May 2018 Southwestern Musician

MAY 2018

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I S S U E

contents

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features

V O L U M E

Keeping Students Engaged Through the Last Day In a recent survey, TMEA members offered their strategies for keeping students engaged and learning during these last weeks of school. Throughout this issue, we present several suggestions from members in each division. Be sure to look beyond your division as many suggestions can apply to any music classroom. Thanks go to the thousands of members who answered the survey to help us present this valuable information.

Band.....................................................................................................15 Orchestra .............................................................................................29 Vocal ....................................................................................................45 Elementary ..........................................................................................55 College .................................................................................................63

Mapping Pathways to Student Success ...................... 27

15

Attend the Center for Educator Development in Fine Arts (CEDFA) Summit 19, where you can learn to create relevant and engaging instruction that motivates all students.

columns

Stay Connected This Summer ...................................... 40 Members from every division offered creative ways to keep your students connected to the music program and learning throughout their summer break.

President’s Notes ............................................. 4

by Robert Horton

Executive Director’s Notes.................... 9 Band Notes ............................................................ 19

by John Carroll

Orchestra Notes .............................................. 36

by Brian Coatney

Vocal Notes ........................................................... 49

by Derrick Brookins

Elementary Notes .......................................... 58

by Casey Medlin

College Notes ..................................................... 65

by Vicki Baker

updates

by Robert Floyd Attend Your Spring Region Meeting ........................................................ 2 Submit a Proposal for the 2019 Clinic/Convention .............................. 7 May Is Membership Renewal Month ...................................................... 8 Thank You, Volume 86 Advertisers .......................................................61

Renew Your TMEA Membership Today!

Take advantage of the opportunity to renew early and ensure no break in your liability insurance coverage.

On the cover: Nicole Cowan, a senior at Colleyville Heritage HS and member of the 2018 All-State 5A Symphonic Band, performs during the 2018 TMEA Clinic/Convention. Photo by Karen Cross.

Why Wait?

tmea.org/renew Southwestern Musician | May 2018

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Editor-in-Chief: Robert Floyd

Attend Your Spring TMEA Region Meeting

UĂ R\G@tmea.org 512-452-0710, ext. 101

Managing Editor: Karen Cross

kcross@tmea.org 512-452-0710, ext. 107

Region Date

TMEA Executive Board President: Robert Horton rhorton@conroeisd.net 3205 West Davis Street, Conroe, 77304-2039 936-709-1200 – The Woodlands HS

President-Elect: Joe Muùoz 0XQR]M#SHDUODQGLVG RUJ 3775 South Main Street, Pearland, 77581 281-997-3219 – Pearland HS

Past-President: Andy Sealy sealya@lisd.net 4207 Plano Parkway, Carrollton, 75010 469-948-3011 – Hebron HS

Time

Location

1

May 12

10:00 a.m. meeting, Amarillo HS Cafeteria 9:30 a.m. food

2

May 19

10:00 a.m.

Guyer HS, Denton

3

May 12

10:00 a.m.

Lake Highlands HS

4

May 11

5:00 p.m.

Mt. Pleasant HS

5

May 5

9:00 a.m.

McClung MS

6

April 28

1:00 p.m.

Lee HS, Midland

7

May 12

10:00 a.m.

Graham HS

8

May 8

10:00 a.m. meeting, Midway HS Auditorium 9:30 a.m. food

9

May 5

9:00 a.m.

Tomball Memorial HS

John.Carroll@ectorcountyisd.org 1800 East 42nd Street, Odessa, 79762 432-456-2285 – Permian HS

10

May 7

6:30 p.m.

Lamar Univ Music Bldg

11

May 5

12:00 p.m.

Highlands HS

Orchestra Vice-President: Brian Coatney

12

May 6

2:30 p.m.

TLU Jackson Auditorium

13

May 12

10:00 a.m.

George Ranch HS

14

May 12

10:00 a.m.

Del Mar College

15

April 28

2:00 p.m.

Sharyland Pioneer HS

16

May 7

5:00 p.m. meeting, 4 p.m. steering cmt

Frenship HS

Band Vice-President: John Carroll

brian.coatney@pisd.edu 1313 Mossvine Drive, Plano, 75023 469-752-9396 – Plano Senior HS

Vocal Vice-President: Derrick Brookins PDMRUVFDOH #JPDLO FRP 2010 Wimbledon Drive, Allen, 75013-3028 214-450-7464

Elementary Vice-President: Casey Medlin casey.medlin@fortbendisd.com 2215 Sandy Sea Road, Rosenberg, 77469 ² %UD]RV %HQG (OHPHQWDU\

College Vice-President: Vicki Baker VBaker@twu.edu P.O. Box 425768, Denton, 76204 940-898-2724 – Texas Woman’s University

TMEA Staff

17

May 12

9:30 a.m.

Alvin JH

18

April 21

10:00 a.m.

Akins HS

19

May 5

10:00 a.m.

Sam Rayburn HS

20

May 19

9:00 a.m.

Adamson HS, Dallas ISD

21

May 5

10:00 a.m.

Chapel Hill HS, Tyler

22

May 14

7:00 p.m. meeting, 6:00 p.m. UIL

UT/El Paso

23

May 12

9:00 a.m. meeting, 8:30 a.m. food

Westside HS, Houston ISD

24

May 12

10:00 a.m.

Plano West SHS

Executive Director: Robert Floyd | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org

25

May 19

10:00 a.m.

Allen HS

26

April 26

6:00 p.m.

Westwood HS

Communications Manager: Karen Cross | kcross@tmea.org

27

May 12

9:00 a.m.

Cypress Creek HS

Financial Manager: Laura Kocian | lkocian@tmea.org

28

May 12

10:00 a.m. meeting, Harlingen CISD PAC 9:30 a.m. food

29

May 19

12:00 p.m.

Stevens HS

30

May 5

10:00 a.m.

Aledo HS

Advertising/Exhibits Manager: Tesa Harding | tesa@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org

Information Technologist: Andrew Denman | adenman@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org

70($ 2IÀFH Mailing Address: P.O. Box 140465, Austin, 78714-0465 Physical Address: 7900 Centre Park Drive, Austin, 78754 Phone: 512-452-0710 | Toll-Free: 888-318-TMEA | Fax: 512-451-9213 Website: www.tmea.org 2IÀFH +RXUV Monday–Friday, 8:30 A.M.–4:30 P.M.

31

May 19

10:00 a.m.

Colleyville Heritage HS

32

April 24

6:00 p.m.

Cedar Park HS

33

May 7

5:30 p.m.

Dekaney HS

Southwestern Musician (ISSN 0162-380X) (USPS 508-340) is published monthly except March, June, and July by Texas Music Educators Association, 7900 Centre Park Drive, Austin, TX 78754.

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Southwestern Musician | May 2018

Texas Summer Flute Symposium Sunday June 10th - Friday 15th Julee Kim Walker, Texas A&M University-Commerce Raffaele Trevisani, Milan, Italy Julien Beaudiment, Lyon, France

Leadership, Drum Major & Colorguard Camp Sunday, June 17th - Thursday, June 21st Frank Troyka, Conn - Selmer, System Blue Education Dr. Tim Lautzenheiser, Attitude Concepts for Today Koji Mori, Lassiter High School, Music For All Summer Symposium

Blast of Brass Sunday June 24th - Saturday June 30th

All State Choir Camp Wednesday July 11th - Saturday July 14th Randall Hooper, Texas A&M University-Commerce In Partnership with System Blue and the 18-Time World Champion Blue Devils Online registration is open now: tamuc.edu / music

PRESIDENT’S NOTES

B Y

R O B E R T

H O R T O N

Being connected matters

C

an you hear me now? Years ago, a major cell phone company had a brilliant idea—use a simple phrase from our everyday life experience to promote their network. Can you hear me now?

Almost all of us have experienced losing clarity on a call and resorted to this now iconic phrase. Why do we even ask?

Because being connected matters. We want the person on the other end of the call to hear us clearly, so that our message is unmistakable. Perhaps there is a deeper reason: we value strong connection.

At the end of any enterprise comes change. This is the last issue of Southwestern Musician, Volume 86—our last magazine of the school year.

So, it naturally seems like a time for reflection. However, rather than talk about pedagogy or strategies, I’m going to explore the idea of connection and ways we can grow and develop our connections, because being connected matters. Life is more meaningful when we have strong connections to guide our thoughts and actions and remind us of what we share.

My high school choir director, Phil Raddin, truly believed in me. He helped me audition for Region choir and celebrated when I achieved that goal. When I was 17 years old, Phil told me what a great future I could have in music, and that one day I could even be president of TMEA. I will never know why he chose to make that strong connection with me, but it changed my life. He inspired me to be a teacher and assisted me with getting into college. He encouraged me

Life is more meaningful when we have strong connections to guide our thoughts and actions and remind us of what we share.

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Southwestern Musician | May 2018

May—Attend your spring Region meeting (see page 2).

May—TMEA membership year opens for online and mail/email submission.

June 1—Deadline to submit proposals online for the 2019 TMEA Clinic/Convention.

May 1—Deadline to nominate students for a Texas Music Scholar award.

June 14–15—CEDFA Summit XIX at the Austin Airport Hilton (see page 27).

July 26–28—TBA/TCDA/TODA Conventions in San Antonio (see ads on pages 34–35).

to remain connected to my faith and use music to serve my faith.

During my 10th- and 11th-grade years in high school, Phil hired Lynn Bull to be his assistant, and the connections that Phil and Lynn made with me when I was in high school sustained me for years. Years later, those early connections continue to inspire me to be a better teacher and to make those same connections with my students.

The day I got my first job, I called Phil to thank him for all he had done for me, and to let him know that I was now employed in his school district. He then mentored me as a young teacher and encouraged me to move to the district where I have worked for the past 26 years.

In July 2007, those connections continued. I was on my way to the TCDA convention when Lynn called me to ask whether the ninth-grade choir job at my school was available. I was shocked that she wanted to work with me—her former student. We did hire Lynn, and the ensuing years were some of the richest and most fulfilling of my career as we jointly taught and conducted our Varsity Treble Choir at TMEA and ACDA conventions and as she accompanied when I conducted. Lynn and I committed to each other that the journey of preparing those convention performances and the many hours of rehearsal would be joyful, and that we would honor the girls and connect with them emotionally and musically. We wanted those connections to positively impact their lives as much as they had already impacted ours. One of the great temptations of success is to look for the next horizon to conquer, the next award or recognition to earn. However, in time, those achievements are in the past, and sometimes forgotten. The journey toward those accomplishments, however, is a great opportunity to make meaningful connections.

Reflecting on my experience during that Region Choir weekend so long ago, I recall TMEA Past-President Hugh Sanders was my All-Region Choir conductor. After just two days around him, I knew he was a great teacher and person. Dr. Sanders was TMEA President the year I was born.

During Region weekend rehearsals I remember he said, “You can use people to make music better, or use music to make better people.” This concept stuck with me and has guided my thinking for over 30 years. I cannot count the number of times

ADVE RTISE ME NT

Listening vs. Hearing Developing Your Students’ Ensemble Skills

By Chris Bernotas

L

isten up! Listen down, listen in front of you, listen behind you, and listen all around. Critical listening is one of the most important aspects of learning to play as an ensemble member. Do we really teach our students how to listen? It is one thing to hear and another to listen, evaluate, and adjust. Learning to listen and react is as important a skill as learning the fingering for a concert B-flat! Listening, as a member of an ensemble, is a new and challenging skill that students need to practice, much like a scale. It might even be odd for students to realize they often need to focus their attention around the room instead of on themselves. But what are they listening for? And what should they do about what they hear? This is where as the teacher, we are imperative and irreplaceable.

I want to share a quick lesson plan with you. Let’s focus this sample lesson on developing characteristic tone. Using “Passing the Tonic” as an example (excerpt to the right), you can help students develop a number of listening skills, but for this we will focus on characteristic tone. This exercise type uses the tonic note of a key and hands it off to different sections of the band. Direct your students to focus their listening on other instruments and to also be prepared to describe what they hear as it relates to the quality of the tone students are producing. Applying this simple lesson will encourage your students to hear other instruments in the band other than their own, as well as practice using words to describe sound (it actually addresses listening, analytical, and verbal skills). Tell students to explore the “why” part of their answer. For example, “The trumpets have a nice sound, they aren’t playing too loudly or too softly.” This is a first step in teaching students to listen critically. This same exercise could be used for developing pitch matching as well.

Chris Bernotas is co-author of the revolutionary Sound Innovations series.

An active composer and arranger of concert band music, his music has been performed at the Midwest Clinic and has appeared on J.W. Pepper’s Editor’s Choice list and numerous state lists. He was recognized as “Educator of the Year” in 2005 and has been listed several times in Who’s Who Among American Teachers.

The skill involved is critical listening and that skill can be applied to any number of ensemble concepts we teach in band. It all starts with learning to listen with purpose.

Example from Sound Innovations: Ensemble Development for Young Band

There are many skills needed when students transition from learning to play their instrument in individual or small group lessons and playing as part of a band. Tone, tuning, technique, balance, rhythm, dynamics, articulation and expression are a few of those skills.

Many times we try to develop ensemble skills on the fly, with their concert music in hand. But by identifying each specific ensemble skill, teaching them to students and reinforcing them, students will more effectively connect to and perform their music. Focusing on one or two ensemble concepts at the beginning of each rehearsal and applying them to a beautiful chorale, your students will more quickly advance in not only their musical ability, but in their ability to think, evaluate, and make decisions.

Being part of a musical ensemble teaches students true-life skills that extend far beyond their school years. Just as students are taught about posture as an individual, they need to learn what it means to be part of the team. These skills can begin to develop in their first year. Sound Innovations Ensemble Development for Young Concert Band may very well be the resource you have been looking for. Learn more at alfred.com/siedtx.

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Southwestern Musician | May 2018

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TEXAS LUTHERAN UNIVERSITY SCHOOL OF MUSIC

SCHOLARSHIP AUDITIONS Scholarships are available for both music and non-music majors.

These awards are intended to provide recognition for scholarship and talent in the study of music.

For specific qualifications for each award, visit

www.tlu.edu/music-scholarships.

