Preparing Students for FESTIVALS and ADJUDICATION TIME MANAGEMENT Skills MAKING MUSICIANS INTO LEADERS

teachingmmusicAUGUSTu 2015 VOLUME 23, NUMBERs 1 ic

CRITIQUING STUDENT COMPOSERS Preparing Students for FESTIVALS AND ADJUDICATION TIME MANAGEMENT Skills MAKING MUSICIANS INTO LEADERS

menc.org 1 2 Teaching Music I October 2012 menc.org 3 EXECUTIVE DIRECTOR AND CEO Michael A. Butera Keep your classroom neat and organized. DEPUTY EXECUTIVE DIRECTOR AND COO Michael Blakeslee • Durable brushed aluminum melamine sides for EDITOR a sleek look that students will enjoy using Ella Wilcox COMMUNICATIONS CONTENT DEVELOPER • Strong hardwood DOUBLE STACK GUITAR RACK Rosalind C. Fehr rails for strength EDITORIAL ASSISTANT 69½"w 30¼"d 683/8"h Caroline Arlington • Safe and easy access For a listing of the NAfME National to instruments Executive Board, please see our website: nafme.org. • Transport unit with Unless specifically noted, articles wheels allows easy in Teaching Music do not necessarily represent the official policy of the mobility National Association for Music Education.

Teaching Music is created for Guitar Racks NAfME by In Tune Partners, LLC. come with [email protected] CEO Irwin Kornfeld theft-deterrent PRESIDENT Will Edwards locking cables EDITORIAL DIRECTOR Emile Menasché EDITOR-IN-CHIEF Susan Poliniak CREATIVE DIRECTOR Jackie Jordan Holds 20+ ADVERTISING MANAGER Bill White cases/guitars PRODUCTION MANAGER Michael R. Vella BUSINESS MANAGER Barbara Boughton CONTRIBUTORS: Andrew S. Berman, CELLO RACK VIOLIN/VIOLA RACK Debbie Galante Block, Kevin Coker, Chad 57"w 23"d 37"h 63"w 29"d 52"h Criswell, Cynthia Darling, Kathy Melago, Cathy Applefield Olson, Adam Perlmutter, Susan Poliniak, Keith Powers, Paul Sigrist

The National Association for Music Education is a voluntary, nonprofit organization representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Active NAfME membership is open to all people engaged in music teaching or other educational work in music. Teaching Music (ISSN 1069-7446), an official magazine of the National Association for Music Education, is issued to members four times per year in August, October, January, and April at an annual subscription price of $10. Holds 4 Office of publication: National Association for cellos & bows Music Education, 1806 Robert Fulton Drive, Holds 20+ Reston, VA 20191-4348, U.S.A.; 703-860- violin/viola/trumpet cases 4000. Produced by In Tune Partners, LLC. Institutions may purchase one volume year of of various sizes and shapes four print issues for $200. Single copies of issues School District POs accepted. are $30. A limited number of back issues are available for purchase. Permission requests to Please mail to: reproduce or otherwise use material published in A&S Crafted Products, Box 26731, Elkins Park PA 19027 this journal should be submitted to Caroline Arlington at [email protected]. Periodicals or scan your PO and email to: [email protected] postage for Teaching Music is paid at Herndon, VA 20170, and at additional mailing offices. or fax to: 888-831-5464 POSTMASTER: Send address changes to Teaching Music, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A. Copyright ©2015 by the To see our NEW Double Bass Rack and National Association for Music Education. Printed in the U.S.A. Teaching Music is available via other racks, go to BandStorage.com 267-626-6123 electronic databases from most universities and libraries.

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August 2015 Volume 23, Number 1 contentsMUSIC EDUCATION ● ORCHESTRATING SUCCESS Music students learn cooperation, discipline, and teamwork. 30 Kevin Golub of Ogden High School in Ogden, Utah, conducts singers.

FEATURES 26 LESSONS THAT 30 JUDGMENT DAY 36 RETURN TO 42 LEADING A STUDENT TEACHERS Festivals and adjudi- MUSIC CITY MUSICAL LIFE CAN LEARN cated performance NAfME gears up for Kevin Ford, By observing teachers experiences can be its third National founder and director of other disciplines, rewarding for students. In-Service Conference of the Leadership student teachers can Judges and other music in Nashville, happening Conservatory for the improve their own educators weigh in on October 25–28, 2015. Arts at Tarpon Springs understanding of how best to prepare Next year, it’s on to High School in Florida, teaching and teaching young musicians for the Dallas! has built a successful strategies. challenges. music program that aims to make young musicians into leaders. Photo courtesy of Kevin Golub. Photo courtesy of Kevin

nafme.org 5 August 2015 contents Volume 23, Number 1 24 Technology for practicing and assessing

Students in Ohio’s Canton City School District DISCOVERIES 16 How do you take over from a beloved choral director? 22

DEPARTMENTS TECHNOLOGY Apps and more to help students practice LETTERS and teachers assess that practicing. 24 Opinions from our readers 8 WORKSHOP CLASSROOMS General Music A music educator in Ohio has built a choir Exploring world music with classroom program, thanks to teamwork. 16 instruments 48 ADVOCACY Brass & Woodwinds Euphonium: low brass powerhouse 49 NAfME’s ALL IN teaches music educators to be advocates for their programs. 18 Strings Teaching the tune-up 49 RESEARCH Percussion What are the qualities of a “superior” band Steel drum ensembles 50 director? 20 Choral & Vocal Preparing high school singers for college applications and auditions 51 Alternatives Guitar classroom management 52

STAGES Elementary NAfME’s Time management for teachers In-Service 55 Conference Secondary returns to NEWS Nashville! Critiquing student composers 56 11 Collegiate 11 UPBEAT Building your résumé— NAfME Leaders Take a Stand for Music Education in Washington … Before you teach 58 Tri-M Program’s Many Benefits … JamHub Offers Grants to Schools … NAfME’s 2015–2016 School Year Calendar … Call for Proposals: RESOURCES 2016 Music Research & Teacher Education National Conference … New media and accessories for NAfME’s 2015 National In-Service Conference: Empower Creativity the music classroom 60 … Lowell Mason Fellows Class of 2015 … GRAMMY Quarterfinalist BRAVO! Shares Concert Prep Tips … NAfME’s Back-to-School Tools Teaching Music salutes violin

virtuoso Itzhak Perlman 64 Chad Criswell, and Randi Radcliff. from top left) Rachael Fleischaker, (clockwise Photos by

6 Teaching Music AUGUST 2015

Letters

Dear Editors: philosophy, etc., all learned there. about the music in his 1960s high I applaud the work of the National These “core” liberal arts have always school and college years. Is this a “short Coalition of Core Arts Standards been indirectly involved in their shelf life” of learning? I think not. (Keith Powers, January 2015, pg. 20). I primary skills of problem-solving, And is this assessment, after 50 years, only wish they could be mandatory, as critical thinking, and other skills. more valuable than the instantaneous with the other “core standards.” Some 50 years later, these alumni have ones forced upon students and teachers While I am not familiar with the expressed their thanks for how the who have no choice but to “teach to depth of these standards, the very college taught them. the test”? These former students have notion indicates a movement to At the end of his column, Powers had successful careers of some 40 or so articulate what have probably always quotes Mike Blakeslee, NAfME’s years. Plus, they have the additional been accepted practices in education, Deputy Executive Director and COO, advantage that goes beyond just money, but deemed “less valuable” as he addresses music money-loving practices, sel shness, by trend-seekers. It’s teachers: “Nothing in and greed: enriching the human being unfortunate that politi- these Standards says that and the human spirit. It’s tough to cians and extremist you have to throw out any measure the later ones in an instanta- money-makers have of the good things you do neous assessment where students learn diverged from these now. It simply challenges how to take tests, not how to learn and standards and consider teachers to say, ‘Does this how to LOVE to learn. Students today many of them peripheral, help ensure that what I miss out on lifelong learning practices. with a short shelf life. teach will be relevant to my Burt Reynolds also graduated from Our Western culture is students 40 years from this college. The same

