September 2013 Southwestern Musician

SEPTEMBER 2013 SEPTEMBER

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20 FEATURES

SEPTEMBER 2013 VOLUME 82 — ISSUE 2

12

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

by Joe Weir Executive Director’s Notes..................10

by Robert Floyd

Create meaningful rehearsal experiences that impart a lasting effect on students’ musical development.

BY PHILLIP L

20

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CLEMENTS

)HHOLQJ &RQĂ€GHQW" As the school year gets underway, set yourself up for the best possible outcome when you get that call requesting a parent-teacher conference.

BY NATHAN SMITH

28

On the cover: AndrĂŠs Vela, a junior at Economedes HS (Edinburg CISD), rehearses with the 2013 All-State Philharmonic Orchestra.

Photo by Karen Cross.

COLUMNS

Breaking the Everyday Routine

Surviving Your First Five Years :LWK DURXQG RI WHDFKHUV OHDYLQJ WKH SURIHVVLRQ LQ WKHLU ÀUVW ÀYH \HDUV WKHVH PXVLF HGXFDWRUV RIIHU WKHLU SHUVSHFWLYH RQ KRZ you can enjoy a much longer career doing what you love.

BY RYLON GUIDRY, STEPHEN LISKO, TIFFANY LISKO, JENNIFER WREN

37

,

AND JOEL WREN

Start with a Good Story Children love a good story, so ignite their creativity and increase their music knowledge by incorporating children’s literature into your instruction.

BY MICHAEL CHANDLER

46

Technology Works for Me: Online Ear Training Ear training is an area where technology can help improve instruction and assessment. Learn how these free websites have been effectively put to use.

BY LISA HOLT

Band Notes ............................................................. 17

by Ronnie Rios

UPDATES

Orchestra Notes ...............................................24

by Craig Needham

Get Ready to Apply for a TMEA Elementary Music Grant ...........................2

Vocal Notes ............................................................31

by Dinah Menger

2014 TMEA Clinic/Convention: It’s Time to Learn.......................................4

Elementary Notes ...........................................42

by Colleen Riddle

Honor Band Finalists and Winners ............................................................ 19

College Notes ......................................................49

by Keith Dye

2014 TMEA President’s Concert: The 5 Browns .........................................2

TMEA Welcomes New UIL State Director of Music......................................8

Honor Orchestra Finalists and Winners .................................................... 26 College Division Fall Conference ............................................................... 52 Southwestern Musician | September 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 VDOO\KREL]DO#NDW\LVG RUJ 319 E. North Hill Dr., Spring, 77373 281-985-6107 – M.O. Campbell Ed Center

Get Ready to Apply for a TMEA Elementary Music Grant!

Who Can Apply: Active TMEA Members teaching elementary music (PK–5) When: September 15–October 15, 2013 Where: www.tmea.org/elementarygrant For What: Music equipment, instruments, instructional technology, other educational materials offered by TMEA Sustaining Members.

For How Much: A maximum of $800 per campus will be awarded. Multiple teachers from a district can apply.

Notification: Applicants will be notified by November 15 of acceptance or rejection.

www.tmea.org/elementarygrant

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

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 Membership 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.

THE 5 BROWNS www.the5browns.com “One family, five pianos, and 50 fingers add up to the biggest classical music sensation in years‌â€? —New York Post

W d February Wed., F b 12 • 8 P.M. Lila Cockrell Theater $10 General Admission (purchase when you preregister)

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 HGLWRUVKLS RI ' 2 :LOH\ ZKR FRQWLQXHG WR VHUYH DV HGLWRU XQWLO KLV UHWLUHPHQW LQ $W WKDW WLPH RZQHUVKLS RI ERWK PDJD]LQHV ZDV DVVXPHG E\ 70($ ,Q $XJXVW WKH 70($ ([HFXWLYH %RDUG FKDQJHG WKH name of the publication to Southwestern Musician.

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Southwestern Musician | September 2013

We Are Artist Scholars New faculty additions Dr. Kristen Pellegrino Music Education UTSA String Project Graduate Studies in Music Education

Bachelors Degrees Composition Music Education Music Marketing Performance

Bachelor of Arts Masters Degrees Conducting Music Education Performance Piano Pedagogy & Performance Vocal Pedagogy & Performance

Dr. Ethan Wickman Composition Electronic & Computer Music Music Theory

Our artist faculty is actively involved in performing, creating, and nurturing the next generation of teachers, performers, scholars, and music industry professionals. Both graduate students and undergraduates have the opportunity to study with faculty members like these. Call or email to find out how you can be a part of the UTSA family.

Dr. John Zarco Associate Director of Bands Conducting Music Education

We Are UTSA

速

The University of Texas at San Antonio Department of Music

facebook.com/UTSAMusic (210) 458-4354 http://music.utsa.edu

TMEA CLINIC/CONVENTION

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

IT’S THE TIME AND IT’S THE PLACE TO LEARN.

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

WEST MUSIC HAS THE AUTHENTIC SOUND OF LATIN AND MARIACHI MUSIC FOR YOUR CLASSROOM!

Find out more at westmusicmariachi.com

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Southwestern Musician | September 2013

The process versus the prize B Y

J O E

W E I R

H

ave you ever had a rehearsal moment that far exceeded the expectations of the pending performance? Have you ever wanted to bottle up and drink in the sheer joy on the faces of a children’s choir? Think of the moments in individual lessons when your student finally mastered the concept. Those moments when the light comes on and radiates from a student’s face are some of the moments I cherish the most!

Processes that we create and foster in daily rehearsal serve as the foundation for the structure all students crave. This structure within the learning process enables each student to draw on quality experiences in music that sometimes initiate the spark that ignites the flame of understanding.

The word process is defined as (1) a series of actions, changes, or functions bringing about a result, or (2) a series of operations performed in the making or treatment of a product. In music circles, we refer to the Region process, the solo & ensemble process, the rehearsal process, the concert & sightreading process, the process of score study and analysis, and the process of preparing an Honor or invited group to perform at our convention.

Novelist and poet Don Williams Jr. once said, “The road of life twists and turns and no two directions are ever the same. Yet our lessons come from the journey, not the destination.” While this might sound cliché, moving through the audition process or preparing for concert & sightreading truly is all about the journey. We should be vigilant in not allowing any one product or prize to define a student’s ultimate success. In the same respect, do not allow the number of “winners” in your program define who you are as a teacher or the success of your program. Students and teachers alike must be encouraged to gain everything they can from the journey.

PRESIDENT’S NOTES IMPORTANT DATES September—Renew your TMEA membership and liability insurance and preregister for the 2014 convention.

September 15–October 15—TMEA Elementary grant application period.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

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 road of life twists and turns and no two directions are ever the same. Yet our lessons come from the journey, not the destination.

—Don Williams Jr. Southwestern Musician | September 2013

5

WANDA L. BASS SCHOOL OF MUSIC

OKLAHOMA CITY UNIVERSITY

2013-2014 AUDITION DATES

2013

November 15 & 16

2014

February 7&8 March 7&8

To schedule an audition: www.okcu.edu/music ocumauditions@okcu.edu 405.208.5980

Think about how each of these processes provides support of our daily mission—to create quality musical experiences. In essence, the structure within your process is not only encouraging and teaching teamwork, respect, and time management. It is also strengthening reading skills, enhancing knowledge of music theory, introducing conducting and meter, as well as broadening music vocabulary while opening the door to the study of musical genres and historical time periods.

This often reminds me of a Sunday morning children’s sermon when the candor of the message prompts the pastor to say, “Well, that sums it up. We can all go home now!” Quite simply, as we guide our students through the Region process or the process of properly preparing for solo & ensemble contest, we are introducing them to the entire world of music in a nutshell.

Now, let’s get back to the prize. We must continually remind our students that earning a first division at solo & ensemble or placing in a Region or All-State group are certainly outstanding personal goals but

they should not define anyone’s ultimate success as a musician. Many teachers create a disservice for students by completely focusing on the prize, the medal, or the trophy. The fact that there is only one valedictorian at a graduation ceremony certainly does not diminish the fact that many more honor graduates are sitting in the crowd. Students and teachers who take pride in their preparation throughout the learning process will most certainly reap the benefits of musical growth with or without a trophy or an All-State patch.

I begin every TMEA Executive Board meeting with a reminder of our mission statement: To provide quality experiences in music for the students in the public and private schools of Texas. Whether or not we all agree, all decisions regarding students and programs should boil down to the question: Are we creating those quality musical experiences for all students?

As you continue to affect the lives of children and young adults each day, be sure there is structure in your learning processes and know that the process, not the prize, is what should define your teaching and your students’ measure of success.

Manny Brand Manny Brand Music EEducation Music ducation

Jam Jamie miie Dahman Dahman Vooice V Voice

Tod Fish Tod Fish Chhoral Choral

Nathan FFleshner Nathan leshne ner

Brad B rraad M Meyer eeyyeerr Percussion Percussion

The Austin Symphony Orchestra announces

THE 4th ANNUAL TEXAS YOUNG COMPOSERS COMPETITION

Staci Staci Spring Spring Musicology Musicolog y | Bassoon Bassoon

Texas students age 18 and younger are invited to submit full, original orchestral compositions for the opportunity to be performed by the ASO. For more information, www.AustinSymphony.org/education or call Anthony Corroa, Executive Director (512) 476-6064

Information on Admission Graduate Teaching Assistantships On-Line and On-Campus Graduate Programs www.music.sfasu.edu

. 936.468.4602

Southwestern Musician | September 2013

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TMEA Welcomes New UIL State Director of Music

T

his past February, we paid tribute to Richard Floyd, who retired as the UIL State Director of Music after 28 years of service. We now welcome Bradley Kent, who for one year has been working with Floyd to transition into this role. As of September 1, Kent is the full-time UIL State Director of Music and as such is also an ex officio member of the TMEA Executive Board.

Prior to this position with UIL, Kent was the Director of Fine Arts for the Richardson ISD where he administrated all band, choir, orchestra, visual art, and theater programs. Kent began his career as a band director in the Lewisville ISD and went on to serve on the faculties of Texas A&M University at Commerce and Lamar University. Ensembles under his direction have performed at

the Midwest Clinic, the TMEA Clinic/ Convention, the College Band Directors National Association (CBDNA) Conference, and the Texas Bandmasters Association (TBA) Convention.

Kent has presented guest lectures and clinics across Texas and at events such as the International Wind Music History Conference, the Midwest Clinic, the TBA Convention, the CBDNA Conference, and the TMEA Clinic/Convention. Kent also maintains an active conducting schedule, having served most recently as the founding Conductor and Music Director of the Lone Star Wind Orchestra Youth Winds, an ensemble of high school musicians from the Dallas/Fort Worth area.

Kent holds the doctor of musical arts degree and a master of music degree from the University of Texas at Austin, as well

as a bachelor of music education degree from Louisiana State University. He enjoys serving both as a clinician and evaluator for ensembles of all levels and is active as an advocate for the arts and arts education.

Music scholarships available to non-music majors ■ Faculty who focus on UNDERGRADUATES ■ National and international ENSEMBLE TOURING ■ DEGREES in music education, performance,

and composition ■ MASTER of Arts in Teaching, a 5th year program

with a full year of student teaching and 100% job placement (20 consecutive years) ■ Located in CULTURALLY VIBRANT San Antonio ■ STUDY ABROAD opportunities ■ 16 ensembles

trinity.edu/music

think. perform. explore.

