November 2013 Southwestern Musician

SOUTHWESTERN MUSICIAN

NOVEMBER 2013

NOVEMBER 2013

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24 FEATURES

NOVEMBER 2013

12

Technology Works for Me: Waveforms Instead of trying to explain to students how their sound, articulation, or phrasing isn’t quite right, record them and use waveforms to show them precisely what they are doing.

BY HECTOR PEREZ AND STEVE GIOVANONI

24

VOLUME 82 — ISSUE 4

Creating Balance and Blend Much like when a painter blends colors and textures in their creations, when individuals, sections, and the ensemble achieve proper balance, your musical vision can be realized.

BY GREG COUNTRYMAN

On the cover: Adam Sadberry, a senior at Montgomery HS, rehearses with the 2013 All-State 4A Symphonic Band. Photo by Karen Cross.

33

Organic String Playing A former student of Paul Rolland shares the techniques he developed to help students achieve more natural and relaxed posture and playing positions.

BY JOANNE ERWIN

COLUMNS President’s Notes .............................................. 5

by Joe Weir

44

Choosing World Music Repertoire By selecting the right repertoire for listening lessons, your students will be more engaged and excited in learning about the world around them.

BY CHRISTOPHER ROBERTS

Executive Director’s Notes..................... 9

by Robert Floyd Band Notes ............................................................. 17

by Ronnie Rios Orchestra Notes ...............................................29

by Craig Needham Vocal Notes ............................................................38

by Dinah Menger Elementary Notes ...........................................51

by Colleen Riddle

UPDATES TMEA Offers Undergraduate and Graduate Scholarships .........................2 2014 TMEA Clinic/Convention ......................................................................4 College Division Student Essay Contest ................................................... 60

College Notes ......................................................57

by Keith Dye Southwestern Musician | November 2013

1

Editor-in-Chief: Robert Floyd UĂ R\G@tmea.org 512-452-0710, ext. 101 Fax: 512-451-9213

Managing Editor: Karen Cross

kcross@tmea.org 512-452-0710, ext. 107 Fax: 512-451-9213

TMEA Executive Board President: Joe Weir joseph.weir@humble.k12.tx.us 19627 Firesign Drive, Humble, 77346 281-641-7606 – Atascocita HS

President-Elect: Janwin Overstreet-Goode MRYHUVWUHHW JRRGH#ÀVGN QHW 1406 Frontier Lane, Friendswood, 77546 281-482-3413 x 150/Fax: 281-996-2523 – Friendswood HS

Past-President: John Gillian john.gillian@ectorcountyisd.org 3624 Loma Drive, Odessa, 79762 432-413-2266 – Ector County ISD

Band Vice-President: Ronnie Rios ronnierios@yahoo.com 22343 Paloma Blanca Court, Harlingen, 78550 956-427-3600 x 1080 – Harlingen HS

Orchestra Vice-President: Craig Needham Craig.Needham@richardson.k12.tx.us 1600 E Spring Valley Rd, Richardson, 75081-5351 469-593-7028 – Berkner HS

Vocal Vice-President: Dinah Menger d.menger@sbcglobal.net 1305 Westcrest, Arlington, 76013 817-891-1095 – Baylor Univ

Elementary Vice-President: Colleen Riddle criddle@aldine.k12.tx.us 319 E. North Hill Dr., Spring, 77373 281-985-6107 – M.O. Campbell Ed Center

College Vice-President: Keith Dye keith.dye@ttu.edu 6607 Norwood Avenue, Lubbock, 79413 806-742-2270 x 231 – Texas Tech University

TMEA Staff Executive Director: Robert Floyd | UĂ R\G@tmea.org Deputy Director: Frank Coachman | fcoachman@tmea.org Administrative Director: Kay Vanlandingham | kvanlandingham@tmea.org Advertising/Exhibits Manager: Tesa Harding | tesa@tmea.org Membership Manager: Susan Daugherty | susand@tmea.org Administrative Assistant: Rita Ellinger | rellinger@tmea.org Communications Manager: Karen Cross | kcross@tmea.org Financial Manager: Laura Kocian | lkocian@tmea.org Information Technologist: Andrew Denman | adenman@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.

TMEA Offers Undergraduate and Graduate Scholarships Apply by November 15 to be eligible.

Do you teach high school seniors who want to be music educators?

TMEA offers undergraduate scholarships for applicants who enroll in a music degree program at a Texas college or university leading to teacher certification. Scholarships for graduating seniors range from $2,500 up to $15,000. Encourage your best and brightest seniors to apply and submit all supporting materials by November 15.

Graduating Senior Scholarships • Bill Cormack Scholarship: $3,000/year for up to five years • Past-Presidents Memorial Scholarship: $2,500/year for up to five years • Past-Presidents Scholarship: $2,500/year for up to five years • One-year scholarships: $2,500 for one year only

Are you in an undergraduate music education program?

Whether you just started a music education program or are preparing to begin student-teaching, TMEA offers you support. Scholarships for undergraduate music majors (available only to active TMEA college student members) range from $2,000 to $2,500.

One-Year Undergraduate Scholarships • TMEA awards one-year, $2,500 scholarships to current undergraduate students enrolled in a music degree program at a Texas college or university leading to teacher certification.

One-Semester Student-Teacher Scholarships • TMEA awards one-semester, $2,000 scholarships to college student members scheduled to student-teach within the two semesters following the application.

Are you a music teacher continuing your professional growth with graduate study?

TMEA supports its members who are committed to expanding their knowledge and skills through graduate study in music by offering scholarships of $1,250 to $2,500.

One-Year Graduate Study Scholarships • Awarded to graduate students for one year only and range from $1,250 to $2,500.

Go to www.tmea.org/scholarships

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.

6XEVFULSWLRQ UDWHV 2QH <HDU ² 6LQJOH FRSLHV 3HULRGLFDO SRVWDJH SDLG DW $XVWLQ 7; DQG DGGLWLRQDO PDLOLQJ RIĂ&#x20AC;FHV 32670$67(5 6HQG DGGUHVV FKDQJHV WR 6RXWKZHVWHUQ 0XVLFLDQ 3 2 %R[ Austin, TX 78714-0465. Southwestern Musician was founded in 1915 by A.L. Harper. Renamed in 1934 and published by Dr. Clyde Jay Garrett. Published 1941â&#x20AC;&#x201C;47 by Dr. Stella Owsley. Incorporated in 1948 as National by Harlan-Bell Publishers, Inc. Published 1947â&#x20AC;&#x201C;54 by Dr. H. Grady Harlan. Purchased in 1954 by D.O. Wiley. Texas Music Educator was founded in 1936 by Richard J. Dunn and given to the Texas Music (GXFDWRUV $VVRFLDWLRQ ZKRVH RIĂ&#x20AC;FLDO SXEOLFDWLRQ LW KDV EHHQ VLQFH ,Q WKH WZR PDJD]LQHV ZHUH PHUJHG XVLQJ WKH QDPH 6RXWKZHVWHUQ 0XVLFLDQ FRPELQHG ZLWK WKH 7H[DV 0XVLF (GXFDWRU XQGHU WKH editorship of D.O. Wiley, who continued to serve as editor until his retirement in 1963. At that time ownership of both magazines was assumed by TMEA. In August 2004 the TMEA Executive Board changed the name of the publication to Southwestern Musician.

2

Southwestern Musician | November 2013

Competitive Scholarships & Performance Awards

Audition Dates January 25 â&#x20AC;&#x201C; 26, 2014 March 1 â&#x20AC;&#x201C; 2, 2014 (see website for details)

Bachelor of Music Bachelor of Arts Accredited by the National Association of Schools of Music

Music Department Faculty Jason Hoogerhyde, Department Chair

Conducting & Ensembles

Music Literature

Lois Ferrari, Orchestra & Wind Ensemble David Guidi, Jazz Ensemble Kenny Sheppard, Chorale & Southwestern Singers

J. Michael Cooper, Margarett Root Brown Chair in Fine Arts

Strings Keyboard Vincent Lam, piano David Polley, organ Pamela Rossman, piano Kiyoshi Tamagawa, piano David Utterback, piano Robert Warren, piano

David Asbury, guitar Delaine Leonard, harp Steve Kostelnik, guitar Eri Lee Lam, violin Jessica Gilliam-Valls, double bass Tim Washecka, viola Hai Zheng, violoncello

Music Education

Theory & Composition

Lois Ferrari Kenny Sheppard

Jason Hoogerhyde Eileen Meyer Russell Kiyoshi Tamagawa

Voice & Opera Theatre Bruce Cain Kenny Sheppard Nicholas Simpson Dana Zenobi

Woodwinds, Brass & Percussion Anna Carney, clarinet Patrick Creel, horn Susan Douglas, oboe David Guidi, saxophone Adrienne Inglis, flute Kyle Koronka, trumpet Erin Martysz, percussion Eric Stone Miller, bassoon Eileen Meyer Russell, low brass

1001 E. University Ave Georgetown, Texas 78626 (512) 863-1504 music@southwestern.edu www.southwestern.edu/sarofim/music

TMEA CLINIC/CONVENTION Including the TI:ME Music Technology National Conference FEBRUARY 12–15, 2014 • SAN ANTONIO, TEXAS

BAND

The TMEA Clinic/Convention features hundreds of workshops for band, orchestra, vocal, elementary, and college educators, more than 60 performances by the state’s finest musicians, and two exhibit halls with over 1,000 booths.

Clinic Preview Available Online For a preliminary listing of the 300+ clinics offered, go to the convention webpage under the Programs heading. Look to next month’s issue of this magazine as it will include a full schedule preview!

ORCHESTRA

Do You Have a Hotel Reservation?

VOCAL

If you haven’t already, be sure to reserve your hotel room now.

TMEA room blocks sell out quickly (some are already sold out).

TI:ME Preconference Registration Wednesday will feature a full day of music technology clinics. For an additional $50 registration fee, learn even more during this concentration of technology sessions.

ELEMENTARY

Get Ready to Shop

COLLEGE

Get ready for the best deals under one roof with two exhibit halls filled with the latest in music industry goods, services, and much more!

Find out who’s exhibiting by going to the convention webpage.

W W W . T M E A . O R G / C O N V E N T I O N

4

Southwestern Musician | November 2013

Making the difference B Y

J O E

W E I R

A

s we enter into this traditional season of Thanksgiving, I urge you to take time to thank those who are in leadership positions within your Region.

Be supportive of your Region Band, Orchestra, Vocal, Elementary, and College Chairs and your Region Presidents, Vice-Presidents, and Secretaries. We are now heavily into the audition process with just a few more vocal and band rounds to go prior to Area auditions in January. Work with your divisional colleagues to provide a positive and supportive environment for your volunteer Region leadership team and the students they serve. This is easily done by reading and responding to all correspondence, showing up on time to auditions and workshops, and preparing students’ expectations for every level of the process.

Continue to support and mentor young teachers and those who are new to your Region with regard to expectations and procedures. Check in on a new teacher with a simple phone call or email to see how their year is going.

Maintain a sense of appropriateness when approaching leadership with your concerns, and remember that there is a time and place for sharing them. Avoid the habit of making your opinions a priority prior to the start of an audition or workshop. Remember that everyone has an opinion and that we are not always going to agree. Let’s all consider replacing phrases like “I can’t believe this. This isn’t fair. What were you thinking? These cuts are ridiculous!” with phrases like “Great job! I appreciate your time and organization. Thank you for hosting!” and the always welcome “How can I help with the next audition?”