✢ BY KEITH POWERS now?’” I know artnerships Our professor who taught Reyn- based on core educa- now?’” I know P professor who taught Reyn- fundamental

Blakeslee remarks that, “We goal was had federal funding from a enduring small NEA grant, but for the understanding. tional standards, pedagogy, and one of the music appreci- most part the work has been olds and the gentlemen self-funded from the coalition. By our very structure, including all of the arts, we are NCCAS hoping that decision makers SHIP LEADER S will be able to see that the ORGANIZATION - Standards cut across all art These ten organiza curricula derived from philosophies of ation professors who tions have been with whom I have spoken forms. Our fundamental goal SANTANA, NAE; ANTUAN working since 2011 to GARTS ALUM PRESIDENT AND YOUN ERT L. LYNCH, was enduring understanding. create an update to the VIS, MUSICIAN ROSOFT; ROB CATION T: KATE DA GER, MIC AND ARTS EDU National Core Arts FROM LEF TIZENSHIP MANA S, MUSICIAN NITY AND CI TS; BEN FOLD TS FOR LEARNING In the case of music, for Standards. “As the COMMU CANS FOR THE AR OR, YOUNG AUDIENCES AR D CEO, AMERI states adopt the AN VID A. DIK, EXECUTIVE DIRECT instance, if we want to have ADVOCATE; DA Standards,” Blakeslee musically literate adults, what says, “they will become kinds of achievements do we drivers of curriculum. Ancient Greek culture. Our Western taught a former student They won’t have any (although he did not teach need to steer them toward as official sway until after The National individual teachers get students?” a chance to learn The coalition engaged 130 about them and Coalition for Core adapt.” writers to create the initial Americans Arts Standards Standards framework, which for the Arts americansforthearts.org The members of the NCCAS have worked was then vetted by more than cultural heritage hinges on these and now alumnus of the American Alliance music) was his mentor, together since 2010. 6,000 teachers, parents, Theatre and for TE) visual arts, and media arts. The students, artists, and focus Education (AA after three years IN OCTOBER, NCCAS has convened aate.com groups. Americans for the Theatre Educational of research, the National Core EdTA) - monthly since 2011, and - Arts, part of the NCCAS Association ( Arts Standards were an continues to meet via confer coalition, is leading a states- schooltheatre.org ollege Board nounced. This research ence calls and web-based based eort to generate The C philosophies, and I am very proud to college where I now teach. collegeboard.org Watson B. Duncan III. involved 10 in uential arts meetings. A key ingredient to support. “The Standards have The National organizations that consulted the coalition’s eort, Blakeslee huge implications for policy,” Association for Music NAfME) among each other and with points out, has been the Education ( Blakeslee says, “but they are nafme.org thousands of educators, artists, creation of an interactive web truly voluntary. That’s the National Art parents, and students. Education site, nationalartsstandards.org, main dierence from the NAEA) These new Standards were Association ( which oers options for G

Common Core standards. N

- arteducators.org I

be a part of such a heritage. It’s a Some 50 years later, this N The comment I hear created by the National R teachers to customize the Stan Even though they call them National A Education Coalition for Core Arts dards to meet the needs of voluntary, they have high Dance NDEO) Organization ( LE FOR

Standards. The NCCAS was their own curricula. stakes, because of the funding ndeo.org TS

AR S formed in 2010 after an “The unifying factor is that State Education E

that gets tied to them.” NC organizing meeting convened Agency Directors the Standards talk about Blakeslee further notes that, of Arts Education

by one of the members—the EADAE) AUDIE G - artistic literacy. But they have “Nothing in these Standards (S N about Duncan regards his shame that so many businesspeople, former music appreciation seadae.org about Duncan regards his State Education Agency Direc- to become true to what says that you have to throw out Media Arts

tors of Arts Education (SEA happens in the classroom,” Committee of the

any of the good things you do YOU OMERO, R

Coalition for DAE)—to revise the previous National S

remarks Mike Blakeslee, U

now. It simply challenges Core Arts Standards C R standards in light of the newly NAfME’s Deputy Executive teachers to say, ‘Does this help mediaartseducation.org A

M O: adopted Core Curriculum. T Director and COO. “We are ensure that in 40 years what I Young Audiences NAfME joined the coalition, saying, ‘Here are the models, Arts for Learning PHO politicians, and money-makers reject student is capable of teach will be relevant to my youngaudiences.org passion for learning, as did other organizations now articulate these for your students?’” specializing in educational own programs.’” issues in dance, music, theatre,

JANUARY 2015 these ideas in favor of short-term gain identifying many musical 20 Teaching Music invoked through through money-loving, thus nixing selections by the old literature and drama. the development of the human mind. standard, “drop-the-needle test.” I can Such human skills are not being Are we diverging from many of the easily say to that professor, “great job!” assessed, but Mr. Blakeslee’s observa- lessons about human beings that have because the assessment of this former tion about “... how relevant to my been imparted by arts, literature, student results in a great grade! I don’t students 40 years from now,” is one of music, philosophy, anthropology, assess this alumnus, but as I play some wisdom. We need more wisdom and history, etc.? Must we follow some of my classical music, he often com- long-term thinking, rather than powerful men’s and women’s ideas ments about how much he likes this short-term money-loving practices about “trends”? piece or that one, identifying these which politicians seem to have em- The college where I am employed as selections by name of composer and braced today. —Douglas W. Cornwell, a professor of library science and music music title. He explains how he learned [email protected] has a rich tradition of 80-some years educating students and granting WRITE TO US Send your thoughts to [email protected], or fax a letter to 888-275-6362. We appreciate hearing from you and sharing your thoughts countless degrees. Several alumni of with your fellow NAfME members. Letters are edited for style and to ﬁ t this college from the 1960s have available space. Please include your full name, job title, your school’s name, and the city and state where you teach. commented on the value of music, arts,

8 Teaching Music AUGUST 2015 JOIN THE “We learn life lessons and develop life skills every day SUPPORTMUSIC in band, things like teamwork and integrity.” COALITION Music Student, Baldwin High School, Pittsburgh, Pa.

STRENGTHEN SUPPORT FOR YOUR MUSIC MUSIC MATTERS, GET INVOLVED. EDUCATION PROGRAM The SupportMusic Coalition is a signature program of Join the SupportMusic Coalition The NAMM Foundation that unites non-proﬁt organizations, and receive free tools for schools, business and individuals working to assure all grassroots music education advocacy. children have access to high-quality music and arts education that nurtures creativity and critical thinking skills. Visit The NAMM Foundation website to learn more. Join us at nammfoundation.org and be part of a national network to keep music education strong.

NAMMFOUNDATION.ORG

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For more info visit us at: www.MusicProdigy.com Or send us an email: [email protected] upNews beatand notes for today’s music educator By Rosalind C. Fehr NAfME President Glenn E. Nierman (speaking) at NAfME’s congressional brieﬁ ng with (L to R) John Brandon (San Fermin), Kenneth Elpus (assistant professor, University of Maryland); and Lynn Tuttle (director of arts education, Arizona Department of Education; past president, State Education Agency Directors of Arts Education).

Rep. Bobby Scott (VA-03) of the House Committee on Education and the Workforce addresses the audience at NAfME’s congressional brieﬁ ng.

NAfME Leaders Take a Stand for Music Education in Washington, D.C.