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Southwestern Musician | September 2013

University of North Texas

College of Music

Auditions

University of North Texas Campus Saturday, January 25, 2014 Friday, January 31, 2014

(Graduate Percussion, Piano, Voice, and String Auditions ONLY)

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

Regional Auditions

(live jazz and percussion auditions offered on campus only)

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

music.unt.edu

Lifelong learners B Y

EXECUTIVE DIRECTOR’S NOTES IMPORTANT DATES September—Renew your TMEA membership and liability insurance and preregister for the 2014 convention.

September 15–October 15—TMEA Elementary grant application period.

October 1, 6 a.m. CT— TMEA convention online housing reservation system opens.

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.

R O B E R T

F L O Y D

A

s a young teacher I was always a bit perplexed to walk into a pedagogical clinic at the TMEA convention and see sitting near the front of the room teachers I considered to be icons of band conducting. I always wondered what these accomplished directors were doing in a clinic on rehearsal techniques or a topic as basic as how to teach beginning clarinet. Bryce Taylor, Fred Junkin, and J.R. McEntyre, former TMEA presidents, were and are master teachers, nevertheless they never missed an opportunity to hone their craft and learn one more tidbit of information to assist them in serving their students. Bryce, J.R., and Fred are now in their upper 80s, yet at the TBA convention this past July there they sat, taking in yet another clinic and concert in San Antonio.

For successful teachers, learning is a lifelong passion. This issue of the magazine includes several pieces that should be of special value to a less experienced teacher, but I am confident that even the most seasoned educator will gain a valuable reminder or pick up an idea or two from these contributions that will be of value to you, your students, and your program.

With your busy schedules I imagine that some of you, upon receiving your monthly SOUTHWESTERN MUSICIAN, flip to the divisional column of your area of focus, scan it for any pertinent information, and file that issue away with good intentions of reading through the remainder at a later date. In most cases that never happens. I, too, am guilty as charged, with a one-foot stack of association management journals on my desk that I have not had time to carefully read. I am currently remedying that by taking a couple home each evening to scan and read articles of interest. I never fail to pick up an idea or two that is helpful to me in my responsibilities.

Over the past few years, one of the changes that managing editor Karen Cross and I have attempted to make to improve our offerings in SOUTHWESTERN MUSICIAN has been in the content of our divisional columns. Vice-Presidents no longer approach their columns exclusively as a space for reminders about auditions, deadlines, the convention, honor organization policies, and more. As veteran teachers in their own right, TMEA Vice-Presidents have so much to

For successful teachers, learning is a lifelong passion.

10 Southwestern Musician | September 2013

offer, and they have responded admirably over the past few years—our current VPs being no exception. So I ask each of you to expand your reading beyond your divisional column of choice and take a look at all the Vice-President monthly contributions.

A good example this month is Dinah Menger’s Vocal Division column highlighting the TMEA Code of Ethics, which certainly is a good start-of-year focus. As an educator, nothing can be more important than upholding our ethical responsibilities to our students, our profession, and our community. The TMEA Code of Ethics is available on our website (www.tmea.org/about/policies), and I encourage each of you to read it carefully before stepping into the classroom one more day. Dinah’s column also underscores a couple of articles in the August issue relating to use of social media. That magazine is available online at www.tmea.org/emagazine. Finally, the content of the College Division as well as the President’s Column cut across all divisions, and I encourage you to read them as well.

new monthly electronic newsletter as well as on the TMEA website.

TMEA leaders will be testifying at the September 17 public hearing to offer our priorities and concerns, and I encourage you to call or email me with any issues that are already surfacing in your district that could negatively impact our programs or students.

Online Membership Renewal Is Open The TMEA staff thanks you for your patience these past few months while our online system for updating membership

information and renewing was unavailable. Go to www.tmea.org/membership and select the transaction that you wish to complete. When you renew your membership, you can also purchase lowcost liability insurance (existing policies expired August 20), preregister for our convention, and purchase tickets to the exciting 2014 TMEA President’s Concert featuring The 5 Browns, a quintet of Juilliard-trained sibling pianists.

Take time now to renew, and inform any new teachers about the value of membership in TMEA.

SBOE and HB 5 On August 1 the State Board of Education, led by Texas Education Agency curriculum staff, held a one-day work session on their rule-making authority relative to the implementation of HB 5, the omnibus education bill of last regular session that includes major changes in our state’s graduation programs. You will find more detailed information on how HB 5 affects arts education in the August issue of the magazine available online.

Representative Jimmie Don Aycock, Chair, House Public Education Committee, and author of HB 5, addressed the Board at their earlier July meeting and implored them to protect flexibility for students, parents, and ISD’s in the implementation of the new endorsements, or pathways. TMEA is already working closely with board members and TEA staff to ensure that flexibility is protected for our students, no matter the endorsement.

This rule-making process will be on a fast track, with the SBOE planning to approve on second and final reading their implementation rules at their January 2014 meeting. We will keep you informed of their progress through the Southwestern Musician | September 2013 11

C

reating rehearsals that are meaningful to students is a constant challenge for ensemble directors at any level. You must develop lesson plans and employ strategies that provide meaning and impart a lasting effect on students’ musical development, not just the development of a particular piece of music.

Meaning ful can be defined most clearly as: adding significance, meaning or purpose to somebody’s life, and in this case, the students’ musical lives.

To create a meaningful rehearsal you must first start by asking yourself some questions: What did my students learn about music today? Did they learn something new? Did they learn a lasting concept that will translate beyond the rehearsal? Did they enjoy making music? Did they stay engaged? Did the rehearsal have a definitive flow?

Decide how you want your students to feel at the end of your rehearsals about making music, and build from there. In polling students from middle school to the university levels, I found common responses to the question “What makes a rehearsal meaningful?” They included: • The rehearsal was different.

• We accomplished something in the rehearsal.

• I was able to play most of the rehearsal.

• I was able to do something at the end of the rehearsal I couldn’t do before.

• I understood something more clearly at the end of the rehearsal.

• I was inspired.

• I enjoyed the rehearsal.

12 Southwestern Musician | September 2013

by Phillip L. Clements Many teachers tend to believe a rehearsal is successful when specific goals are accomplished, or more typically, when a checklist of errors has been fixed. While this is certainly part of any rehearsal process, there are more effective strategies to incorporate error correction that yield longer lasting results.

As you strive to increase productivity and add meaning into each rehearsal, consider the following ideas that I have found central to achieving this goal: Choose Quality Music Truly meaningful musical experiences take place only when quality music is at the center. Only music of substance offers the opportunity to teach beyond the notes and explore expressiveness. Always ask yourself: “Is this the best piece of this type for my ensemble or is there something better?” The music you choose is your classroom text—selecting literature is a most important responsibility. Regardless of the ensemble level, avoid music that is formulaic or devoid of textural diversity. As you choose the music, consider the concepts your students need to learn or on which they need to improve. Select only music that you believe has worth; for the students to invest in the music, you have to believe in the music and express your passion for it.

Teach Within a Conceptual Framework The typical rehearsal consists of a warm-up, preparation of a piece or pieces, and announcements. Unfortunately, there is often no unified concept that ties the rehearsal together. To be most effective, create a concept-centered, cohesive lesson plan to accomplish more than fixing something within the music.

Ensure the plan contains information about the music that goes beyond the player’s part. Concepts can function as links between

the warm-up and the sections of the literature being rehearsed.

For example, you can teach the tuning concept of lowering the third in a major chord by fourteen cents and use this as the link for the entire rehearsal. Apply the concept to a chorale within the warm-up and subsequently to several pieces. Focusing on cadence points throughout the pieces will allow the students to identify their roles in the chords and adjust pitch. By teaching conceptually, you will be able to address specific intonation problems within the piece and do it in a manner that will have longer-lasting effects than simply correcting errors as they occur.

Lead with Questions Avoid stating the solution. Teachers are often guilty of simply telling students what to do: “Play softer in measure five.”

“Don’t rush in measure ten.” As simple as it seems, learning occurs best and students are most engaged when they are encouraged to find the answers themselves. Ask questions throughout the rehearsal: “Which section is playing too loudly in measure five?” “Can you tell

who is rushing in measure ten?” To focus the students’ listening, ask these questions before they play the passage. Many times directors ask these questions after a section has been played and then become frustrated because the students can’t answer correctly. It is simply because students weren’t listening with the same intent as the director.

Teach with Specifics Avoid generalizations in the rehearsal.

Since ensemble skills are based on the ability to listen, it is vital to direct students’ listening. They must know how to listen and to whom. Don’t say, “Listen,” or even, “Listen for time,” but rather, “Listen to the trombones for time.” Don’t say, “You are out of tune at letter A,” but rather, “You can find your pitch by listening to and matching the euphoniums at letter A.” Direct students where to listen for time, pitch, and balance and insist they write this information in their parts.

Communicate Effectively Look up from the score before speaking! Make sure you are looking at the

students and they are looking at you.

Remember, you are talking to people, not instruments. Much can be communicated nonverbally through your conducting; ensure you look at the students while you conduct, check stand heights, and insist they can see you and watch while playing.

Don’t just communicate without assessing learning. The students must respond either verbally or through their playing to assess what learning has taken place. Be concise and find the most efficient way to teach something or show them nonverbally. Remember, they want to play their instruments!

Relate the Unknown to the Known This is at the heart of all great teaching.

Using analogies enables students to relate musical concepts to things they know.

Say, “I would like for your articulations to be more like glass rather than carpet,” or, “The note weight should be more like golf balls than basketballs.” By doing this you are relating an idea to something they already know. This doesn’t mean you aren’t specific with items like tongue placement in articulation or rhythmic

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Southwestern Musician | September 2013 13

value and note shape—it simply provides a broader visual or aural image.

Monitor the Effectiveness of the Rehearsal Monitor and control the pace and effectiveness of each rehearsal. What is really transpiring? Are the students engaged? If not, do you have a plan B or C? Is the pace of the lesson working? Move too quickly and learning won’t take place; too slowly and boredom will set in. To be most effective, you must be mindful of the students’ level of engagement and adapt accordingly.

Mix It Up Avoid the mundane in the lesson plan.

Students can easily become complacent with the rehearsal if it is too predictable.

You’ll be surprised how altering the flow or atmosphere of the rehearsal can prevent this. Change the atmosphere by playing music as students enter the room or dim the lighting to help influence the mood of the music. Alter the seating of the ensemble during warm-up by utilizing blended seating (where students sit next to players in other sections). Alter the orientation of the ensemble setup. Face a different wall or seat the group in a circle with the conductor in the center. These small adjustments can yield dramatic changes.

Change your approach. Begin the rehearsal without talking and see how long you can be effective communicat-

ing nonverbally with the ensemble. Shift your position. Move around the rehearsal or stand in the percussion section during the warm-up. It will be eye opening for everyone.

Alter the warm-up. While it’s important to have a standardized warm-up, it’s equally important that it’s not overly predictable. Introduce a new warm-up or a variation on an older warm-up every few days to break the cycle.

Rehearse a section of music in various instrument combinations: only woodwinds, percussion, or brass playing; melody or accompaniment only; juniors only playing; last names A–M, then N–Z. Vary the order of the pieces. Rehearse backward from the end of a piece (letter T to the end, then letter S to the end, and so on).

