete works of Scott Joplin for piano, in their original editions. Scott Joplin: Complete Piano Works is a comprehensive sheet music collection assembling the complete works for piano composed by Joplin, the undisputed “King of Ragtime Writers.” This songbook contains classic rags, marches, waltzes, and cakewalks presented in their original editions. Produced in cooperation with the New York Public Library, this 376-page collection includes an introduction by Vera Brodsky Lawrence and a historical essay by noted ragtime scholar Rudi Blesh. In addition, the songbook features lay-flat binding designed to stay open on a piano music rack. The retail price is $29.99.
sion system and a rubberized protector pad crafted with a plush, quilted double helix velvet lining. Like all Reunion Blues products, this new RB Continental also sax case comes with a limited lifetime warranty and retails for $179.95.
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RB Continental Alto Sax Case
Reunion Blues is expanding their RB Continental line with the introduction of a new alto saxophone case that combines contemporary design with instrument protection. On the outside, a one inch thick shock-absorbing Flexoskeleton exterior is lined with reinforced impact panels, and a knurled abrasion grid cradles the bottom to help resist scuffing. A large zippered “quick-stash” accessory pocket is provided, along with an adjustable shoulder strap. A Ballistic Quadraweave exterior features high-strength corded edges and all seams are double-stitched with high tensile thread and reinforced at tested stress points. This new case also includes a Zero-G palm-contoured handle with weight distributing foam core to help reduce hand fatigue when the instrument is carried for a long period of time. The inside features a bell area suspen60 School Band and Orchestra, October 2010
Get In-State Tuition! You don’t have to quit your day job to get a master’s degree! For more information contact: Dr. Lorie Enloe email@example.com 208-885-0157 www.class.uidaho.edu/music_education
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