IN JUNE, leaders of the National composer and keyboardist Ellis Ludwig- Washington, and networked with Association for Music Education Leone. Other members are John Brandon their peers. (NAfME) from throughout the United (trumpet), Stephen Chen (saxophone), The 2015 National Assembly included States gathered in Washington, D.C. to Rebekah Durham (violin/vocals), Michael two days of in-depth meetings where advocate on Capitol Hill and plan for the Hanf (drums), Charlene Kaye (lead NAfME leaders met in general sessions Association’s next ﬁ scal year, which vocals), Tyler McDiarmid (guitar), and to discuss broad issues including begins on July 1. Allen Tate (lead vocals). After the release NAfME’s Strategic Plan, Standards, The annual National Assembly of their self-titled debut album in 2013, Evaluations and Assessments, and the brought together representatives of all the band gained critical recognition from “Future of Music Education and the music education disciplines and educa- the likes of NPR, The New York Times, Environmental Scan.” NAfME President tion levels, from preschool through NME, The Guardian, and more. Glenn E. Nierman of Nebraska led the college, to work on a common goal: San Fermin Assembly meetings. promoting a Standards-based, sequential members also visited Four national music education for all students. Capitol Hill and candidates for State Music Education Association received the Stand NAfME 2016–2018 executives and editors also met for for Music Award at President-Elect also training and to share ideas. a special NAfME spoke to National The event began with NAfME’s annual reception that Assembly Delegates, San Fermin Hill Day, which allowed the Association’s same day. and the National state and division leaders to meet with Another offshoot of NAfME’s Assembly selected two candidates to run their Senators and U.S. Representatives Hill Day was the NAfME Collegiate for that ofﬁ ce early next year. All NAfME on Capitol Hill. Advocacy Summit, attended by nearly members will be eligible to vote for the During the event, NAfME named San 70 Collegiate members from throughout next national President-Elect. For Fermin the 2015 Stand for Music Award the United States. They received updated information, visit nafme.org and winner. San Fermin is an eight-piece band advocacy training, visited legislators search using the phrase “NAfME

Top photos by Documentary Associates, LLC. dacorporatephoto.com. Bottom photo by Denny Renshaw. Renshaw. Denny Bottom photo by dacorporatephoto.com. Documentary Associates, LLC. photos by Top based in Brooklyn, New York, led by along with NAfME leaders, toured President-Elect.”

nafme.org 11 NAfME’s Tri-M Program Beneﬁts Your Students, School, and Community Milton High School students gather after the 2015 Tri-M induction ceremony.

The Tri-M Music honor socieTy®, NAfME’s international and they enjoy being ‘rewarded’ for their hard work and music honor society for middle/junior high and high school achievements … I think the service they enjoy the most is students, recognizes students for their academic and musical tutoring students who need extra help. They set up one day a achievements, rewards them for their accomplishments and week after school, and at least one student stays after to help … service activities, and inspires others to excel at music and They LOVE to teach! They are also in charge of setting up the leadership. yearlong mentor pairing so that every new student is assigned This spring, during commencement ceremonies around the an older one to give them answers to the many questions that country, thousands of high school students marched wearing might pop up all year long.” Another Milton senior, Garrett pink honor cords, proudly acknowledging their Tri-M The best thing Sager, said, “I really appreciate the fact that I play a membership. Emma Chinman, a 2015 graduate of about TRI-M is role in forming new relationships between Milton (Massachusetts) High School, said of her the pride it members of the music groups at MHS.” Tri-M experience, “I like being around people who instills in our Monika Cormack, who also graduated this year, care as much about music as you do, feeling like you students. It enjoyed working in the Chapter mentoring program: are part of a community, helping the music depart- gives them a “When I was a freshman, I didn’t have someone who ment, mentoring the freshmen, tutoring for mid- uniﬁed goal and could help me or answer my questions, and being terms, and the music parties. Next year, I will be makes them able to do that for freshmen is really rewarding. I attending the University of New Hampshire as a feel part of a have also become close friends with some of my social work major … I intend to have music be in my larger team. freshmen ‘mentees,’ and I have enjoyed being able life for a long time, and I am honored to have been a —noreen DiaMonD to make their transition into high school seamless. part of MHS’s music department and Tri-M.” BurDeTT Being able to help someone understand something On April 15, 23 new students were inducted into the Milton and seeing the light bulb light up in their mind is so rewarding.” chapter. Noreen Diamond Burdett, the Tri-M Advisor at Milton Want to start a new chapter or reactivate an existing High School and director of Fine Arts & Family/Consumer chapter? Visit nafme.org and search for “Tri-M.” You can also Studies, notes that, “The best thing about Tri-M is the pride it read more about Milton High School at nafme.org by searching instills in our students. They excel in music and performance, for “Milton High School.”

JamHub Offers Grants for Its Silent Studio System JamHub Corporation of rehearsal studio system that Westborough, Massachusetts, allows students to virtually and announces that it will grant silently play in a band with several complete JamHub studio recording-studio clarity. systems to qualifying U.S. Students simply plug in their schools that currently use instruments, microphones, and technology to enhance education headphones, start playing, and and meet Common Core goals, or make individual mixes. “Educa- whose programs will be tors can reach more students, incorporating new technologies and students will improve faster,” for the 2015–16 school year. according to the company’s The winners will receive a information. complete studio setup, including “Recently, we’ve seen how a JamHub BedRoom unit, a tablets can make a significant mobile tablet connection kit, and impact in learning environ- headphones—everything needed ments,” said JamHub chief to explore music-making in new executive director Steve notebooks and give them the by providing innovative ways in the classroom. Skillings. “Through this grant means to enable group music- rehearsal, recording, and Grant applications will program, JamHub would like making and ignite their kids’ live-sound solutions for be accepted to help teachers on the imaginations in new ways.” musicians and educators. To September cutting edge of this Learn more at jamhub.com/grant/ see a complete list of NAfME’s 14–October 6, movement to make index.html. JamHub Corporation main corporate partners, go 2015. those tablets into was founded in 2008. The to nafme.org and search for

JamHub is a silent more than just company promotes collaboration “Corporate Members.” photo courtesy of Noreen Diamond Burdett. Bottom photos JamHub. Top

12 Teaching Music AUGUST 2015 SAVE THE DATE! CALL FOR PROPOSALS: 2016 MUSIC NAfME’s 2015–2016 RESEARCH & TEACHER School Year Calendar EDUCATION Music in Our Schools Month NATIONAL AUGUST 2015 CONFERENCE “I Have a Degree in Music, Not Audio!” NAfME’s The organizing Online Course sponsored by PreSonus, Aug. 10–12; committee of the 2016 Follow-up questions: September 15. shop.nafme.org. Music Research and Teacher Education National Conference SEPTEMBER 2015 invites applicants to Check out Useful Back-to-School Tips at nafme.org. submit proposals to the three branches of the conference. The Society OCTOBER 2015 for Research in Music OCTOBER 1: George N. Parks Leadership in MARCH 2016 Education (SRME) will consider proposals Music Education Award deadline ® nMarch is Music in Our Schools Month ! related to a broad range October 1: NAfME Music Research and Teacher nafme.org/programs/miosm/ of music education Education National Conference Call for Proposals “Yes, You Can Teach Guitar!” Register for the research. The Society deadline. nafme.org/call-for-proposals-2016-music Teaching Guitar Workshops. guitaredunet.org for Music Teacher -research-and-teacher-education-national-conference Education (SMTE) will March 16–19: NAfME Music Research and Teacher October 24–25: NAfME In-Service Preconference, consider proposals of Education National Conference research and practices “Teaching Students with Autism Spectrum Disorders Westin Peachtree Plaza, Atlanta, Georgia. (ASD),” Gaylord Opryland, Nashville, Tennessee pertaining to music nafme.org/community/conferences-and-events teacher education. The ,October 25–28: NAfME National Council of Music In-Service Conference, Gaylord Opryland Resort & Program Leaders Convention Center, Nashville, Tennessee. (CMPL) will consider nafme.org/nashville2015 proposals that are administrator/ leadership-oriented. NOVEMBER 2015 One or more proposals !November 1: 2017 U.S. Army All-American may be submitted. Marching Band applications open. nafme.org/ Multiple submissions of programs/u-s-army-all-american-marching-band the same proposal will not be permitted. All November 16: Marine Band Concerto approaches to Competition deadline scholarship are welcome. This biennial NAfME conference provides a forum for music education researchers, music teacher