SCHOLARSHIP AUDITION DATES:

SCHOOL OF MUSIC DEPARTMENT HEADS

Elizabeth Lee

Douglas R. Boyer

Patricia Lee

Director, School of Music and Director of Choral Activities dboyer@tlu.edu 830-372-6869 or 800-771-8521

Asst. Professor, Piano

Beth Bronk

Scott McDonald

Director of Bands bbronk@tlu.edu

Shaaron Conoly Director of Vocal Studies sconoly@tlu.edu

Eric Daub Director of Piano Studies edaub@tlu.edu Director of Strings ejeffords@tlu.edu

Instructor, Oboe Instructor, Percussion

Carol Chambers Joseph Cooper Asst. Professor, Trumpet

Paula Corley Instructor, Clarinet

Jeanne Gnecco Instructor, Flute

Chad Ibison Asst. Professor, Guitar

BACHELOR OF MUSIC IN ALL-LEVEL MUSIC EDUCATION | BACHELOR OF MUSIC IN PERFORMANCE | BACHELOR OF ARTS IN MUSIC

Deborah Mayes Accompanist Instructor, Saxophone & Jazz Band

Carla McElhaney Asst. Professor, Collaborative Pianist

David Milburn Instructor, Double Bass Instructor, Horn

Keith Robinson

Jill Rodriguez Instructor, General Music

Robert Mark Rogers

Adam Bedell

Instructor, Music Education

Individual audition dates may be requested if necessary.

Asst. Professor, Piano

Instructor, Tuba & Music Education

FACULTY Mark Ackerman

Sunday, May 20, 2018 1:00 to 3:00 p.m.

Wei Chen Bruce Lin

Kurt Moede

Eliza Jeffords

Saturday, April 21, 2018 1:00 to 3:00 p.m.

Asst. Professor, Cello

Asst. Professor, Bassoon

Esther M. Sanders Instructor, Violin

Evan Sankey Asst. Professor, Trombone & Euphonium

Eric Siu Asst. Professor, Violin

Robert Warren Asst. Professor, Piano, General Music & Music History

www.tlu.edu/music

this principle has directed my decisions about students and coworkers. Each personal connection provides an opportunity to decide if we will try to make people better through music.

The connection I made to this idea about music has shaped my thinking about service to colleagues in my profession. I have always viewed service as a chance to make more connections. No successful enterprise operates without interdependent relationships. In our musical ensembles, we come together and connect through music to achieve what we cannot do alone.

The same is true of our professional lives. Numerous people are involved in

the successful operation of TMEA. The Executive Board is elected to serve the members, but we all realize that we cannot do that effectively without the support of the incredible TMEA staff. The service of Region and Area Chairs, Region Coordinators, convention volunteers, All-State organizers, facilities teams, and registration workers are all integral to our collective success. Each of these service roles provide opportunities for us to connect. Some of my dearest friends and people whom I admire the most have entered my life because of these very opportunities to serve TMEA. The connections we have made have enriched and positively

changed my life. We have connected to achieve a greater good for others through music, and, in turn, we enrich each other’s lives.

I encourage you to intentionally seek to make connections. The power of social media can help with this as can personal human experience. While the credit for the following quote isn’t clear (Carol Buchner, Maya Angelou, etc.) its sentiment underscores the reason for this focus on connection quite well: “I’ve learned that people will forget what you said, people will forget what you did, but people will never forget how you made them feel.”

Submit a Proposal for the 2019 Clinic/Convention

CLINICS What Attendees Want Attendees want clinics on these topics: • rehearsal techniques • teaching methods • classroom management • instrument methods • repertoire selection • recruiting & retention • technology integration • conducting techniques • urban/rural challenges & solutions

SHOWCASES

Music Showcases: Small ensembles offer 30-minute performances in venues throughout the center. In 2019, there will be two acoustic-only stages and one stage that allows amplification. Any ensemble type can apply.

• special-needs instruction • and much more

Product Showcases: Exhibitors can offer one-hour presentations on their latest products and services.

www.tmea.org/clinicproposals April 1– June 1 Southwestern Musician | May 2018

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May Is Membership Renewal Month! www.tmea.org/renew M EM B ERS H I P • LI A B I LI T Y I N S U R A N C E • C O N V EN TI O N R EG I ST R ATI O N

TMEA memberships can be renewed for the 2018–2019 year starting in May. Don’t wait for the rush of a new school year!

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Southwestern Musician | May 2018

B Y

R O B E R T

F L O Y D

EXECUTIVE DIRECTOR’S NOTES

Continued learning and rejuvenation

T

May—Attend your spring Region meeting (see page 2).

May—TMEA membership year opens for online and mail/email submission.

June 1—Deadline to submit proposals online for the 2019 TMEA Clinic/Convention.

May 1—Deadline to nominate students for a Texas Music Scholar award.

June 14–15—CEDFA Summit XIX at the Austin Airport Hilton (see page 27).

July 26–28—TBA/TCDA/TODA Conventions in San Antonio (see ads on pages 34–35).

his issue of Southwestern Musician is dedicated to how we can keep our students engaged in learning and music-making during these last few weeks of the school year and beyond. I encourage you to read the wonderful suggestions from our members that precede each vice-president’s column because most recommendations cut across divisional boundaries.

The spread on pages 40–41 speaks to innovative ways you can stay connected and keep your students engaged in learning throughout the summer months without contributing to burnout of students or staff. Again, these suggestions cross over divisional boundaries and are creative ideas that extend beyond simply taking private lessons or attending music camp, though those are meaningful activities and of significant value.

As we encourage our students to be engaged in continued learning during the summer months, we must set the example. That is not to say that we don’t need time to refresh and recharge our passion for teaching. One way that goal may be reached is through expanding our pedagogical and conducting skills at workshops and clinics at our major colleges and universities, including Orff and Kodály workshops available across our state. We are fortunate to live and teach in Texas, where there are multiple opportunities for such experiences at a nominal cost. Certainly the summer convention/clinics of Texas Bandmasters Association, Texas Choral Directors Association, and Texas Orchestra Directors Association as well as the Center for Development in Fine Arts (CEDFA) Summit are wonderful options.

I remember as a young teacher how attending two summer conducting

As we encourage our students to be engaged in continued learning during the summer months we must set the example.

Southwestern Musician | May 2018

9

workshops changed both my life and my perspective on why I taught; the message at each was not so much about clarifying my stick technique but about interpreting the score and exploring musical intent through such study and thoughtful, purposeful musical conducting gestures.

When I participated in those workshops, I was more nervous than I ever was in a UIL sightreading room, but it was a growing opportunity, and it helped shape my priorities in teaching for the rest of my career.

Thank you to my workshop conductors, Carl St. Clair, now music director of the Pacific Symphony, and Allan McMurray, retired Director of Bands, University of Colorado at Boulder.

I can also vividly remember another life-changing experience where I attended a summer band camp director’s seminar taught by H. Robert Reynolds, retired Director of Bands from the University of Michigan and current Principal Conductor of the Wind Ensemble at the Thornton School of Music at the University of Southern California. My philosophy of teaching was significantly influenced by attending his hour-long classes for two weeks as well as by watching him rehearse and conduct Grainger and the music of other significant wind band composers with the directors’ reading band.

The focus of that experience was not about getting my clarinets to play in tune, which is certainly important and for which there were sessions, but about rethinking why I had gotten into teaching in the first place and reevaluating my priorities as a music educator. It changed my life in so many ways.

As I write I am looking at the notes I took in that Music 523 class over 45 years ago. I still remember gems of wisdom I learned that summer: What’s not conducted is as important as what is.

Precision and when come from listening to each other—not from watching.

The aesthetic value or feeling that happens when music is played well and it all gels is irreplaceable.

The greatest teachers have erasers on their pencils—don’t be afraid to make a mistake and then don’t be afraid to correct it.

If you don’t understand musical sensitivity, no explanation is going to help.

10 Southwestern Musician | May 2018

Our principal job is to educate students musically.

Summer can also be a time when we get et away from the opportunities focused on n successful classroom pedagogy and simply participate in our own music-making, whether performing for fun with a chamber ensemble, sitting in a Fourth of July community concert, or singing in the church choir. Expanding our creativity by exploring another art form such as painting, developing keyboard skills, or learning to play ukulele, all are interrelated to what we do in our music classrooms and provide a refreshing and different approach to what the arts bring to our students.

Finally, getting completely away from arts experiences is rejuvenating in its own way and you should not fuel guilt. Mindclearing activities like lowering your golf handicap (good luck on that one), conquering a new hiking trail, wetting a hook, spending more time with family, and becoming that gourmet chef you always wanted to be are all worthy goals in rejuvenating your heart and spirit for the August start of school. Once you cross the burnout threshold it can be difficult to

return to a reasonable work-life balance.

I encourage you to visit the comprehensive report compiled by Managing Editor Karen Cross based on the May 2016 study of the membership on this topic. The link to that wealth of information can be found at www.tmea.org/burnout.

Have a wonderful, productive, and rejuvenating summer. May your experiences touch your professional and personal lives in a similar way as mine have over the years. And as always, feel free to contact us if we can be of assistance in any way.

THE WTAMU SCHOOL OF MUSIC INVITES YOU TO ATTEND

JUNE 13-17, 2018

wtamu.edu/f luteshindig

Southwestern Musician | May 2018 11

Graduate Music Education Courses as Brief as Two Weeks (plus online components)

June 5 to July 7 Introduction to Applications in Music Technology: MUSI 5342.D01 • Dr. Keith Dye (O) Music for Students with Exceptionalities: MUSI 5306.D01 • Dr. Janice Killian (O)

June 4 to June 15 Foundations of Music Education: MUED 5340.101 • Dr. Keith Dye • 8am-12pm (L,V) Tests & Measurements: MUED 5333.101 • Dr. Janice Killian • 8am-12pm (L,V) Band Conducting Methods: MUAP 5310.101 • Dr. Eric Allen • 1pm-5pm (L) Choral Conducting Methods: MUAP 5308.101 • Dr. Carolyn Cruse • 1pm-5pm (L)

June 18 to June 29 Teaching Music in Urban Settings: Meeting the Needs of Culturally Diverse Learners: MUED 5344.101 • Dr. Jacqueline Henninger • 8am-12pm (L,V) Topics in Orchestral Music Education - Rehearsal Strategies for the MS & HS Orchestra: MUED 5327.101 • Dr. Blair Williams • 8am-12pm (L) Styles in Wind Literature of the 19th & 20th Centuries: MUTH 5305.101 • Dr. Peter Martens • 8am-12pm (L,V) Special Problems in Music Education - Orchestral Conducting Methods: From Bow to Baton: MUED 5344.102 • Dr. Blair Williams • 1pm-5pm (L) Topics in Band Music Education - Band Repertoire & Trends: MUED 5326.101 • Dr. Eric Allen • 1pm-5pm (L,V) Globalization and Music Education - Incorporating World Music: MUED 5344.103 • Dr. Jacqueline Henninger • 1pm-5pm (L,V) Choral Directors Workshop (during All-State Choir Camp - June 18-23): MUSI 7000.101 • Dr. Carolyn Cruse • 8am-12pm OR 1pm-5pm (L)

July 9 to July 20 Graduate Theory Review with AP Primer: MUTH 5300.201 • Dr. Peter Fischer • 8am-12pm (L) Band Directors Workshop (during Band & Orchestra Camp - July 8-14): MUSI 7000.201 • Dr. Keith Dye • 8am-8pm (L,V) Healthy Musicianship as Conductor-Teacher and Performer: MUED 5344.204 • Dr. Carolyn Cruse • 1pm-5pm (L,V) Learning & Music: MUED 5332.201 • Dr. Janice Killian • 1pm-5pm (L,V)

July 10 to August 10 Classroom & Rehearsal Behavior Management: MUED 5344.D02 • Dr. Janice Killian (O) Graduate Music History Review: MUHL 5300.D02 • Dr. Stacey Jocoy (O) Advanced Applications of Technology in Music Education: MUSI 5343.D02 • Dr. Keith Dye (O) O = online • L = live • V = video conference

DEPARTMENT OF MUSIC

Dallas Baptist University produces quality musicians who become servant leaders in various areas of performance, music education, worship leadership, and the music and entertainment industries. With state-of-the-art performing and recording spaces, DBU offers students a superb education with a Christ-centered focus and personalized attention from deeply committed Christian faculty.

AUDITION DATES Saturday, November 10, 2018 (Fall Patriot Preview) Saturday, January 26, 2019 (Winter Patriot Preview) Saturday, April 13, 2019 (Spring Patriot Preview) Call 214.333.5316 for special audition information.

AVAILABLE DEGREES Bachelor of Music

Piano Performance, Vocal Performance, and Music Theory

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Keeping Students Engaged Through the Last Day Our last month is geared toward next year. We work on fundamentals, scales, and audition music for next year’s placement (which is also the students’ final exam). We get a head start on pep band music and we sightread and work on more challenging pieces to expose students to different types of literature. I also begin class by playing recordings of various types of music (e.g., jazz, street performances, rock, fusion, and local bands that started from school bands). —Doyle Bellville, Harwood JH I do fun quizzes to check for understanding by using Plickers (an app the teacher uses to quickly scan student answers). We also play games that reinforce learning and utilize small ensembles in our classes. Students can choose an ensemble book and learn as many pieces as they like. Before instrument check-in, students have the opportunity to perform for their teachers and friends. —Heather McGowan, Sul Ross MS Create short, interactive assignments using a SmartBoard (SmartLab). Create a movie soundtrack for your life: If someone produced a movie about you, would there be different songs or excerpts you attribute to specific family members or friends? What about songs for specific times of your life? Choose a minimum of 10 songs. Explain why you believe these songs represent you. (I created a personal life soundtrack as a reference.) Do a sampling music project: Students listen to popular music, as well as the original songs the samples were taken from. Then students are allowed to choose any genre to pull samples from to compose their own song (rap, pop, country, reggae, etc.). Students are encouraged to use their Chromebooks to create music videos, short skits, or recordings or present their compositions live for the class. Be the band director: Using basic music theory, class rehearsals, and writing assignments, students create a short lesson as if they were teaching a beginner band class. Students submit video lessons, create a private lesson format, short skits, posters, flashcards, slide shows. —Brittany DeLaVergne, Mineral Wells JH Scale Baseball! For beginners, designate four scales ranging from easy to difficult.