Organizing and hosting auditions and workshops takes quite a bit of time and preparation on the part of our volunteers. Therefore, support the process and your event planners in a positive light, and share your concerns with your leadership at meetings or in follow-up emails that are professional and constructive. Negativity can be infectious and counterproductive. For the sake of our students and our professional relationships, we should all try to avoid being part of that element.

Now is also the time to communicate with your fellow band, choir, and orchestra directors about shared students who are advancing through the

PRESIDENT’S NOTES IMPORTANT DATES November— Make your convention housing reservation online.

November 15—TMEA scholarship application deadline (see page 2 for details).

December 15—All-State dual certification deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 13–14, 2014—Enter All-State student housing requests online.

January 23, 2014—TMEA convention online preregistration deadline.

February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

Students feed off of your passion for teaching and your compassion for their individual needs.

Southwestern Musician | November 2013

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Degree Programs Bachelor of Arts in Music Bachelor of Music in Performance Bachelor of Music (teacher certification)

Performance Opportunities A Cappella Chorus Big Purple Marching Band Concert Band Jazz Combos Jazz Ensemble Opera Percussion Ensemble Steel Drum Band Symphony Orchestra University Chorale Wind Ensemble

Audition Dates Saturday, November 23 Saturday, February 15 Friday-Saturday, February 28 - March 1 Friday/Saturday, April 4-5

Contact Us acu.edu/music 325-674-2199 music@acu.edu 130341-0913

audition process. Remember that students who were entered under the dual certification option must declare the audition path they will follow on or before December 15. One of the two directors must report the final decision to the TMEA office to allow time for the appropriate alternates to be contacted.

As I move through this 30th year in public education, I continue to be thankful for students who care and are eager to learn, supportive friends, family, and colleagues, former students who are now educators and take up leadership roles within our organization, my health, and the ability to serve. Public education isn’t broken; we simply need those with common sense and a desire to support what is right for students and teachers to be in charge of the decision-making.

An arts education focus can and will be the cure for what is broken in many schools across Texas and the nation. Our sense of teamwork from the elementary classroom through middle and high school rehearsal halls and into the college arena is the positive thread that keeps students and adults engaged and connected

within their schools and community from age 5 to 95.

For years I have witnessed the power of music and its effect on the lives of my students, most recently my student Zach. I watched as Zach’s connection with music and our choir sustained him from his suicidal tendencies of freshman year to graduation four years later. This connection with music and the support he received from students and caring teachers made all the difference. At the end of his senior year, Zach wrote a paper entitled “Starting Over.” The following is an excerpt from Zach’s paper that validates the strength of our profession and music as a cure.

When I turned 15 I asked for a guitar for my birthday. This was my first milestone on my way to recovery. I fell in love with music from that point on. In this time, I never put the guitar down. I joined my high school choir at Atascocita in my sophomore year and there I met Mr. Joseph Weir, who knew right from the get-go that I was tone-deaf. He was much too polite to say anything, so he tolerated my singing.

However, one day I picked up my guitar to tune it—I could finally hear pitch! During

a vocal quiz, Mr. Weir heard me sing correctly for the first time, and I’ll never forget the surprise on his face as he praised me aloud.

From that point on, I worked on improving my voice as well as guitar.

During my senior year, around Solo & Ensemble contest time, I was very disappointed in myself for not being something I wasn’t, but Mr. Weir told me something that made me happier than I’ve ever been.

What he told me was that he was proud of me. No words can describe how this made me feel, and I am forever grateful…

It is obvious that music has played a huge part in my health and my heart. I am eternally grateful for my parents and directors for their love and support of the passion I have attained for music.

By showing up every day with a plan, an expectation, at times a dollar from your own pocket for their lunch, and a smile, you are making the difference. Students feed off your passion for teaching and your compassion for their individual needs. For every Zach who finds their way to your program, continue to serve this honorable profession and be thankful.

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Southwestern Musician | November 2013

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n page 44 of the October issue of SOUTHWESTERN MUSICIAN, we printed the contents of a brochure that highlighted critical issues in the implementation of HB 5. TMEA developed this brochure for the Texas Coalition for Quality Arts Education to share with the State Board of Education prior to its September meeting.

That complete brochure is available to download as a PDF from www.tmea.org/HB5issues.

HB 5 is the omnibus education bill passed during the last session that, in part, revised the state’s graduation plans to offer students greater flexibility through implementation of new endorsements, or pathways. The legislature, as you are likely aware, passed the rule writing responsibilities on to the State Board of Education.

At its September meeting the Board members, in collaboration with TEA staff, began to draft some basic philosophies and considerations for the rules to guide the implementation of the new graduation programs. In particular, the State Board is charged with defining what requirements will be included in the five endorsements (those endorsements, or pathways, being Business and Industry, Public Services, Arts and Humanities, STEM, and Multidisciplinary Studies).

TEA staff released a draft of those rules in mid-October, just prior to this

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EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES November— Make your convention housing reservation online.

November 15—TMEA scholarship application deadline (see page 2 for details).

November 19–22—State Board of Education meeting. Submit comments about draft graduation rules to your Board member before this meeting.

December 31—TMEA convention mail/fax preregistration deadline.

January 13–14, 2014—Enter All-State student housing requests online.

January 23, 2014—TMEA convention online preregistration deadline.

February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | November 2013

9

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magazine going to print. To access that draft document go to www.tmea.org/ HB5issues. I encourage you to review those rules and share any of your concerns with me or with your State Board member. To identify your Board member, go to www.fyi.legis.state.tx.us and enter your residential address. Continue to visit www.tmea.org/HB5issues as we will update that page with the latest information.

Implementation Timeline The projected timeline is that the Board will pass the implementation rules in first reading at their November 19–22 meeting and in second and final reading at the January 29–31 meeting. TMEA testified at the SBOE September meeting and has been in contact with TEA staff and numerous Board members these past few weeks, and we will continue to monitor Board actions carefully as the draft rules are vetted. In addition, we have been in contact with the staffs of key legislators who are also watching the activity with interest.

As the brochure we produced indicates, Representative Jimmie Don Aycock, author of HB 5, implored the Board to protect the graduation plan flexibility that was intended by the legislature in passing the bill. Senator Dan Patrick, Chair, Senate Education Committee shared those same sentiments when he addressed the Board in September.

Endorsement Requirements During the September session Board members shared many ideas about what courses should be required in each of the endorsements, and those suggestions now appear in the draft of the rules available for review. Several educational associations, including TMEA, have expressed concern that the draft rules go too far in limiting choice and flexibility for students and parents; hopefully the Board will ultimately support the legislative intent to ensure that students, parents, and local districts have the final say in what courses make up the endorsements.

There does seem to be universal support that four of the seven electives available to students, no matter the endorsement, must be a coherent sequence of courses that are directly associated with the student’s area of interest. If a student wants to pursue Arts and Humanities with a music

emphasis, what will those four coherent sequence courses look like? Answering that question is the challenge before the Board and the local districts, and TMEA is working to protect as much flexibility as possible in this area.

In the current draft rules, students will be able to meet the coherent sequence requirement by enrolling in band, orchestra, or choir for four years. In a skills-based subject such as music, any further experience in a TEKS-based music class would contribute to a higher level of understanding, technical proficiency, and mastery of our discipline, so I believe this policy is defendable. But for some students with an interest in music who do not want to perform or teach, should that coherent sequence include more flexibility to take a business or marketing course? Should a student interested in musical theatre be able to mix and match music and theatre courses in the coherent sequence? These are examples of options that should be available to students that are not supported in current draft rule.

TMEA has received positive reaction to the STEM versus STEAM dialogue mentioned in the brochure. I encourage you to review our STEM versus STEAM webpage, www.tmea.org /stem-steam.

We have begun this dialogue with Board members to identify courses that might meet the coherent sequence in the STEM endorsement. As an example, one district, through project-based learning, is pairing engineering with art courses to stimulate and enhance creativity in the engineering classroom. Unfortunately, the current draft rules would disallow this option to meet the STEM coherent sequence requirement.

The celebrated international physicist Richard Feynman once said, “Scientific creativity is imagination in a straitjacket.

Perhaps the arts can loosen that constraint, to the benefit of all.” I believe the

The Piano Curriculum Series

time has come to elevate this concept past the discussion level for the benefit of all Texas students. TMEA will continue to lobby for this option.

Community and Student Engagement As a part of the state accountability system, HB 5 calls for local districts, through collaboration with a local committee to evaluate nine local programs at both the campus and district levels and submit such a report to TEA by August 8 each year. Each report will be made public.

One of these components is fine arts. I have been getting calls that many districts have already engaged fine arts educators in assisting with developing criteria. I encourage you to begin thinking about the factors you would like to see used to evaluate your music program. I would hope you want to be a part of this process.

Your priorities for your program may be totally different from appointed committee members in your district.

I ask you to share any draft plans your district develops with this office. With your permission we will include your draft plan in a database of sample criteria and make it available on the TMEA website.

In Other News: Elementary Music Instructional Support Program The grant program approved by the Executive Board at its June meeting to provide individual grants up to $800 each to our elementary music programs has proved to be a huge success. Over 650 Elementary Division TMEA members submitted applications, and the grants will be awarded beginning November 15. Our thanks go to many of our music industry sustaining members who provided special pricing on music, instruments, software, and merchandise to enable teachers to take the best advantage of their grant dollars.

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281-240-8290 Southwestern Musician | November 2013 11

Technology Works for Me: Waveforms

by Hector Perez and Steve Giovanoni

I

n our teaching, we often use verbal cues and nonverbal illustrations to communicate the nuances in sound that we want our students to achieve. We tell them to make a block of sound, for example, or we draw a less-than symbol on the board to illustrate the sound shape we want them to make for a crescendo. However we communicate it, our goal is for our students to understand what we want and know how to achieve it.

Even when they do understand what we want, how can they know exactly what they are producing and whether they are responding accurately to our direction? The answer can be found in using waveforms. By using software to record sounds from individuals or groups, you can display their sound waveforms to help clarify and visually reinforce the concepts you are trying to teach. Students can actually see their production of dynamics, articulations, phrasing, and more as it appears on the screen.

As you offer feedback, they can see and hear the results of their performance. By presenting this level of information, you create a better connection through a combination of learning styles— auditory and visual. The best part is that this process can fit into anyone’s teaching with ease (and within a limited budget). There is no need to change how you teach these concepts. This will simply enhance your current practices.

HOW IT’S DONE While there are certainly other approaches and technologies, what we offer here is based on our use of Audacity to record and display these waveforms. Audacity is a free, open-source software program. To get started, you’ll need: 1. A computer that meets Audacity’s system requirements with Audacity downloaded to it (to find the requirements for your computer setup, go to audacity.sourceforge.net/download). If you have concerns about malware or adware when downloading free software, go to Audacity’s FAQ page as they address this concern there.

2. A microphone (we use a Shure KSM-32 condensor mic).

3. A mic-to-USB converter (we use a Blue Icicle Mic [XLR]to-USB converter).

4. A projector you can connect to your computer.

5. While not required, you can download a remote desktop app to a tablet and use it to remote control your computer. This will allow you to move around the room.

For step-by-step details on setting up Audacity and using it to make recordings, see page 15. When you complete the setup 12 Southwestern Musician | November 2013

and successfully record students, you will be able to show them their sound as they create it. We believe there is no better way to achieve student understanding and sensitivity to the very specific objectives we have for sound, articulation, and phrasing.

CONSISTENT SOUND Example 1 shows a whole note that has a clear immediate beginning, a consistent sustain, and a clean release. This is an example of a consistent block of sound.