Gaylord Opryland Resort & Conference Center

APRIL 2016 April 15: NAfME Electronic Music Composition Contest Deadline. nafme.org/programs U.S. Army /contests-calls-competitions/nafme All-American -electronic-music-composition-contest Marching Band educators, program April 15: All-American Marching Band Audition and leaders, music application deadline. nafme.org/programs administrators, /u-s-army-all-american-marching-band curriculum specialists, DECEMBER 2015 K–12 teachers, and Tips for Concert Etiquette. graduate students in nafme.org/concert-etiquette-is-for-everyone MAY 2016 music education to May 6: NAfME All-National Honor Ensembles deadline. encounter high- nafme.org/programs/all-national-honor-ensembles quality research and JANUARY 2016 pedagogical innova- May 6: Tri-M Chapter of the Year deadline tions. The conference January 9: U.S. Army All-American Bowl, San will take place March Antonio, Texas 17–19, 2016, at the January 31: Nomination Deadline for the 2017 Army JUNE 2016 Westin Peachtree All-American Marching Band. nafme.org/ June 22–26: NAfME National Assembly, Tysons Plaza, Atlanta, Georgia. programs/u-s-army-all-american-marching-band Corner, Virginia The submission deadline is October 1, 2015. For details, visit FEBRUARY 2016 THROUGHOUT THE YEAR nafme.org/call-for February 15: NAfME Student Composers NAfME Federated State Association Conferences -proposals-2016-music Competition. nafme.org/programs/contests-calls are presented throughout the year. -research-and-teacher -competitions/student-composers-competition nafme.org/about/federated-state-associations/ -education-national

Right photo by Nelson Duffle. Calendar photos top to bottom courtesy of NAfME, courtesy of Gaylord Opryland Resort and Conference Center, and Adrian Morgan. Opryland Resort and Conference Center, Nelson Duffle. Calendar photos top to bottom courtesy of NAfME, Gaylord Right photo by -conference.

nafme.org 13 NAfME’s 2015 National In-Service Conference: Empower Creativity

MUSIC PLAYS AN IMPORTANT ROLE in a complete education: It’s collaborative, encourages critical thinking, and allows students to better NAfME will present more than 300 professional development sessions, all with info for immediate use in the classroom, at the Nashville In-Service Conference. understand themselves and the world around them. This year, discover how you can give students the to develop their skills and understanding. Topics will include inspiration they need to learn and create in different ways. rehearsal techniques, effective conducting, new repertoire, It’s NAfME’s last year in Nashville, Tennessee, and we’re out standard gems of the literature, warm-ups that work, and how to make it our best yet! Join us at the Gaylord Opryland Resort to develop ensemble concepts—all with the goal of creating & Convention Center, October 25–28, for more than 300 rehearsals that are even more productive, efficient, and innovative professional development sessions emphasizing effective. Preregistration is required to attend, and space in-depth learning. Session focuses include Band, Choral, is limited! Collegiate, Composition, General Interest, General Music, During the In-Service Conference there will be opportuni- Guitar, IN-Ovations, Jazz, Music Program Leader, and Orches- ties to network with fellow music educators from throughout tral tracks. In short, NAfME’s 2015 National In-Service the United States and beyond. Add nightly entertainment, Conference will “Empower Creativity”! extraordinary musical performances, and a wild time at the There will also be a two-day Special Learners Preconfer- Give a Note Extravaganza, and you can see why this event is ence—“Teaching Students with Autism Spectrum Disorders not to be missed! (ASD)”—taking place October 24–25 (Saturday and Sunday). Need help justifying your attendance? NAfME has put Also back by popular demand, conductor Peter Loel together a Toolkit to help you make your case to attend the Boonshaft will lead the NAfME 2015 Band Directors’ Acade- most exciting and inspiring music education conference there my, which will include cameo appearances by renowned guest is! To read more, visit inserviceconference.nafme.org/wp-content/ conductors/composers. This two-part session, 8:00–9:30 a.m. uploads/2015/01/Justiﬁ cation-Toolkit.pdf. For more conference on Monday and Tuesday, will allow band directors of all levels information and to register, visit nafme.org/nashville2015.

NAfME Announces Lowell Mason Fellows Class of 2015

Henry Leck Marlynn J. Likens Mary Luehrsen James A. Mason Glenn E. Nierman Steven Schopp Cecil Wilder

In June, seven individuals school music education ell Mason Fellows award. fund designations. • JAMES A. MASON were honored by the in the United States. Lowell Mason Fellow The 2015 Fellows are: (deceased), the only National Association for An educator, musician, designations also provide • HENRY LECK, professor national NAfME Music Education as 2015 and composer of over an opportunity to emeritus of Butler president from the state Lowell Mason Fellows. 1,600 hymns and other support the efforts of University in Indianapo- of Utah This distinction is one of songs, Lowell Mason has NAfME through the lis, Indiana, and founder • GLENN E. NIERMAN, music education’s most been credited with donation made in the and artistic director of NAfME President for important honors, and is introducing music honoree’s name. This the Indianapolis 2014–2016, and Steinhart designed to recognize the instruction to American donation goes to NAfME’s Children’s Choir professor of the Glenn accomplishments of public schools in the Give a Note Foundation • MARLYNN J. LIKENS, Korff School of Music at those who have support- 19th century, and with to support future Associate Executive the University of ed and contributed to establishing teacher generations of music Director, National Nebraska-Lincoln music education in their training in music educators through the Association for Music • STEVEN SCHOPP, unique way. education. In 2002, the organization’s programs. Education executive director of the The prestigious award importance of his Individuals or groups • MARY LUEHRSEN, New York State School is named for Lowell contributions to music (corporations, universi- director of public affairs Music Association Mason, considered to be education inspired ties, foundations, student and government relations • CECIL WILDER, the father of public NAfME to create the Low- organizations, etc.) may for NAMM and executive executive director of the director of the NAMM Georgia Music Educators For more information, please visit nafme.org/about/history/lowell-mason-fellows. Foundation Association Schopp (Schopp). Bottom photos courtesy of NAfME, NAMM (Luehrsen), and Steve photo courtesy of Randi Radcliff. Top

14 Teaching Music AUGUST 2015 ® AS YOU GRAMMY Quarterfi nalist Shares Concert HEAD BACK TO SCHOOL, Prep Tips: What Works and What Doesn’t? NAfME OFFERS THE GRAMMY FOUNDATION has announced 213 effective in communicating to students YEAR ROUND quarterfi nalists for the 2016 GRAMMY Music what our goals are for the music/lesson. As TOOLS Educator Award™. Of that number, 122 are trained musicians, we have in our heads the things An exciting new school year lies ahead—getting members of NAfME. NAfME applauds these that need to improve in the music, but lessons to know new students, acclaimed members, and has asked fi ve and rehearsals are not effective if the selecting new repertoire, and fi ring up your to share concert preparation tips and students aren’t aware of what the young musicians in rehearsals. NAfME memorable concert experiences goals are. This also creates more of wants to help you begin with us. Here are the responses a team/group effort. After all, it’s the year with a solid start. of one teacher: Debra K. their concert, and they need to Learn how to implement the new Burnell-Wise, the band director have that ownership in order for National Music at Pleasure Ridge Park High rehearsals and performances to Standards, search our members-only Lesson School, as well as Eisenhower be effective. I would also have to Plan database, refresh Elementary, Wilkerson Elementa- say that I make greater use your knowledge of copyright regulations, ry, and Greenwood Elementary of having students critique their own and keep your skills sharp with one of Schools in Louisville, Kentucky. GRAMMY performances. We do this by listening to NAfME’s regularly Educator Award each other in class and offering that scheduled webinars. Quarter-fi nalist Plan ahead for Music In HOW MANY CONCERTS DO YOU Debra K. person/section praise for things done Our Schools Month® CONDUCT DURING THE SCHOOL Burnell-Wise, well and suggestions as to what to next March or Jazz Q of Louisville, Appreciation Month in YEAR? For my high school band, we Kentucky, offers improve. We also use recordings we have April. concert prep tips You can keep sharp usually do six to eight concerts per year. and discusses made in rehearsal and do quick mini-cri- with NAfME’s profes- However, next year that will increase due memorable tiques. This is such an effective tool that sional development concerts. opportunities, and use to adding another band class at the high helps to develop our students’ listening these other resources as well: school. Next year we will endeavor to give 10 to 11 skills and, sometimes, they can offer more insight • Black History Month concerts. In addition to high school, I also conduct into a problem than I can! Ideas for February two to three elementary band concerts. • Jazz Appreciation Month Ideas for April COULD YOU SHARE YOUR FAVORITE • Videos on a variety of WHAT ROLE DOES A CONCERT PLAY IN Q CONCERT MEMORY? One of my most teaching topics Q YOUR OVERALL MUSIC INSTRUCTION? cherished memories was during my second year at • Scholarships/Grants • Books Concerts are effectively a culminating product Pleasure Ridge Park High School. The band had • Journals/Magazines and assessment of what concepts/techniques we grown from only 13 members to 40 in two quick Visit nafme.org/ have been studying for that time period. When I years. We gave our annual PTSA Christmas my-classroom for a variety of resources. select music, I have defi nitive educational goals Concert that most of our community attends. We For the latest tools as set for my groups, and I choose pieces that help performed How the Grinch Stole Christmas!, which you head back to the classroom, visit to teach and reinforce the concepts that align was a pretty challenging medley for us at the time, nafme.org and search with my goals. Of course, we do give concerts that and we received a standing ovation. The whole