When a student is “at bat,” they call their hit. B-flat can be a single, F the double, E-flat a triple, and A-flat the home run. It can also be done with sections of a chromatic scale or some technical Clarke-type passage utilizing four tempos. Divide into teams and let them figure out their batting order. —Amy Denham, Spillane MS I try to schedule end-of-year programs late in the year to have something to keep them focused. I try to make the lessons a continuation of what we have done and identify something to continue to improve. I encourage their continued practice by explaining how

BAND

Thanks go to the TMEA Band Division members who provided valuable ideas for keeping students learning and engaged at the end of the school year.

Southwestern Musician | May 2018 15

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with sports teams that take a break in the off season, individual players continue to work out and stay prepared. —Jesus D. Rios, Ricardo MS Private lessons teachers are encouraged to hold studio recitals in May, and students play a second solo for this. We encourage students to perform duets, trios, and other small ensembles, and music is selected with pedagogical goals and student excitement in mind. We arrange for snacks at this recital and encourage students from all studios to attend. —Mark Veenstra, Cy-Fair HS We keep chamber music going throughout the year. We usually end the year with a chamber music festival/concert competition.

It gives the students lots to do after UIL contest, and most of it is student-led! —Andrew Hicks, Willis HS I give students a copy of our music library list and let them select pieces to sightread. This gives them ownership and keeps advancing their skills. I try to have at least one pop tune and one march every day for their enjoyment. If I’m teaching students interested in becoming band directors, I have them come to the podium for the easier reads and encourage them to stop and fix the things they believe need attention. —Abby Crawford, Castleberry ISD We have our own solo & ensemble contest in late April primarily so that our lesson teachers and students can work on more challenging literature over a longer period of time and have a more meaningful and rewarding payoff. We assign fall audition music mid-April and give them about a month to learn it before we hear auditions in mid-May. This helps keep students invested until the end of the school year. —Joni Perez, The Woodlands HS I’ve developed a capstone project for our AP Music Theory class that incorporates all major components of the curriculum (includ-

ing analysis, transposition, composition/arranging, score writing by hand and use of notational software). This 2½-week project culminates with live performances of the projects. My classes love this —it’s never a problem keeping them engaged!

We use our final exam as a way to keep our students engaged.

Every student is required to play a test that includes scales and an etude. Students choose from three etudes based on difficulty. We schedule our spring concert as late in the year as possible, and perform mini-concerts before school, at lunch, and at area nursing homes. —David Stephenson, Alamo Heights HS I think one of the most effective ways to keep students engaged to the end of the year is to keep making music! It is tempting after some end-of-year events to start taking care of administrative tasks like turning in instruments, cleaning up, etc. While there is always a need for those things, keep the kids engaged in music as much as possible. —Jason Adam, Canyon HS There is always something to work on: graduation music, ensembles, audition music for underclassmen, spring concert, and more. I talk with seniors about their enjoyment of music and playing their instruments, and I advise them about taking advantage of music-making opportunities that might diminish as they get older. —Matt Bell, Alvin HS We have an ambitious spring concert program. In addition to four full band concert pieces, we have a flute choir, clarinet choir, saxophone choir, brass choir, and at least one percussion ensemble. This year’s program includes Hymn to the Fallen, which requires a choir. We recruit community choirs, our high school choir, and Borger ISD faculty and administration to sing with the band. —Kevin Kuehler, Borger HS

Southwestern Musician | May 2018 17

B Y

J O H N

BAND NOTES

C A R R O L L

In Memoriam Steve Stevenson January 9, 1980–March 17, 2018

Teaching until WKH ÀQDO EHOO May—Attend your spring Region meeting (see page 2).

May—TMEA membership year opens for online and mail/email submission.

May 1—Deadline to nominate students for a Texas Music Scholar award.

May 15—Invited high school and middle school jazz ensemble application deadline.

June 1—Deadline to submit proposals online for the 2019 TMEA Clinic/Convention.

June 15—Deadline for Region Honor Band qualifiers to be postmarked to Area Honor Band Listening Center Chair.

June 21–22—Area Honor Band listening center sessions.

June 30—All 2017–2018 TMEA memberships expire.

June 30—Deadline for Area Honor Band qualifiers to be postmarked to State Band Chair.

July 26–28—TBA Convention in San Antonio (see ad on page 35).

February 13–16, 2019—TMEA Clinic/ Convention in San Antonio.

A

t this point in the year, we are close to the completion of another adventure in teaching our young band students. I hope you’re able to view this school year as a success. Maybe you have pointed a young mind in a new direction for a vocation. Hopefully, we have instilled in our students at least the desire to keep music in their lives as an avocation.

However, the year is indeed not over yet. Do we strive to teach until the very end of the year? Do we attempt to give our students their money’s worth even up to that final bell? Do we look for ways to keep the musicmaking going? I have found that the end of the year is an ideal time to teach something fresh in the way of pedagogy, technique, or literature that we want to play but for whatever reason haven’t earlier in the school year. Perhaps there is that piece on the Prescribed Music List you want to perform but out of caution decided not to program for your UIL performance. Maybe you recognize a specific deficiency in your brass players that can be strengthened between concert/sightreading assessment and the end of the school year. What can you do in these last few weeks to make the beginning of next semester go better?

Of course, the end of the year also brings auditions, such as next year’s band placement, color guard, majorettes, drum majors, drum line, and leadership.

These auditions, though stressful to many, are necessary for a more effective and smoother beginning of the following school year. And if you work with a

We owe it to our students to continue teaching, enjoying the successes of the current school year, but also realizing there is always something WKDW FDQ EH OHDUQHG XS WR WKDW ÀQDO EHOO Southwestern Musician | May 2018 19

marching band, these auditions are absolutely necessary.

Band camp is a motivating factor for many students. Consider encouraging attendance at one of many band camps held on the campuses of our universities.

The preparation of audition music for the students attending these camps is something I spend much time on during the last weeks of school.

Simply put, we as directors owe it to our students to continue teaching, enjoying the successes of the current school year, but also realizing there is always some-

thing that can be learned up to that final bell. Be sure to read through the suggestions offered by our band colleagues from around the state on pages 15 and 40 (and don’t miss out on suggestions offered by members in other divisions throughout this issue).

Teaching in our Urban Environments Are you aware that TMEA is working to be more actively involved with our students in our urban environments? This is taking place through roundtable discussions about urban schools, and a greater

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20 Southwestern Musician | May 2018

awareness in clinic offerings on the subject. There are many examples of wonderful teaching and learning in our urban settings, which are often characterized by a lower socioeconomic setting. It is exciting that TMEA is emphasizing and facilitating this topic, and I hope that by doing so, we can help others recognize the incredible things happening in these schools.

Spring Region Meetings As you close your year, please be sure your spring Region meeting is on your calendar and that you attend (see page 2).

Many decisions are made at this meeting concerning the next school year—contest dates, audition dates, new Region policies, elections, etc. To be an active part of the decision-making process for your Region’s activities, be sure you’re there. You might even consider throwing your hat into the ring for a Region officer position. It is work, but it’s also highly gratifying.

Clinic and Showcase Proposals for the 2019 TMEA Clinic/Convention I encourage you to submit a clinic proposal for the next TMEA Clinic/ Convention. You may have an idea or a method that other people are searching for to make their teaching just that much better. We are all in this together and should be willing and even privileged to share our methods and teaching tools with others. You can go to www.tmea.org/ clinicproposals to see information on submitting for a clinic.

Band directors who took the convention survey identified the following as the most important clinic topics (listed in priority order). Keep these in mind as you consider submitting a proposal or encouraging a colleague to do the same: • rehearsal techniques • instrument methods • recruiting/retention • classroom management • technology integration • repertoire selection • teaching methods • advocacy/administrative • urban/rural challenges & solutions • conducting techniques On the clinic proposal page you’ll also find a link to information about music showcases. In 2019, there will be three

OFFERING DEGREES IN: • Music Education • Music Performance • Commercial Music • Graduate Studies • Theory and Composition

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Dr. Lowell E. Graham Director of Orchestral Activities Dr. Lowell E. Graham is an active guest conductor and clinician, appearing recently with the Mexican Army Band Directors, the United States Air Force Band, and numerous honor bands across the U.S.

Dr. Bradley Genevro Director of Bands The UTEP Symphonic Winds under Dr. Bradley Genevro will perform at the Texas Music Educators Association Conference in Feb. 2018 and the American Bandmaster’s Association Conference in Spring 2019. This will be the first time a UTEP ensemble performs at this prestigious national conference.

Dr. Elisa Fraser Wilson

Director of Choral Activities Dr. Wilson’s elite ensemble, the UTEP Chamber Singers return to England in October 2017 for a second engagement as choir-in-residence at Leeds Cathedral.

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locations, two will be acoustic and one will allow amplification. It’s not too late to apply for either of these. The deadline is June 1.

5A Winds to Perform with All-State Sinfonietta Orchestra In March, the Executive Board voted to conduct a one-year pilot program in which the All-State String Orchestra is replaced by a third full orchestra. The winds and percussion for this new All-State Sinfonietta Orchestra will be selected from those auditioning through the 5A track.

Other than an addition of two oboes and four percussion slots apportioned across the area auditions, there will be no change in 5A instrumentation. This orchestra will consist of a single set of winds players (not double, as the Philharmonic and Symphony Orchestras include).

Invited Middle and High School Jazz Ensemble Applications May 15 is the deadline for the submission of applications and recordings to perform as an invited middle or high school jazz ensemble at the 2019 TMEA Clinic/Convention. Each of these ensembles will perform in the Stars at Night Ballroom in the convention center. Go to www.tmea.org/jazzapplication for more information. If you have a strong jazz ensemble, I encourage you to participate in this wonderful offering.

All-State Jazz Ensembles I also hope you are aware of the opportunity available for your top jazz students to audition for the All-State Jazz Ensembles. The audition material will be released by TJEA and available from sheet music vendors on May 15. This is yet one more avenue for some of our students to attain the high level of becoming a Texas All-State musician.

Region and Area Honor Band For those who have entered the Honor Band process, you will still need to complete your Honor Band entry. For the integrity of this competition, keep in mind the competition rules, procedures, and guidelines found on the TMEA website.

Don’t just recognize the specific rules of the competition, but also the spirit of those rules. Let’s strive to compete with a sense of what is fair and ethical. The website does include some areas of what is expected in

honor band competition; however, please be certain that you as a director realize that the intent is to produce as good a recording as possible within the rules, not looking for loopholes, and not abusing the time and energies of our students.

Be aware of the logistics of uploading the recordings and the application materials, the needed signatures and paperwork, completing the clinician part of the entry, and mailing in the scores with no identifying school information visible. As there have been recent changes, please read every word of the rules and policies. These may be found at www.tmea.org/honorband.

If you have entered but decide to withdraw from the competition, please revisit the online entry system and select not entering. If you decide at some later point to withdraw from the contest, please let your Region Band Chair know in writing.

If your band advances from Region to Area, or from Area to State, check the website to confirm the accuracy of the information posted. If your band advances, it will clearly state this.

As stated in last month’s Southwestern Musician, the Area Honor Band competition happens on June 21–22 at four listen-

ing centers. If your group advances from Region to Area, there will be an Area fee assessed, and your Region Chair should automatically forward your entry to the appropriate Area Honor Band Chair. You may find the Area Honor Band Listening Center locations, chairs, and hosts on the website.

The state Honor Band competition is held on the first day of the Texas Bandmasters Association convention in San Antonio (Thursday, July 26). We appreciate the TBA Board for allowing us time and space at that convention for this event.

TBA Annual Convention/Clinic I hope you have made plans to attend this annual convention/clinic, July 26–28.

This conference always has great clinics, concerts, and fellowship. You’ve heard it before, but it is a wonderful way to have one last boost as we journey into the school year. Bring your family and enjoy the learning and camaraderie that take place.

Keep teaching your precious students to the last day, get some good rest and relaxation, and then get set to have your most wonderful school year yet in 2018–2019.

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Southwestern Musician | May 2018 23

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t CEDFA Summit 19 (June 14–15, at the Austin Airport Hilton), explore how to create relevant, engaging instruction that motivates all students to grow in their mastery of the arts. Using concrete classroom examples and student work samples, you will create, analyze, and apply the elements of Differentiated Instruction (DI), an integrated framework that helps motivate and challenge students with diverse backgrounds and skill sets. Weave together strategies for goal setting, planning, classroom management, instructional delivery, and assessment in response to learner abilities, interests, and needs.

The goal is to move all students forward in their arts learning.

Examining Evidence of Learning Session 1 begins with an examination and analysis of student work as evidence of learning. Using two samples—one from a struggling student and another from a high-achiever—you will unpack how each work sample demonstrates knowledge and application of skills aligned with the Fine Arts TEKS. Presenters will highlight connections between data, standards, and instructional goals and will help clear up any “assessment fog” that skews your understanding of students’ current strengths and areas for growth.

Once you’ve clearly identified the student’s needs or areas for growth, you will engage with colleagues to identify as many types of assessments as possible that can capture evidence of learning in the needed areas. In the DI framework, offering flexible products is a powerful means for differentiating instruction, but educators benefit by first thinking through how they might structure and assess each product option.

Setting SMART Goals In Session 2, you’ll translate areas for growth for your students into SMART goals—objectives that are specific, measurable, achievable, relevant, and time-bound. Goal statements that are SMART can provide clarity, focus, and motivation. Learn how to implement SMART goals across the many areas of your professional practice—from personal goals, department goals, and PLC goals, to campus and district goals. You’ll set SMART goals for each of the two students covered in Session 1. Presenters will provide short case studies illustrating how to teach SMART goals to

Early registration fees end May 20 Individual: $185 Groups of 5–9, $165 each; Groups of 10+, $145 each Information and registration at www.cedfa.org students. Working with your colleagues, you’ll explore strategies for teaching students how to set and monitor progress on SMART goals.