Seek to Find What Is Right The effect of a positive comment on a rehearsal might surprise you. If you stop the ensemble and ask, “Why did we stop?” you will hear a variety of critical statements regarding their section or other sections in the ensemble. Listen for what is going well in the rehearsal and try stopping only to give positive feedback. Positive comments will supercharge the rehearsal and surprise your students, especially when offered without a qualifying statement. “Trumpets, your intonation was wonderful!” Leave out “but you were too loud and the percussion missed

Oklahoma City University

Marcin Parys (MM ‘10) Winner, 20th Annual International Chopin Piano Competition

www.okcu.edu/music

Student of Dr. Sergio Monteiro, smonteiro@okcu.edu 14 Southwestern Musician | September 2013

congratulates

The Bass School of Music at

an entrance.” You can always go back and address that later, but you will have just changed the mood of the rehearsal for the better!

Teach Music Every Day We must ensure that students make a connection with the music. The more they understand about the music and the composer, the more invested they will become.

Research the music and the composer and share your information with the students during the rehearsal process. It is critical that they understand the entire piece, not just their individual part. Listening to the piece and discussing the background will help them understand its full meaning. If possible, invite the composer to campus or schedule an online discussion.

Relate the ensemble solutions to the musical reasons behind the corrections.

For example, if you ask the trombones to delay a crescendo so they won’t cover the melody, be sure to define who has the melody. The players’ understanding of line and musical role is critical to the understanding of how to approach the crescendo. By helping them understand their musical role in this situation, you are laying a foundation of musicianship and listening skills for the future.

Make a musical moment each day! The idea of phrase, shape, and musical meaning is not something you add at the end of the process. It has to be considered and taught along with the technical aspects of each piece. Just as you wouldn’t take all your vitamins at the end of the month expecting to improve your overall health, you can’t wait until the end to incorporate musical aspects and expect dramatic results.

Utilizing these ideas in your rehearsals will make a tremendous difference.

Start slowly and try to plan a meaningful rehearsal once per week. Be patient!

Incorporating these strategies takes time but will make the rehearsals more meaningful for you and the students. In the end, you’ll find yourself enjoying the process and getting more from each rehearsal.

Phillip L. Clements is Director of Bands and Instrumental Activities at Texas A&M University/Commerce.

2014 PREMIUM FESTIVAL DATES ALLEN PERFORMING ARTS CENTER – April 5, April 12, May 2 EISEMANN CENTER - April 29, April 30, May 1 MURCHISON CENTER (UNT) – April 30, May 1, May 2, May 3, May 7, May 8, May 14, May 15

2014 CLASSIC FESTIVAL DATES WAKELAND HIGH SCHOOL – April 11, April 25, May 2, May 9, May 16 • Register Online NOW for 2014 at www.peakmusicfestivals.org • CONTACT US Andy Davidson – adavidson@peakmusicfestivals.org | Paul Davis – pdavis@peakmusicfestivals.org

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2014 Festival Dates Corpus Christi Flour Bluff High School

April 4–5 April 11–12 April 25–26 May 2–3 Southwestern Musician | September 2013 15

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Getting a valuable return on your investment B Y

R O N N I E

BAND NOTES

R I O S

C

ompound interest has been called “the eighth wonder of the world” and is the engine that drives supersized returns for investors who start young or invest for a very long time. While you might not be striking it rich monetarily as a band director, applying this concept to our work could still yield profits as we build our programs.

So often, we want to experience immediate success. Like our students, we have become accustomed to the instant gratification delivered by the many technological devices we utilize throughout our day. Yet, the success we achieve with our programs is much more like that of an investor who reaps the rewards of compound interest over time but who has to endure some times when the outlook isn’t so positive.

To achieve this long-term success, we need to set high standards that drive our work. While it is beneficial to set our expectations high, this can also lead us into dangerous territory. Some might simply give up on an objective at hand if they don’t see results instantly. This will send them right back to the starting line. In this case, we must remember to be patient, continue to work hard, and wait for the successes to compound over time.

Success grows by each step we take every day. These steps are the small, seemingly insignificant, moment-to-moment choices we constantly confront.

The reality, however, is that these small choices can make a big difference.

If someone were to offer you the choice of one million dollars right now or one penny that would double every day for a month, many would without hesitation choose the million. But the fact is that if you waited diligently for

The success we achieve with our programs is much more like that of an investor who reaps the rewards of compound interest over time.

IN MEMORIAM WARREN G. THAXTON April 21, 1932–August 14, 2013 LARRY TUCKER July 19, 1950–August 14, 2013

IMPORTANT DATES September—Renew your TMEA membership and liability insurance and preregister for the 2014 convention.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 25—Deadline to receive All-State Jazz audition CDs in the TMEA office.

November 9–10—All-State Jazz judging.

December 31—TMEA convention mail/fax preregistration deadline.

January 11, 2014—Area Band and Vocal auditions.

January 23, 2014—TMEA convention online preregistration deadline.

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

Southwestern Musician | September 2013 17

30 days while your penny doubled daily, you would have over five million dollars!

This is the type of diligence and commitment to a system that works and it is alive in our band halls every day.

While results are often invisible for a

while, we have to be patient and know that with the right system, the payoff is near. It is not about how fast you start, but how long you can last. Consistency of effort wins every time! I’ve heard that it takes 300 repetitions to change a bad

Oklahoma City University

Ryan Beach (BM‘10) Recently appointed as Principal trumpet, Indianapolis Symphony Orchestra

www.okcu.edu/music

Trumpet student of Professor Michael Anderson, manderson@okcu.edu

18 Southwestern Musician | September 2013

congratulates

The Bass School of Music at

habit. I’m not sure that’s true for all, but it is not worth giving up or starting over when you are at 299.

Becoming a champion at anything takes time. It is a well-orchestrated or borrowed process that has to be initiated, bought into by all, then executed as perfectly as possible.

Help Others Achieve Success If you’re a veteran teacher who remembers the challenges of being a first-year director, take a moment and register to volunteer as a mentor with the TMEA Mentoring Network at www.tmea.org/ mentor. As reported in “Surviving Your First Five Years” on page 28 of this issue, about 50% of teachers leave the profession within the first five years. Please do your part to make sure Texas music educators are the exception to this statistic. Several TMEA Regions are in great need of additional mentors to be available for pairing with new teachers. Help fill this need!

Honor Band Winners and Finalists Congratulations to our 2013–2014 Honor Bands, finalists, and their directors. We look forward to hearing our

Honor Bands in concert in February.

Thanks go to the Honor Band judges and panel chairs for their contributions to the success of this year’s Honor Band competition.

2014 Clinic/Convention Update I hope you have our convention dates marked on your calendar (February 12–15) and that you are planning to attend. You will experience an extraordinary opportunity for professional development and personal inspiration!

As you hopefully experienced last year, the TI:ME Music Technology National Conference will again be held in conjunction with our convention. This means an even greater concentration of technology clinics, and the special one-day technology preconference on Wednesday. For a $50 registration fee, you can attend this day of high-quality technology clinics designed to help you increase your efficiency and improve your instruction. I’m additionally excited to announce that the Band Division featured clinician will be Alfred L. Watkins, who will offer insight into becoming a better band director from his many years of success in the field.

Alfred L. Watkins Featured Clinician Alfred L. Watkins was Director of Bands at Lassiter HS in Marietta, Ga., from 1982 to 2013 and recently retired after a 37-year teaching career. He is a 1976 alumnus of Florida A&M University. Bands under Watkins’s direction have performed twice at the Midwest Band & Orchestra Clinic, six times at the BOA National Concert Band Festival, and three times at the Georgia MEA Convention. The Lassiter Marching Band won two BOA National Championships, nine BOA Regionals

Honor Band Finalists & Winners Class 2C

Rank 1 2 3 4 5 6 7

School/ISD ........................................................................................ Directors Clark MS/Frisco............................................................................. Benjamin Katz Faubion MS/McKinney ........................................................................Brian Beck Shadow Ridge MS/Lewisville ........................................... Christopher Meredith Roma MS/Roma ...............................................................................Corey Graves North Ridge MS/Birdville ................................................................ James Smith Four Points MS/Leander ............................................................. Christopher Yee Bayside IS/Clear Creek ....................................................................Chris Bennett

Rank 1 2 3 4 5 6 7

School/ISD ........................................................................................ Directors Henry MS/Leander .....................................................................Robert Herrings Aledo MS/Aledo ...........................................................................Ryan Johnstone Knox JH/Conroe ........................................................................... Jennifer Dillard Indian Springs MS/Keller ...............................................................David Puckett Rice MS/Plano ..................................................................................Jason Tucker Fort Settlement MS/Fort Bend ............................................... Greg Countryman Howard MS/Mansfield ........................................................... Nathaniel Neugent

Rank 1 2 3 4 5 6 7

School/ISD ........................................................................................ Directors Yoe HS/Cameron ............................................................................... Steven Moss Commerce HS/Commerce ..................................................................... Dave Polk Gunter HS/Gunter .............................................................................Justin Wallis Winona HS/Winona .......................................................................Jerry Whorton New Diana HS/New Diana ............................................................ George Little Kountze HS/Kountze .......................................................................... Robert Fife Luling HS/Luling ................................................................................. Coral Rios

Rank 1 2 3 4 5 6 7

School/ISD ........................................................................................ Directors Cedar Park HS/Leander ...................................................................Steve Wessels Friendswood HS/Friendswood ........................................................ Gregory Dick Vandegrift HS/Leander ....................................................................Jeremy Spicer Southwest HS/Fort Worth .................................................................Stacey Dunn Forney HS/Forney ...............................................................................Mark Poole Wakeland HS/Frisco ........................................................................ Gerard Miller McCallum HS/Austin ......................................................................Carol Nelson

Class 3C

Class 2A

Class 4A

Championships, and 104 of 112 marching competitions entered in the school’s history. The winter guard program has won two WGI World Championships, and the Concert Percussion Ensemble has performed at PASIC and at the Midwest Clinic. The band has also participated multiple times in the following national parades: Tournament of Roses Parade, Orange Bowl Parade, and the Macy’s Thanksgiving Day Parade.

They are one of only nine high school bands in America to have received both the Sudler Flag of Honor (concert) and

Sudler Shield (marching).

Watkins was selected as a member of the Florida A&M Hall of Fame, the BOA Hall of Fame, the American Bandmasters Association, the Georgia Bandmasters Hall of Fame, and has received 15 Certificates of Excellence from the National Band Association. Watkins is co-founder and musical director of the Cobb Wind Symphony (CWS) community band and is president of the Minority Band Directors National Association, a band director organization launched in September 2011.

Southwestern Musician | September 2013 19

Feeling Confident?

BY NATHAN SMITH

Before walking into a parent-teacher conference, you’d better do your homework.

Y

ou just sat down after teaching a few periods, ready to begin your planning period. You check your emails, organize your desk, and sharpen a pencil or two. You’re feeling pretty good. After all, you’re in your fourth week of school, progress reports went home without a hitch, and your beginners have made it to page 100 in the beginner book!

Then, you notice that faint red blinking light on your phone.

You listen to the voicemail and discover it’s a parent who isn’t pleased at all with their child’s progress report, and they want a conference as soon as possible. Your mood quickly changes and your nerves are on edge. Your first parent-teacher conference can be petrifying, to say the least.