Illustration by iStockphoto. Photo courtesy of Debra K. Burnell-Wise. iStockphoto. Photo courtesy of Debra by Illustration for “Back to School.” are “thematic” (Veterans Day, Christmas, etc.), school was talking about how awesome that band so the music must correspond to those events. was. My students were beaming with pride! If a piece does not teach new concepts, it has elements that help to reinforce a previously IF YOU COULD “DO OVER” ONE CONCERT, learned concept or technique. Q WHAT WOULD YOU DO DIFFERENTLY? I’ve had one concert where we actually had to stop HAVE THE WAYS IN WHICH YOU PREPARE and start a piece over. If I could do it over, I would Q FOR A CONCERT CHANGED OVER THE reconsider my programming for that concert. I YEARS AND, IF SO, WHAT ARE YOU DOING most defi nitely over-programmed and needed to DIFFERENTLY? I would say that I most defi nitely either play fewer pieces or lower the grade level. have changed over the years. Throughout my career, I have always had expectations for my FIND THE COMPLETE LIST of NAfME’s GRAMMY groups and tried to instill a drive for excellence in quarterfi nalist teachers at nafme.org, where you my students. One thing that I do much better now can also search for “Concert Prep” to read

Top photo courtesy of Randi Radcliff. Bottom photos courtesy of NAfME, NAMM (Luehrsen), and Steve Schopp (Schopp). Bottom photos courtesy of NAfME, NAMM (Luehrsen), and Steve photo courtesy of Randi Radcliff. Top than I did 20 years ago is that I am much more comments from other Quarterﬁ nalists.

nafme.org 15 Classrooms ✢ BY ADAM PERLMUTTER

“The students Disney. “We only had 25 that I teach are without a doubt minutes [at each weekly I really felt my biggest session] to gather and work, source of joy.” supported in the —Rachael but the students’ enthusiasm Fleischaker made the program a success.” choir eff ort by Aside from the kids’ administration, excitement about their choir, staff , and Fleischaker attributes the community! success of her program to her principal—who gave her access to a music classroom and permission to take eld trips—and her fellow teachers, who made sure that the students were free for choir at All Together Now recess. The parent organization FACTS & An Ohio music educator’s ﬂ edgling was also a boon. Fleischaker FIGURES says, “I was blessed to have a choir is a group effort. MASON dedicated group of parents LEADERSHIP AS A MUSIC SPECIALIST in impossible to have the before- who volunteered as chaperones SCHOOL Canton, Ohio Ohio’s Canton City School and after-school programs that and gave positive reinforce- GRADES 3 5 District, Rachael Fleischaker are especially bene cial for ment to all of the students. I has been faced with ongoing music students. “There is really felt supported in the STUDENTS: Approximately challenges associated with limited time during the day choir e ort by administration, classrooms in high-poverty that I can work with the sta , and community!” 275 areas—foremost, the constant students, so I must make the At press time, Fleischaker PERCENTAGE changes brought on by most of it,” says Fleischaker. was hoping to continue the OF LOW-INCOME STUDENTS: economic and political factors. She did just that when, as a choir in the 2015–2016 “New policies on a state result of sweeping changes academic year and expand it to 94% level a ect every aspect of my within her district, she was Belden Leadership School. (Title I School)

teaching,” Fleischaker says. assigned to teach third through Regardless of the outcome of ETHNICITY OF “A lack of nancial resources fth grades at Mason Leader- these e orts, she’s happy STUDENT BODY: has meant cuts to the music ship School last year, in knowing that she’ll play some 17% sta . The district had to close addition to her duties at role in enhancing her students’ White some buildings, which means Belden Leadership School. At lives through music. “The 58% the existing ones will have Mason, she was able to get a students that I teach are African American more students. So many choir o the ground with the without a doubt my biggest 23% factors are at play that it is students meeting only once a source of joy. They are Multi-racial hard to predict what will week during lunch recess. The creative, energetic, and 2% happen from year to year.” ensemble got performance appreciative of the opportunity Hispanic The socioeconomic practice singing at a nearby to make music. Music has the NUMBER OF situations of her students’ nursing home and gave nine ability to transcend economic MUSIC TEACHERS: families also come into play. formal performances through- status, racial issues, cultural One of the biggest limiting out the year, including those di erences, and political 1 factors is a lack of resources with NAfME’s Music In Our factors, and it really levels ENSEMBLES/ CLASSES: when it comes to transporta- Schools Tour, the Give a Note the playing eld for these General Music and Choir tion, making it di cult or Foundation, and Radio children.” Rachael Fleischaker. Photo by

16 Teaching Music AUGUST 2015

Advocacy ✢ BY DEBBIE GALANTE BLOCK

Larry J. Livingston talks NAfME, which is taking about collaborating with The idea is for your colleagues. ownership of this curriculum. teachers to be He notes that teachers can successful; they learn how to create good have to go ‘ALL IN’ interpersonal relationships in all of these issues with other teachers and and areas. administrators, and that ALL IN provides tips on “how to present your program to your local community in terms of advocacy. It explains how to assess what the musical needs are within the community. Colleges and universities often do not have time in their How to Be curricula to talk to prospective ALL IN teachers about things like RESOURCES “ALL IN” for Music fundraising. ALL IN can o er AND UPCOMING A new curriculum teaches music educators PRESENTATIONS teachers information on how how to advocate for their programs. The NAfME website to go the school board when offers a wealth of FOR SEVEN YEARS, Larry J. the public school world to the they need more band uniforms information about the ALL IN program. Stay Livingston—chair of the power of music. Livingston or more music that hasn’t been tuned as more information is added! Department of Conducting, at remarks that Albertson wanted budgeted. There are rules you Currently, at the University of Southern “to reach out to music have to follow. The idea is for nafme.org/programs/all-in, one may find videos California Thornton School of teachers, who he saw as heroic teachers to be successful; they and scheduled webinars. ALL IN text resources Music in Los Angeles—has and wonderful, and provide a have to go ‘ALL IN’ in all of may be downloaded developed a practical vision. means for them to achieve these issues and areas.” here as well, and teachers can arrange This vision is to inspire music even greater success.” A series of videos, some of for a Solutions Music Group expert in ALL IN teachers whose programs may It may dicult to nd a which are on NAfME’s concepts to help a not be getting the attention community member or school website now, are being created school of district. For those music they deserve from the school administrator who would deny during the rollout period. For educators who would like to obtain more board and/or community. the beauty of music, but most teachers who want to interact information and During budget cuts, it is all “compelling is what music with each other, there will be interact in person, here is a schedule of too common for music does for one’s general welfare ALL IN workshops around the several upcoming programs to su er. That’s why, as a human being, which runs country at conferences (see the presentations. with funding from Guitar the gamut from crime and sidebar for more information). NOV. 19–21, 2015 Nebraska Music Center, he developed a teacher drug abatement to improved Livingston notes that if Educators Association curriculum called “ALL IN.” SAT scores and higher “you teach great musical Annual Conference/ Clinic In addition to being a graduation rates—overall concepts but do not make the Lincoln, Nebraska

teacher and motivational enabling students to become case of music’s core value to DEC. 16–19, 2015 speaker, Livingston has been more productive,” said the overall welfare of the The Midwest Clinic International Band, on the board of directors of Livingston. student and the school, the Orchestra and Music Conference Guitar Center. Marty Albert- The core of ALL IN has to program may be short-lived. Chicago, Illinois son, former CEO of Guitar do with non-musical values, Teachers need to get out into FEB. 11–12, 2016 Center, sensed that with according to Michael the community, and ALL IN Minnesota Music Educators Association Livingston’s experience, he Blakeslee, Deputy Executive will guide them as to how to Midwinter Clinic

could create a plan to awaken Director and COO of do it.” Minneapolis, Minnesota Photo courtesy of NAfME.