Fostering Student Ownership of Learning When students set and monitor their SMART learning goals related to their areas for growth, they begin to take ownership of their learning. Motivation for achieving success relies less on external rewards and instead on students’ internal drive. Helping students develop their self-efficacy—their belief that they can achieve certain goals—is a key benefit of student-centered, differentiated instruction. Presenters will contrast student-centered instruction with teacher-centered models so differences become clear. Allowing the flexibility for student-led learning is another way to differentiate instruction along three domains pertinent to the student: levels of academic readiness, interests, and learning styles. Explore what differentiating instruction in each area might look like for the two example students. You’ll also have a chance to review your SMART goals and assessments created so far to bring them into alignment with your student-centered designs.

Integrating the Framework—Putting it All Together

By Session 4, you will have used the work samples of two students to identify flexible product options, planned various assessments, set SMART goals for yourself as well as your teams and your students, identified how to incorporate student-led instructional approaches, and designed strategies for differentiating along content, process, and product to meet each student’s needs. During Session 4, you will collaborate with your colleagues to apply these strategies from the DI framework to an entire classroom of students. You’ll have opportunities to share, question, and refine your work and to think about how you will approach the next school year with these new tools and strategies at your command.

Southwestern Musician | May 2018 27

2018 MUSIC SUMMER CAMPS

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Thanks go to the TMEA Orchestra Division members who provided valuable ideas for keeping students learning and engaged at the end of the school year.

We do a chamber music unit and perform on the last day of school for each other. The students are given scores and we review practice techniques used in class to get the ensemble together. I give the students some feedback, but most of the work is done by themselves in their group. They are also asked to present information about their piece, the composer, and the time period in which it was written. The last week of school, each of them turns in a story or characterization for their piece. —Gina Chandler, Labay MS Have students survey their teachers on what they listened to on their way to school that morning. We listen to contemporary pieces like “Come Out” by Steve Reich and discuss what music is, what it can be, and what the piece means. Show TED Talks and cymatics videos. With beginners, we do competitions that review basic and difficult techniques. I give students a challenging excerpt or piece that incorporates some concept they’ve never seen such as a graphic score and have them interpret it in a group. We also have a bass guitar day where we explain looping with a pedal. We have a film music day where we discuss the process and role of putting music into films. —Shannon Bolen, Truitt MS For Intermediate/Advanced groups: Have them sightread possible pieces for the next school year (or new pieces in your library). Spend a few days working on each piece as a group. Have the students complete an evaluation sheet with their opinions about the pieces (identify what grade level they believe it’s appropriate for, whether they want to learn it, and what they find challenging or easy about it). —Melissa James, Eastern Hills MS We use the belt (ribbons) system where students pass off set excerpts or exercises. In addition to their music, students are allowed to pass off higher-level music for additional ribbons and perform at the concert with the higher-level group. It is amazing what some students will do for a colorful ribbon! —Juli Powers, Gaston MS I spend the last two weeks on a History of Rock Music unit. We talk about the differences in performers, styles of music, recording options, and more for each decade. Plus, I play a lot of music from each time period. —Kim Reedy, La Porte JH I teach composition in various ways. Students create an 8–16-measure song within given guidelines. They can work alone or with others to form an ensemble. Once they complete it, they perform it for their class where they introduce themselves and the name of their song. Another way I’ve approached composition projects with students is through Garage Band or programs like Abelton. I usually have the students work individually or with a partner on this. They present their song to the class and explain any inspiration that motivated them to write it. —Mark Hillegass Jr., Sidney Lanier Expressive Arts Vanguard

ORCHESTRA

Keeping Students Engaged Through the Last Day

Southwestern Musician | May 2018 29

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As many teachers do this time of year after UIL contest, I program music that is popular, from a country we haven’t studied that year, or in a style we haven’t spent time on recently. Many students need something more fun to motivate them to practice, and this seems to do the trick. Also, I try to review technique exercises in our method books, review second octaves, thirds, and arpeggios to get string students more comfortable sightreading in keys outside the norm. This keeps them engaged and ready to sightread new material through the end of the year. We also have a final performance at graduation—this gives them something to look forward to through the last day! —Dominic Powell, Carter-Riverside HS If beginner guitar students want to continue in either the classical guitar ensemble or the mariachi class, they must audition. I use their end-of-year concert and auditions to keep them engaged in their learning. For those students who don’t want to continue, we learn some pop songs that correspond with the beginner guitar curriculum. Those who are in the intermediate and advanced classes are getting ready for their end-of-year concert and auditions as well. —Abel Acuna, Edinburg North HS I have beginners, intermediate, and advanced mariachi students in every class I teach. I set up three stations with specific responsibilities for each group based on their experience. All groups do their major scale warm-up and then we break into groups. I assign a student monitor for each group with a specific duty they have to demonstrate to the entire class after 20 or 30 minutes of work on their assigned lesson. For example, beginners work with a fingering chart on G and D major scales using quarter notes.

Intermediate works on their major scales using quarter and eighth notes. Advanced works on their scales, too, but with eighth and

sixteenth notes. For ensemble rehearsals, we read beginner and intermediate literature. Advanced music is read only by varsity players. —Joe A. Soliz, Burbank HS In May we have a “Night of Fine Arts” showcase where students play highlights from the year. We also have a chamber music hour where students can perform in quartets and solos. This event is followed by an awards ceremony. Students look forward to it and want to sound their best for the large audience. —Katie James, Vanguard College Preparatory School I have found that doing a blues/improv unit challenges string students and keeps a forward momentum going. After learning the basics of improvisation (pentatonic scale, blues scale, improv games), students split into small groups and are given a specific 12-bar blues chord progression. They get to choose one of three rhythm tracks (found on YouTube). They use these to jointly create a simple melody and comp rhythm that they play with their chosen track plus each student must improvise. After two weeks of class time, each group performs for the class, and I choose two or three to be featured on our spring concert. Administrators love this project! —Heather Gonzalez, John Jay HS At the high school level, when the spring concert is over, we still have our graduation performance to prepare. Even though not all will participate in this performance, this year I intend to have all three orchestras work on the graduation music. This will keep the younger students engaged and it will give them a head start on the music when they do participate. I will also give them a set of new music that is generally harder than what we have recently played in class so they have quality music to practice over summer. —Harold Scarbrough, Tascosa HS

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JUNE 17-22, 2018 West Texas A&M University TUITION $525 Residential Campers | $350 Day Campers *$25 discount per student for siblings from same family

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Applications, audition excerpts and additional materials can be found online at wtamu.edu/strings-camp

CONTACT Nick Scales, Camp Director WTAMU Box 60879 | Canyon, TX 79016 stringcamp@wtamu.edu | 806-651-2849 Southwestern Musician | May 2018 31

UTSA MUSIC

Have a great end to your school year and a restorative summer!

Southwestern Musician | May 2018 33

57th Annual Convention July 26-28 Register at www.todaweb.org or call (512) 474-2801 Dr. Andrew Dabczynski

Dr. Gary Lewis

TODA Convention Highlights • TODA Aloha Welcome - Thursday 6:30 pm, La Quinta Riverwalk • Annual BBQ & Silent Auction - Friday at (reopened) La Villita • Headliners: Dr. Andrew Dabczynski, Emeritus Professor of Music Education at Brigham Young University; Mr. Gary Lewis, Director of Orchestras, College of Music, Why Chora l & Orchestra University of Colorado Boulder; and Dr. Christopher Selby, Directors sho uld attend clinician, speaker, adjudicator, conductor, and author of the Convention: “Habits of a Successful Orchestra Director” • Other clinicians include Debbie Lyle, presenting three • Fun Run - Thursday 7:00 am sessions of “The Bornoff Approach”; Kevin Black and • Golf Tournament, Republic Golf Bryan Buffaloe, presenting “Heads are from Mars, Course - Thursday 9:00 am Assistants are from Venus: Building and Managing a • New Teacher Academy - Thurs. 8:30 am Successful Work Partnership”; Sam Flippin presenting • 50% convention discount for “Striking the Balance: Establishing Balance in Set-up First-Year Teachers for First-Year Cello Players”; and more!

• World-Class Workshops and CPE Credits • Exhibit Hall with educational resources, fundraising ideas, shopping!

• Door prize drawings • Guidebook App • Complimentary childcare

Dr. Christopher Selby

600+ Booths

in the Combined Exhibit Hall —the largest summer music show exhibition in the U.S.

63rd Annual Convention July 26-28 Texas Choral Directors Association

Register at www.tcda.net or call (512) 474-2801

TCDA Convention Highlights

Ruth Dwyer

Mary McDonald

• Headliners: Ruth Dwyer, Indianapolis Children’s Choir; Mary McDonald, composer, artist, clinician; Dr. David Rayl, Michigan State University; Tesfa Wondemagegnehu, Westminster Presbyterian Church • Sing-In! Gabriel Fauré’s Requiem with conductor Dr. Kenny Sheppard • Don’t miss the popular TCDA Soiree • Performance by mirabai with conductor Dr. Sandra Snow • Worship Service featuring composer Mary McDonald • Elementary Honor Choir featuring Ruth Dwyer • Two powerful clinics by Dr. David Rayl, College Division • TCDA Convocation featuring Tesfa Wondemagegnehu with performance by Dallas Street Choir, featuring Dr. Jonathan Palant. Don’t miss Tesfa’s clinic, “Performing to IMPRESS vs. SINGING to Inspire”

Dr. David Rayl

Tesfa Wondemagegnehu

71st Annual Convention/Clinic July 26-28

FOR ALL CONVENTIONS:

• Register by July 1st to receive FEE discount.

Online registration www.texasbandmasters.org

• Make Housing reservations NOW for contract rates.

Henry B. Gonzalez Convention Center San Antonio, Texas

TBA Convention Highlights Performances

“The President’s Own” United States Marine Band The U.S. Air Force Band of the West Austin Symphonic Band Sugar Land Winds Marine Band Chamber Music Ensembles The Moanin’ Frogs Saxophone Ensemble Edcouch Elsa High School Mariachi Juvenil Azteca Rio Grande Valley Jazz Orchestra Phi Beta Mu Directors Reading Band Heart of Texas Reading Band

2018

60+ Clinics

Richard and Cheryl Floyd – Featured Clinicians Frank Ticheli – Featured Composer Dr. Tim Lautzenheiser, Eddie Green, Dr. Gary Garner, Dr. Bradley Genevro, Fran Kick, and many others

Middle School Clinics

• Middle School My Way, Picking Pieces for Picky People – Cheryl Floyd • Developing Successful MS Bands – Corey Graves and Robert Herrings • Successfully Setting Up Brass and Woodwind Beginners – Kathy Johnson, Alicia DeSoto, Asa Burk Chris Meredith • Heterogeneous Beginning Band Classes – Alyssa Grey • Beginner Band Clinics – Bassoon, Oboe, Flute, Horn, Euphonium, Tuba • Additional clinics on developing your middle school band

TBA Student Day

Friday, July 27, 8 am - 6:30 pm $15 per student Register online

Photo credit: Charlie Gosco

ThursdaySaturday, July 26-28,

RICHARD & CHERYL FLOYD Featured Clinicians

FRANK TICHELI Featured Composer

High School Clinics

• Marching Clinics – Cedar Park HS Band, Color Guard, and Drum Line • Marching Band to Marching Art – Whitesboro HS Band • NEW THIS YEAR! 5 Part Clinic Series: Complete Marching Season presented by Bob Chreste, Jeremy Spicer, Robert Selaiden, and Mike Howard • Northshore High School Band Clinic – Shane Goforth • Jazz Clinics: Rio Grande Valley Jazz Orchestra – Ronnie Rios; and Lamar MS Jazz Band – James Hairston, Raul Escobedo • Mariachi clinics presented by TAME • Clinics on Musicianship, Motivation, Instrumental and Ensemble Pedagogy, Small School Success, Non Varsity Band, Band Director Wellness, and Technology • All State TMEA, ATSSB, and Jazz Etudes

Academy for New Band, Choir, and Orchestra Directors

Thursday, July 26, 8:30 am to 6 pm First Year Band Directors register for the Academy ($85) and attend the TBA Convention FREE

Booster Training

Friday, July 27, 8 am - 6 pm $100 per school with no limit on the number of boosters Register your school online

ORCHESTRA NOTES

B Y

B R I A N

C O A T N E Y

Find your joy

F

rom my time serving as TMEA Orchestra VicePresident, I will always cherish memories of the brilliant conversations I had with Jung-Ho Pak. He did a fantastic job rehearsing and conducting the Symphony Orchestra this year and demonstrating what is possible when you have faith in achieving the impossible.

Before the convention, I watched Jung-Ho’s TEDxYouth talk in which he discussed joy. My conversations with him and listening to his lecture have changed my perspective on many aspects of my life, but most importantly on my teaching.

Jung-Ho starts his talk with “Joy is a simple word, sometimes overused, very much underappreciated . . . We are drawn to people who are joyful. It is exciting when we see someone doing something they love to do and are passionate about it.” He then proceeds to show a video clip of the Simon Bolivar Youth Orchestra’s performance of Bernstein’s Mambo at the 2007 Lucerne Festival. I highly recommend watching this video as it will leave you smiling, and you will quickly understand what Jung-Ho means by experiencing excitement when you witness people doing something they are passionate about and love to do.

These comments made a significant impact on me and made me contemplate my attitude and demeanor while I am teaching.

Jung-Ho reminded me that as an educator and conductor my job is not only to educate but also inspire and motivate students to play with as much joy as possible. When I reflected on my demeanor and attitude in the classroom, I quickly realized I had lost some of my joy and passion for music and teaching.

All the stress of UIL, paperwork, job-related duties outside the classroom, and students not being engaged led to a negative and frustrated classroom. I had the harsh realization that I was the one creating that negative atmosphere. How can we expect our students to be engaged and love what they are learning and doing if we are not the example? In thinking about this, I worked to change my demeanor. Rather than constantly criticizing, I worked for a more positive approach of reminding the students I cared about them before I relayed my

Be passionate about your profession and about music and be the example of joy for your students.

36 Southwestern Musician | May 2018

May—Attend your spring Region meeting (see page 2).