If you’re new to teaching, you might feel like I did during my first year—fully prepared to tackle head-on the many challenges that come with teaching the music content. But as you begin your first parent-teacher conference, you can easily feel less like that confident teacher and more like a nervous student sitting outside the principal’s office trying to keep your story straight.

While there isn’t an ironclad way to guarantee you will emerge completely unscathed, I can share a few thoughts that might help you set yourself up for the best possible outcome.

Start with a Plan The more specific you can get a parent to be in advance about what they wish to discuss, the more prepared you can be to address their concerns. Make a preconference phone call or send

20 Southwestern Musician | September 2013

an email to say, “I’m looking forward to sitting down with you and your child to discuss your child’s progress. So that I can be as helpful as possible, it would be beneficial to know what you would like to discuss in more detail. Is there anything in particular you would like me to address in our meeting?” The old teacher-versus-parent mentality can be easy for you and the parent to adopt heading into a conference. As a parent, I realize that it’s easy to become defensive when anyone raises issues about your child. You certainly want to avoid ever having that “bad kid” stigma associated with them. As a teacher, doing something in advance, such as calling the parents, not only puts you in a more proactive mindset, but it also demonstrates that you are an advocate for the student and that, together with the parents, you should be a team working to ensure their child’s success—this can only be helpful in the parents’ eyes.

Document Everything I remember my professors instructing us to document everything, but in addition to everything else we do as music educators, that often just isn’t convenient to do. Then I had my first conference with an upset parent, and I was relieved to have thorough documentation. This parent was angry because I had told her child he wasn’t pulling his weight in his section. In the conference, I showed the parent the child’s assessment sheet that documented weekly objectives. We were several weeks into the grading period and this student had completed only a fraction of what was

From Here, Itâ&#x20AC;&#x2122;s Possible.

2014 Audition Dates Saturday, January 18 Sunday, January 19 Saturday, February 22 Sunday, February 23 Saturday, March 1 806.742.2270 ext. 233 www.music.ttu.edu Lubbock, Texas

expected. I also provided a document I had created with dated incidents in which this student failed to complete a given task or refused to play because he said he hadn’t practiced. When I was able to offer records that clearly backed up my comment, the parent’s hostile tone quickly became more receptive. There simply is nothing more effective to offer an upset parent who is willing to argue every point than a written history of what their child has or hasn’t done.

As inconvenient as it may seem to document everything, it can turn a very sticky situation around. When it was all behind us, the parent who arrived enraged became one of our program’s biggest supporters. She knew I wouldn’t pull any punches and would always be fair in what I said. I was able to prove that through my documentation. Do you need to create documentation for every student? Not necessarily. We use assessment sheets for each grading period and those usually suffice. If you teach a student with behavior issues, create a separate document for them to track incidents. Referrals and detention slips can help, but a document with dates and descriptions is better. For

22 Southwestern Musician | September 2013

example, simply note, “Oct. 20: student came in after school to practice, but never got his instrument out of his locker.” A parent who is certain their child stays to practice will definitely begin questioning the student when you have something concrete to show them. While you don’t have to document every minor detail, keeping a history on a few particular attention seekers can go a long way.

Partner Up Whenever possible, have another director join in the conference. My head director and I make a regular habit of coconferencing. This helps on multiple levels. First, it presents a unified front on the part of the staff. If the student was in one director’s group last year and is in another’s this year, a parent or student might try to play the directors against one another.

If both are present, it’s far less likely to occur or be substantiated once each director responds. Second, there’s some hidden wisdom you can learn only through experience. It’s not what you say, but how you say it.

An experienced director or another veteran teacher can help you temper your

words in a way that gets the point across to a parent without compromising the integrity of your overall position. This is especially true if you have a student who has Section 504 or Special Education accommodations. The reality is that parents who are protective of their children, as we should expect them all to be, will exploit any holes they can find in your side of the story. I didn’t realize how many accommodations are already in our curriculum as an inherent part of our pedagogy until my head director used a 504 sheet to point out the things we already do.

Nerves can also play a big part in what you do or do not say. Having a grounded, experienced partner there can help you keep a level head. If you know from your advance contact that the parent is arriving already upset, you certainly want to have someone there to help. It also helps to be aware of how you tend to respond in high-stress situations. Many people have subconscious mannerisms that occur when extreme emotion is evoked— smiling uncontrollably, sneering slightly, avoiding eye contact, or even having their cheeks and ears turn red. Try to understand your particular response and be

aware. Ask your conference partner to subtly cue you if they spot it beginning to happen.

Include the Student I always prefer to have the student present at the conference. Granted, there may be times when you ask the student to step outside so that you can talk with the parent privately, especially if the conference is about behavior and the student is being argumentative, but having the student there can break down many walls in the conference process. I have had many students embellish a story and then quickly begin backpedaling once they are exposed in a conference. This becomes much easier to spot when both the parent and the teacher are there to fact-check.

It can also be very effective to have the student play for their parent whatever they might be struggling on so that you can point out the mistakes and discuss practice strategies. Even if the parent has no musical background, you should be able to explain the practice process in a way that allows them to be more involved at home.

How many times do students claim they practiced for the 30 minutes but those 30 minutes were clearly not spent productively? Parents appreciate understanding the practice process as it can facilitate an empowering, cooperative approach. All of this would be more difficult to establish if the student were not present.

additional tutoring/reteaching might be needed to help the student catch up.

In any of these circumstances, you will only benefit from this additional contact.

We maintain an open-door policy in our band classes, and a conference follow-up is an opportune time for us to invite the parents to observe their child in class to see how things are going. Of course a student will behave differently with their parent present in class, but this invitation is more about getting the parent involved, getting everyone on the same page, and further diffusing any hostility.

The steps mentioned here offer just a few tools to help you be as confident as possible when you have a parent conference. Every situation is different, and you will ultimately have to decide the best way to approach each given its many variables. My hope is that you can take something from my experience and apply it to your own so that we can continue to improve our effectiveness as educators and musicians.

Nathan Smith is Head Band Director at Chapa MS in Hays ISD.

Follow Up This step is one of the most difficult given the demands on a teacherâ&#x20AC;&#x2122;s schedule, and especially when the conference wasnâ&#x20AC;&#x2122;t a positive experience, but it means a lot to a parent. As soon as your conference is over, mark your calendar for about two weeks from that day to contact the parent and follow up on what you discussed. This will allow you to confirm that what was decided during the conference is being carried out and to determine whether

Renew Your TMEA Membership Today! www.tmea.org/membership Southwestern Musician | September 2013 23

ORCHESTRA NOTES

Improving the All-State recording process B Y

IMPORTANT DATES September—Renew your TMEA membership and liability insurance and preregister for the 2014 convention.

September 15—HS String Honor Orchestra online entries due.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

October 15—Postmark deadline (second day delivery) for HS String Honor Orchestra CDs and other entry materials.

October 19–20—HS String Honor Orchestra judging.

October 26—Area recording date.

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

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.

24 Southwestern Musician | September 2013

C R A I G

N E E D H A M

W

hile opinions about the format of our AllState auditions will certainly differ (e.g., live versus recorded), we can all agree our auditions procedures should be implemented fairly and applied consistently across all 28 Regions. The audition should look the same for every student entering the process.

Our previous rules allowed for some flexibility as it related to monitors in the room and the use of professional recording technicians. There also was no standard procedure for verifying the CDs after the recording had taken place. The result was a process that was slightly different from Region to Region and we ended up with far too many CD errors.

You might be surprised at the number of CD recordings that arrived at the state auditions that were not finalized, simply didn’t play, had tracks out of order, or were missing tracks. At the auditions, a tremendous amount of time and effort is given to try and correct these mistakes so every student is heard, but as you can imagine, this is a difficult task.

Our Region Chairs have done an outstanding job of running these contests for many years, and the students in our programs have benefited from their skill and professionalism. Dealing with the All-State recording procedures for the Region chairs is a top priority because of the high stakes for the students entering. To help Region chairs run more consistent contests, rules and procedure changes have been implemented.

Audition procedures should be implemented fairly and applied consistently across all 28 Regions.

The audition should look the same for every student entering the process.

In-Room Monitor Now Required In addition to the recording technician, a monitor is now required in the room when a student is auditioning. This monitor will be tasked with ensuring the students play the correct tracks, in the correct order, and take the prescribed amount of time between tracks. TMEA audition policy states, “No more than one minute is allowed between each cut for the student to change their music, check tempo, and collect their thoughts” (Audition Procedures and Guidelines Appendix, 3.E.3). Monitors will be charged with making sure students are following this policy. This change alone should ensure more consistency with the process and eliminate many recording errors. Our recording technicians need to focus on recording the students and should not be the ones enforcing audition procedures.

CD Finalization CD recordings will be finalized immediately following the conclusion of the student’s audition. CDs will then be checked and verified either by the monitor or a director designated by the Region Chair using a different playback device.

This will eliminate variations in how and when CDs are prepared and should ensure CDs play and are accurate. This should dramatically reduce the number of CD errors.

Renaming All-State Rounds The final change is intended to clarify an existing process. The two rounds of the All-State judging process are separate and independent auditions. Results from day one do not carry over to day two. This is necessary because students are eliminated from the process after round one. Board policy allows for students to be eliminated by the audition process and this cannot be done without a completed audition.

To clarify this point, the first round will be referred to as “Pre-Area,” and round two will be called “Area.”

Be part of a rich tradition of excellence in the choral arts Sing at Tarleton State University!

COURSES OF STUDY: Bachelor of Music, Education - All Level Certification Bachelor of Music, Performance

Dr. Iwao Asakura Assistant Professor (254) 968-9243 | asakura@tarleton.edu

Bachelor of Arts in Music Scholarship auditions are held during the spring semester. Contact us to make an appointment for one of our primary audition days, Feb. 8 or March 1, or to schedule an audition at another time.

Dr. Heather Hawk Assistant Professor (254) 968-9453 | hhawk@tarleton.edu

Dr. Troy Robertson Director of Choirs (254) 968-9240 | robertson@tarleton.edu

Visit tarleton.edu/music for more information!

Southwestern Musician | September 2013 25

Honor Orchestra Finalists & Winners High School Full

Rank 1 2 3 4 5 6

School/ISD ........................................................................................ Directors Jasper HS/Plano .................................................................................... Ryan Ross Plano SH/Plano .............................................................................. Brian Coatney Westwood HS/Round Rock ...........................................................Susan Williams Klein Oak HS/Klein .................................................................... Tanner Ledford Seven Lakes HS/Katy .................................................................Desiree Overree Johnson HS/North East................................................................... Karen George

Rank 1 2 3 4 5 6

School/ISD ........................................................................................ Directors Robinson MS/Plano ..................................................................Mary Havenstrite Doerre IS/Klein ...............................................................................Dawn Multop Hernandez MS/Round Rock........................................................... Clarissa Lopez Rice MS/Plano ................................................................................... Barbara Fox McMeans JH/Katy......................................................................... Amy Williams Sartartia MS/Fort Bend ........................................................................Ann Victor

Rank 1 2 3 4 5 6

School/ISD ........................................................................................ Directors Fowler MS/Frisco .......................................................................... Karina Lindsey Midway MS/Midway ......................................................................Bruce Benson Rice MS/Plano ................................................................................... Barbara Fox Doerre IS/Klein ...............................................................................Dawn Multop Robinson MS/Plano ..................................................................Mary Havenstrite Sartartia MS/Fort Bend ........................................................................Ann Victor

Middle School/Junior High Full

Middle School/Junior High String

The High School String Honor Orchestra finalists and winners will be included in the January issue.