Example 2 shows a whole note that has no clear start (obvious from the bumpy ridges at the beginning of the waveform). There is no consistent sustain during this note, and the tone flares up to it’s ending. The tail at the end of the sound wave also reveals that the release was not clean.

Example 1

Example 2

ARTICULATION Example 3 shows four quarter notes being performed with a legato articulation. Notice the three indentations but no break in the light blue color of the waveform. This shows that the articulation created the initial attack but did not stop the sound. The sound stayed connected throughout.

Example 4 shows four eighth notes being performed with a staccato articulation (given the four notes are separated, but there is still more note than space). You can also see changes in the waveform from note to note. This indicates an inconsistent articulation.

Example 3

Example 4

Example 7

Example 5 shows four quarter notes being performed with a marcato articulation. Notice the slight accent at the beginning of each note. You can see that each note is also separated.

Example 6 shows four quarter notes being performed with an accent. Notice the emphasis at the beginning of each note. The sound returns to a moderate volume after each accent.

Example 5

Example 8

Example 6

DYNAMICS Example 7 shows a whole note with a crescendo. Notice how the waveform gradually gets wider as the note progresses. You can see how quickly the volume is rising through the use of a waveform.

Example 8 shows a whole note that contains an improperly performed crescendo.

Notice how the note suddenly became softer after the initial start. It remained soft and then quickly became louder, but it never reached a consistent volume. The student simply played as loudly as possible by the end of the note.

Example 9 shows a whole note with an fp and crescendo. You can see the forte beginning that drops down to a piano volume and then smoothly crescendos back to forte. When a fp and crescendo is performed accurately, the waveform will look like a baseball bat.

Example 9

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PHRASING Example 10 shows a four-bar phrase performed with a breath after the second bar. You can clearly see that the phrase was building when the breath broke the flow of the line.

Example 11 shows that same four-bar phrase without a break after the second bar. The light blue is never broken throughout the phrase.

Example 12 shows a complete performance of a march. By zooming in or out, you can show dynamics, phrase contrast, clarity, and form for the entire performance or for just a few seconds.

As you can see even with just a few examples, recording and showing students the waveforms they produce can offer a visual representation that will reinforce your critique. For more information or help with downloading, installing, or using Audacity, email us at giovanoni@rfisd.net or perez@rfisd.net.

Example 10

Example 11

Example 12

Setting Up Audacity The following instructions are based on our use of Audacity. You can find more about setup and use on their website at www.audacity.sourceforge.net/help/.

Note: Twisted Wave and Tonal Energy are two apps with waveform capabilities that you can download to a portable device to allow you to use these techniques at any location.

Input/Output Setup: As a default, Audacity will automatically set the input to built-in mic, if available. You can use a built-in mic or any USB mic. We use an (XLR) mic-to-USB convertor called the Icicle (produced by Blue) that has phantom power so you can turn any mic into a USB mic. It even has input volume (gain) control knob for adjustment and lights up so you know it’s working.

Record Setup: 1. Press Ctrl+P to open the Preferences dialog box and click Devices to select.

2. Under Recording, from the Device dropdown menu, select your recording device.

3. For Channels click the drop-down menu and select “1 (Mono).”

4. Click OK. Display Setup: 1. Press Ctrl+P to open the Preferences dialog box and click Tracks to select.

2. Click the “Automatically fit tracks vertically zoomed” checkbox to activate.

3. Click OK to finalize setup.

Actions: Start Recording Mouse: Click the button with the red circle Keyboard: Press R

Stop Recording Mouse: Click the button with the tan square Keyboard: Press spacebar Playback Mouse: Click the button with the green arrow Keyboard: Press spacebar again Time zoom in Mouse: Choose View from the menu bar and zoom + Keyboard: Ctrl+1 Time zoom out Mouse: Choose View from the menu bar and zoom Keyboard: Ctrl+3 Recording a Comparison Track: 1. Click the Mute button in the frame to the left of the first track (or Crtl+U). Note, the first track will play through the speakers if you do not mute).

2. Press R on the keyboard.

Another track will automatically start recording.

Playing a Portion of the Recording 1. Position the cursor on the waveform where you want to start the playback.

2. Click once and what looks like a bar line will appear.

3. Press spacebar or click on the green arrow under the menu bar to begin playback.

Hector Perez teaches band and music theory, and Steve Giovanoni teaches band, music appreciation, and music theory at Randolph HS. Southwestern Musician | November 2013 15

A U D I T I O N D AT E S S A T U R D AY

F R I D AY

F R I D AY

December 7, 2013

February 7, 2014

February 28, 2014

(VOICE AND K E Y B O A R D O N LY )

( V O I C E O N LY )

( V O I C E O N LY )

S A T U R D AY

S A T U R D AY

February 8, 2014

S A T U R D AY

January 25, 2014

March 1, 2014

Auditions are required of all entering and transferring music majors.

FOR MORE INFORMATION: Baylor University School of Music /NE "EAR 0LACE s 7ACO 48 www.baylor.edu/music and click on â&#x20AC;&#x153;For Prospective Studentsâ&#x20AC;? s -USIC?!DMIT BAYLOR EDU

Enjoy the paradise that is now B Y

R O N N I E

BAND NOTES

R I O S

I

once heard a wise man say, “Paradise is where I am!” I’ve always told myself that this is the right thing to believe because our attitude toward our students depends on it.

Quite often a band director’s attitude can make or break a program’s operations. Our students are constantly watching reactions—to positive and negative circumstances. Given that, each time we respond is a golden opportunity for us to model positive behavior. They are always watching for how we will react. Hence, we must make sure our responses are appropriate and inspiring.

From time to time you might think the grass must be greener on the other side. But what if you are actually in the right place, at the right time, and with the right people? The truth is we have to do the best we can under whatever circumstances we find ourselves. As a younger teacher, I remember hearing directors talk about what other bands had that gave them an advantage, how the skill level of students in another band held their band back, or how a lack of resources and materials were to blame. We need to stop looking for a reason to succeed and be the reason to succeed. Take your corner of the band world and focus on what it takes to succeed!

At times, we might think that moving to a new address will fix everything.

But the truth is we will still be the one reacting to our circumstances. And that is where our attitudes define our programs!

Perhaps the chemistry between associates, parents, or administrators just isn’t right with a new gig. Maybe there was something spectacular in our own backyard but we were too busy looking for greener pastures to realize it. Maybe

It is our responsibility to create an atmosphere of achievement suitable for the level of our students’ skills.

IMPORTANT DATES November—Make your convention housing reservation online.

November 9–10—All-State Jazz judging.

November 15—TMEA scholarship application deadline (see page 2 for details).

December 15—Specialty instrument application postmark deadline.

December 15—All-State dual certification deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 11, 2014—Area Band and Vocal auditions.

January 13–14, 2014—All-State student housing requests entered online.

January 23, 2014—TMEA convention online preregistration deadline.

February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

Southwestern Musician | November 2013 17

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our students are achieving.

Maybe before you walked in the door, your students had never experienced what you’ve brought them. Maybe they learned to love the activity the way they never had before. Maybe the aesthetic value they now enjoy was never before experienced.

We simply cannot confuse skill with effort! It is our responsibility to create an atmosphere of achievement suitable for the level of our students’ skills. Yes, students will rise to the level of our expectations. And not being named the next champion in your world doesn’t mean your program is ready to be traded in for another.

We have one group of students, and we owe it to them every day to be our very best.

2014 Clinic/Convention Update As many of you did last year, remember to take a moment to preregister online if you haven’t already. It’s the simplest way to complete your convention registration!

Go to www.tmea.org/convention for more information. If you haven’t yet, be sure to make your hotel reservation through

the discounted TMEA housing system that opened October 1. Some of our hotel blocks have already sold out, so don’t wait any longer! You can find the link to housing from the convention webpage.

I’m excited to share details about our Honor Bands that will be performing during our convention. Directors and students are working hard to prepare for their performances, and we need to support them by attending the Honor Band concerts during the convention. Next month’s issue of the magazine will include a full convention schedule preview, so be sure to take note of their performance schedule. In January, we will feature our invited university bands and high school jazz band.

2C Honor Band Clark MS Symphonic Band Benjamin Katz, Director In the fall of 2000, Clark MS (Frisco ISD) opened with a total school enrollment of over 700 students in grades 6–8 and grew to over 900 students by 2006, with 318 students in band. In 2007, however, a new school opened, reducing

Clark’s band program to 75 students.

In that same year, Benjamin Katz began his role as the head band director, and he has consistently increased the band enrollment to its current total of 365 students—approximately 45% of Clark’s total student enrollment. Consequently, the Clark MS Band is now the largest band in the history of Frisco, including both middle and high school.

Prior to winning the CC Middle School Honor Band Award in 2013, the Clark Symphonic Band finished second in 2011 and fourth in 2009. For the past six years, the Symphonic Band has earned the Most Outstanding Band of the Day at the Peak Music Festival in Denton.

Clark’s performance schedule includes the UIL Concert and Sightreading Contest; a Spring Music Festival; fall, winter, and spring concerts; an elementary tour; and pep rallies and football games. Students audition for membership in the AllRegion Band and perform at Solo and Ensemble Contest.

The Clark MS Band strives to ensure its students’ success at playing an instrument, performing music, and continuing

Southwestern Musician | November 2013 19

D E PA RT M E N T O F M U S I C

UT ARLINGTON ADMISSION AND SCHOLARSHIP

AUDITIONS UNDERGRADUATE

For winds, strings, percussion, and keyboard: Q

Saturday, March 1, 2014

For voice:

Saturday, February 22, 2014 Q Saturday, March 1, 2014 Q Saturday, April 5, 2014

Q

(non-scholarship)

GRADUATE

For all instruments and voice: Q

Saturday, February 22, 2014

Alternate dates by appointment

For applications and more information, visit

www.uta.edu/music

Clark MS Symphonic Band

Artie Henry MS Honor Band

C.H. Yoe HS Band

Cedar Park HS Honor Band Southwestern Musician | November 2013 21

at Centennial HS. But, most importantly, the program develops students’ lifelong passion for music and the ability to express that passion.

3C Honor Band Artie Henry MS Honor Band Robert Herrings, Director Artie Henry MS is in Leander ISD, located just northwest of Austin. The band program at Henry MS serves more than 375 students, with sixth-grade beginning band classes in a homogeneous setting, and seventh and eighth graders enrolled in one of three performing bands.

Since the school opened, the Artie Henry bands have been consistent UIL Sweepstakes award winners, and they have been well-represented at Solo and Ensemble Contest, as well as at TMEA Region Band and Region Orchestra auditions. Under the direction of Robert Herrings, Ryan Straten, Christina Wishart, and Hector Gil, the bands have earned numerous honors and awards at festivals throughout Texas. In 2008, the band was invited to perform at the Western International Band Clinic in Seattle, and they have been invited to perform there again this month. In 2009, the HMS Band Program was named 2010 TMEA CCC Honor Band, and in 2010 and 2012 they were invited to perform at the Midwest International Band and Orchestra Clinic. In 2011 they were awarded the John Philip Sousa Foundation

Sudler Silver Cup Award.

To improve their skills and musicianship, all students attend weekly section rehearsals, and many students take advantage of the opportunity for private lessons through the LISD private lesson program. In addition to their involvement in band activities, HMS band students are also active in many other school activities. Through the dedicated work of many individuals, the program has built a tradition of success that has flourished within the school and in the community.