18 Teaching Music AUGUST 2015 good state

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State Farm Fire and Casualty Company, State Farm General Insurance Company, Bloomington, IL State Farm Florida Insurance Company, Winter Haven, FL 1501871 State Farm Lloyds, Dallas, TX Research ✢ BY KEITH POWERS “‘If your band doesn’t sound good, nothing else matters.’ That really sums up the study.”

Striving for that contribute to successful superior tone rehearsals also surprised me,” quality is ALL IN: paramount. Juchniewicz says. “Selecting THE KEY the right literature. Choosing TO SUCCESS appropriate warm-ups. IS YOU Classroom environment. Good The idea of “superior music directors” strikes student relationships. But, as a chord with NAfME— so much so that they one band director put it, ‘If have established ALL your band doesn’t sound good, IN, a set of initiatives to help music educators nothing else matters.’ That become virtuoso teachers. ALL IN, in really sums up the study.” conjunction with No follow-up research is Solutions Music Group, has created a set of planned, but “if we expand it tools for evaluations, fundraising, and someday, I might like to reach advocacy, and is out across the country, even developing a series of meetings and webinars across the world, to nd out aimed at helping the Direct to the Top what other band directors are best music educators What makes a “superior” band director? create and foster thinking,” Juchniewicz says. “I life-long lovers of music. Developing great music WHEN SOMEONE is called the “but not this prominently. spend plenty of time in my own teachers into great advocates, great “best,” it can be a very subjec- They were eager to talk, and methods courses developing fundraisers, and great tive judgment. That said, some there were a lot of miscella- pacing, dealing with students’ colleagues is its goal. The mantra for ALL IN: qualities are often seen as better neous comments. But so many feedback and personal charac- The key to success is than others. With that in mind, mentioned that insisting on the teristics. But I know now with you. ALL IN wants to help every educator what makes for an excellent best tone quality was what my own band that if you’re not develop music lovers for life. For more informa- band director? Jay Juchniewicz, everyone should be focused making individual students play tion, visit nafme.org/ associate professor in music on. It was overwhelmingly the with better tone, you’re not programs/all-in. education at East Carolina main takeaway.” going to improve your band.” University in Greenville, North The band directors were Carolina, noted that striving for chosen from those who had SUPERIOR QUALITIES superior tone quality was the received expert or exemplary Analysis of the data revealed consistent themes most consistent goal. He led a ratings over the past ve years in the responses of the middle and high school “superior” band directors. The most frequently listed research study into the best at concert festivals or through response for both groups of band directors was practices of superior band Music Performance Adjudica- related to the category of “music fundamentals.” directors. Juchniewicz together tions. It was the consistency of with his colleagues—Steven excellence that Juchniewicz The top four most frequently listed responses for both middle and high school directors, respectively: N. Kelly from Florida State and his research partners used Tone Quality/Production University in Tallahassee, and to select participants. Balance/Blending Amy I. Acklin from the “It was dicult guring out Rhythmic Accuracy University of Louisville— who the best were,” he says. Listening/Ear Training received responses from 131 “There is always some level of

middle and high school band subjectivity. But once we did, Additional categories included: directors in Florida, Kentucky, relying on sustained success Conductor/Teacher Behaviors and North Carolina. and longevity, it wasn’t hard to Use of Specific Warm-Ups to Teach “We expected band get them talking.” In all, they Teaching Techniques directors to talk about music received almost 800 dierent Classroom/Environment/ Behavior fundamentals and tone responses from the directors. Selecting Literature Good Relations with Students production,” Juchniewicz says, “The number of aspects Update: Applications of Research of ‘Superior’ Band Directors,” iStockphoto. Source: “Rehearsal Characteristics Photos by ). 32, Number 2, Pgs. 35–43 (See upd.sagepub.com/content/32/2/35.abstract 2014, Volume in Music Education , May

20 Teaching Music AUGUST 2015 powered by MatchmySound™

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With MusicFirst it’s simple to teach and assess your students in a connected world. Find out more at www.music rst.com Discoveries ✢ BY KEVIN COKER “I use the first day to remind us all why we are all in the same room: We love choral singing.” Making a Smooth —Kevin Coker Transition How do you follow a successful and beloved high school choral director?

years, we create bonds and make lasting KEVIN COKER is director of choirs at impressions on our students. Some high Blue Valley Northwest High School in Overland Park, Kansas. He can be contacted school choral singers develop a great at [email protected]. attachment to their directors, making the transition more dicult. WE’VE ALL HEARD comments like: “The Making changes in students’ daily rst year is always the toughest,” “Four routines can also create challenges. years from now, they’ll be all yours,” Students become accustomed to their and “Things will get easier once you director’s particular warm-ups, graduate this rst class of seniors.” It’s sight-singing methods, and rehearsal rare, however, that teachers get help in techniques. Take this into consideration easing the transition from one choral when approaching your new ensemble. director to the next. Here’s a little With dedication and positive persever- perspective for a director in transition. ance, rehearsal habits and routines can Following a beloved high school be altered to t a new director’s style, First, remember that there is no choral director is challenging. Because but some apprehension or resistance competition between past and present. we work with the same students for four may occur. It can be challenging to put personal desires aside, but ease into any new leadership position. The objective is not to compete with the former director, 1but rather to provide high-quality music instruction while creating a seamless transition.

Second, the new director should learn as much as possible about the existing choral program. I found it valuable to confer with the administration and to meet with the outgoing teacher. The administration set up opportunities for 2me to meet with student leaders and speak with the students currently enrolled in choir. The meeting with the student leaders allowed me to listen to their desires and also to express my own vision for our program. The conversa- tion was a positive one: I learned what

is most important to the students. We Photography. Sharon Raye Photos by

22 Teaching Music AUGUST 2015 The best way to encourage success is to reignite our common passion.

order in their folders, a note card with name in assigned seats, and a piece that will allow for quick success as an ensemble. Conversations about the handbook, calendar, performance attire, and class supply needs are important, but those discussions can take place later in the rst week or two. I use the rst day to remind us all why we are all in the same room: We love choral singing. Let other classes discuss the syllabus: We choose music. This last aspect is paramount: The best way to encourage success is to reignite our common passion. What are the reasons we chose this talked about existing traditions and the previous director had profession? Why did the how to make them more e ective made the keystone of the students choose our class? Why learning experiences. Following the curriculum. While it’s important to do we come together several times a session with student leaders, I was able nd aspects you love about each piece week? Music is our commonality, and to speak to each choir as a group. of music you program, the music we share the process of making it. If I These meetings created excitement selected for their rst concert can play a show my passion for my students’ around the program, allowed students signicant role in students’ initial learning, the tradition of their choral to dialogue with the new director, and impression of their new teacher. These program, and the tremendous literature o ered me the opportunity to begin literature selections should stay fairly in front of us, I have done everything relationships with student leaders. It consistent with the previous director’s within my power to set us up for was extremely important to encourage programming. Additionally, consider success. Peaks and valleys are inevitable, students to continue with choir the selecting a piece or two for each but preparation and passion, paired following year, as they sometimes use a ensemble that opens their ears to with perseverance, will help us achieve change of leadership as an excuse to something new. This can be an the smoothest transition possible. drop out. With the combined support especially useful approach if you of the administration, outgoing teacher, appreciate works from a particular DO YOU HAVE A and student leaders, we were able to historical era or a musical genre that DISCOVERY TO SHARE? sustain enrollment for the following year. was not frequently performed under the Teaching Music wants to hear from music previous director. educators who have devised creative or innovative ways to teach or solve Third, remember that selecting litera- problems in their programs. For ture you love can have a major impact on Finally, make sure you’re prepared for consideration, please send your previously unpublished 750- to 1000- your teaching style and how the the first day of school. This can mean a word submissions to Caroline Arlington, [email protected]. Note that students respond to you. With consis- variety of things, including being submission does not guarantee publica- tent enrollment, I was able to program well-organized and well-rested. Have tion. All submissions accepted for publication in Teaching Music may be 3the same type of high-quality literature students’ music led in alphabetical edited for length and style. 4 nafme.org 23 Technology ✢ BY CHAD CRISWELL

Practice, Practice, Practice Today’s music educators have access to a variety of apps and web-based programs to help them monitor, assess, and track student practice sessions.