When the audition excerpts are released on the TMEA website the day before the audition, they will be labeled by round.

You can be a tremendous help to the Region Chairs by supporting this process and explaining it to your students prior to the audition. Region Chairs will be asking for your help with the monitoring process, and they need you to be available and willing to help. Many Regions are already following procedures similar to this, but for others, this will be a significant adjustment. We all want fair and consistent auditions for our students. Please help us as we work toward this goal.

26 Southwestern Musician | September 2013

Honor Orchestra Congratulations go to all of the participants in this year’s Honor Orchestra competition! Our Honor Orchestras were named on July 21 in San Antonio and we look forward to their performances during our 2014 TMEA Clinic/Convention.

Special thanks go to our second round judges and playback technicians who ensured a successful process.

Lend a Helping Hand If you’re a veteran orchestra director thinking about these changes to our audi-

tion processes, take a moment to recall what it was like as a first-year director, when every process was new to you. With that in mind, go to www.tmea.org/mentor and join the TMEA Mentoring Network to offer your support as a mentor. As reported in “Surviving Your First Five Years” on page 28 of this issue, about 50% of teachers leave the profession within the first five years. Please do your part to make sure Texas music educators are the exception to this statistic. Several TMEA Regions are in great need of additional mentors to be available for pairing with new teachers. Help fill this need!

2014 Clinic/Convention Update The 2014 TMEA Clinic/Convention will feature many clinics specifically targeted for Orchestra Division members.

As you hopefully experienced last year, the TI:ME Music Technology National Conference will again be held in conjunction with our convention. This means an even greater concentration of technology clinics, and the special one-day technology preconference on Wednesday. For a $50 registration fee, you can attend this day of high-quality technology clinics designed to help you increase your efficiency and improve your instruction.

In addition to many other incredible clinicians, I’m excited to announce the 2014 Orchestra Division Featured Clinician is Joanne Erwin. She will offer many insights into orchestra rehearsal strategy that will help each of us improve in our work.

Joanne Erwin Featured Clinician Joanne Erwin, Professor of Music Education at Oberlin Conservatory, began her cello studies in junior high when the orchestra teacher came to her choir class and expressed a need for cellists. She went on to earn her bachelor’s and master’s degrees in music education at University of Illinois and taught in the central Illinois area before moving to Texas to play cello in the Fort Worth Symphony. In addition to the symphony work, she taught in the Arlington ISD and took Suzuki teacher training. She conducted the Junior Youth Orchestra of the Youth Orchestra of Greater Fort Worth and founded a Suzuki school in that organization. After completing a Ph.D. in string pedagogy at the University of North Texas, she accepted

and conducts a youth orchestra in addition to her conservatory classes. She has served as president of Ohio Orchestra and String Teachers Association, on the board of American Symphony Orchestra League’s Youth Orchestra division, and on

the board of the Cleveland Cello Society.

Erwin’s publications include Prelude to Music Education, a method book New Directions for Strings, A Scale in Time, and articles in American String Teacher, Suzuki Journal, and Teaching Music.

Oklahoma City University

her current position of Professor of Music Education at Oberlin Conservatory where she teaches string pedagogy, conducting, and string class techniques. Erwin is a regular presenter at state and international conferences.

Erwin maintains a Suzuki cello studio

Karol Kowal (MM ‘09) Recently appointed to Warsaw Symphony Orchestra

congratulates

The Bass School of Music at

www.okcu.edu/music

Double Bass student of Professor John Schimek, jschimek@okcu.edu

Southwestern Musician | September 2013 27

Surviving Your First Five Years

mentor

balance

rapport

respect

mirror

program structure patience involved

by Rylon Guidry, Stephen Lisko, Tiffany Lisko, Jennifer Wren, and Joel Wren

R

eports from across the country continue to reveal that nearly half of new teachers leave the profession within the first five years. While these years can be the most difficult in a music educator’s career—full of issues your music education degree couldn’t fully prepare you for—they also do not have to be impossible to survive. If you’re a less-experienced teacher, consider the following tips from teachers who were in your shoes not that long ago—teachers who happily belong to that other 50% continuing to work in this most rewarding profession, accomplishing what really matters: making a positive impact on a child’s life.

fortable with someone from your college experience, a studentteaching mentor, another teacher in your district, or a retired teacher in the area. As an active TMEA member, you can also sign up to be paired with a mentor from the TMEA Mentoring Network (go to www.tmea.org/mentor).

Plan a good time for your mentor to visit your school, and try to have them observe several times throughout the year. Make time outside of class to obtain their feedback—not just about how your group sounds, but also on your teaching style and how your students respond to you. Don’t be afraid to ask your mentor questions, no matter how trivial they may seem.

FIND A MENTOR Working with a supportive mentor can help relieve some of the stress you will experience in your first five years. A mentor should be someone with whom you feel comfortable sharing your struggles and weaknesses. When seeking a mentor, do some research by listening to recordings of their groups, watching them teach a class, and asking them questions before they observe you in your work. Evaluate whether you share a similar philosophy on music and teaching.

There are many ways to find a mentor: you might feel com-

STRIKE A BALANCE Many new teachers find it challenging to manage their neverending task list. In our work, the list never really goes away, so we must do our best to chip away at it day-by-day. Prioritize your list into what must be done today and what can wait until tomorrow. Look ahead to upcoming events and evaluate what can be accomplished ahead of time so that you aren’t scrambling as you near the event. There will be days that require you to stay late to get work done. Given that, do what you can to work efficiently during your conference period and after school to minimize this

28 Southwestern Musician | September 2013

additional time. Don’t stay after school simply because it has become a habit.

Unless you work to achieve a balance between school and your personal life, each will suffer. Make time to explore hobbies outside of work, and take care of yourself by exercising regularly and eating healthy foods. Strive to make friends with other teachers who you will see during the day as you need someone to talk to other than students, especially if you are the only director in your program.

BUILD RAPPORT As in any good relationship, the key to developing a positive rapport with administrators is communication. Consistently inform them of your accomplishments— administrators won’t know about the wonderful things happening in your classes unless you tell them. Include administrators on group emails, invite them to watch a rehearsal or run-through, and periodically submit news for the daily announcements. At every public performance, recognize your administrators and their support for your program. Try to handle any conflict or discipline issues internally; however, if you foresee a problem with a parent or student escalating, inform an administrator before the matter reaches their desk.

Like administrators, parents need open lines of communication. They should be informed of calendar items, grading procedures, and participation expectations from the beginning of the school year. Utilize multiple methods for keeping parents updated—paper handouts, administrative software (we use Charms), the program’s website, Facebook groups, and Twitter accounts. Regardless of how you communicate, be sure to understand and follow your district and campus rules about communicating electronically with parents and students.

this may be the only time they see you in person. Your goal should be for parents to leave with a positive perception of your organizational skills and personal interactions.

RESPECT YOUR POSITION In the first years of service, some music teachers will work as assistant directors, and in this role, it is important to be a supportive staff member. Observe other directors’ approaches to teaching and classroom management. Assuming you are in a positive environment, emulate these role models as much as possible.

Learn from the head director’s teaching methods as well as how they handle discipline, organizational issues, parent concerns, and administrator interactions.

When given a task or aspect of the program to be in charge of, take ownership and set high standards for your work.

When your head director recognizes you are trustworthy and reliable, you will be given greater responsibilities. Make yourself available during rehearsals and classes you do not teach, and offer to help in any way possible.

Some teachers who are initially in smaller programs or who move up from an assistant position early in their career find themselves as a head director in charge of the entire program. As the head director, you must plan ahead and be as organized as possible. This will help you become a reliable leader of your program.

Be a supportive member of your cluster program by attending performances and volunteering to help at others’ rehearsals when appropriate. If you are fortunate enough to have an assistant, show your appreciation often. Never take your assistant for granted; mentor them daily because the better they become, the better your program becomes.

As you consider the best way to communicate, read “Going Social” and “What You Should Know Before You Post” in the August issue of Southwestern Musician (available at www.tmea.org/emagazine).

Invite parents to serve as chaperons on trips—they will come away with a new appreciation for what you do and for how you work with their children. Make each performance memorable for parents;

MIRROR SUCCESS While it’s true throughout your career, in your initial years it is especially important to look for successful programs to emulate. Listen to recordings of profes-

sional groups and outstanding examples of student groups in your division. On a day off, observe directors in a neighboring school district, and take the opportunity to attend Region and All-State rehearsals to learn from highly-respected directors.

As you focus on improving your skills as a teacher, always remember to nurture your foundation as a musician. Attend professional concerts, practice your instrument, and continue to improve your craft.

PROGRAM WISELY When it’s performance time, there is no room for excuses. You can’t turn around at a contest and offer the judges a disclaimer.

Simply do the best you can with what you have, and you can come away from each performance with a sense of accomplishment. Programming is one of the most important aspects of our work that many teachers find challenging early in their careers. Before reviewing literature, you must fully understand the strengths and weaknesses of your group as this will certainly influence your decisions as well as advice you seek from others. Take time to review the UIL Prescribed Music List (PML) available at www.uiltexas.org/ music/pml. Obtain scores and listen to recordings to build your knowledge of the repertoire from which you are choosing, and ask for advice from veteran teachers.

Once you have chosen a piece, make a long-range rehearsal plan. Know where you want your group to be by the precontest performance as well as where they need to be by the actual contest date.

Devise more specific rehearsal plans along the way, and know that you may have to adjust your plans based on what you hear in rehearsals. (For more guidance on rehearsal strategies, read “Breaking the Everyday Routine” on page 12.)

ESTABLISH STRUCTURE Being organized will help you stay calm throughout the chaos that our job often presents, and demonstrating structure behind how you work will help parents and colleagues recognize you as a dependable leader. While it sounds basic, it is important to keep your classroom and office area clean; students respond better in a tidy environment and will begin to take pride in their surroundings.

Establish daily procedures from day one. Set expectations for each aspect of your program: from rehearsal methods Southwestern Musician | September 2013 29

to road trip behavior standards. Be clear and consistent with your procedures, and know that it might take more time and repetition at the beginning of the year to get them established.

REMAIN PATIENT Change will not come quickly to any music program, especially one that has been established for many years. Know that each year really will get easier; you will have more experience, and your students and their parents will respect you

more each year you are at the school. Be consistent with your expectations, energetic and supportive of your students, and change will come.

GET INVOLVED In addition to connecting with colleagues in your district and on your campus, it is imperative to get involved in your profession. In addition to TMEA, consider membership in other associations as well (TODA, TCDA, TBA, ATSSB, etc.).

Regularly attend your professional asso-

TMEA Mentoring Network A TMEA mentor can help you: • • • •

focus on professional development remain an active music educator through successful induction experience reduced stress through collaboration with other music educators benefit from the highly valued expertise and modeling of veteran teachers

Sign up today: www.tmea.org/mentor

Discover the path toYour Future

ciations’ meetings and conferences. As a member of these associations, there will always be volunteer opportunities that allow you to become more involved and connected with colleagues from across the state. Don’t pass up this chance to get to know other successful directors. You will be giving back to the profession, but in the process you will gain much more.

As you consider these ideas for a successful start, know that they are all the result of many successes and failures we have shared as a close circle of friends.

When we compiled these ideas, we realized one important thing each of us share—we survived our first five years by focusing on teaching what are were passionate about: music.