2A Honor Band C.H. Yoe HS Band Steven Moss, Director The C.H. Yoe HS Band is part of the Cameron ISD band program, which includes students from grades 6–12 and boasts an enrollment of approximately 400 musicians. Over 125 are in the high school band. The four band directors on staff teach two competing high school concert bands, two competing junior high concert bands, and one beginner band split into homogeneous classes throughout the day. The C.H. Yoe HS Band is a consistent UIL Sweepstakes award winner. For the first time in the history of the school, the Marching Yoemen Band qualified for the UIL State Marching Band Contest in 2011 and earned the bronze medal.

In addition to winning the 2013–2014 TMEA Honor Band competition, the

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www.Jair Klarfeld Music.com 22 Southwestern Musician | November 2013

C.H. Yoe HS Wind Symphony won the 2013 ATSSB OPS concert selection contest with their performance of “A Festival Prelude” by Alfred Reed. The director of bands for Cameron ISD is Steven H. Moss and is assisted by Craig George, Suzanne Charney, and Nestor Rios.

Under Moss’s direction, the C.H. Yoe HS Band has performed at Walt Disney World, the World War II Memorial in Washington D.C., The Intrepid Air and Space Museum in New York, the Houston Livestock Show parade, and the opening ceremonies for the Houston Astros.

Cameron ISD Superintendent is Collin Clark, C.H. Yoe HS Principal is Kenneth Driska Jr., and Cameron JH Principal is Missi Giesenchlag.

4A Honor Band Cedar Park HS Honor Band Steve Wessels, Director Cedar Park HS in Leander ISD is located just northwest of Austin. The band family at Cedar Park HS consists of 200 students in grades 9–12 in one of four performing bands. Through the leadership of Principal Barbara Spelman, Cedar Park HS is a school successful in all areas.

Cedar Park bands have been consistent UIL Sweepstakes award winners, finalists in the TMEA Honor Band process, and have been well-represented at Solo and Ensemble contest, TMEA Region, Area, and All-State auditions. With directors Steve Wessels, Evan VanDoren, and Roland Chavez, the bands have participated in numerous concert band festivals with much success. The band program is excited to have Jason Robb join the staff in an exciting team teaching environment.

In the marching band arena, the band is a consistent finalist in BOA Regionals and Super Regional Marching contests, and was a BOA 2010 Grand National Championship finalist. In 2006 the band was awarded the Sudler Shield Award.

The band was also the 2001 and 2011 UIL 4A State Marching Band Champion.

The Cedar Park HS Band owes much of its success to the fine teaching from the Cedar Park MS band program and its directors. From middle to high school, students participate in the LISD private lesson program with high quality instructors who perform and teach in the Austin area. In addition to their involvement in band activities, CPHS band students are also active in other school activities.

TCU Director of Chorale Studies, Dennis Shrock conducts the TCU Concert Chorale in Fort Worthâ&#x20AC;&#x2122;s St. Stephen Presbyterian Church

PerformCreate

Creating Balance and Blend

by Greg Countryman

E

nsemble balance must begin with individual students producing characteristic tone qualities on their instruments.

Once this is accomplished, individuals can learn to match and balance with the other students in their section, then across sections, and finally throughout the entire ensemble. It is through a concrete and sequential approach to teaching balance that this can be achieved.

Characteristic Tone Quality While it is an obvious prerequisite to producing a characteristic sound, it is still worth mentioning that students must first possess necessary fundamental skills. These include a correct embouchure and a clear understanding of how to get air in and out of their bodies efficiently and effectively to produce the most resonant tone quality possible. Directors must teach students to recognize characteristic and uncharacteristic sounds for their instrument by playing recordings for the students or utilizing the teacher or another student as models. Throughout this instruction, provide examples of the vocabulary you will use to describe tone qualities so that students can begin to incorporate this vocabulary into their own descriptions. Ask students to comment on the tone quality of the ensemble or an individual to help reinforce these concepts. Use descriptors such as bright, dark, thin, full, focused, unfocused, resonant, and lacking resonance.

Matching Person to Person Students must learn to match person to person within their section to create a balanced and unified section sound—comprising one big sound rather than multiple individual sounds. The students should match tone quality, body of sound, tonal energy, volume, and resonance. This should first be taught in section rehearsals using the exercises described below.

Concert F Down the Row: Each student plays a four-count concert F, and it is passed down the row from person to person.

In this exercise, each student starts their note as the previous student ends their note, so there is no overlap from student to student. This is an opportune time to discuss how notes should 24 Southwestern Musician | November 2013

begin and end, as well as how they are passed seamlessly from one player to another.

Overlapping Concert F Down the Row: Each student plays an eight-count concert F with the next student starting their note on count five of the previous student’s note. Each student is always playing with another person, but the partner changes every four counts (see below). This exercise allows students to work on matching the tone characteristics previously mentioned and also makes them more aware of intonation since they are now playing with another student. The ultimate goal is for the concert F to sound the same as it is passed from player to player throughout an entire section.

Player 1: | X | X | Player 2: | X | X | Player 3: | X | X | Trios: Students must learn to match within their trio, which consists of a student and each student on either side of them. If they play louder than the other members of their trio, they are listening only to themselves. If they play softer than the other members of their trio, they are listening only to the other two students. If they play the same as the other members, they are listening to themselves as well as the other two members of their trio. Since these trios overlap, a student on one side of the room could theoretically match a student on the other side of the room through the overlapping trios between the two of them.

Pedals: Using pedal tones is an effective method for introducing matching when students have harmony. Designate each student as a 1 or 2, alternating as you go down the row. It is best to start with an interval of a perfect fifth (concert F and the concert B C below the F). All 1s will start on the concert F (the pedal) and serve as a model for the 2s, who will join them playing the concert B C. So all students have experience holding the pedal and also matching to the pedal, alternate the assignments for 1s and 2s

T

@ TT

T

TT

@T

@ TT

daily. After students are comfortable with matching the two notes of the interval, then discuss the tuning tendencies necessary to make the various intervals (perfect fifth, perfect fourth, and major third) sound correct.

Balancing Section to Section When introducing the concept of balancing section to section, it is best to play unison lines that either descend or ascend in half-steps (e.g., F-E-F, E-E C-E) or a scale (concert F descending). Initially, have students listen across the room to another instrument. Next, give specific balance assignments (e.g., balance to the oboe, balance to the trumpet) so that students become accustomed to listening and balancing to a variety of instruments. The last step is to have them match intervals through the use of pedals on their assigned numbers. Basic brass lip slurs are an excellent source of material for teaching interval matching to the full ensemble. When students have learned to play perfect fifths, perfect fourths, major thirds, and octaves balanced and in-tune, the ensemble will have much better clarity and chordal structure.

• Some nice textures and colors can be created by balancing to the color instruments (oboe, bassoon, piccolo), but only when there are strong players on these instruments.

• The power of the brass must come from the trumpet, horn, and trombone. When euphoniums and tubas play with the same aggressiveness as the other brass, they lose the center, focus, and resonance in their sound.

Trumpet, horn, and trombone are volume instruments in that they are often directed to crank it up. The

euphonium and tuba are volume instruments that provide a mass or body of sound.

• Battery percussion instruments (snare drum, bass drum, concert toms, etc.) should usually balance to and play inside the sound of the ensemble.

• Effects percussion instruments (triangle, tambourine, cymbals, etc.) are usually above the sound of the ensemble.

• Bass drum should not be louder than the timpani or tuba. Bass drum

SAM HOUSTON STATE UNIVERSITY

SCHOOL MUSIC

Specific Balance Guidelines for Various Instrument Combinations The skills developed while learning to match person to person and balancing section to section will improve the ensemble sound and automatically transfer to the music being learned. In addition to the individual, section, and ensemble skills discussed previously, the following guidelines pertain to balancing various combinations of instruments. Keep in mind that these are only guidelines; there may be situations where it is appropriate to deviate to create a certain color or effect:

OF

1751 Avenue I, Suite 225 Huntsville, TX 77340 936-294-1360 SHSU School of Music

• Flutes should balance to the trumpets when they have unison melodies.

• Flutes should balance to the clarinets when the flutes are an octave above the clarinets.

• Clarinets should balance to the flutes when they are in the same octave.

• Alto saxophones should balance to the horn when they have unison lines.

Apply Online at WWW.SHSU.EDU/MUSIC

• Low woodwinds should balance to the low brass when they have similar lines.

Southwestern Musician | November 2013 25

WANDA L. BASS SCHOOL OF MUSIC

6 1 & - 15

r e b m e v 8 & No 7 y r a u r 8 Feb & 7 h c r a M TO SCHEDULE AN AUDITION:

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is a non-pitched instrument and it will cancel or distort the pitch if it is louder than these pitched instruments.

Layering to Achieve Correct Ensemble Balance Layering is the best method for teaching students the priority of various lines in the music. To be efficient and effective, the director must study and mark the score, designating the most important to the least important lines. In rehearsal, have the most important line play while the other students listen and finger their parts. Next, add the second most important line and instruct students to ensure they arenâ&#x20AC;&#x2122;t louder than the most important part. Keep adding lines until everyone is playing. As more lines are added, students need to be able to hear each line and achieve balance according to their assigned priority. Layering in this manner helps the ensemble not become noisyâ&#x20AC;&#x201D; this occurs when various lines compete with each other. A noisy ensemble balance confuses listeners because it isnâ&#x20AC;&#x2122;t obvious which lines are the most important.

Producing a characteristic tone quality should be the main goal from the first day a student makes a sound on their instrument.

It Can Start in Beginning Band Producing a characteristic tone quality should be the main goal from the first day a student makes a sound on their instrument. It is possible to teach students to match person to person during their first year of playing an instrument. It may not be possible to use the same procedures described in this article, but discussing matching of volume with their neighbors will lay a good foundation for the more advanced matching and listening skills they will learn in the future.

The individual, section, and ensemble skills discussed will never be perfectly mastered; they are skills students will continue to refine for many years. Using a sequential approach to teaching ensemble balance allows the students to focus on developing one skill at a time and then gradually combining the various skills. Students taught in this manner are able to eventually adjust

balance as they perform without continuous input from the director. Keep in mind that balance and blend are directly related to intonation. Adjusting balance within or between sections will automatically improve the section and ensemble intonation. Correct balance creates better clarity and makes it easier for the director and students to hear; however, the intonation also improves because the students are becoming better listeners.

When we work on ensemble balance, we are essentially trying to achieve a variety of tonal colors or textures by changing or adjusting balance assignments. Just as a painter mixes colors to create certain visual effects, musicians combine instrumental tone colors to create a variety of sounds and textures.

Greg Countryman is Director of Bands at Fort Settlement MS, Fort Bend ISD.

Southwestern Musician | November 2013 27

Become a better farmer B Y

C R A I G

N E E D H A M

I

recently read the following quick fix analogy in Brian Wis’s book 25 Things About Music Teaching and Education: In the middle of winter, a man has all of his house windows open, so naturally the house is cold. But rather than take the time to shut the windows before leaving for work, he simply turns up the heat. He figures that it takes less time to raise the thermostat than to shut all the windows.

Like this man, we often choose a quick fix, like cranking the heat, rather than taking the time to solve a core problem.

Both my parents grew up on farms, but they raised my siblings and me in the “big city” (Amarillo). We were all exposed as youngsters to rural life, with its self-reliance, dangers, risks, and rewards. Farmers must begin with the end in mind or they won’t survive. To reap a bountiful harvest, there is a heavy investment of time and resources in fundamentals such as soil preparation, planting, fertilization, weed and pest control, and water application. The farmer knows there are no shortcuts, and if they wish to make a crop, they dare not skip any steps.