IF THERE IS ONE thing that every no and guitar. We are thrilled to musician needs more of, it’s practice partner with MatchMySound™ to bring time. In the rst years of a young this technology to music educators.” musician’s training, getting the student Unlike most other assessment tools, used to a regular, e ective practice PracticeFirst is able to assess polyphonic routine is essential to long-term success. music performances as well as solo, Technology has come a long way in monophonic instruments. Frankel recent years toward helping us achieve continues, “PracticeFirst comes with a this goal by providing a large number library of useful practice content for regular basis without taking away of useful software titles and mobile apps students of all levels, plus teachers can signi cant time from rehearsals. Thanks that can help us practice in a variety of upload their own exercises. Additional to the app I can still get a chance to di erent ways. content from top education curriculum listen to and monitor each student’s Most teachers have at least heard publishers will be available as an add-on progress without losing that rehearsal of SmartMusic, but there are other purchase that can be incorporated into time. I can have each student practice apps that are trying to expand on its the PracticeFirst library throughout and record their performance, then capabilities. Here, we’ll focus on two the coming school year.” Teachers can submit it to me through the app so I types of practice technologies: programs even import their own music from a can listen when I have the time.” Music and apps that actively listen to and MusicXML le for use with the system. Monitor provides the teacher with an assess a performer’s playing, and music In the second category are mobile online grade book and the ability to practice apps that help students to and web-based apps, mostly focused on give assignments to each student; the monitor and assess their progress tracking practice time, recording students can then complete the assign- with or without the help of a teacher. practice sessions, and allowing those ments at school or home. Of particular interest in the rst sessions to be played back for personal Any tool that makes practice more category is a new product known as evaluation. One relative newcomer to fun or more productive can make a PracticeFirst, one of the many di erent this eld is Music Monitor. Kyle Smith, signi cant impact on how quickly your music education software titles available orchestra director at La Cañada High students improve. Give one of the through the MusicFirst Online Class- School (7–8) in La Cañada, California, applications below a try, and see how room. James Frankel, director of has given this new app a try in his easy it is to get students more actively MusicFirst, says that, “PracticeFirst is a classroom and intends to go all-in with engaged in a regular practice routine. wonderful new interactive practicing it for the next school year. “I have a tool for any instrument, including voice class of 43 orchestra students, which Interactive Assessment and polyphonic instruments such as pia- makes it hard to hear individuals on a ■ PracticeFirst musicﬁ rst.com/practiceﬁ rst Web-Based $6 per student per year (minimum of 100 students)

This new, interactive practice system is integrated with the MusicFirst online learning portal. The automatic assess-

ment feature provides a graphical Chad Criswell. Photo by Screenshots courtesy of PracticeFirst. PracticeFirst

24 Teaching Music AUGUST 2015 I can have each student practice and record their performance, then submit it to me through the PRACTICE APPS app so I can listen when I have AND SOFTWARE: the time. —KYLE SMITH DOs AND DON’Ts FOR MUSIC EDUCATORS DO keep in mind that several popular features not found elsewhere. For instrumental method series such as example, you can record video from Essential Elements and Tradition of Excellence provide free online or your device to see your posture and software-based practice applications specifically tied to their material. hand position, and slow down audio DO go through the sign-up and registra- playback to examine your playing. The tion processes for any software or mobile apps on your own devices before app can even accompany you with asking your students to do the same. If various drum patterns to use as a your school requires it, be sure to get parental approval before proceeding. background track while you practice. Various apps and web-based DO plan ahead for setting up students systems can help students to be more actively engaged in a with accounts on the app. Schedule a day n Music Monitor by Musopen regular practice routine. for everyone to bring in their personal app.musopen.org mobile devices, and make sure that Web-Based, iOS, Android students know their own email addresses. Free trial representation of a student’s perfor- Bear in mind that some apps also require a parental email address and other mance. Recordings are stored in an information during the sign-up process. Music Monitor is a teacher-to-student online grade book for teachers to listen DON’T be surprised if some parents practice-monitoring system with refuse to allow their children to install to, grade, or save for reference. Mu- software on their home PC or mobile classroom grade book capabilities. sicXML and audio le import capabili- device, but keep in mind that education is Through this web-based system/app, key in mitigating parental resistance. ties allow teachers to use musical Schedule a demo night or record a video teachers can create a class, add students, of yourself showing off the tools and material they have created for their demonstrating how helpful they are to and send assignments. The students can students. developing good practice habits. use their own mobile devices to record DON’T expect that every student will be able to use the app at home. There are practice sessions and submit them to the n Music Prodigy many who do not have access to the teacher. Music educators can listen to a musicprodigy.com required technology beyond school. Mac, PC, iOS, Android Make arrangements to provide these student’s recording, grade it, and send $19.99 per student per year students with access to the app or software outside of class time. homework reminders via email. This cross-platform practice and interactive assessment application has a be displayed as the student plays. n Practice Your Music practiceyourmusic.com modest but growing library of titles. Teachers can create classroom groups, Web-Based, Mac, PC, Chrome Teachers can add their own music to add students, send assignments, and Free trial; songs and subscriptions available for purchase the system by adding in a MusicXML maintain student recordings to use as le from Finale, Sibelius, MuseScore, proof of progress. Submitted assign- Practice Your Music is an interactive Noteight, or almost any other ments can be graded automatically by way to practice small-ensemble music notation system. An add-on system for the program and/or the teacher. in a realistic way. Musicians can play creating short-answer and multiple- along with a small on-screen combo on choice tests is scheduled to be released General Practice songs ranging from classical to jazz, in the fall of 2015. and Recording world music, and blues—and single out n Practice Center individual instruments or practice solo. n SmartMusic Practicecenterapp.com Sheet music for any of the instruments smartmusic.com iOS Mac, PC, iPad $4.99 can be shown on screen. There is a free, $40 per year for students, A versatile and feature-packed practice three-day trial version, and other titles $140 per year for teachers app for iPhone and iPad, Practice are available for purchase. Note that SmartMusic has a large library of solo, Center includes a metronome, a not all common band and orchestra ensemble, and lesson book music titles, practice timer, a countdown timer, an instruments are currently supported, the sheet music for many of which can audio recorder, and many advanced and the repertoire is limited.