May—TMEA membership year opens for online and mail/email submission.

May 1—Deadline to nominate students for a Texas Music Scholar award.

May 1—HS Full, JH/MS Full, and JH/MS String Honor Orchestra Part A online submission deadline.

June 1—Deadline to submit proposals online for the 2019 TMEA Clinic/Convention.

June 1—Upload and postmark deadline of entry materials for HS and JH/MS Full, and JH/MS String Honor Orchestra.

June 9—First round of Honor Orchestra judging (HS and MS/JH Full, MS/JH String).

June 30—All 2017–2018 TMEA memberships expire.

July 26–28—TODA Convention in San Antonio (see ad on page 34).

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

September 15—HS String Honor Orchestra Part A online submission deadline.

February 13–16, 2019—TMEA Clinic/ Convention in San Antonio.

suggestion to make them a better player.

Jung-Ho is a master of this approach.

If you were able to observe his rehearsals at our convention, you saw that his comments were always joyful critiques, and the students responded. Rather than constantly criticizing them, he built them up to make them better players, better people.

Wouldn’t it be wonderful if every classroom looked and felt like his rehearsals?

More than ever, our schools need joy! Our job as educators is to teach content and to share our joy and passion. I do not believe our students are getting enough of this.

We live in a society that thrives on negativity. I hope we can find new ways to make joy a constant in our society. Thankfully, Jung-Ho has a few suggestions on how we can do just that.

His first suggestion is to be a driver, not a passenger. Just as we often wait to be inspired, your students are waiting to be inspired. This inspiration is only going to come from you and how you teach. Be passionate about your profession and about music, and be the example of joy for your students. It will take time, but I promise the students will start to latch on to this positivity and it will grow faster than the

weeds growing in my yard.

Jung-Ho’s second suggestion is to foster your inner child. He explains the happiest people on earth are children with unrelentingly inquisitive minds. They are curious about everything and are constantly seeking understanding. At some point, children learn to be serious, and thus we arrive at a traditional classroom. They listen to a teacher lecture and then regurgitate information. Find ways to tap into your inner child and help your students do the same. These inner children are brave, courageous, unfiltered, and creative. All of these attributes are essential for effective and collaborative rehearsals.

Jung-Ho’s last suggestion is to practice being joyful by awakening your senses and being inquisitive. On more than one occasion, I have started rehearsing a piece with excitement but over time lost that excitement. This typically led to a lackluster performance where the students’ only happiness was the fact that this would be the last time they had to play it. I must remind myself to find joy in every rehearsal. These joyful rehearsals will translate to the performances and inspire audiences. Parents will see firsthand how music fills their

child with joy and passion for their art. I believe this is our strongest advocacy tool.

Jung-Ho also emphasizes the importance of being in the state of joy. So when you find yourself stressed as you’re closing out this school year while planning next year, stop. Take a deep breath. Smile and fill your heart with joy! Joy is within your grasp, so take it. Remind yourself that our responsibility as educators is to be joyful and spread that joy to our students.

Honor Orchestra Review The review committee concluded that the Round 1 zones and number of finalists advancing from those zones is working well and does not need to change. We did investigate whether the order in which recordings are played affects the results.

After much deliberation, the committee did not suggest any changes. We will consider using the same tabulation system in which there is an automatic re-listen to two groups if there is a tie. In this scenario, we would no longer use judge preference to break the tie. All other rules will remain, and no other changes will be made at this time.

Southwestern Musician | May 2018 37

UT Permian Basin 4901 E University Blvd.

Odessa, TX 79762 www.utpb.edu

Summer Music at UT Permian Basin

Geoffrey Boers

West Texas Choral Workshop July 9-11 6ITIVXSMVI

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Recording Apportionments In discussing the possibilities of apportioning recording spots to Regions, the Executive Board reviewed several factors.

Because Regions don’t administer auditions the same way, we decided not to apportion a different number of recording spots to each Region. The Board instead approved the following proposal submitted to them: • Each Region will continue to have a guaranteed recording allotment (see the chart).

• Based on the criteria outlined below, a Region’s recording allotment on an instrument can increase to a new maximum recording allotment (see the chart).

Instrument recording allotment: • If for two consecutive years, a Region records the guaranteed recording allotment on a specific instrument, the next year, their recording allotment on that instrument will increase by 2.

If after that, the same Region records their now-increased allotment for two consecutive years, they will have 2 additional recording spots the next year (never to exceed the maximum recording allotment).

• If a Region with an increased allotment subsequently doesn’t record their increased allotment on that instrument for two consecutive years, their allotment for that instrument will be reduced by 2 (never to be fewer than the guaranteed recording allotment).

Examples: • For two consecutive years, Region X recorded 16 cellos. The following year, they can record 18 cellos. With their cello allotment at 18, if Region X records 18 for two consecutive years, they can increase to 20 cellos (the maximum).

Recording Allotment

Violin

Viola

Cello

Bass

Piano

Harp

Guaranteed

24

16

16

12

2

4

Maximum

30

20

20

14

4

6

All-State String Orchestra Change After much deliberation, the Executive Board approved a one-year pilot program (2018–2019) in which there will be no AllState String Orchestra. TMEA will instead sponsor a third full orchestra entitled All-State Sinfonietta Orchestra that will perform during the 2019 TMEA Clinic/ Convention.

Wind and percussion players in this group will audition through the 5A track.

The Board decided not to double the winds so that the 5A Symphonic Band would not be reduced too significantly (2 oboes and 4 percussion will be added to the 5A track, apportioned across the Areas). Because we are using single winds, we will not increase the size of the string section. I’m excited about this new endeavor and believe it will allow us to provide a wonderful experience for the All-State musicians.

2019 Convention Proposals I encourage you to submit a clinic proposal for the 2019 TMEA Clinic/ Convention. For information on submitting and for a link to begin the proposal, go to www.tmea.org/clinicproposals.

Orchestra teachers who took the convention survey said these are the most important topics to them (listed in priority order). Keep this in mind as you consider submitting a proposal or encouraging a colleague to do the same: rehearsal techniques, instrument methods, teaching methods, repertoire selection, classroom management, recruiting/retention, conducting techniques, technology integration, urban/rural challenges & solutions, special needs instruction.

You can also apply to present a music showcase. In 2019, there will be three locations, two will be acoustic and one will allow amplification. It’s not too late to apply. The deadline is June 1.

The

Bornoff Approach A Comprehensive Curriculum for Strings

Connect with us!

TODA 2018 Visit our booth and check out our three showcase sessions.

Summer Workshops June 24-29 – Charlottesville, Virginia August 5-10 – Billings, Montana Scholarship Program ~ Apply Online www.fase.org

• If Region Y had an increased allotment of basses to 14, but then for two consecutive years recorded fewer than 14, the following year, they could record only 12 (the guaranteed minimum).

This change goes into effect for 2018– 2019 auditions—the past two years of recording data will be used to establish each Region’s allotment for each instrument.

It’s about

PROCESS

It’s about

CONTENT

It’s about

RESULTS Southwestern Musician | May 2018 39

Stay Connected Thanks go to the TMEA members who offered their strategies for keeping students learning, engaged, and connected over the summer. While the answers are categorized by TMEA divisions, you’ll likely find ideas under each division that apply to you.

BAND I’m planning on holding mini-camps for middle school—days where students come to the band hall to work on Region music or attend percussion camps, reed care camps, guard camp, and more.

I plan to start beginners with music-reading camps. I’m hoping to work with our band boosters to set up days where kids can be fed a meal. —Jennifer Fulin, Whitewright MS Encourage them to practice and perform like adults in a community band. Have once-weekly rehearsals open to the public and arrange for and advertise performances (Fourth of July, back to school, etc.). Churches are a great location since they offer indoor venues, and they will increase your audience. You can also play at retirement homes or elsewhere (or have smaller groups play in those venues). —Rick Anderson, Abernathy I use Remind101, Facebook, and Charms to send reminders of when band starts and sometimes just to say hello and how I’m looking forward to starting the new season. I also have our student leaders come up a few times during the summer to help get things in order. —Kenny Peters, East Bernard HS There is a weeklong middle school day camp within an hour of our school. We leave at 7:30 a.m. and return by 5:30 p.m. Monday through Friday. High schoolers and select middle schoolers can attend a six-day overnight band camp at a college 2½ hours from our school. With a scholarship and help from our band boosters, this $375 camp costs our students less than $100. —Carroll Rhodes, Tahoka HS Offer to open your band hall a few days during the summer when you plan to be there doing some work. Students can schedule private lessons during this time or just come and practice. —Jason Adam, Canyon HS Our upperclassmen keep in touch with their sections in June and July, checking in periodically to see how music is progressing but more importantly to organize informal social activities for those who are in town. This is a great way to keep everyone connected to the program and allows the freshmen to feel like they’re part of the family before summer band begins.

I create YouTube videos on specific lines from our method book for students to follow along. Students can also submit videos of themselves practicing and I can critique them to help them out.

—Heather McGowan, Sul Ross MS Establishing a culture of summer musical growth is important.

Encourage and facilitate participation in camps and develop a criteria for booster scholarships and award as many as possible.

Open the band hall once or twice a week for lessons. Raise money to attend a DCI show. Attend TBA Student Day. Schedule a volun40 Southwestern Musician | May 2018

teer stand tune camp (no more than two hours and do exactly as advertised—limited fundamentals and no [meaning zero] show music). —Gabe Musella, Spring HS We have hosted a Google Classroom Summer Music Challenge with weekly challenges for students to keep them playing.

Sometimes it’s band/playing-related and sometimes it’s not. They can earn band bucks for completing challenges. —Lauren Cloutier, Durham MS Orchestra I use Instagram to keep our students connected over summer.

Last year, I took a series of extreme close-ups of instruments and posted them so students could guess what part of the instrument it was. It’s also nice to do flashbacks to events from earlier in the year, or to update students on what you’re doing to improve your musicianship as well (going to see concerts, photos at gigs you’re in, photos with their private lesson teachers, etc.). —Shannon Bolen, Truitt MS I give them music above their ability to challenge them throughout the summer. Our parent organization offers scholarships to our students to attend a band or string orchestra camp in the Amarillo area. —Harold Scarbrough, Tascosa HS We have a district-wide guitar/mariachi camp in June.

Clinicians teach mariachi style and technique on violin, trumpet, voice, and guitar/vihuela. In my program, I have mini-camps (half days Tuesday to Thursday) every other week in June and July, leading to our full summer camp in August. —Abel Acuna, Edinburg North HS I encourage them to go to the Orchestra of New Spain/Dallas ISD orchestra camp. If they register and attend, they are allowed to keep an instrument all summer without summer rental fee. —Juli Powers, Gaston MS Student leadership team sets up one activity in June, one in July, and a back-to-school event for all incoming orchestra students in early August. Dates are published and information is sent out via email over the summer months. While not required, we always have students attend. —Julie Daniels, Frisco HS I give students a packet with summer camp, youth orchestra, and private lesson information, as well as short samples of music with titles so they can purchase from online sheet music sites. I include instructional YouTube channels and online tutor options as well as their supply list for next year, a list of etude books and music to purchase. I offer a maintenance list that instructs them to change their strings (with suggested brands for each instrument)

This Summer and to upgrade to better rosin and a better shoulder rest. I include an article on step-up instruments (why to purchase and what to look for). —Gina Chandler, Labay MS We do All-Region master classes, host our own camp, and encourage students to attend the various camps at universities across the state. —Jason Hooper, College Station HS I have many students interested in auditioning for Region. I offer checkups during the break for any students who want a free mini-lesson (only once every three weeks or so). I hold these on days I had already planned to be at school working so that if no one shows, no time is wasted. —Desiree Overree, Seven Lakes HS Vocal I plan to host two camps—an All-State camp and a musical theatre camp. While some may disagree, I believe we need to give students more opportunities to sing popular music and musical theatre. In our musical theatre camp, we focus on classical and popular musical theatre pieces, and at the end of camp, we do a showcase of music. —Leslie Hooe, Palestine HS We have a camp in June for incoming freshmen and another in August for the incoming 6th, 7th, and 8th graders. —Laura DeCutler, JP Elder MS We have 2–4 meetings at ice cream shops or snow cone stands.

Through social media, I invite all current and former members to attend. If the location is willing, we do a fundraiser night in conjunction with the social event. —Jodi Coke, Hillwood MS I advertise summer singing opportunities in the community and keep a bulletin board for all the camps that send me promotional materials. —Matt Wallace, West Memorial JH On Instagram, I create photo-a-day challenge with a fun hashtag that allows me to repost what the kids have shared. This way, we all have an idea of what’s going on with each other as we go our separate ways over the summer. —Marcus J. Jauregui, Pershing MS We do an officer training session in early June and these student leaders are given strategies for connecting with the members of their groups over the summer. They are all also given one a cappella choral piece that’s not too challenging to work on over the summer. I post reference recordings and practice tracks on our choir website for their use. This way, students return to school prepared to sing something together as a choir on day one. We also do an officer workday and give the officers a final chance to connect with their groups before the school year starts the night after that work day. —Rob Draper, Independence HS In late July, we have a three-day choir camp (9 a.m.–3 p.m.).

Students learn three pieces, and we intersperse rehearsal time with group bonding games and icebreakers that choir officers lead. On the last day we have a mini-concert. This gives me a chance to have a short informational meeting with parents. —Lauren Davis, Huntsville HS

Elementary On my classroom Facebook and Twitter pages, I post a “Music Monday” each week during the summer. It is a musical idea or activity that students and families can do together, such as creating instruments from found items, going on a musical listening walk, or visiting any local musical performance. Sometimes the activities are Internet-based, but most often I like to give the family activities to do together that are not based on using devices, but based on listening to or creating music together. —Beth Shier, Academy at CF Thomas I put together a summer recorder book with brand new recorder music. I create videos of myself playing the songs to help them learn the music over the summer. —Elizabeth Hulse, Pioneer Crossing Elementary Hold an arts camp! Music, art, drama—all working together on a project—it’s great fun for all. Direct your students and their parents to special performances they can attend in the summer.