So it goes with teaching. When a section in one of our groups has a fundamental intonation problem, we might choose to dress it up, disguise it, or attempt to hide the problem to sound good on the rapidly approaching concert.

The ensemble may sound great on the concert, but, chances are, the problem persists. Instead of shutting the windows, we cranked up the heat.

Do you want to see real growth in your musicians, or do you just want them to sound good in concerts? There is a difference. Just like with the farmer, real growth comes from an investment of time, energy, and resources. If you skip any steps, you may gain a short-term victory, but you are losing the long-term battle. If you don’t have time during each rehearsal to work on the growth of your musicians and spend time away from the concert music, then you have over-programmed. It’s as simple as that.

Take the time to shut the windows. Invest time in fixing root problems, and

ORCHESTRA NOTES IMPORTANT DATES November—Make your convention housing reservation online.

November 9–10—First and second rounds of All-State CD judging.

November 15—TMEA scholarship application deadline (see page 2 for details).

December 15—Specialty instrument application postmark deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 13–14—Enter All-State student housing online.

January 23, 2014—TMEA convention online preregistration deadline.

February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

Just like with the farmer, real growth comes from an investment of time, energy, and resources.

Southwestern Musician | November 2013 29

learn from the farmer by cultivating your orchestra so that you may reap a bountiful musical harvest!

2014 Clinic/Convention Update As our annual convention nears, I hope you have taken the opportunity to preregister and to make your hotel reservations.

Go to www.tmea.org/convention for details, and look to the December issue of SOUTHWESTERN MUSICIAN for a full preview of the convention schedule.

I am pleased to present information about three of our four Honor Orchestras that will be in performance during the convention. The HS String Honor Orchestra will be featured in the January issue. Enjoy learning more about them and be sure to support them with your attendance at their concerts during our convention.

MS/JH String Honor Orchestra Fowler MS Advanced Symphonic Orchestra Karina Flores Lindsey, Director Located in Plano, Fowler MS (2C) opened in 2007 and is a part of the Frisco ISD. Orchestra Director Karina Flores Lindsey proudly serves the largest music program in Frisco ISD with over 200 students enrolled in the orchestra. Every student in the Fowler orchestra program performs four concerts a year and at least one music festival. The Fowler orchestras (sub-non-varsity, non-varsity, and varsity), have achieved consecutive Sweepstakes awards at UIL Concert and Sightreading Contest and have annually received the highest honors at Sandy Lake Festival, Pride of Texas Music Festival, and Peak Music Festival. Since its first year, Fowler students have had the most members in All-Region 24 Orchestras.

Last year over 60 students were accepted from Fowler. The most elite group of the Fowler Orchestras is the Advanced Symphonic Orchestra whose members are a mix of seventh and eighth graders. The Advanced Symphonic students placed in the finals for the 2012 and 2013 TMEA MS/JH String Honor Orchestra.

Students in the Advanced Symphonic perform every other year in the Fowler Symphony and were named TMEA MS/ JH Full Honor Orchestra for 2013. These numerous achievements would not have been possible without the support of the administrators, parents, Frisco community, and private teachers. Many thanks go to Assistant Orchestra Directors Marina Glava and Yumiko Schlaffer.

MS/JH Full Honor Orchestra Robinson MS Full Orchestra Mary Havenstrite, Director Robinson MS in Plano ISD has an enrollment of 940 students in grades 6–8.

Robinson exceeded the Texas accountability standards and earned distinction for outstanding academic achievement in reading and math. Seventy-five percent of the students participate in band, choir, or orchestra, making the music department the largest on the Robinson campus. The Robinson bands and orchestras each average between 200–250 students.

The orchestra program includes three beginning classes, four upper-level performing ensembles, and a jazz ensemble for strings. The band program consists of seven beginning classes, three performing groups, and a jazz band. The Robinson bands and orchestras consistently earn the highest ratings at the UIL festival.

The Robinson Full Orchestra was formed in 2009 and is jointly conducted

by Mary Havenstrite, Orchestra Director,

Kimberly Hernandez, Band Director, and Jason Duck, Associate Band Director.

The group meets in the spring and combines the Chamber Orchestra with select members of the Robinson Band. Since its formation, the Full Orchestra has been a yearly finalist in the TMEA Honor Orchestra competition. The Robinson Chamber Orchestra is also proud to have been a TMEA Honor Orchestra finalist in 2000, 2001, 2007, 2011, 2013, and 2014.

In 2009 they were named the TMEA MS/ JH String Honor Orchestra.

The Robinson Full Orchestra is a true labor of love and represents the camaraderie of the Robinson music department, the extraordinary talent of its students, and their tireless dedication to the art of music-making. At Robinson we expect the remarkable and play because we love it.

HS Full Honor Orchestra Jasper HS Symphony Ryan Ross, Director The Jasper Symphony Orchestra is the product of a harmonious partnership between the string and band programs at Jasper HS, a grade 9–10

Do you have students interested in music business?

Since 1990, the Texas Music Office in the Governor’s Office has provided Texans of all ages with accurate, unbiased information about our state’s music industry.

The TMO’s website, EnjoyTexasMusic.com, lists more than 18,000 Texas music business contacts, as well as many helpful teaching aids and a complete descirption of the 145 Texas colleges offering music and music business degrees.

The TMO: Your resource for teaching the business behind the notes.

Texas Music Office, Office of the Governor P.O. Box 13246, Austin, TX 78711 (512) 463-6666 music@governor.state.tx.us EnjoyTexasMusic.com Southwestern Musician | November 2013 31

campus in Plano ISD. Each program has a track record of success at UIL contests and at various festivals across the state.

Since 2001, the Legacy String Orchestra has placed as a finalist 10 times in the TMEA String Honor Orchestra competition, most recently in 2013, and that orchestra was also named winner of the 2013 American Prize in Orchestral Performance. Similarly, the Jasper Wind Ensemble has been named a National

Winner in the National Wind Band Honors competitions.

The students of the Jasper Symphony pursue a rigorous academic course load in addition to their musical studies. Every symphony student is enrolled in AP or Pre-AP classes, and the band and orchestra programs claim over 15 club and organization presidents. In addition to regular membership in the Region 25 All-Region Orchestra and Band, numerous string,

wind, and percussion students also routinely earn membership in Texas All-State ensembles and youth orchestras across the area.

Jasper feeds into Plano West Senior HS, and it is fed by Rice and Robinson MS. The Jasper orchestra program is led

by Ryan Ross, with associate director Brad Davis, and the Jasper bands are led

by Jackie Digby, with associate director Charley Hendrix.

Fowler MS Advanced Symphonic Orchestra

Robinson MS Full Orchestra

Jasper HS Symphony 32 Southwestern Musician | November 2013

Organic String Playing

A

by Joanne Erwin

s a young string player in central Illinois in the midhaving the violinists and violists stand and lift their instruments 1960s, I attended the University of Illinois Summer up in the statue of liberty pose and then turn the instrument into Youth Music Camp. Unknown to me, the great string their neck with the button in the center and rest their head down pedagogue Paul Rolland was conducting research at works every time. Setting the cellists’ sitting posture and then the camp. My friends were taken to an off-camp location to be bringing the instrument in toward the body also is effective. The video-recorded playing specific music. They didn’t think much next step of strumming across the strings with the left hand little of it at the time, but the videos that we in the string pedagogy finger to establish the height of the left arm and hand is fun for profession use today to prepare teachers includes the remedial the students. The teacher can play a tune while the class develops training example of these students. When I show these videos, a steady beat. they bring back fond memories for me.

When my college pedagogy students first view the videos that Fast-forward several years, and I had the great fortune to attend Rolland produced of his teaching, they laugh at the children in the University of Illinois as a student. The team of faculty who their movements as they play. Rolland had the students bend their helped Paul Rolland with his work taught my string methods knees during rests, walk in circles as they play, and throw their courses, and I had Mr. Rolland himself for String Pedagogy. To arms out during rests. His obvious point was to move and release have experienced this approach under his guidance was extremely tight postures. His common mantra in class was, “If it is stiff, special. move it!” That referred to any part of the body.

Upon his arrival to the United States, Rolland was struck by So after setting the instrument position, large circular strumthe awkwardness he noticed in young string players he began ming of the right hand is done to set the angle of the right arm in teaching. In his previous experience, his students were quite free bowing. Terms used in the holding of the bow included “spongein their dance classes. So he began his journey of studying the like fingers.” He constantly checked the tightness of fingers by motion of string players. Through the work of motion study, he having the students tap the bow and turn the bow out to check shed light on common string player problems—stiffening of the the bend and flexibility of the bow thumb. This was done on a whole bow arm when the right hand is stiff and how clutching regular basis through all classes, not just in the introduction of the neck of the instrument immobilizes the left hand. To resolve the bow hold. these issues and more, he worked with players to move from a Left hand setup was based on motion also. After strumming forced, regulated movement to habits that are more organic and across the strings, students would pluck single strings with their natural. little finger. This estabThe motion studlished arm position Setting up position from the statue of liberty pose ies are an integral and developed some part of how I play and strength in the backteach. When I present side of the hand. Finger an instrument to a stutapping was utilized in dent, I follow the steps the rest or guitar posias outlined by Rolland in tion of the instrument.

Teaching of Action in String The thumb would tap Playing. The process of its place across the neck Southwestern Musician | November 2013 33

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from the large knuckles. Rolland was not an advocate for a rigid placement of the thumb, as it depended on the individual hand shape. The only restriction was to not have it under the neck stiffly holding up the violin. Cellists would tap their thumb under the neck, however.

Rolland was a leader in setting the pitch of the left hand with the use of the octave instead of open string to the first finger.

He found the first finger approach to encourage the grabbing of the neck with the left hand. In Rollandâ&#x20AC;&#x2122;s classes the student would place three fingers on a violin string and match it to the neighboring lower string. Cellists would use the fourth finger. After establishing the octave, the student would hug the third finger with the second finger and then pull the first finger back into place. He did not believe in markings on the fingerboard except for the octave placement. This landmark spot is also one that works well when moving into shifting activities. Students would play a tune pizzacato style until the fingers were secure, then the bow would be added.

A wonderful aspect of his work was the commissioning of music that progressed with specific technical and pitch placement on the instrument. The tunes were written by Stanley Fletcher, a colleague on the University of Illinois faculty. The open string â&#x20AC;&#x153;Hoedownâ&#x20AC;? is one I use regularly and find that when the students play it at home it helps them tune their instrument. They become accustomed to the tonal sequence of the fifths and know if their string is out of tune. Another early tune, â&#x20AC;&#x153;March,â&#x20AC;? is useful in establishing the octave. It is played in a strong marcato style of bow with the octave jumps using all strings so it covers the whole instrument. Rolland did not stick to the D string for an extended period of time, but rocked the bow across strings.

Bow flexibility was developed in silent exercises such as rock-and-roll and liftand-place. These large actions encouraged flexibility in the studentsâ&#x20AC;&#x2122; bow arms.

Rock-and-roll highlighted looseness in the bow arm joints. The lift and place would be executed in all parts of the bow; for example, lift at the frog, place at the tip, and the other way around. Some of the music Fletcher wrote utilizes interesting bowing techniques such as tremolo and ponticello to allow the student to explore new sounds with the instrument.

This exploration also leads to more tonal awareness and better bow control.

His desire for the organic rather than forced production of sound would be a result of the exploration.