Rylon Guidry is Head Band Director at Arbor Creek MS (Lewisville ISD); Steve Lisko is Associate Director of Bands at McKinney Boyd HS (McKinney ISD); Tiffany Lisko is Head Band Director at Dowell MS (McKinney ISD); Jennifer Wren is Associate Band Director at Doerre Intermediate School (Klein ISD); and Joel Wren is an Assistant Principal at Klein High School (Klein ISD).

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Katherine Strand Director, International Vocal Ensemble; General Music, Qualitative Research

30 Southwestern Musician | September 2013

L i v i n g Mu s i c

Everyday teaching habits involving community and students B Y

D I N A H

M E N G E R

A

s we get started in a new year, a review of the TMEA Code of Ethics & Standard Practices is a good beginning. We have all witnessed the shocking and heartbreaking destruction of reputations, community trust, and vital music programs by those who forgot about ethics and those who were accused (justly or unjustly) and removed from classrooms. This problem hits too close to home and we, as responsible music educators, should remain constantly vigilant in our awareness of identity, perception, trust, leadership, and character.

Our rehearsal halls are a home away from home for our students and for us.

We usually spend more time there than with our own families. Our rehearsals are often emotionally highly charged. In making great music, our students (and their parents) often forge a bond of trust and openness with us as their directors.

This is a sacred and scary place for teachers. Should we completely withdraw as a teacher and role model in the lives of our students? No! We should, however, use professionalism, common sense, and maturity when dealing with our students (and our community) on a daily basis. The next three headings are the section titles of the TMEA Code of Ethics & Standard Practices and my thoughts as I reviewed each again. Go to www.tmea.org/about/policies to read this document in full.

VOCAL NOTES IMPORTANT DATES September—Renew your TMEA membership and liability insurance and preregister for the 2014 convention.

October 1, 6 a.m. CT—TMEA convention online housing reservation system opens.

December 31—TMEA convention mail/fax preregistration deadline.

January 11, 2014—Area auditions.

January 23, 2014—TMEA convention online preregistration deadline.

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

Section 1: Responsibilities to the Profession The words that leap from this section are integrity, high ideals, professionalism, and dedication to music. In a nutshell, be nice to the people you work with, be careful with money, take care of your professional reputation, and tell the truth!

We should use professionalism, common sense and maturity when dealing with our students (and our community) on a daily basis.

Southwestern Musician | September 2013 31

Section 2: Responsibilities to the Student Be fair in all interactions with the students entrusted to you. Don’t take advantage of your role as director to berate or belittle any student. Treat each as if he or she were your very own child.

Section 3: Responsibilities to the Community You live and work in a fish bowl. Take caution! Be involved. Communicate regularly with parents, administrators, and your community. Keep them aware of what you are doing within your music program.

Our Code of Ethics serves as a daily reminder (and a rubric) for each of us teaching today’s students. With them in mind, here are some tips to serve as a guideline: • Remember that the parents of your students are the parents of your students.

• Do not accept any current students or their parents as Facebook friends—period!

• If your music program uses a Facebook account to communicate, use it only for that purpose.

• Be careful what you post on your personal social media websites. If it is written it can always be read.

• Use your school computer and email system solely for school-related business as they are the school’s property.

• Do not text students anything other than pertinent information about school-related events (and only with parent permission).

• Do not drive a single student anywhere. You shouldn’t regardless because of the liability.

• When practicing with a student, ensure their parent is aware that you are working with their child. Give a specific time and location for practice.

If you are alone, keep the door open or allow other students to remain as you teach.

• Be aware of where you socialize!

• Be careful with sarcasm. It backfires.

• Don’t allow students to hang out in your office constantly. You are too busy, and they need to be practicing or doing homework.

• Maintain a professional demeanor when rehearsing and performing; talking with administrators, colleagues, parents, and students; and in any setting that identifies you with your campus. (Remember this is what we expect from our students when they represent the school.)

• Don’t become overly involved in the daily youth-driven drama of students.

• Do become involved if you sense your students are in crisis. Use your school counselors and the school support team. Call a parent if you are

Oklahoma City University

J. Warren Mitchell (MM ‘10) Featured tenor, Marilyn Horne’s 2013 “The Song Continues” Carnegie Hall

www.okcu.edu/music

Student of Professor Jeffrey Picon, jpicon@okcu.edu 32 Southwestern Musician | September 2013

congratulates

The Bass School of Music at

worried. It’s better to be safe than sorry in these situations.

• Be careful in choosing repertoire. If text is involved (especially songs for show choirs, pop shows, talent shows, etc.) put it through your common sense filter before programming it. If you have doubts, don’t—even if your students think you’re “square.”

• Remember that you’re their teacher, not their best friend. Make the best decisions for your students based on your maturity and concern for the big picture, not what is popular in the moment.

• Conduct booster club meetings carefully. Keep track of your booster club’s communication thread, moneys, and business.

• Don’t collect money from students.

Devise a routine that puts them in charge. For example, use a locked safe in your rehearsal hall with envelopes located by the safe. Students will learn to put their money in an envelope, write their name and what the money is for on the outside, and deposit it in the safe. It stays there until you and/or the booster treasurer are ready to empty the safe. (It’s always best to have two people counting money.)

• Treat any money coming through your program as highly toxic! Keep track of every penny, maintain a thorough paper trail, package those moneys in a neatly balanced deposit, and turn it over to your school bookkeeper as soon as possible. If the bookkeeper is away, lock the money in a hidden location. This is a great question for your principal. “Where should I keep money if no one is on campus when I leave?”

• Be ready to defend any purchase or use of funds. Keep receipts. Plan ahead. Know your school’s rules for purchase orders and budget.

Be mindful of the timing between requesting money and when that money is available. Know how to hire accompanists, choreographers, judges, etc. If you aren’t sure, ask! The easiest way to ruin a working relationship with quality professionals is a problem with their pay.

• Renew your professional association memberships. Take out liability insurance, and hope you never have to use it. With TMEA this insurance is only $30/year—it’s an investment in your well-being.

• Stay updated on legislation. Be knowledgeable and educate your students, parents, and administrators.

The world that our students are growing up in is very different today. They are bombarded with sexual innuendo in

Oklahoma City University

Maren Weinberger (‘11)

Second-place winner, 2013 Lotte Lenya International Theater Singing Competition

congratulates

The Bass School of Music at

www.okcu.edu/music

Student of Larry W. Keller, lkeller@okcu.edu

movies, television, and music. It seems they are becoming immune to crass behavior and voyeurism. These students need a safe place at school to practice kindness, tolerance, self-expression, and beauty through music. May our rehearsal halls provide that place for them with continued trust and artistry.

Calling All Veteran Teachers As you get this year off to a positive start, consider what you can do to ensure our less experienced teachers have the support they need to achieve success through the inherent challenges of the first years as a music educator. If you are a veteran teacher, volunteer with the TMEA Mentoring Network. Go to www.tmea.org/mentor to sign up. As reported in “Surviving Your First Five Years” on page 28 of this issue, about 50% of teachers leave the profession within the first five years. Please do your part to make sure Texas music educators are the exception to this statistic. Several TMEA Regions are in great need of additional mentors to be available for pairing with new teachers. Help fill this need!

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2014 Clinic/Convention Update The 2014 TMEA Clinic/Convention will feature over 20 clinics specifically targeted for Vocal Division members.

As you hopefully experienced last year, the TI:ME Music Technology National Conference will again be held in conjunction with our convention. This means an even greater concentration of technology clinics, and the special one-day technology preconference on Wednesday. For a $50 registration fee, you can attend this day of high-quality technology clinics designed to help you increase your efficiency and improve your instruction.

Our clinics will be led by some of the finest vocal educators across our state and nation, so don’t wait to make plans to attend—the professional development opportunities you will experience will be incredible!

We are especially excited to have Charlene Archibeque present sessions as our 2014 Vocal Division Featured Clinician.

Charlene Archibeque Featured Clinician Charlene Archibeque, Professor

Emerita at San Jose State University, holds degrees from the University of Michigan (BME) and the University of Colorado (DMA). She has conducted all-state and honor choirs in 44 states as well as six Canadian provinces. In 1984, she became the second woman to conduct the Texas All-State Mixed Choir. During her 35 years as Director of Choral Activities at San Jose State University, her choirs performed at 25 state, divisional, and national conventions. Under her direction, the SJSU Choraliers presented 16 concert tours in Europe as well as tours in Mexico and Australia and were the winners of six European choral competitions, including the Wales Eisteddfod, the Tallin, Estonia Grand Prix, and the Spittal Choral Festival in Austria. Now retired from full-time teaching, she is active as a guest conductor and clinician and presented sessions at recent conventions of the American Choral Directors Association and the National Collegiate Choral Organization. In addition to the Outstanding Alumna Award, the University of Colorado-Boulder created

the “Excellence in Choral Music Award” in 2013 to recognize Archibeque’s dedication to choral music. She is the recipient of the top awards from SJSU, the President’s Scholar Award, and the Outstanding Professor Award.

Archibeque is currently preparing a new DVD entitled Creative Positioning of Singers to be released by GIA Publications in 2014.

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Southwestern Musician | September 2013 35

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start

with a

Good Story

by Michael Chandler

B

y integrating quality children’s literature, elementary music teachers offer students engaging and meaningful experiences that can motivate them to be successful at learning musical concepts and skills. Good books can inspire creativity through improvisation and imagination and can help illustrate a concept in a concrete way that might be more abstract without the accompanying story. Additionally, children love a good story—especially one with a life lesson.

The choices in children’s literature are abundant. Because of this, discerning music educators should make wise selections in the same way they choose quality songs, instrumental material, and dances. Not just any book or story will do; the pedagogical purpose must be clear.

When searching for a good children’s book to use in the music classroom, there are important points to consider. Look for authors whose books and stories are recognized for excellence.

Some of my favorite authors include Shel Silverstein, Eric Carle, Robert Munsch, Gerald McDermott, Paul Galdone, Denise Fleming, and Demi. My library of children’s books contains several selections by each of these authors because their books are consistent in quality and interesting to my students. Their stories either come from diverse folk traditions or have stood the test of time and appeal to children. This is certainly not an all-inclusive list, and just a little Internet research on quality children’s books and authors will help guide your way. Don’t be afraid to ask your colleagues, music teachers, and classroom teachers, and of course don’t forget to ask your school’s library media specialist!

Children’s books often follow a formula much like a musical form such as rondo. In many stories the main character faces challenges of some sort while making a journey or beginning a quest. Stories like these easily transfer to school performances for your students. Find a song, instrumental piece, dance, or any combination thereof that matches the personality and mood of the main character. As the character makes his or her journey, students perform a selection as traveling music to accompany the

character to the next part of the story. Each time after the traveling music, a narrator or actors dramatize what happens next.

I assign different classes parts of the story to dramatize. This reduces stress for the students by limiting the material they have to prepare. They’ll have more time to learn it well, understand the musical concepts and skills, and have input into how it should occur—let it be their story. Don’t forget to tie everything together with a special selection everyone can perform together either along the way or as the introduction and closing of the performance. Great stories need an overture at the beginning and a closing moral or celebration song or dance that lets the audience know it’s over.