—Rebecca Kyriakides, St. Andrew’s Episcopal I ask students to listen to different styles of music during the summer. They must write the title of the song and the style on paper. Students bring me the list of songs when they return. The student with the longest list of songs and styles might win a prize.

—Gee-Gee Yates, International Leadership of Texas at Arlington I teach in a low income neighborhood, so keeping students engaged during the summer is difficult. A nearby community center teaches guitar and other classes, so I encourage the students to take the classes. I often give recorders, keyboards, or guitars to promising students and encourage them to take whatever classes are offered. —Janet Behning, Obadiah Knight Elementary Our school publishes a calendar with summer challenges for kids. I add listening challenges to these, using local concerts, classical and jazz radio, and online listening resources. —Patrick Lollis, Cannon Elementary We put a list of good music apps on our website. We also give 3rd–5th graders a list of songs to practice for Recorder Karate so they can practice over the summer and pass off belts when they return. This year, we are going to promote a list of books to read that have a music connection. We want to have a bonus reward in the fall for those who read every book on the list. —Shelley Harrington, Kreinhop Elementary We use Seesaw (a learning journal) to document student learning but also as a tool to communicate with families. Last year I made a music video for students to watch during the summer. In it, I told them goodbye and reminded them of all the wonderful things they learned. I sang “Bye Bye Butterfly” and “ABC Ya Later” while playing accompaniment on ukulele. They loved it! —Jennifer Ross, Good Shepherd Episcopal School I create recorder song packets for 3rd- to 5th-grade students to work on over the summer. My hope is that siblings and friends Southwestern Musician | May 2018 41

will work together to learn and play songs over the summer. I also share websites they might enjoy. —Katie Forbis, Provident Heights Elementary I set up Google Classroom activities they can access throughout the summer. —Rebecca Loyd, Shaw Elementary I challenge my students to learn a difficult song on recorder and reward them with a prize if they send me a video of them playing it before school starts. This way, they are relaxed, and I see who has the drive to win over the summer! —Julie Boettiger, James Patterson Elementary I give all grades an option to take home a fun folder of worksheets, recorder songs, online resources, and more. I also have a two-hour choir retreat for sixth-grade choir students two weeks before school begins in August. We have a picnic lunch, ice breaker questions (drawn from a cool drum), watch videos on YouTube of excellent choirs, have a high school choir student come and share about their choir experience, and finish with a water relay game.

They head home excited after meeting new students, and I have a jump start on getting to know them too. —Elaine Quillman, Mary Evans Elementary

College Students are more likely to stay engaged throughout summer months when they have to check in with their instructors. Every week a brief email from students reporting on their progress can be very helpful. —William Buhidar, South Texas College During the school year, we establish good practice skills. I emphasize the importance of making a summer daily practice schedule. We also discuss playing goals for the summer and the importance of taking advantage of the slower summer months as opposed to the busy academic year. I stress the importance of keeping a practice log. This will include a combination of technical, solo, etude, and excerpt material. —Jennifer Sholtis, Texas A&M Univ/Kingsville Music majors have many opportunities to stay motivated in the summer—practicing for upcoming recitals in subsequent semesters, attending master classes or various workshops, attending conventions for their own instrument or conducting workshops, participating in summer camps either on campus or even out of state such as Blue Lake Fine Arts Camp. —Adah Toland Jones, Texas State University

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42 Southwestern Musician | May 2018

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Vastly Different.

Keeping Students Engaged Through the Last Day Make everything musical! We sing one of our rounds and then discuss how we can make it more musical through dynamics and articulation. Following that song, I usually do a very silly round and ask how we can make it musical. I am doing “Sweetly Sings the Donkey” this year. The students know how to make it obnoxious and how to make it musical. I then transfer those ideas to pieces we are working on in class. —Jason Mincy, Barwise MS We have a talent show in each class period. They perform only for their classmates, not a public audience. The students can dance, play the piano, sing to a karaoke song, etc. At first they might be tentative to sign up, but they’ll soon volunteer to show multiple talents.

—Michele Stehling, Fredericksburg MS I do a lesson where I teach middle school students about the word context and why it’s important to understand the context of a song. I do this by reviewing lyrics of a particular song (preferably one that uses a metaphor), explaining who the author was, why they wrote these words, and why it was relevant during that time in history. I finish by explaining why context remains important today. I choose a quote from a celebrity or politician by itself first, without context, and then have the students understand why it was said based on the current event that is happening. In this way, the students understand a practical application in studying choral literature. —Eradio Martinez, Berta Cabaza MS I created a lesson where students get to teach me about a popular music star or band of their choice. They spend a few days researching their choice, choose an example song, and then present their information in class. They love this project because they get to show off their musical favorites to me after I’ve spent the year teaching them about mine. —Laura DeCutler, JP Elder MS It’s important to keep students authentically engaged in singing all the way to the finish line. I schedule my spring show as late as possible to keep them focused and busy! As testing bounces around, I’ve had to be flexible with the concert date, but the later the better.

I usually only have one or two weeks of downtime before summer, and at that point, we are prepping for finals or end-of-year performances. Games and projects are fine, but fun

VOCAL

Thanks go to the TMEA Vocal Division members who provided valuable ideas for keeping students learning and engaged at the end of the school year.

Southwestern Musician | May 2018 45

singing and sightreading challenges keep the students the most focused. —Marcus J. Jauregui, Pershing MS My middle school choir students write their final sightreading test. I give very specific parameters: 4 measures, girls in F, boys in G, dotted-half, half, quarter, and eighth notes only, no rests, do, re, mi, fa, sol pitches only, start and end on do. Then, they do the rest. Once written, they record it as their last sung test of the year.

—Mary Jane Phillips, Wayside MS I give middle school students a composition project as a way to bring together the music theory concepts we’ve covered over the year. First they choose from a small selection of poetry texts. They mark the stressed syllables, and we discuss how composers can shape text using a word’s location in the measure or note length. I give them parameters for how many quarter notes, half notes, etc., they can use, and they have to fit them within a given range. Then they have time in the computer lab to compose a melody for their selected text using Noteflight. The classes vote on their favorite melody, and I make up a simple piano part so they can sing it as a part of their final concert. —Matt Wallace, West Memorial JH I teach theory throughout the year. I have keyboards set up in my choir room. When we do a theory lesson, students are allowed to go to the keyboards for some self-discovery (e.g., the scale to a particular song we are working on). —Sandy Clampitt, Burkburnett MS I switch my middle school choral sightreading lessons to unison to challenge students to sing more lyrically than they do for UIL contest. We also focus on reading increasingly difficult rhythmic passages. —Jodi Coke, Hillwood MS

Working on jingles offers an engaging project for the end of school (about one week long). Students pick their favorite snack, and they make a new jingle for it in these steps: write your own lyrics, identify the solfège, notate it on a staff, and record it. The project can be completed individually or in small groups —Jeremy Bledsoe, Seven Lakes HS Students work in groups to create music videos. They select a song and then rehearse it with a karaoke track. They record themselves singing along with the track (with professional studio equipment or a mobile device sound app if you have a quiet environment). Then we take iPads or cell phones and go to locations around campus to shoot video (the audio of this footage will be muted in editing). Finally, students upload the video to Animoto (teachers can request a free account for this cloud-based video creation service). I upload each student group’s audio recording as well. Students can arrange and trim their video footage very easily in Animoto. On the last day of class we watch everyone’s videos (and if they’ve earned it, they can eat snacks while they watch). This project takes about 7–10 school days to complete.

—Joy Marshall, Tennyson MS I teach basic piano for my choral music classes. Using a beginner piano book, we cover notes on the keyboard (and obviously notes on the staff), left- and right-hand uses, and basic fingerings.

In the final class days, anyone who wants to perform with their newly acquired skills may do so in class. Students always look forward to this, and each year we have students who have improved from the previous year. —Tommy Corley, Carthage MS/HS We do fun warm-ups (some I write) to incorporate multiple

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concepts we’ve learned throughout the school year. To encourage enthusiastic participation, I call this segment “Vocal Gymnastics & Vocal Limbo” and allow champions of the week to choose a special reward for the entire class. Rewards are chosen from a classgenerated list (during a consensus-building discussion I facilitate).

I also have them sing in different configurations to encourage fresh perspectives, new interactions, and more sensitive singing.

—Jennifer Fisher, Randall HS In years past, I’ve given students an assignment to write a song as a class. We take a poem (either something I find or something a student writes and submits to me). As a class, we speak the words in rhythm and then write the rhythm of the melody. Then we divide in groups, and each group is assigned a line of the poem and rhythm to set to melody on the staff. We join back together, connect the lines, and try to sing the piece. As a class, we change anything we don’t like (majority rules!) and resolve any awkward intervals. Then I put it in my music-notation software and print it. On the last day of school, I hand out copies, we sing through it, and they get to keep it as a souvenir. —Johanna Ray, Alvarado HS For a composition project, students write an eight-measure piece in antecedent/consequent phrases using the rhythms and intervals learned in sightreading. Compile the exercises and sightread them for the rest of the year. They also work on solo music for the upcoming year, and we have auditions/end-of-year exams.

They work on Region music for the following year. We do an inclass talent show for which they spend 3–4 days rehearsing, 3–4 days performing. Students can do group or solo acts. —Deborah Barrick, Ellison HS

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After UIL contest and our final concert, we do projects that are music-related but aren’t necessarily singing. For example: make a music video, recruitment posters or videos, learn about a famous singer, identify a music-related jobs that aren’t performing or teaching. Students are given class time for research and preparation. They present to each other in class. —Megan Senter, Sunnyvale HS We have two major performances after UIL contest—our spring show (a themed pop show) and our spring concert and banquet (part choral concert, part awards). The day after UIL contest we begin rehearsing literature for the banquet, but we also begin pop show music that has already been selected. I select the theme of our spring show (decades, Broadway, Motown, etc.), but I don’t select the music. Students suggest songs and vote on them (with some guidance as to what makes a good choice). I either find or make arrangements of them and allow student leaders to stage/ choreograph them. Once the early May show is over we begin work on the spring concert (late May). It features all choirs and gives us the opportunity to do those types of pieces they love but which I don’t have a chance to program other times of the year. It’s music that they choose and music that they love that keeps them fully engaged from April 1 through the last week of school. —Rob Draper, Independence HS I purposely place our final concert of the year as close to the last school day as possible, allowing of course for final exams. In addition, the last concert is our pops concert, and this keeps students highly motivated. —Angus McLeod, Alamo Heights HS

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Southwestern Musician | May 2018 47

B Y

D E R R I C K

VOCAL NOTES

B R O O K I N S

Auditioning for the choir

W

May—Attend your spring Region meeting (see page 2).

May—TMEA membership year opens for online and mail/email submission.

May 1—Deadline to nominate students for a Texas Music Scholar award.

May 10—Deadline for 2019 TMEA Convention Performing Choir application and online recording upload.

June 1—Deadline to submit proposals online for the 2019 TMEA Clinic/Convention.

June 30—All 2017–2018 TMEA memberships expire.

July 26–28—TCDA Convention in San Antonio (see ad on page 34).

August 1—Deadline for waivers to the audition process to be received at TMEA headquarters.

February 13–16, 2019—TMEA Clinic/ Convention in San Antonio.

ell it’s May—congratulations on navigating what I hope was a successful spring! The end of the school year is now in sight. You merely have to get through your choir trip, AP testing, pop show, state testing, end-of-year choir banquet, auditions for the next school year, getting your lists to your counseling department, and working with counselors to help them understand placement decisions that might not make sense to them but are perfectly plausible to you.

I know that, like me, many of you are constantly looking for a better way to audition students for your ensembles. I’ve tried numerous audition methods and continue to search for and be open to any idea for improvement. So, in the name of vulnerability, I’m going to share with you my strategy for auditioning singers. While this way may not work for you, perhaps reading through it will generate a new idea that will be perfect for your choirs: • Each singer completes an audition form that includes their full legal name, student ID, mailing address, parent/guardian name, and address.

• There are a series of questions, such as: Have you been in choir before?

Have you ever taken private voice lessons? Have you participated in a solo/ ensemble contest? Have you participated in the All-Region process, and how far did you advance?

Auditions are the bedrock of your choral program.

Decisions made at this time are permanent.

The atmosphere in which those decisions are reached is vital as well.

Southwestern Musician | May 2018 49

• Each singer is given a series of basic vocalization drills, including singing a scale, testing the range based on fifths.

• Each singer is asked to sing “My Country ’Tis of Thee” or the national anthem in a variety of keys. Side note:

Is it just me, or do you find it alarming how many students don’t know any patriotic songs?

words of Dr. Phil McGraw, “The best indicator of future behavior is past behavior.”

• Each singer brings a copy of his or her most recent grade report. You can tell a lot from this document. In the

• Each singer is required to complete two types of readings: sightsinging music and reading text. I typically find a short passage from a poem or standard American literature and have the singer simply read it aloud to me. I have found text reading to be especially helpful in evaluating each singer.

• Finally, each singer reads an eightmeasure sightreading example.

They may choose from two types of examples. If they want to be considered for a varsity choir, they must read the example with accidentals.

Auditions are the bedrock of your choral program. Decisions made at this time are permanent. The atmosphere in which those decisions are reached is vital as well.

If the audition process is related to peers as a good experience, more students will participate. The reverse is also true!

When hearing students sing the patriotic songs, I find that for sopranos, it’s best to use either the key of A-flat or G-flat

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major; for altos, E-flat or D-flat major; for tenors, G-flat major; for bass I, E-flat major; and for bass II, B-flat or A-flat major. At this point, basic tone quality and pitch are my primary point of evaluation. If I have an overabundance of females auditioning (and that is typical for most of us), I find it valuable to include a more advanced or college-level sightreading as part of the audition.

You can determine positive or negative results immediately for many students.

Questionable students can be recalled.

Should you have the luxury of too many positive ratings, a full recall can be initiated. This is when you can listen more closely to their vowels, notice the ability to use proper hand signs, tone color, and a break in the voice. Listen for tonal patterns to determine basic musicianship and listen for the strength of the ear. To me,

the ear is vital. My choirs will all tell you that I often say to them “strengthen the ear, strengthen the singer.”