Rollandâ&#x20AC;&#x2122;s classes were primarily homogeneous. He did prepare material for the cello and bass, but the majority of his work was directed

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Southwestern Musician | November 2013 35

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to violin. He believed the student would have a better sense of pulse and rhythm if the whole body experienced it. Classes were often stepping to the pulse of music with the instrument or without.

Another key principle was that of balance. The posture should be balanced on both feet. The left hand should be balanced on the fingerboard with the elbow free to swing below the fingerboard.

The bow arm should be balanced, with the elbow suspended at the level of the stick and adjusting as the stick adjusted. When big motions were made away from the body with the bow, there was a specific reaction just as an athlete makes in response to a large arm motion.

To balance the action, the body needs to move away from the direction the right arm went. To develop the extended bow stroke, the student would swing the violin case in a line to feel the opening of the arm joints and the reacting body weight adjustment.

Rolland believed vibrato was established with the initial placement of the left hand on the instrument. The sliding of the hand in contact with the sides of the neck showed the student that grabbing was not necessary, and the hand would move in that direction later for vibrato.

If the hand was balanced as additional notes were learned, vibrato was a natural result. The shifting up to the octave harmonic in the first months of playing also worked on the direction and angle of the arm in vibrato and shifting. The harmonic does not speak unless the bow is straight and firm on the string, so tone is also improved with this technique at an early stage.

I have found that the action studies are a wonderful addition to string classes at

Balanced bow arm

any level. They free the body and allow for more natural string playing. When done in the early stages of learning, the student establishes a solid foundation. If introduced in an intermediate class, the students find a freedom that may have eluded them in their intense desire to play well.

Rollandâ&#x20AC;&#x2122;s principles have lasted throughout time and with the development of countless string players. As teachers and players, we have benefited from this scientific analysis for a more free, joyful and organic approach to playing stringed instruments.

Joanne Erwin is Professor of Music Education at Oberlin Conservatory of Music and is the 2014 Orchestra Division Featured Clinician.

Special thanks to Grace Song, a junior at Westwood HS (Round Rock ISD), for demonstrating techniques detailed in this article.

REFERENCES Rolland, P. (1974). Teaching of Action in String Playing. Illinois String Research Associates. Urbana, IL.

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Saturday, February 1, 2014 Saturday, February 22, 2014

Regional Auditions

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Friday, January 17, 2014 (Chicago) Friday, January 17, 2014 (Los Angeles)

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Can’t see the forest for the trees B Y

VOCAL NOTES IMPORTANT DATES November—Make your convention housing reservation online.

November 15—TMEA scholarship application deadline (see page 2 for details).

December 15—All-State dual certification deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 11, 2014—Area auditions.

January 13–14, 2014—Enter All-State student housing requests online.

January 23, 2014—TMEA convention online preregistration deadline.

February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

38 Southwestern Musician | November 2013

D I N A H

M E N G E R

O

ur job is a people job. Dealing with students, colleagues, parents, and administrators can be challenging. Our programs depend on relationships built with our choristers. The fact that our success as respected directors rests on the performances of the amateur singers who decide to take choir can be daunting. When everything is percolating and working well, it is stimulating—the creative atmosphere can be so invigorating. When problems arise or conflicts creep into the picture, it is easy to slip into a state of negativity. What do you do in these situations?

If you are like me, you spend hours mulling over that one student who “got away” or quit your program. When you hear about a parent who criticized your efforts or spoke to you heatedly, it takes days to right your attitude and forge ahead. You are not alone. As choir directors, it goes without saying that you are very driven. You are harder on yourself than anyone else would ever dream of being. You are typically the first one to try to fix things and you shoulder the blame. This heavy sense of self-imposed duty comes with your talent and artistic spirit.

As a passionate teacher, you want to take care of every singer who walks in your choir room, and you beat yourself up when not all of them stay. What could you have done differently for this student? Why is this or that parent mad?

Could you have done more? It’s very easy to develop tunnel vision, seeing only the trees and forgetting the forest.

How do you combat that tunnel vision? Sometimes it simply takes a stern self-talk to clear your head and forge onward. If this doesn’t work, try making a list of the students who have fallen through the cracks. Then make a list of the students who are constant in their work ethic and attitude. Simply writing down the names of those students will render a smile. When comparing the lists, the

In expending so much energy and sleepless nights on a few students or parents, you are taking attention away from the students and parents who support you and strive for success.

names of those you worry about are likely to be far fewer than your reliable troops.

In expending so much energy and sleepless nights on those few students or parents, you are taking attention away from the students and parents who support you and strive for success.

Often, when experiencing a conflict with a student, we know very little about their background or life situation that could be the cause of their behavior.

Before taking it personally when a student acts out or causes problems, take a mental step back and don’t react dramatically. You may or may not be able to ease the issue at hand. If it is a choir matter, use your common sense, know-how, and patience to come up with a solution. Sometimes a student simply doesn’t want to cooperate.

This is when you may have to let go.

As you ref lect on this, remember the hundreds of choristers who would do anything for you and for their place in your heart. They work hard, usually unnoticed, and are the first to arrive and the last to leave. Many are quiet and unassuming. Some aren’t the most talented students you teach. Their willingness to try, to remain in your program, and to

give of their time is all you need. Look at them. They are the forest!

2014 TMEA Clinic/Convention Update The 2014 convention is going to be the educational, musical, and social event of the season! This is a perfect time to visit with colleagues, share challenges, and encourage others. We can provide a positive breath of fresh air and support for each other. Be sure that you’ve preregistered for the convention and have made your hotel reservation as our room blocks fill up quickly. For this and more, go to www.tmea.org/convention.

One of the convention highlights

continues to be the great concerts in which we can all support our friends in their TMEA performances. I am proud to introduce some of our choirs this month. Look to the January issue for the rest of our invited choirs, and you’ll find all of their performances in the schedule preview that will be in the December issue.

Vista Ridge HS Chorale Steve White, Director The Vista Ridge HS Chorale is proud to be the first mixed choir representing Central Texas in performance at a TMEA convention in over two decades. VRHS

With over 300 clinics from which to choose, attending the 2014 TMEA Clinic/Convention will increase your teaching effectiveness and efficiency. Preregister now!

W W W.T ME A . O R G / C O N V E N T IO N

Southwestern Musician | November 2013 39

opened in 2003 as the third high school in the Leander ISD and has a student population of over 2,000. The choir department includes 225 singers in six performing choirs. The flagship ensemble, the Chorale, consists of 60 singers in grades 10–12, and they are known for their innovative programming. These singers are ethnically diverse and are leaders in many other campus organizations. Steve White, in his 16th year as the Vista Ridge HS Chorale conductor, is proud to work with his new Associate Director, Becky

Azard-Jackson. White is quickly gaining a reputation for innovative programming and engaging performances. A native of Paris, Texas, he was convinced to pursue music by his high school choir director and mentor, Patricia Fowzer. White received his bachelor’s and master’s degrees from the University of Texas at Austin, where he studied with Craig Hella Johnson. He has performed with various Central Texas music companies since 1991 and remains involved with the Victoria Bach Festival and Conspirare.

Garland HS Acappella Women Cheryl Wilson, Director The Acappella Women are the ladies of the top performing choral ensemble at Garland HS. Celebrating diversity in population, interests, and activities, the students know the importance of teamwork and work ethic to achieve a common goal. Along with the Acappella Men, the choir toured England, Scotland, Austria, the Czech Republic, and France.

Highlights of their tours were concerts at St. George’s Chapel-Windsor, St. Giles’

Vista Ridge HS Chorale

Garland HS Acappella Women 40 Southwestern Musician | November 2013

Cathedral-Edinburgh, Notre DameParis, and the American Cemetery in Normandy. The Acappella Women have performed at TMEA conventions in 2003 and 2011. The Acappella Mixed Choir performed at the 2006 TMEA convention. The Acappella Women are excited to perform for the 2014 convention. Cheryl Wilson, a native Texan, holds a bachelor’s degree from Sam Houston State University. She has completed graduate work at Holy Names College in Oakland, Calif., and Westminster Choir College in Princeton, N.J. Wilson has held offices in TCDA and has served TMEA in various capacities. She is a frequent clinician and adjudicator with professional affiliations including TMEA, TCDA, ACDA, and TMAA. Arnold MS Varsity Men’s Choir Gershon Garcia, Bradley Acree, and Marie Parisot, Directors Arnold MS, established in 1958, is a grade 6–8 campus located in Cypress.

The school, which serves 1,300 students, is one of 17 middle schools built in the Cypress-Fairbanks ISD. The NAMM Foundation named Cypress-Fairbanks ISD one of 2013’s Best Communities for Music Education. The choral department, made up of 300 students in 7 ensembles, has a rich tradition of excellence, including two previous TMEA performances.

The Arnold MS Varsity Men’s Choir is a select group of seventh- and eighth-grade boys who enjoy varied performances and contests throughout the year. Gershom Garcia, head director, is in his sixth year at Arnold. He received his bachelor’s degree at the University of Houston and master’s degree from Baylor University.

Bradley Acree is Associate Director at Arnold and earned his bachelor’s degree at Southwestern University. Marie Parisot is the new Associate Director at Arnold.

She previously taught at West Briar MS in Houston ISD and is a graduate of Baylor University.

Keller HS Chanteurs Chi-Chi King, Director The Chanteurs include singers from the Varsity Treble and Varsity Mixed Choirs at Keller HS. These young ladies excel in academics and hold leadership positions in many other Keller HS organizations. The singers are encouraged to challenge themselves through 42 Southwestern Musician | November 2013

Arnold MS Varsity Men’s Choir

competition in TMEA and UIL at the regional and state levels. Keller HS is a “National Blue Ribbon” school with an enrollment of 2,600. The choir department boasts eight performing ensembles.

Members of the choir have performed at St. Paul’s Cathedral-London, Bath AbbeyBath, Sant Stefano al Ponte-Florence, Sant’Agnese, and St. Peter’s BasilicaRome. Keller choirs have received many superior and best-in-class ratings in competitions statewide. The Chanteurs are thrilled to be performing at the 2014 convention. Chi-Chi King is in her 18th year as choir director at Keller HS. She received her bachelor’s degree at Texas Tech and her master’s at the University of North Texas, and she has completed coursework toward a doctorate in fine arts at Texas Tech. King, an active soloist, is on the board of Schola Cantorum of Texas, having sung with this group since 1984.

Navo MS Varsity Treble Choir Mary Sadler, Director Navo MS, named after a small farming community, has grown into an outstanding school at the hub of several fast-growing neighborhoods. As a TEA Recognized School in Denton ISD, Navo is known for its growing and diverse population. The school’s credo is “pride, respect, and excellence,” and it strives to ensure individual student success. Members of the Varsity Treble Choir are no exception, excelling in academics and other school-related activities. Consisting of 25 singers, the

Varsity Treble Choir is known for consistent Sweepstakes awards, best-in-class, and overall outstanding performances at contests. Members are also involved in the Region 2 MS/JH All-Region Choir, Solo & Ensemble, and NMS musical productions. Mary Sadler is in her 38th year of music education and her fourth year at Navo MS. Sadler is a graduate of Sam Houston State University and Oklahoma City University and is a member of TMEA and TCDA. York JH Varsity Treble Choir Derek Adams, Director York JH, known for its growing and exceptional fine arts department, is a 7th and 8th grade campus in Conroe ISD. Every ensemble from the choir, band, and orchestra programs earned Superior UIL ratings in 2013. The fine arts department includes half of York JH’s student population. The York choir program includes five performing ensembles, two of which compete at UIL. The York Varsity Treble Choir (called the Chamber Choir) is made up of 43 talented ladies who embrace the importance of discipline and hard work. They make time for before- and afterschool rehearsals, along with their involvement in other school-wide activities. Derek Adams, York JH director, is in his fifth year at York. Under his direction, the York Chamber Choir has consistently earned Superior ratings at UIL and has placed large numbers of singers in the AllRegion Choir.