Look for quality texts that may easily be set to simple rhythms and melody. Books for younger children often have phrases that can be arranged and orchestrated into musical selections. One of my second-grade lessons uses the book Time to Sleep by Denise Fleming. In this story, a series of animals pass on to other animals the message that “winter is on its way; it’s time to go to sleep.” I set this text to a simple sol-mi-la melody that my students sing and accompany on Orff instruments. They are able to practice their reading skills by singing the melody from staff notation while learning basic orchestration techniques to enrich their performance. Brown Bear, Brown Bear, What Do You See? by Bill Martin Jr. and Eric Carle presents the names of a number of animal characters that I set to two-beat rhythmic patterns that my kindergarten students enjoy saying, clapping, and playing on unpitched percussion instruments. By using all the character names together, they improvise and compose four-beat patterns with these rhythmic building blocks.

In some books, descriptive words that illustrate comparatives (e.g., up/down, loud/quiet, fast/slow) allow children the opportunity for vocal improvisation, movement, and instrument exploration to demonstrate what’s happening in the story. Up, Up, Down

by Robert Munsch is such a story in which Anna tries to climb a number of things around her—sometimes falling back down and Southwestern Musician | September 2013 37

sometimes succeeding. My primary-level students love this story because they can show Anna’s climbing and falling by making sounds with their voices, moving their bodies up and down, or improvising freely on the Orff instruments. In a classroom

with a limited number of instruments, the class can be divided into three groups that rotate among these three ways to accompany the story.

Starting a library of children’s books doesn’t have to be expensive. Most used

Oklahoma City University

Raul Dominguez (BME ’12) Second-place winner, 2013 ACDA conducting competition

congratulates

The Bass School of Music at

www.okcu.edu/music

Student of of Dr. Randi Von Ellefson, rvonellefson@okcu.edu & Professor Judith Willoughby, jwilloughby@okcu.edu

bookstores have a children’s section where you can find many gems for your classroom at very reasonable prices. Search the Internet for older selections that are out of print or difficult to find in stores. Start by selecting one good story for each grade level that you can incorporate into your teaching. Think about what you want to do with the story ahead of time, when and how you can perform it, and what materials would work best with it. Don’t forget that some classic children’s stories partner well with familiar children’s rhymes, chants, and songs. For example, “Cobbler, Cobbler, Mend My Shoe” works great with The Elves and the Shoemaker. The song “Apple Tree” naturally pairs with the story of Johnny Appleseed or Shel Silverstein’s The Giving Tree.

However you choose to start, offering your students a musical connection to quality literature will provide them an even more meaningful and fun experience in your classroom.

Michael Chandler is K–5 music teacher at Valley Ridge Elementary in Lewisville ISD.

Study with resident artist faculty Perform in premiere ensembles

Share your passion

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38 Southwestern Musician | September 2013

TCU Director of Chorale Studies, Dennis Shrock conducts the TCU Concert Chorale in Fort Worth’s St. Stephen Presbyterian Church

PerformCreate TCU UNDERGRADUATE MAJORS Piano, Organ, Winds, Percussion, Strings, Voice, Music Education,Piano Pedagogy, Theory/Composition, and Church Music SCHOLARSHIPS AVAILABLE Many TCU Students receive both music and academic scholarships. In order to be considered for an academic scholarship, a TCU Admission Application (including teacher and counselor evaluations) and the School of Music Online Audition Request Form must be submitted by February 15, 2014.

Music Scholarships will be considered by live audition until March 1, 2014; applicants must complete the School of Music Online Audition Request Form before an audition time can be scheduled. TCU Admission notification will be sent by April 1, 2014.

NEW! TCU EARLY APPLICATION/DECISION PROGRAM Music applicants interested in an earlier admission response are strongly encouraged to complete both application procedures above before the TCU Early Action deadline of November 1, 2013. TCU Early Action provides application review and nonbinding University notification by January 1, 2014, while allowing applicants to decide by May 1, 2014 (National Candidate Reply Date) whether or not to attend TCU. TCU Early Action combined with the February 1, 2014 Audition Day ensures a comprehensive admission decision by February 15, 2014.

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TCU Symphony Orchestra on tour in Argentina, May 2013 NORDAN SCHOLARSHIP The NORDAN Scholarship is an exclusive award, open to entering freshmen vocalists, instrumentalists, and composers of superior talent, who have chosen to major in music. NORDAN winners receive a four-year, FULL TUITION AWARD. Applicants are required to complete the Online Audition Request Form and upload a preliminary video performance for review in order to be considered for a live audition. The application and video must be received by December 1, 2013.

NORDAN Live Auditions are held on January 18, 2014. More information is available at www.music.tcu.edu/nordan_request.asp

GRADUATE PROGRAMS AVAILABLE TCU offers Master of Music and Doctor of Musical Arts degrees in different disciplines. Graduate Assistantships are available. The assistantship may pay up to full tuition and may include a stipend. For full consideration, masters applications must be postmarked no later than March 1, 2014.

The deadline for DMA applications is December 15, 2013.

AUDITION DATES FOR STUDENTS ENTERING FALL 2014 February 1, 2014, February 22, 2014, and March 1, 2014 For more information on both undergraduate and graduate studies, please visit our website or call the School of Music at 817-257-7341.

www.music.tcu.edu

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ELEMENTARY NOTES IMPORTANT DATES September—Renew your TMEA membership and liability insurance and preregister for the 2014 convention.

September 15–October 15—TMEA Elementary grant application period.

October 1, 6 a.m. CT— TMEA convention online housing reservation system opens.

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.

C O L L E E N

R I D D L E

O

ne of the many opportunities I have in my role as an elementary performing arts administrator is the privilege of interviewing promising new teachers as they excitedly anticipate sharing their love of music with elementary-aged students. During interviews with prospective teachers applying for a general music teaching position, I often ask, “What is General Music?” The answers I receive are as different as each teacher’s personality and individual music background.

I often explain to these eager music educators that we must provide our students with an abundance of musical activities in every music lesson including singing, moving, playing, listening, dancing, and creating. Our students need to experiment with, learn about, and excel in each of these musical components to help them later select the area they want to pursue in their secondary music education.

If you review the major components we teach in general music, you’ll find the common thread throughout is singing! We sing in our vocal warm-ups, singing games, and performances. We sing as we learn to play our Orff borduns and accompaniments. We sing as we dance and create in our folk dances. We sing when we recall the repetitive phrases of listening selections. We sing the rhythms to the melodies of our songs. Our music lessons should be centered on quality singing instruction based on proven child developmental pedagogies such as the Kodály Method.

In her 2008 article for the Organization of Kodály Educators, Cecile Johnson wrote: “All children do have the right to be able to express themselves with their own voice. We can help them achieve that goal in a very musical way that exemplifies pleasing, in-tune singing in unison and in harmony within a vocal ensemble we call the music classroom and choir.”

We must provide our students with an abundance of musical activities in every music lesson including singing, moving, playing, listening, dancing, and creating.

42 Southwestern Musician | September 2013

Students begin to learn proper singing skills by matching pitches from a teacher using a light, a cappella, treble singing voice. This may be difficult at first for male teachers but the skill of developing a strong falsetto voice can be developed with consistent practice. Only after students are confident with singing in tune and staying in the established treble key should male teachers resort to singing in their comfortable range.

David Dalton, music teacher at Stephens Elementary in Aldine ISD, often gives his students a starting pitch, sings the first few notes of the song, and then encourages his students to continue singing the song by themselves. After successfully getting students to sing on their own, Dalton walks around the room to assess each student’s singing voice and redirects as needed. This not only saves Dalton’s voice since he uses it throughout the day, it gradually teaches the students to sing correctly and independently. Isn’t that our ultimate goal—to promote competent, independent learners and singers?

This teaching skill is a best practice for all music teachers, male or female.

Listed below is a solfège guide that I and accomplished Kodály clinicians Rhona Brink, Mary Stevens, and Cecile Johnson have compiled to assist music teachers as they create singing-filled music lessons. This brief guide is based on students having one music class per week or one every two weeks. If you teach students more often, adjust your instruction accordingly, and given that individual schools of thought may vary, be sure to check with your fine arts administrator for specific district guidelines. Please pay particular attention to the singing range identified for each grade level.

3. Second Grade: Singing range should be middle C to third space C. Review mi, sol, and la. Prepare do in early fall.

Introduce do in November. Prepare re in January. Introduce re in March.

Introduce do pentatonic in April.

4. Third Grade: Singing range should be B below middle C to fourth line D. Review do, re, mi, sol, and la.

Prepare low la and low sol in January.

Introduce low la and low sol in March.

Introduce la pentatonic in April.

5. Fourth Grade: Singing range should be A below middle C to fourth space E. Review low sol, low la, do, re, mi, sol, and la. Prepare high do (doƍ) in February. Introduce doƍ in April.

6. Fifth Grade: Singing range should be A below middle C to fifth line F. Review low sol, low la, do, re, mi, sol, la,

Give your students the lifetime gift of a quality singing-inspired music education.

Before you know it, they will be singing their song all day long.

Pass Along Your Ideas In this role, I get the opportunity to offer some ideas like these that might help in your instruction. It’s important that every veteran teacher do their part to help those with less experience. A perfect opportunity to do this is through the TMEA Mentoring Network.

If you are a veteran teacher, volunteer at www.tmea.org/mentor with the TMEA Mentoring Network. As reported in “Surviving Your First Five Years” on page 28 of this issue, about 50% of teachers leave the profession within the first five years. Please do your part to make sure

Need Materials But Don’t Have the Budget? Apply for TMEA Grant Funds! www.tmea.org/elementarygrant Are you a music educator?

Change a foster child’s life through music mentorship.

1. Kindergarten: Singing range should be D above middle C to third line B. Provide activities for singing versus speaking voice, differentiating between high/low, loud/soft, fast/slow, and same/different, and identifying melody. Touch head and shoulders for sol-mi songs.

2. First Grade: Singing range should be D above middle C to third line B. Prepare for teaching sol-mi songs in early fall. Formally introduce sol-mi in January. Prepare la in March.

Introduce la in April.

and doƍ. Introduce fa and ti in January.

Contact Kids in a New Groove today !

We are recruiting volunteer teachers in all lesson areas!

Contact: sara@kidsinanewgroove.org kidsinanewgroove.org Southwestern Musician | September 2013 43

How do you get money for your music classroom? We want to know! We are always asked by our extraordinary customers for ideas on how to acquire more funds for their classroom. Share your most successful fundraising ideas with West Music (and your fellow educators and therapists!) and win the chance at earning up to $1500 in additional funds from West Music!

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• Your name will be included in our monthly drawing for a $100 West Music gift certificate and we’ll highlight the winning idea in our monthly email newsletter.

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Texas music educators are the exception to this statistic. Several TMEA Regions are in great need of additional mentors to be available for pairing with new teachers.

Help fill this need!

TMEA Grant Funding for Elementary Music Programs The Executive Board recently approved allocating $500,000 for grants to be awarded specifically to elementary music programs! For application details, go to www.tmea.org/elementarygrant, and be ready to apply during the application period, September 15–October 15.

2014 TMEA Clinic/Convention Update Make your plans now to attend the 2014 Clinic/Convention. The Elementary Division sessions will be power packed with the latest music publications, successful teaching ideas, classroom management tips and numerous instrumental, movement, and choral activities for early childhood grades through upper elementary. Prepare to be motivated and inspired by our Elementary Featured Clinicians Christopher Roberts and Roger Sams.