I strongly recommend that after you complete your audition process, you wait a couple of days before posting the results.

This gives you time to refresh your mind, contemplate your decisions, and be sure you’re confident about everything. Most importantly, as any experienced choir director will say, post your results (either hard copy or on your choir website) on a Friday to offer the weekend for processing of the results by your singers. Best of luck to each of you as you begin this endeavor.

Submit a 2019 Convention Proposal June 1 is the deadline to submit a proposal to present a clinic or a music showcase during the 2019 TMEA Clinic/ Convention. Music showcases will be held

on three stages (two acoustic, one allowing amplification.) When proposing a clinic, keep in mind that choir directors listed the following as their top ten topics for future clinics, in priority order: • rehearsal techniques • teaching methods • repertoire selection • classroom management • technology integration • conducting techniques • recruiting/retention • special needs instruction • urban/rural challenges & solutions • assessment For more information on what you need to know to submit and to submit online go to www.tmea.org/clinicproposals.

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Thanks go to the TMEA Elementary Division members who provided valuable ideas for keeping students learning and engaged at the end of the school year.

I use games and dances that require singing. I take ideas from TMEA clinics and from YouTube videos of music classes performing, such as Mr. Meehl’s Music Class. With video, they can watch the completed game prior to playing. My goal is to encourage a cappella tuneful singing in a key high enough to produce a nice sound. I employ songs that are simple enough to learn well before playing the game. My fourth graders like any game where they can freeze, like Oliver Twist, or silly actions they must copy as in Mama Lama.

They are motivated to learn the songs so they can play the game, and I monitor their singing to keep it a focus as well. At the end of the year students need new games added to their repertoire, so it’s a good time for me as well since it requires me to research and teach new games. —Pam Rushing, Southwood Valley Elementary I add more movement and instrument activities to my lessons as the year comes to an end. Each class can earn up to five stars to earn a letter on our CHAMPS poster. Once the class spells CHAMPS, they have a free choice activity the following class. Between spring break and the end of the year, I challenge my classes to earn multiples of five stars, and increase the number of free choice activities they earn before the end of the year. They can earn five stars just by coming in my room on level “0” and standing in their places within 12 seconds! —Cathy Patton, Commonwealth Elementary We play note-naming games, relay races to the board, around the world with any type of note-naming, rhythm-reading, drumming, etc., and playoffs on recorder and piano.

We do karaoke with songs learned throughout the year (it’s a great way to get kids singing by themselves in front of others). —Kelly Martinez, Sunshine Cottage School for Deaf Children I save units on ukulele (grade 3) and guitar (grades 4–5) for May. Students know these instruments will come off the wall and into their hands if they work hard the rest of the year and show me they are responsible and prepared to learn to play these fun string instruments. Each student has a ukulele, but they must partner on the guitars. It works great. Half the class sings while the others strum. This is a great incentive for good behavior and best practices through the entire year. Another benefit is that I can begin packing up the classroom and have only these instruments to store on the final day of school. I have obtained funding in two school districts for these instruments through Walmart local giving grants. —Elaine Quillman, Mary Evans Elementary I incorporate more folk dancing into the end-of-year lessons for K–2 students. We stick with simple ones like “Carnivalito,” “Seven Jumps,” and “Heel and Toe Polka.” Students in

ELEMENTARY

Keeping Students Engaged Through the Last Day

Southwestern Musician | May 2018 55

all grades enjoy making a list of songs and games they’ve learned throughout the year and voting on their favorites to revisit before the year is over. —Maria Satterwhite, Highland Park Elementary After the spring concerts and talent shows, we have rhythm competitions during the final month. Students clap, count, and demonstrate simple rhythms from the SmartBoard. I offer different rewards for winning teams. I usually begin with four measures and advance to eight. For elementary students I add rhythm instruments. —Gloria Espino, Balmorhea Schools I’m now using a strategy I learned from another teacher: I post a class behavior chart. Each day, the class can earn up to 5 stickers, and after earning 25, they get a prize. I also have five batterypowered touch lights on the wall. If they misbehave or are noisy or disrespectful (to me or a student), I turn on a light. They instantly get quiet because with each light on, they lose a sticker for that day.

When they fill their behavior chart, prizes can be whatever you can imagine. —Janet Behning, Obadiah Knight Elementary Stations, dance days, and favorite five all work well for me.

Stations allow students to explore, create, and continue to develop skills and knowledge acquired during the year. We vote on their five favorite songs and activities of the year and have a fun time with them. They love dancing to brain break songs or with KIDZ BOP Kids on YouTube (#MoveItMarch). We dance to one and then sit and listen to one to discuss its style, form, etc. The videos have easy to follow dance steps and there are 5–6 popular songs they like. I sometimes save boom whackers for the end of the year too.

—Angela Greenwood, Ruby Young Elementary For older elementary students, I save recorder until this time of year. It gives them something to look forward to and is like a fresh start! —Jamie Rives, Hawk Elementary I save my most engaging (and physical) elementary games and lessons for the end of the year. It’s a special treat that they get to work toward. There’s nothing like a great folk dance or singing game to keep the kids working and focused. —Emily Lucas, Matzke Elementary For recorders, after they learn enough notes I have them write a simple eight-beat composition. Some classes work with a partner, some by themselves. They get to create, discover what good and not-so-good writing sounds like and why, and perform. —Susan Hackett, Puckett Elementary I like to have students create arrangements of songs we’ve learned using voices in various combinations (solo, small group, half class, full class) and with classroom instruments. Instrumental parts can include playing the song’s heartbeat, rhythm, an ostinato (loop), or any combination of those using body percussion, rhythm instruments, Orff keyboards, iPad instruments, or constructed instruments. The possibilities are endless, and the creative element really keeps kids learning and growing as things start to get hectic.

—Patrick Lollis, Cannon Elementary I teach early childhood music classes using the eight-step musical workout by Dr. John Feierabend and the Orff approach. My students love leading the class! After several lessons, when they really have the material down, I assign a student to lead each of the eight steps. Not only do they enjoy it, but I enjoy it as well! I get to see a different side of them and I can assess at the same time. I always learn something new! Another favorite is free-choice Friday. I set up stations around the room using the materials they’ve been learning with all week (puppets, scarves, drawing paper, manipu56 Southwestern Musician | May 2018

latives, books, instruments and song prompts). I quickly talk about what their choices are and divide them into small groups. As they play, I move around the room observing and sometimes offering advice on what to do or encouraging them to come up with another way to try it. I’m always amazed at what I observe on freechoice Fridays! —Jennifer Ross, Good Shepherd Episcopal School I teach a jazz unit. Students enjoy writing their own scat poetry, orchestrating it, and presenting it to the class. —Laura Davis, Liberty Hill Intermediate We schedule the K–5 elementary spring program three weeks before the end of the school year. After that, we focus on the Carnegie Hall Link Up performance with the San Antonio Symphony. There is never a dull downtime for 4th–5th grades. For K–3 at the end of the year, we sing songs and play music games of their choice (favorites from the entire year). I’m at a small private school. —LuAnne Williams, Trinity United Methodist School I love to bring out the large parachute to teach form lessons to my students. Every grade level loves the parachute, and I never have behavior management issues during that week because they don’t want to miss out. I make sure to do several listening activities that they can map out the form with letter cards, and then I let them create the movements that we will do with the parachute for each section. —Rebecca Loyd, Shaw Elementary I use folk dance to keep students engaged as the year closes— some with songs they learn and sing, but mostly with instrumental songs. I also use these last weeks for centers with my PreK–2nd graders. The centers include matching pictures with known songs on the iPad, vocal exploration where students follow a path with their finger and sing along, and small nonpitched percussion with traceable spelling and picture of each instrument.

Our fifth graders’ concert is on the last day of school as part of their graduation ceremony. It’s a great way to keep students focused and engaged as their last year in elementary school comes to an end. —Elizabeth Hulse, Pioneer Crossing Elementary I use charts to track data for my students’ progress on their recorder songs—they seem to really like tracking their progress and working toward a goal. This keeps even my fifth graders on task and motivated to finish strong. The last few weeks of school we do a classroom talent day where student groups create an act or work on a project. They work for about two class periods (many work at recess or on their own—even better!). They present for their class on the last music class of the year, and families are invited to come. —Beth Shier, Academy at CF Thomas Start teaching card games such as Classical Snap, Fiddlesticks, and Quartets with a demo group of five students. Create other exploratory stations such as music Mad Libs, or instrument challenges (mystery melodies to be worked out on xylophones, their recorder, or other ensemble instruments). Have rhythm stations with percussion instruments. Set up iPads to run quizzes through musictheory.net or play with Incredibox. Create QR codes for videos you want your students to see. They could be great performances or how-to practice videos. Once you have trained students on each station (one game per class over the course of a few weeks), have a day or week where they rotate in small groups of 3–5 to each station. This can be modified for any grade level or performing ensemble. —Julie Stephens, Lee Elementary

UNT College of Music Summer Workshops 2018 15th Annual Pirastro Strings Elite Soloists Program

18th Annual Beginners and Intermediate Bass Camps

18th Annual Lynn Seaton Jazz Double Bass Workshop

Drum Major and Student Leadership Camp

June 1 – 8 Jeff Bradetich, Director

June 18 – 22 Lynn Seaton, Director

String Orchestra Day Camp June 11 – 15 Elizabeth Chappell, Director

UNT Keyboard Percussion Symposium June 11 – 15 Christopher Deane and Brian Zator, Directors

UNT Marching Percussion Camp June 11 – 14 Paul Rennick, Director

31st Annual Bradetich Master Classes June 18 – 22 Jeff Bradetich, Director

June 20 – 22 Gudrun Raschen, Director

June 21 – 24 Nicholas Williams, Director

ClarEssentials High School Clarinet Workshop June 26 – 30 Kimberly Cole Luevano, Director

All–State Choir Camp June 27 – 30 Jessica Nápoles, Director

Alexander Technique June 30 Phyllis Richmond, Director

Jazz Combo Workshop July 9 – 13 Michael Steinel, Director

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Vocal Pedagogy Workshop

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June 23 – 24 Jennifer Barnes, Director

June 15 – 16 Stephen F. Austin, Director

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July 24 – 28 Donna Emmanuel, Director

August 4 Jaymee Haefner, Director

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ELEMENTARY NOTES

B Y

C A S E Y

M E D L I N

Changes are coming

P

lanning a TMEA Clinic/Convention is a yearlong process. The Sunday after the conference was over, the Executive Board met to begin working on next year’s event. We discussed all the wonderful things that occurred over the last week and we spoke about things we should improve. In March, we reviewed responses from the post-convention survey. During these two meetings, one thing became apparent. Our association keeps growing and our needs are changing. In fact, we’ve added almost 4,000 members over the last five years! It’s with that in mind that the Executive Board and the TMEA staff began to brainstorm ways to make our beloved San Antonio convention center work best for us. I am thrilled to announce a few of the changes affecting the Elementary Division in this article. Get ready, because this is exciting!

Who Do You Want to Present Clinics?

First, when it comes to choosing clinicians, I’d love to hear more from you, the members, about who you would like to see. Historically, the Elementary Vice-President receives the submitted clinic proposals then chooses what they believe will be the most beneficial for the members. However, there is one big problem with this system. Some topics are heavily represented (Kodály and Orff sessions, for example) while other topics aren’t as popular (like how to teach students with special needs and how to teach those who don’t want to be

I don’t doubt that there might be a few growing pains, but I truly believe we are moving in the right direction.

58 Southwestern Musician | May 2018

May—Attend your spring Region meeting (see page 2).

May—TMEA membership year opens for online and mail/email submission.

June 1—Deadline to submit proposals online for the 2019 TMEA Clinic/Convention.

June 15—Postmark deadline for 2019 TMEA Convention Performing Group application and DVD. June 14–15—CEDFA Summit 19, Austin Airport Hilton (see page 27).

June 30—All 2017–2018 TMEA memberships expire.

July 26–28—TCDA Convention in San Antonio (see ad on age 34).

February 13–16, 2019—TMEA Clinic/ Convention in San Antonio.

in music class).

So, I challenge you to email me with names of people you’d like to see give a clinic on an underrepresented topic (Casey.Medlin@fortbendisd.com). I’ll contact the potential clinician to invite them to submit a proposal. Be quick though, as all clinic proposals are due June 1, 2018.

Clinic Locations All Elementary Division clinics will be in the Grand Hyatt ballrooms next year.

While I know this is a big change, I believe it will be beneficial. As the second largest division of TMEA, we were simply outgrowing the Hemisfair ballrooms. With a few tweaks, like asking the clinicians to present their sessions from the stage rather than the floor and asking non-teacher family members to leave the best seats to active teachers, visibility should improve.

Also, in this new location, we will have the ability to open a wall to make more room for our evening folk dancing session!

Change isn’t always easy, but this new location may be exactly what we need.

Performance Location This next change might be my favorite. Next year, the Invited Elementary Performing Ensembles will be performing in the Hemisfair ballrooms—the same stage as all the Vocal Division concerts! We’ll no longer have performances cramped in CC 217. The groups will now have more space, better acoustics, beautiful lighting, and a grand piano! That said, don’t forget to submit your ensemble for consideration! For more information, go to www.tmea.org/elementaryapplication.

The deadline is June 15, 2018.

Division Business Meeting The last big change concerns the length of our Elementary Division meeting.

The longest part of the meeting, by far, is giving away the door prizes. First of all, how lucky are we that this is a problem!

Unfortunately, it isn’t ideal when the fun extends into the session scheduled after the meeting. Moving forward, our division meeting will continue to be the place where the new Elementary Vice-President is elected, association news is shared, and a keynote is given. However, next year only half the door prizes will be handed out on Thursday night. (If I could, I would have inserted a record scratch sound effect at the end of that sentence because I know

May Is Membership Renewal Month!

Renew your TMEA membership this month and check that task off your new school year to-do list before it’s even written!

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Southwestern Musician | May 2018 59

many of you are beginning to experience some anxiety.)