Keller HS Chanteurs

Navo MS Varsity Treble Choir

York JH Varsity Treble Choir Southwestern Musician | November 2013 43

Choosing World Music Repertoire

by Christopher Roberts

A

s ou r c ou nt r y grows increasingly diverse and the Internet makes distant lands seem closer, many music teachers look to incorporate a wider range of repertoire in their music classrooms. Listening experiences are a prime way to introduce students to new musical genres.

The first step toward creating effective listening lessons of world music is to choose music that is appropriate—a task that can seem daunting when faced with musical cultures about which we may have minimal knowledge.

When selecting world music, keep in mind the following principles, which can help you create lessons1 to excite learners and lead them to making new connections about the diversity of the musical experience in the world: Music with a consistent beat and faster tempi. Music that drags can be, to quote my elementary students, “boooooring.” As a young teacher many years ago, I remember telling my administrator, “It doesn’t matter if they like what they’re doing, it only matters if they’re learning.” How wrong I was! When the music is engaging, students will more likely participate actively, leading to the increased knowledge and skills we hope will grow through listening lessons. Children typically prefer music with faster tempi (LeBlanc & McCrary, 1983), particularly those in upper elementary and middle school. In addition, music with a clear, steady beat often provides a straightforward rhythmic framework that can make it easier for students to perform along with the piece.

Short excerpts. When students first hear a recording in a listening lesson, we often ask them to listen for something in particular, such as the number of performers, the types of instruments, or the region of the world from which they think the piece originated.

44 Southwestern Musician | November 2013

An excerpt that lasts three minutes provides more time than needed to answer these types of questions, and providing this much listening time can also lead to classroom management issues. If the excerpts take 30–60 seconds, students can listen with the specific question in mind, brainstorm answers to the question, and then listen again. This can be particularly important for students who might not have heard the answer the first time through. Listening a second time with a suggested answer in mind (e.g., “Do you hear a string instrument, like Angelo suggested?”) allows students a chance to check if the sound actually occurred.

Shorter examples also allow students to listen multiple times with different questions in mind, participating in some active way during some of the later repetitions. With repeated listening, nuances of the music become more ingrained in students’ ears, and the increased familiarity derived from repeated hearings can lead to increased preference for it (Hamlen & Shuell, 2006).

Thinner textures. Listening experiences with world music often focus on instrumental genres because they provide sonic experiences that are furthest from our students’ previous experiences. Sometimes, though, the music can be incredibly complex.

While richly textured music can be gorgeous (and compelling for teachers), young students often need simpler music to actively engage with it. If music has only two to four instruments and voices, young listeners can more easily discern individual parts.

In addition, the greater the timbral difference of the parts, the better. Students will have an easier time identifying the instruments in a recording with a string instrument, a drum, and a singer than one with three string instruments.

Straightforward vocal timbres. I recently taught a piece of Turkish music I thought would be a huge hit with my fourth

graders. It was an up-tempo number with easily identifiable instrumental parts, voice, foot stomps, claps, and clucking sounds I just knew my students would have fun trying to replicate. (To hear an excerpt, go to www.folkways.si.edu and search for “Bacon is in the Larder.”)

What I didn’t think about was the vocal timbre, which was high and nasal, beginning with a wailing sound that had no discernable melodic pattern. Much in the way that opera singing can make students laugh, this vocal style was different enough that they had a difficult time moving beyond the initial shock at the sound to be able to engage with the piece. While many instrumental timbres initially sound odd to students, there is something about unusual vocal timbres that makes many students—particularly those in upper elementary and middle

school—uncomfortable enough that they begin acting silly. Keeping this in mind can be important in maintaining a positive classroom climate.

Music that students can replicate. With listening lessons of world music, an essential objective is for students to develop an understanding of the authentic sound and to replicate aspects of the tune themselves.

While they don’t need to be able to perform an entire piece for an audience, they should be able to perform at least part of the piece. This can be as simple as singing a repetitive vocal part, playing a percussion part along with the recording, or replicating an instrumental part on a xylophone.

Performing aspects of a piece of world music can demystify the music, allowing students to connect with it on a more personal level. At the same time, if there are

only some aspects of a piece that students can perform (and they recognize the virtuosity that is at play with other parts), it provides them with the opportunity to marvel at the skill that musicians in other cultures can develop.

Repetition. One way to select music students can perform is to look for repetition within the musical example. A recurring vocal ostinato, for example, will often provide a fairly easy access point for participating in the music. A brief lesson could break down as follows: 1. Listen for a vocal line that repeats in a 30–60 second excerpt.

2. Listen (again) for how many times the line repeats.

3. With the recording playing, sing along with the ostinato.

4. Listen to the recording again (without

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46 Southwestern Musician | November 2013

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singing) to note any particular vocal styling that is different than the way the class performed.

Resources for World Music

5. Without the recording, sing the vocal line, incorporating the stylistic particulars.

Smithsonian Folkways (www.folkways.si.edu). Access field recordings from the 1950s to the present day from around the world. Thirty seconds of any recording can be freely sampled, and individual tracks can be purchased for 99¢. Extensive liner notes from and lesson plans based on various recordings can be downloaded at no cost.

6. Repeat steps 4 and 5 as many times as desired, trying to replicate the performance style as closely as possible.

7. Listen to the recording once more, singing along with the repeated vocal line.

The repetition allows listeners a chance to learn more quickly. Focusing on the sound source also allows them the chance to incorporate the nuance of the performance through aural means, likely leading to a performance more akin to those of the culture bearers.

Connecting to culture. World music listening is most effective when students are provided cultural context. When selecting music, ensure that cultural connections can easily be made. This can be as simple as pointing out the country or region on a map, offering specific information from liner notes about the performance, or showing pictures of traditional styles of dress. Sharing facts about same-aged youth in the culture can be interesting for the learners as well: Does everyone go to school? What sort of chores do children have? How big is a typical family? What sports do kids play, if any? Part of the reason to create listening lessons of world music is to note the similarities and differences across cultures, to celebrate our global diversity.

Another way to incorporate culture is to bring in a culture-bearer, perhaps someone from your school community, such as a parent or a fellow school employee. I have often found these connections pop up once I begin teaching a lesson. Last year, when teaching a miniunit of music from Japan, two students in the grade level told me that they were of Japanese heritage, one whose mother grew up in Japan. A quick phone call later, and the parent was willing to speak with the students about her country and her memory of the music.

When deciding between two pieces of music for a world music listening lesson, the amount of cultural context I have (and the interest I believe the students will have) is sometimes the deciding factor.

British Library (sounds.bl.uk). Collections made by ethnomusicologists are available for free streaming through the website, along with descriptions of the collector and the context in which the material was collected. The site includes recordings from Africa, Asia, Oceania, and Europe.

Alan Lomax archive (www.culturalequity.org). Lomax is best known for his collecting work in the U.S. during the last century, but he also traveled to locations including Italy, the Caribbean, and Morocco, making recordings of genres that were dying out. Recordings can be streamed at no cost from the website, and lesson plans for some recordings can also be found on the site.

Global Music Series (www.oup.com/us/globalmusic). This series includes slender 100-page books on music from individual countries. While primarily intended for use at college level survey courses, they can be excerpted for secondary and primary as well. Free, extensive lessons for all ages that accompany the books are available for download from the site.

Listening lessons of world music can provide students with the chance to marvel at the variety of ways that the impulse to make music plays out in different cultures. Carefully selecting pieces of music that will work for a given set of students is an essential first step for designing effective listening experiences.

With a well-chosen piece of music and a well-designed lesson plan1, listening lessons of world music can broaden your students’ sound base, leading to captivated students who celebrate the diversity of the musical experience.

References 1. Gault, B. (2012). Listen up!

Southwestern Musician, 82(1), 62–65.

Hamlen, K. R., & Shuell, T. J. (2006).

The effects of familiarity and audiovisual stimuli on preference for classical music. Bulletin of the Council for Research in Music Education, 168, 21–34.

LeBlanc, A., & McCrary, J. (1983). Effect of tempo on children’s music preference. Journal of Research in Music Education, 31(4), 283–294.

Christopher Roberts teaches K–5 music in Seattle, is an Affiliate Assistant Professor of Music Education at the University of Washington, and is a 2014 Elementary Division Featured Clinician.

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www.tmea.org/scholarships Southwestern Musician | November 2013 49

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appy November! I am thrilled to present three of our 2014 TMEA Performing Groups to you this month. Our TMEA Elementary Division is indeed fortunate to be able to invite eight performing groups from across Texas to perform at our convention.

While on the subject of performing groups, it’s likely that you are anticipating your winter holiday presentations. With that in mind, I will share some of my performance tips and tricks for your consideration. Just like the beginning of school, a successful performance takes much preparation and planning. Selecting the theme or musical is just the start of a well-received, inspirational, and memorable performance.

Plan the Concept: Begin months ahead planning the concept of your performance. Make a broad list of everything you want to accomplish in your performance including theme, music selections, grade level(s), costuming, props, instruments, sound equipment needs, accompanist decisions, programs, communication to parents, assistance from school personnel, and rehearsal scheduling. Make a page for each item on your list and set due dates for each goal to be accomplished.

Establish a Uniform Look: When I was growing up, my grandmother lived with our family. She had an amazing impact on my life. Every day before school she would tell me how nice I looked, and as I was leaving the house, she would say, “Act as pretty as you look!” I remember those wise words each time I prepare my students for a performance. My version is, “You need to look as great as you sound!” Looking great takes its own strategic plan:

ELEMENTARY NOTES IMPORTANT DATES November— Make your convention housing reservation online.

November 15—TMEA scholarship application deadline (see page 2 for details).

December 31—TMEA convention mail/fax preregistration deadline.

January 23, 2014—TMEA convention online preregistration deadline.

February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

• Tops: Regardless of whether your choir wears T-shirts, polos, or dresses and tuxes, make sure all students appear as uniform as possible. Shirts

Just like the beginning of school, a successful performance takes much preparation and planning.

Southwestern Musician | November 2013 51

should either all be tucked in or all untucked. There should not be any white showing over the shirt such as white undershirts or camisoles (unless this is required). Buttons on the polo shirts need to be uniform.

I like to ask all students to unbutton the top button of their shirts for consistency. Of course, collars need to be folded down in place. All students should wear belts that are the same color. Tuxes and choir dress sashes, as well, need to be uniform.

• Pants: Please give careful consideration to the pants your group will wear. Do you know how many shades of khaki there are? If you ask your students to wear khaki pants you are going to see many shades from light stone to dark brown. Suggest a specific color and brand for your parents to purchase. I have found that black pants are the easiest shade to match; however, I request that the black pants be Dockers-style pants and not jeans. Request that your students wear black socks and black shoes.

This gives a refined look to your choir. If you ask your students to wear

blue jeans, be very specific about the shade of jeans. Ask that the jeans be free of decoration, rips, and holes.

you!” We know that chest singing is unhealthy and inappropriate for elementary students, yet, as music teachers, we are pressured to have our students produce a large sound that fills our massive cafetoriums. Unless you have expensive sound equipment or a large choir, it is difficult to satisfy your principal’s request without asking your students to incorrectly sing in their chest voices. Here’s one trick of the trade. Record your performing group singing with the unaccompanied performance CD or with your piano accompanist. Then play your performing group’s new recording at the performance and ask your students to sing with their own recording. This is an inexpensive way to amplify your group’s sound as they continue to sing in their lovely, angelic head voices.