Christopher Roberts Featured Clinician Christopher Roberts teaches K–5 music in Seattle and is an Affiliate Assistant Professor of Music Education at the University of Washington. An active workshop clinician throughout the

United States and Canada, he directs the Kodály Levels Program of Seattle and co-directs the Smithsonian Folkways Workshop in World Music Pedagogy at the University of Washington.

Roberts holds a Ph.D. and M.A. in music education from the University of Washington, and a B.A. in African history from Swarthmore College. His research and clinical interests lie in elementary pedagogy, children’s musical cultures, and world music education, and he has been published in Orff Echo, Kodály Envoy, General Music Today, Journal of Research in Music Education, and Oxford Handbook of Children’s Musical Cultures. Currently, Roberts serves as the Western Division President-Elect for the Organization of American Kodály Educators, and is the member-at-large for the Council of General Music.

Oklahoma City University

welcomes

The Bass School of Music at

Matt Denman Instructor of Guitar Director of Education, Guitar Foundation of America mdenman@okcu.edu

www.okcu.edu/music

Roger Sams Featured Clinician Roger Sams retired from the music classroom in 2013 after 31 years of teaching music in public and private schools.

He has served as adjunct faculty, teaching methods courses and supervising student teachers at Cleveland State University and has been on the faculty in teacher education programs at the University of St. Thomas, Cleveland State University, Akron University, the University of Montana, University of Missouri-St. Louis, and other venues throughout the U.S. Sams is a regular presenter at regional, state, and national conferences, has served on the AOSA National Board of Trustees, and has worked with teachers in Canada, China, and India. He currently serves as Music Education Consultant at Music Is Elementary. Trained in Gestalt therapy, Sams is interested in the power of choice in the artistic process, teaching, and life. With Beth Ann Hepburn, he authored Purposeful Pathways: Possibilities for the Elementary Music Classroom and has published works for children’s choirs with the “Crooked River Choral Project” series.

2014 Convention Volunteer If you would like to volunteer to be a presider or office helper or to work registration, go to the TMEA website and find “Volunteer to Help” under the Elementary Division menu. Complete the online volunteer form or simply email me at criddle@aldine.k12.tx.us. The more volunteers we have, the more successful our convention is for everyone!

Southwestern Musician | September 2013 45

TECHNOLOGY works for me online ear training

by Lisa Holt

W

ith constant pressure to adopt the latest teaching trends, in addition to our already full schedules, we are often left with little time to explore available resources, especially the latest technology solutions. When we constantly fight the uphill battle of incorporating new procedures and completing even more documentation, online ear training programs aren’t likely to make it to the top of our priority list—that’s if they’re on the list at all.

Sure, we have all tried some form of ear training in the classroom before—perhaps you have the template of do-re-mis that students can circle as you play (something I still use), or you practice naming basic intervals daily. Yet this is a field where technology can become your best friend! You can easily customize and individually assess each student’s abilities and levels without causing anxiety or putting them on the spot. After reviewing many online ear training options, I began using the following with my students with great success. I offer them as examples of easy-toincorporate technologies that happen to be free!

line (or not so simple if you choose).

While the inter face may be somewhat confusing at first, your students will quickly pick up on how to input the melody heard. You can customize these exercises to include a variety of intervals and rhythms.

Your students can also use the mobile version of the site to practice ear training right in the classroom (smartphones with Internet connection required). Any excuse to use their phones will have your students fully engaged and willing to work.

Teoria.com also offers online lessons of beginning to highly advanced music theory objectives and alongside its ear training exercises are some of the best reading skills exercises you can find.

www.musictheory.net On this site, go to the Ear Training section to find exercises of intervals, scales, and chords that can be easily manipulated to the level of your students. If this is your first time taking a choir to the computer lab, go easy on yourself and them—stick to major intervals played in an ascending pattern. To really challenge the most advanced students, you can even include intervals such as minor 14ths and diminished 12ths.

Students can email or print a verification report documenting that they completed the exercises from home, and it prevents them from being able to reset their scores. I use this as an extra credit assignment for students who need those last few extra points.

This website also has many online theory lessons you can assign for students to complete on their time or perhaps on a day you find your choir is in a rut from preparing for UIL contest.

www.noteflight.com Noteflight.com offers a free interface for music composition that allows for easy music writing, editing, and playback with a simple account registration. I often introduce Noteflight at the beginning of the year by having my classes create their own warm-up based on a tongue twister (e.g., tres tristes tigres tragaban trigo en un trigal). This is a great tool to show beginning students how a simple improvised melody can easily be translated into notation, and it gives them a live example of how it’s done.

Once the relationship between hearing a tune and seeing a tune is established, a stronger understanding of basic melodic structure can develop. The students’ sight-singing abilities can only improve from there.

With these as only a few examples of the myriad of resources available, I encourage you to spend some time searching for the tools best suited to your needs and that will motivate your students to be engaged in learning. In addition to websites like these, there are, of course, many software solutions available that can also help in your ear training instruction.

Regardless of the solution, incorporating technology can help us reach our students through a medium they clearly enjoy and increase their engagement in the learning process.

www.teoria.com The only issue I have found with this site is that sometimes there are merely too many options from which to choose. You have options such as rhythmic dictation, triad and seventh chord identification, harmonic progressions, scales, and jazz progressions just to name a few! Go to the Exercises section of this site to find their ear training section.

The melodic dictation exercise is one of my favorites; it offers a way to practice backward sight-singing with a simple melodic 46 Southwestern Musician | September 2013

Lisa Holt is the Associate Choir Director at Klein Oak HS in Klein ISD.

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s you read this, it is safe to assume you are now fully re-engaged in your academic life. While all of us in education can be prone to Groundhog Day syndrome—imagining every year an identical repeat of the former year—it is our students who provide us the fresh and stimulating challenges that make each year unique.

As you get to know all those fresh faces in your classes and rehearsals, begin making plans to take advantage of opportunities for professional development and renewal. When you do, please include the following: • Watch for emails about our October 11 College Division Fall Conference at the TMEA office in Austin. The title of the conference is “Making Connections—Seeking Solutions.” It should be an informal and collegial venue allowing you to consult and share with colleagues engaged in the vast spectrum of collegiate music instruction across the state while learning about issues currently confronting music educators at all levels of engagement.

• The Technology In Music Education (TI:ME) national conference will once again be held during the TMEA Clinic/Convention in February.

TI:ME will begin their meetings with a full day of a wide variety of technology-based sessions on Wednesday, February 12, and will continue through Saturday, February 15. This is a unique opportunity bringing together the leaders in application of new technologies in music education.

• Finally, as always, the TMEA Clinic/Convention, February 12–15, will be

While we often imagine every year an identical repeat of the former year, it is our students who provide us the fresh and stimulating challenges that make each year unique.

COLLEGE NOTES IMPORTANT DATES September—Renew your TMEA membership and liability insurance and preregister for the 2014 convention.

October 1, 6 a.m. CT— TMEA convention online housing reservation system opens.

October 11—College Fall Conference in Austin.

October 15—Call for papers.

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.

Southwestern Musician | September 2013 49

the cornerstone of continued professional development for all Texas music educators. It is my pleasure to introduce to the TMEA membership the College Division featured clinicians for the 2014 convention, William Fredrickson and Evan

Tobias. I believe all college division members will find their sessions particularly practical in application to our work. In their clinics, you will learn about the following: current trends and future directions in music education, the power of eye contact in the

Oklahoma City University

welcomes

The Bass School of Music at

Dr. Michael Raiber Professor of Music Busey Chair of Music Education maraiber@okcu.edu

50 Southwestern Musician | September 2013

www.okcu.edu/music

classroom and rehearsal, special needs students in school music settings, music teacher recruitment and the evolution of the profession, teaching 21st-century musicianship, projectbased learning and understanding, integrating contemporary music creation in music programs, and addressing popular music and culture in music education.

William E. Fredrickson Featured Clinician William Fredrickson joined the College of Music faculty at Florida State University in 2006, having previously held positions in the Conservatory of Music at the University of MissouriKansas City and the College of Visual and Performing Arts at Syracuse University.

Fredrickson received degrees from the State University College of New York at Fredonia, Syracuse University, and Florida State University, where he completed his Ph.D. in music education. As a public school music teacher in upstate New York he taught instrumental music at all levelsâ&#x20AC;&#x201D;elementary through high school. A founding member of the

Aeolian Saxophone Quartet, Fredrickson performed and recorded with that group for twelve years.

Fredrickson’s early career interests in teaching and performing led to his research interests that include music teacher preparation, music perception, and the affective response to music. He regularly makes research presentations at state, regional, national, and international meetings of groups such as NAfME, ISME, and AMTA and is published in various professional journals, including the Journal of Research in Music Education, International Journal of Music Education, Bulletin for the Council of Research in Music Education, Psychology of Music, and the Journal of Band Research. Fredrickson is past editor of the Journal of Music Teacher Education and the Missouri Journal of Research in Music Education.

Evan Tobias Featured Clinician Evan Tobias is Assistant Professor of Music Education at Arizona State University, where he teaches undergraduate and graduate courses and heads the Consortium for Digital, Popular, and Participatory Culture in Music Education

@ ASU, which he founded in 2009.

He is also a member of the ASU Music Education Music, Learning, and Society Research Group. Prior to his appointment at ASU, Tobias taught a technology in music education course at DePaul University and middle school instrumental and general music in New York.

A specialist in secondary general music and contemporary secondary curriculum and pedagogy, Tobias’s recent research focuses on creative uses of digital media and technology, issues of social justice, expanding beyond traditional music curricula, and approaches to integrating popular culture and music in music classrooms. He is on the advisory board of Music Educators Journal. Tobias also serves as a member of the National Coalition for Core Arts Standards Media Arts Standards writing team. His work is published in the Mountain Lake Reader, Music Education Research, and he has articles in press in Music Educators Journal and Research Studies in Music Education. He also has a coauthored chapter published in Collaborative Action for Change: Selected Proceedings from the 2007 Symposium on Music Teacher Education and a chapter on video games and music education in

the Oxford Handbook of Music Education, Vol. II. (For links to these publications, go to www.evantobias.net/about.) Tobias is a frequent presenter at state, national, and international conferences. He holds a Ph.D. and master of music in music education from Northwestern University and bachelor of music in music education from the Crane School of Music at SUNY-Potsdam.

College Division: More Opportunities The call for papers for inclusion at the 2014 TMEA College Division Poster Session has been issued. The deadline is October 15, and full details are available at www.tmea.org/call-for-papers.

Volunteers for the convention are always requested, needed, and appreciated. Whether you are interested in presiding over division sessions or helping with registration, the always-willing volunteer force guarantees our convention remains a world-class event. You can volunteer at www.tmea.org by going to the College Division menu and selecting the Volunteer to Help listing.

Making Connections Seeking Solutions 2 013 Col lege Fa l l Con ference October 11 • 9:30 a.m.–4:30 p.m. • TMEA Headquarters in Austin Examine many of the contemporary topics facing the practicing music educator and the implications on music teacher preparation.

The format will consist of multiple presentations followed by open discussion of ideas and solutions.

Connect with colleagues from around the state and collaborate in seeking solutions to our shared issues.

Registration Deadline: October 4 To register, email TMEA College Division Vice-President Keith Dye, keith.dye@ttu.edu, indicating both your name and institution.

There is no cost associated with this TMEA-sponsored event.

Questions? Email keith.dye@ttu.edu

52 Southwestern Musician | September 2013

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