Don’t fret! I’ve got a plan. Starting with the 2019 TMEA Clinic/Convention, we will add a final session on Saturday afternoon where we come together as a division to meet with our old friends, make new ones, talk shop, and say our goodbyes. It’ll be during this Saturday Send-Off where we give away the remaining door prizes. I can already hear many of you exclaiming, “But I don’t stay all day Saturday!” To that, my response would be to let that tradition go, and give this new idea a try! For too long our division (myself included) has skipped out on Saturday sessions. There have been some amazing clinics scheduled on Saturdays over the last few years with very few people in attendance. It’s time to take advantage of the opportunity to add 3–4 more clinics to our schedules. And can you think of a better way to end our convention than surrounded by friends and potentially winning a door prize?

This is certainly a lot of change for us.

For those of you who find change difficult, please know the Executive Board and the TMEA staff have worked hard to make sure we use our resources to the best of our ability. It is my hope that you’ll approach next year’s convention with an open mind.

I don’t doubt that there might be a few growing pains, but I truly believe we are moving in the right direction.

Submit a 2019 Clinic Proposal You can now submit a proposal to present a clinic during the 2019 TMEA Clinic/ Convention. June 1 is the deadline for all proposals. For more information on what you need to know to submit online, go to www.tmea.org/clinicproposals. In our convention survey, elementary teachers listed the following as their top ten topics for future clinics, in priority order:

Region Meetings Please plan to attend your Region meeting (see page 2 for details). If you have ever thought about stepping up and serving our

organization on the Region level, this may be the right time to learn more and get connected with other elementary teachers from your Region.

2018 dates: 2019 dates: April 20-21, April 12-13, April 27-28, April 26-27, May 4-5 May 3-4 Visit www.SMMFestival.com or call1-855-766-3008

USED STEINWAY GRANDS Ϯ dĞdžĂƐ ^ĞůĞĐƟŽŶ ĞŶƚĞƌƐ

tĞ ƐƚŽĐŬ ϯϬ ^ƚĞŝŶǁĂLJ DŽĚĞů ΖƐ͘ tĞ ĂůƐŽ ƐƚŽĐŬ DŽĚĞů D͕ >͕ K͘ tŚĞŶ ŝƚ ŝƐ ƟŵĞ ƚŽ ĨƵůĮůů LJŽƵƌ ĚƌĞĂŵ ŽĨ ŽǁŶŝŶŐ Ă ^ƚĞŝŶǁĂLJ 'ƌĂŶĚ͕ ĐĂůů ƵƉŽŶ ΗDĂĞƐƚƌŽΗ ƌƵŶŽ͘ ,Ğ ŝƐ Ă WŝĂŶŝƐƚ ĂŶĚ Ă ^ƚĞŝŶǁĂLJ 'ƵƌƵ͘

• teaching methods • classroom management • technology integration • special needs instruction

KƵƌ ^ĞƌǀŝĐĞ ƚŽ WĞƌĨŽƌŵĂŶĐĞ >ĞǀĞů ϯ ĂŶĚ ϰ ƐĞƚƐ ƵƐ ĂƉĂƌƚ ĨƌŽŵ ĞǀĞƌLJŽŶĞ͘ ŶĚ LJŽƵ ǁŝůů ŚĂǀĞ Ă ďĞƩĞƌ ĐŚĂŶĐĞ ŽĨ ǁŝŶŶŝŶŐ Ă WŝĂŶŽ ŽŵƉĞƟƟŽŶ͘

• rehearsal techniques • repertoire selection

Ăůů ͞DĂĞƐƚƌŽ͟ ƌƵŶŽ Λ ϴϬϬͲϳϰϱͲϲϯϮϯ džƚ ϭ ƌƵŶŽΛZĞĚ ŝƌĚ>> ͘ĐŽŵ

• urban/rural challenges & solutions • instrument methods • funding/grant writing, assessment

60 Southwestern Musician | May 2018

^ƚĂƌƚĞĚ ^ĞůůŝŶŐ EĞǁ͕ WWK͕ ĂŶĚ hƐĞĚ ^ƚĞŝŶǁĂLJ 'ƌĂŶĚƐ ŝŶ ϭϵϳϰ

For over 75 years, TMEA has valued the opportunity to publish a magazine that informs members of association news and offers them sound pedagogical concepts to apply in their work. Our sincere gratitude goes to the following companies and institutions that advertised with us in one or more of the issues in Volume 86, making this resource possible.

THANK YOU, ADVERTISERS! Abilene Christian Univ Alfred Music All Things Musical Allegro Apparel & Plaques LLC Alvin Community College Austin College Band Fundamentals Books Baylor Univ Belmont Univ School of Music Berklee College of Music Blast of Brass Blinn College Boston Conservatory at Berklee Boston University Tanglewood Institute Brazos Valley Chorale Breezin’ Thru Inc. Brigham Young Univ Carnegie Hall Charms / Dorian Business Systems Clark W. Fobes Claude T. Smith Publications, Inc. Crossmen Productions, Inc. D’Addario Dallas Baptist Univ Dallas Symphony Association David Herring Music LLC Del Mar College Director’s Choice Disney Theatrical Group East Texas Baptist Univ Flavoreeds Floot Fire Inc. Foundation for Music Education Foundation for the Advancement of String Education Fox Products Corporation Gatchell Innovations, Inc. Hal Leonard Hardin-Simmons Univ Hoshino (U.S.A.) Inc. - TAMA Marching Drums Idyllwild Arts Summer Program

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Thanks go to the TMEA College Division members who provided valuable ideas for keeping students learning and engaged at the end of the school year.

Allow students to take charge of making decisions in rehearsals. Using teacher facilitation, get them involved in setting rehearsal goals, deciding how best to tackle those goals, and reflecting on whether those goals get accomplished.

The many performances at the end of the semester—large ensembles, like-instrument ensembles, studio recitals, and finally, end-of-the-semester juries—keep everyone on their toes. As each is completed, we begin sightreading in ensembles, look at new repertoire to consider, listen to recordings, invite in guest artists, or have student presentations of semester projects. —Adah Toland Jones, Texas State University I culminate my college-level courses in presentations or projects that students work on throughout the semester. This way, they do not get overwhelmed by studying for yet another final, and they will (hopefully) be able to synthesize their new knowledge from the semester in a more hands-on way. —Sarah Bouse, Houston Community College One effective idea is to use the lesson time to engage in only a singular concept. For example, string players could focus on one of the following: finger patterns, shifting, bow control, vibrato, etc. —William Buhidar, South Texas College We hold an end-of-year studio recital. Some years we make it a chamber recital and focus on small ensembles. Some years we use it as an opportunity to work on studentcomposed works, or styles they don’t often get to explore (e.g., jazz, blues, electronic, extended techniques, improvisation). —Lynne Brandt, San Jacinto College

COLLEGE

Keeping Students Engaged Through the Last Day

Southwestern Musician | May 2018 63

B Y

V I C K I

COLLEGE NOTES

B A K E R

Commencement

P

May—Attend your spring Region meeting (see page 2).

May—TMEA membership year opens for online and mail/email submission.

June 1—Deadline to submit proposals online for the 2019 TMEA Clinic/Convention.

June 30—All 2017–2018 TMEA memberships expire.

October 12—College Division Fall Conference in Austin.

February 13–16, 2019—TMEA Clinic/ Convention in San Antonio.

omp and Circumstance provides the soundtrack for commencement ceremonies held in auditoriums, cafeterias, gymnasiums, arenas, and football fields across the state of Texas this time of year.

Commencement has three definitions: (1) a beginning, (2) the ceremony of conferring degrees or granting diplomas at the end of the academic year, and (3) the day on which the ceremony is held (according to dictionary.com). When I first heard the word commencement, it was in reference to the ceremony held to confer my high school diploma. I remember the confusion that ensued, because I knew that commence meant “to begin,” yet commencement was a ceremony commemorating the end of an academic journey. After having donned garments ranging from a cap and gown to doctoral regalia and walked across stages at five commencement ceremonies, I have learned that commencement is, indeed, a beginning.

From the perspective of a university faculty member, I view the summer as a time for beginning another chapter in a lifelong educational journey. Whether you are poised to enter college in the fall, begin your first teaching job, or continue your professional development, summer is a time for learning.

Commencement of College Education For high school graduates beginning a music degree program in fall 2018, this summer marks a time of transition that is simultaneously exciting and stressful. Some of the anxiety that incoming freshmen face can be alleviated by using the summer to prepare for courses common to most music majors,

I view the summer as a time for beginning another chapter in a lifelong educational journey.

Southwestern Musician | May 2018 65

! w e N

including theory, aural skills, keyboard, and applied lessons.

Dr. Paul Thomas, theory professor at Texas Woman’s University, provided the following response to the question “What advice can you give students who will be entering college in the fall to major in music?”: Students should work toward proficiency in the fundamentals of theory. Proficiency implies two aspects: accuracy and speed. Incoming music students should be able to accurately identify pitches in both treble and bass clef, reliably identify and write major and minor key signatures, and fully understand the division of a beat down to the sixteenth note. Accuracy, however, is not enough to achieve proficiency. Students must be able to accurately and quickly identify fundamental music concepts. This means that students must move away from using helpful tricks like “Every Good Boy Does Fine” to find note names and simply be able to identify a note on the third line as a B. For instrumentalists who have little to no singing experience, be aware that all incoming music students, regardless of major instrument, will be required to sight-sing in aural skills courses.

Since many instrumentalists have not sung in class since elementary school, it is recommended that these students, particularly male students, seek out opportunities to strengthen their singing by taking voice lessons, participating in church or community choirs, or simply adding vocal exercises, such as scales or pitch-matching, into their practice regimen.

It is recommended that vocalists learn some basic piano skills. While instrumentalists and pianists can visualize the fingerings of intervals or scales, vocalists do not have that kinesthetic or visual aid when learning fundamental theory concepts. For example, being able to feel how the shape of the hand changes slightly when moving between a major and minor triad can help make theory topics a bit less abstract for those students who do not play an instrument.

While some students feel quite confident in one or more of these areas, it is important to continue to practice them to counteract the attrition of skills and

knowledge from inactivity over the summer. Four music theory websites that Dr. Thomas recommends are: • teoria.com • musictheory.net • lightnote.co • tonesavvy.com If you do not have keyboard skills, it would be helpful to take piano lessons over the summer to help you locate the keys, acquire the skill to read in treble and bass clef simultaneously, and learn the finger patterns for playing scales and chord progressions. Additionally, continue to practice your primary instrument so you are ready for ensemble auditions in the fall.

Commencement of Teaching Career Music teacher educators in colleges and universities across the state experience a sense of satisfaction as their graduates enter music classrooms to commence their teaching career. I believe we need to be mindful that our relationship with our graduates has not terminated; rather, it has been transformed into the role of a mentor.

As graduates apply for teaching positions, we need to be available for career counseling, writing recommendation letters, completing references, answering questions posed by school administrators, encouraging them when they fail to get their dream job, and guiding them as they prepare for their first job.

Once our college graduates sign a contract, we need to encourage them to take advantage of professional development opportunities in the summer that will better prepare them for their new teaching position. Our state offers a wealth of training opportunities at the Texas Choral Directors Association, Texas Orchestra Directors Association, and Texas Bandmasters Association conventions held concurrently at the Henry B. Gonzalez Convention Center in San Antonio, July 26–28. These conventions also provide opportunities to ask advice from veteran teachers and establish a support network.

Region meetings enable new teachers to interact with leadership and colleagues, and to add their contact information to the Region directory (see page 2 for meeting details). Summer also offers the opportunity to acquire additional certifications in Kodály, Orff, Suzuki, or any other applicable areas.

Commencement of College Summer Camps While most elementary and secondary schools close their music programs for at least a portion of the summer, educational opportunities are available throughout the summer on many university campuses.

Summer camps are available for middle school and high school band, choir, and orchestra students throughout the state, and include a myriad of offerings, including student leadership, vocal jazz, strings

COLORING BOOKS & MUSIC LESSON PLANNERS Coloring Books

Southwestern Musician | May 2018 67

techniques, musical theater, mariachi, and many more. Attendance at these camps strengthens students’ level of musicianship and performance skills and gives them exposure to a university setting. All-State camps provide high school students with the opportunity to prepare for All-State auditions while working with a university conductor and performing with students from across the state.

Commencement of Professional Development Universities also offer a number of professional development opportunities for music educators during the summer.

Graduate music education programs are offered on some college campuses in the summer to accommodate teachers whose schedules preclude them from attending during the school year. A variety of workshops are also available, addressing virtually any pedagogical training you might need. Summer workshops also provide an opportunity to interact with colleagues in a more relaxed setting, ask for input regarding specific challenges you have faced in the classroom, and share your expertise with others.

Summer is viewed by many teachers as a time for rest, refreshment, and recreation.

While I agree that each of those elements is important, I also see summer as a time for rekindling the passion for teaching, restoring our warehouse of pedagogical techniques, and reading through repertoire to provide our students with quality literature for performance. What do you plan to learn this summer?

Let summer commence!

2019 Convention Submission Opportunities In addition to submitting clinic proposals, chamber groups and small ensembles can apply to perform in a music showcase at the 2019 convention. There will be three stages for small ensembles of any kind (2 acoustic and 1 allowing amplification).

See www.tmea.org/clinicproposals for complete details on submitting a clinic or music showcase. In the post-convention survey, College Division members identified the following as the most important topics for clinics, in priority order: • teaching methods • rehearsal techniques

• instrument methods • technology integration • recruiting/retention • classroom management • repertoire selection • private lesson strategies • conducting techniques • urban/rural challenges & solutions If you or your students have research interests, please consider sharing those projects at the annual Research Poster Session held at the Clinic/Convention.

Submissions are due October 15. Go to www.tmea.org/papers for details and to complete the online submission.

In addition to proposing a session for the annual Clinic/Convention, I encourage you to submit an article for possible publication in Southwestern Musician.

This could be another great summer growth activity! Like clinics at our convention, articles submitted should be pedagogical in nature, be immediately useful to the membership, and should have appeal across the divisions. See www.tmea.org/ magazine for complete guidelines.

Directed by Dr. Sean Pullen

June 6-9,

2018

Register online at mercury.wtamu.edu/camps | For more information, contact the School of Music at (806) 651-2840 68 Southwestern Musician | May 2018

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