I hope you’ll share your successful performance tips and tricks with me. Email them to criddle@aldine.k12.tx.us, and I may feature your idea in an upcoming article.

• Hair: The appearance of a group can change dramatically with the addition of a simple hair band or hair clip.

I require all of my students to have their hair pulled back out of their faces for a performance. I prefer to see my students’ beautiful faces, and this practice prevents them from fidgeting with their hair when they are performing the John Jacobson choreography I spent so many hours teaching.

Additionally, photographs of the group look more professional when everyone’s hair is pulled back and their beautiful smiles shine through.

Ask your students to leave their large hair bows and jewelry at home. Any hair accessories need to be minimal and need to be the same color as each student’s hair. Of course the exception is when the director supplies the same color ribbon for all of the girls to wear.

Protect Their Voices: So many times it seems a principal will walk into your rehearsal and say, “Sing out, I can’t hear

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52 Southwestern Musician | November 2013

you haven’t already. It’s the simplest way to complete your convention registration. Go to www.tmea.org/convention for more information, and while there, be sure to make your hotel reservation through the discounted TMEA housing system. TMEA hotel blocks fill up quickly, so don’t wait any longer!

In addition to the clinic opportunities that will abound for elementary music teachers, we will enjoy and be inspired by several outstanding performing ensembles and choirs. Learn more about our invited groups here, and be sure to include their performances on your convention schedule (the full convention preview will be included in next month’s issue). The remainder of our invited groups will be featured in the January issue.

Falsetto Fifth Jennifer Peeler, Director Jennifer Peeler founded the first elementary choir in Jefferson ISD in 2006.

It began as a non-auditioned group of 36 to 40 singers in the fourth grade. The choir is active throughout the community singing at nursing homes, hospitals, and Jefferson’s annual Candlelight Tour.

Choirs under her direction attend elementary contests and have routinely received superior ratings. Peeler now teaches at Jefferson JH, home to about 320 students in grades 5–8. This is the debut perfor-

mance for Falsetto Fifth of Jefferson JH, a non-auditioned choir consisting entirely of fifth-grade students.

Peeler has been teaching in public and private schools for 15 years. She graduated from Moores School of Music at the University of Houston in 1995. She is also a native of Jefferson and is proud to be representing small districts across East Texas.

Frank Elementary Choir Jo Lynn Cookus and Kaylyn Sharp, Directors Singers at Frank Elementary in Klein ISD are part of a creative learning community that encourages each student’s potential musically, intellectually, and artistically. Kindergarten through fifthgrade students are taught to sing, read, and play music through a curriculum based on the Kodály method. Each student attends music class twice weekly for 45 minutes.

The Frank Elementary Choir, under the direction of Jo Lynn Cookus and Kaylyn Sharp, is a non-auditioned ensemble consisting of fourth- and fifth-grade students.

Singers attend rehearsal two mornings a week for 40 minutes. The choir has performed at the Children’s Music Festival of Houston, Klein ISD German Fest, The Village Nursing Home, Champion Life Centre, local businesses in the community, and at a variety of school events.

2014 TMEA PRESIDENT’S CONCERT THE 5 BROWNS An internationally acclaimed quintet of sibling pianists, The 5 Browns will perform individually and in ensembles.

“One family, five pianos, and 50 fingers add up to the biggest classical music sensation in years…”

—New York Post 54 Southwestern Musician | November 2013

Wednesday, February 12 8 P.M. • Lila Cockrell Theater $10 General Admission (purchase when you preregister)

Choir members also have the opportunity to participate in our Chimes Ensemble.

Both the Frank Elementary Choir and Chimes have been honored numerous times in their respective category at the Children’s Music Festival of Houston.

Jo Lynn Cookus and Kaylyn Sharp have directed the Frank Elementary Choir and Chimes since the school was founded in 2007. Jo Lynn Cookus is a graduate of the University of North Texas. In addition to teaching elementary music, she has also taught junior high and high school band. Kaylyn Sharp is a graduate of Sam Houston State University and taught junior high and high school choir prior to teaching music at Frank Elementary School.

Mesquite Children’s Chorus Christy Forker, Director The Mesquite Children’s Chorus is an auditioned choir of fourth and fifth graders from across the Mesquite ISD. The tradition of having a district choir began more than 50 years ago. While the choir has grown and the organization has changed, the objective has remained the same: to offer advanced elementary students the opportunity to experience a high quality, district-wide choral program.

MISD leaders believe music plays a vital role in the development of the whole child. An organization of this caliber offers students the opportunity to recognize their abilities, to experience a sense of achievement, and to foster a lifelong love of music.

All MISD students are eligible to audition in the spring prior to their fourth- or fifth-grade year. To become a member, students must first complete an audition process on their home campus. Once selected at the campus level, they audition at the district level. From the district audition approximately 100 members are selected each year.

Students commit to the choir for one school year, and fourth-grade members in good standing are invited to return for their fifth-grade year. The choir rehearses once weekly and performs in various concerts across the school district and throughout the greater Dallas community.

The assistant director of the Mesquite Children’s Chorus is Julie McKown. The managing director is Ashley Benson and accompanist is Karen Porter.

Falsetto Fifth

Frank Elementary Choir

Mesquite Childrenâ&#x20AC;&#x2122;s Chorus Southwestern Musician | November 2013 55

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s I put the final touches on this column, we have just concluded our fall 2013 Executive Board meeting. During this meeting we worked to finalize many details of the upcoming convention and reviewed all aspects of the operating practices of the organization. I never fail to appreciate what a blessing it is that our organization, TMEA, so precisely, efficiently, and effectively operates for the good of all involved in music education in

Texas.

With this, it was no surprise to realize how favorably the TMEA organization stands up to the criteria presented in The Executive Director’s Guide To Thriving as a Nonprofit Leader (Carlson & Donohoe, 2010). I recently discovered this valuable resource for use in diagnosing the fitness and function of service organizations. In this volume the authors break down analysis into eight key areas. What follows is my perception of how TMEA stacks up against these specifications.

1. Awareness of the Emerging Trends: It is hard to imagine that TMEA could be more involved in the pursuit of current information. We are on the forefront of developing effective, large-scale, individual student evaluation and teacher performance in music education. We annually review submissions to present from music education leaders from across the nation. We host exhibits by and maintain continuing correspondence with the leaders in the music-related industries. We’re even honored by the requests from TI:ME to serve exclusively as host for their national meetings for the coming years.

2. Insightfulness: At every TMEA administrative meeting concerns are discussed representing the working background of every member and participant.

Whether vocal or instrumental, teacher or student, elementary or secondary,

COLLEGE NOTES IMPORTANT DATES November— Make your convention housing reservation online.

November 15—TMEA scholarship application deadline (see page 2 for details).

December 15—TMEA College Division Essay Contest submission deadline.

December 31—TMEA convention mail/fax preregistration deadline.

January 23, 2014—TMEA convention online preregistration deadline.

February 12–15, 2014—TMEA Clinic/ Convention in San Antonio.

The history and metamorphosis of our organization offers a model for successful melding of alliances between varied groups.

Southwestern Musician | November 2013 57

rural or urban, small or large school, there is effort to empathize with every member’s perspective on being successful and every student’s opportunity to do well. All of this is done in an environment that respects the organization’s past while keeping an eye on the future.

3. Form and Nurture Positive Relationships: Here again, TMEA passes with flying colors; in examining the work environment of the administrative offices in Austin, the vitality of relationships with key legislators, the collegiality of our Board and Region officers, TMEA main-

58 Southwestern Musician | November 2013

tains a tone that is exceptionally positive and productive. Our goals are clear and our means ethical.

4. Initiative to Explore and Form Partnerships and Strategic Alliances: Of course this ties in closely with positive relationships. The history and metamorphosis of our organization offers a model for successful melding of alliances between varied groups. Each of our distinct divisions skillfully works together mirroring each other when appropriate and allowing for individual distinction when necessary. Our organizational leadership’s role

in forming and fortifying strategic fine arts alliances represents additional areas of success in this measure.

5. Vision and the Ability to Inspire: If an outsider witnessed any of our recent general session meetings during our annual convention, there would be no doubt that we are a body with a clear vision and the ability to inspire others with this vision. Remarkably, this same atmosphere inspires equally the most veteran educator and the freshman All-State member. The value and scope of the TMEA vision is not only apparent, it also stands up to intense scrutiny. In every facet of the work we do across the state we see high levels of engagement and evidence of inspired service. TMEA serves as a positive catalyst for all of us to be ever more effective in our pursuits for our students.

6. Resourcefulness to Attract Adequate Time, Talent, and Funding: TMEA is fiscally sound. TMEA is talent sound.

TMEA demonstrates the expertise to continually invest its capital in our talent.

As we offer support for current members we also continue to encourage and recruit potential future organizational leaders.

TMEA puts students and its memberleaders first.

7. Openness to Feedback: We are fortunate that an administrative staff that openly seeks direction from the elected leadership and greater constituency guides our organization. In addition, time and time again we witness issuance of a swift and thoughtful response to each and every concern received by the leadership on every level of TMEA. 8. Courage to Improve Upon or Change: This may be the quality that is perhaps least obvious to most members. TMEA works to constantly monitor and assess the function of all the processes it oversees. It may seem as if most things are done the way they’ve always been done, but in reality every aspect of every task is constantly analyzed for efficiency and relevance. TMEA intentionally builds upon the status quo, but has no fear of the necessity of organizational evolution.

In conclusion, as I near the end of my two-year term on the TMEA Executive Board, I consider what I have gained in terms of professional insight, collegiality, and understanding to be far greater than anything I may have contributed. Without any doubts or reservations, and with the greatest appreciation for all who have

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served, each of us should be proud that our TMEA is a model of organizational success.

College Division College Student Essay Contest All active TMEA college student members are invited to enter the SOUTHWESTERN MUSICIAN Essay Contest for college students. The contest is divided into undergraduate and graduate divisions. Applicants must be full- or part-time students during the fall semester, must be a music major, and must hold an active College Student membership in TMEA (or Active membership if a graduate student and teaching). Go to the College Division section under the Divisions menu to learn more.

2014 Clinic/Convention Update With only a few short months remaining until we meet in San Antonio for our convention, I hope you’ve taken time to preregister. Next month’s issue will be a complete convention schedule preview— the issue many of us anticipate receiving as we look forward to attending. For the latest information about the convention, go to www.tmea.org/convention. And until you have a chance to view the schedule preview, you can review a listing of clinics that will be offered by going to www.tmea.org/conventionpreview for a preliminary listing by division.

Since October 1, the discounted hotel reservation system has been available for TMEA members from the convention webpage, www.tmea.org/convention. If you haven’t yet, be sure to reserve your hotel room now as some of our hotel room blocks sell out quickly.

Technology Clinics Abound With the TI:ME Music Technology National Conference being held during our convention, you have the opportunity to register for a full-day concentration of music education technology clinics during the Wednesday TI:ME Preconference (available for a separate $50 registration fee). Clinics on technology will continue to be presented through Saturday for all convention attendees. The Preconference is a special offering, bringing together the leaders in application of new technologies in music education. Consider traveling to San Antonio a day early to take advantage of this exceptional opportunity.

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