nafme.org 25 Lectern ✢ BY KATHY MELAGO Lessons That Student Teachers Can Learn by Observing Teachers of Other Disciplines

struggle to nd a balance between participation in activities, yet still KATHY MELAGO is an assistant professor of being overly draconic and too lenient. require classroom management. Student music education at Slippery Rock University of Pennsylvania, where she coordinates the music They are often unaware of reasonable teachers who aim to teach elementary education program. She can be contacted at expectations for student behavior. To general music, classroom guitar, or high [email protected]. learn more, student teachers can school music technology may especially observe seasoned teachers known for benet from absorbing the techniques ONE REQUIREMENT for student teachers creating excellent classroom environ- used by veteran educators in these areas. at Slippery Rock University of Pennsyl- ments. Student teachers can take note Some questions to consider include: vania is to observe the classes of at least of the answers to the following: “How “How does this teacher maintain the four di erent teachers during the 16 does the experienced teacher handle attention of students while giving weeks of student teaching. These students entering/exiting the class- instruction?” “How does this teacher observations typically occur during the room?” “What is the procedure for monitor the students to ensure every- cooperating teacher’s preparation obtaining textbooks and classroom one is on task?” and “How does this periods or when the cooperating supplies?” “How are classroom discus- teacher move around the classroom to teacher has nonteaching duties. While sions handled?” “What does this assist each individual student? students are encouraged to observe teacher do when a student does not Music student teachers who struggle other music teachers in the school follow classroom procedures?” “What with classroom management with one where they student-teach, there are is the tone of the classroom from the particular class or student can nd it valuable lessons to be learned from moment the students enter the class helpful to observe that class or student in teachers of other disciplines. The until they leave?” and “What instruc- one or more classrooms in which they cooperating teacher is ideally situated to tional strategies are used to reduce or are known to behave well. While help match student teachers with eliminate discipline problems?” observing the class, the student teacher teachers in other elds whose specially Student teachers can benet from can consider the answers to the following skills may best enhance the learning observing the teaching in courses questions: “How does this teacher’s and preparation of the student teacher. where students are very active, such as interactions with this class or student Classroom discipline is a common physical education or art. Like music di er from the way I have been interact-

concern for student teachers—they may class, these classes provide frequent ing with the class or student?” “What Melago. Kathy Photo by

26 Teaching Music AUGUST 2015 to new teachers. Some gloss over information too quickly, while others plod though and lose students’ attention. Observing teachers in many subject areas can help the student teacher to see new ways to present subject matter and learn new ways to check for student understanding with quick-check types of assessment. When observing any class, the student teacher should ask: “Do the students seem engaged or bored?” “How does the teacher know that the students have learned the concepts?” and “How many di erent ways did the teacher explain the same concept?” While observing other educators, Mike Zech teaching a first student teachers can gain a broader lesson on the perspective on what students learn in snare drum various grades. Student teachers can then parameters has this teacher set in the instructional resources, especially consider ideas for interdisciplinary lessons classroom that are not in place in my technology. The music room is often and ways to collaborate with other classroom?” and “How does this teacher’s the last to receive an interactive teachers. While observing classes in other instructional pacing di er from mine?” whiteboard. If a student teacher is in a disciplines, music student teachers should While some classes or students school where there’s a technology guru, ask themselves: “Do I know any songs or simply click better with some teachers, observing that teacher can provide ensemble music about this subject?” there are always lessons to be learned insight into high-tech possibilities for “How could I connect this lesson to that can help less experienced teachers the music classroom. When observing music?” and “What was going on in improve the climate in their classrooms. such an instructor, the student teacher music history during this period?” Student teachers may be unsure can think about questions such as: Music teachers often feel as though about how broadly and deeply to cover “How might I use this in my class- they exist in isolation—that what they a topic. Social studies and history classes room?” “What additional knowledge are doing is so di erent from what is are fabulous to observe to see how far or training would I need to consider going on elsewhere in their schools that in depth teachers go with specic incorporating this technology?” and they cannot relate to other teachers. In subjects. Student teachers can ask what “How do the students respond to the reality, all teachers are working to types of information are covered and use of this technology, and how might increase the overall knowledge and how this material is conveyed and then my students respond?” experiences of the students. Teachers in reinforced over several class periods. Di erent teachers deliver instruction a school are a team working toward Teachers of disciplines beyond in di erent ways and at di erent speeds. common goals. Observing others can music may be more apt to use di erent Instructional pacing can be a challenge o er the student teacher the opportunity to see what’s going on in other parts of the school and have a broader READY TO TAKE THE LECTERN? picture of how music is one component Each issue of Teaching Music features an article by an experienced music educator on an of the total educational experience, all academic topic with a practical application that may be of interest to practicing colleagues. Please send your previously unpublished 1,500- to 2000-word submissions while improving the student teacher’s to Caroline Arlington, [email protected]. Note that submission does not guarantee own understanding of teaching and publication. All submissions accepted for publication in Teaching Music may be edited for length and style. teaching strategies.

nafme.org 27

JUDGMENT DAY “We live in a competitive world,” Why Festivals? says Timothy Yontz of performing in music “It has very little to do with trophies,” Yontz cautions. His colleague in New York State, festivals. Yontz is professor of music education and Michael Robertson, prefers to use the term director of bands at Wheaton College Conservatory “participate” instead of “compete.” Robertson of Music in Wheaton, Illinois, and has also been is the director of adjudicators for the New York adjudicating music festivals for over 20 years, State School Music Association (NYSSMA), from the Wisconsin School Music Association and teaches at William Kaegebein Elementary (WSMA) to Six Flags “Music in the Parks.” School in Grand Island, New York, where he is director of bands. He asserts that the motivating The spirit of competition permeates American element is the most bene cial. For soloists, life, particularly where talent and skill are participating in festivals can lead to performing concerned, so performing for adjudicators creates in honors ensembles. For ensembles, there is the a learning environment that ts into that aspect good feeling created by being a part of a team of our culture. From a student’s perspective, it that has achieved success. Although the vision puts music lessons in line with football practice of high marks is powerful, a low score can By Andrew and debate team. It’s a pursuit of excellence with provide motivation to improve for the next

S. Berman a prize for the winner at the end. time—and in general. Adding a third voice to Bauman. Photo courtesy of Jeffrey

30 Teaching Music AUGUST 2015 Jeffrey Bauman notes that, in preparing students, “A daily commitment can make a huge difference.”

Adjudication and festivals can make for valuable experiences for your students. JUDGMENT DAY But how the chorus, Je rey Bauman, Chair of the receive feedback not only from judges and can music NAfME Council for Choral Education and clinicians but also from peers. “If the event is professor of music at Young Harris College in properly organized and planned,” says Bauman, educators Young Harris, Georgia, comments that festival “the young musicians get to hear one another best participation provides goals and deadlines for perform. I nd that they are very supportive of performance, bringing focus to the rehearsal each other in these circumstances, and there is a prepare process. Bauman judges Georgia’s Large Group certain bond that this shared experience young Performance Evaluations and Literary Meets, as brings.” Bauman continues, “It allows them to well as National Association of Teachers of more accurately gauge their own progress by musicians Singing (NATS) student auditions. comparing themselves with a larger group of for each— Performing at festivals can provide vital their peers.” musical development opportunities. Robertson The work of preparing students for an without says, “It’s important for students to receive adjudicated performance allows the teacher to sacriﬁ cing feedback from a source beyond myself—from set a standard to be followed all year and multiple sources who are quali ed to provide beyond. Kevin Golub, choir teacher at Ogden their lessons it.” Yontz suggests the clinics are often the most High School in Ogden, Utah, and adjudicator or sanity? important part: “More valuable than the score is at Utah Region Choral Festivals, likens the the takeaway from the clinician.” Students festival preparation process to that of school

nafme.org 31 “If the event concerts. He encourages his students to perform personalize the music and show a deeper is properly at festival levels all of the time, and assigns equal understanding of the piece through expressive organized and value to performances before a panel and before elements. Bauman concurs, “Too often, this is planned, an audience. Playing for judges is just like the last thing we address in the rehearsal playing for friends and family. process.” Robertson wants to see students “put the young In Yontz’s experience, festival performance is their own stamp” on the music. Yontz says, musicians good for a student’s development outside of the “Take the audience on a musical journey. It’s get to hear music world as well. It provides something for not just right notes and rhythms.” one another students and parents to talk about—a common The judges note that dynamics are often perform. ground. “As a father and a husband, that’s overlooked, and yet they are so important to a I find that important to me. Music is a vehicle for enjoy- good score and a quality performance. Robert- they are very ment, communicating.” son suggests exaggerating dynamics to make sure that they’re clearly present and de ned. Yontz supportive of The Inside Scoop from the Judges notices issues with dynamic variety, in that softer each other Yontz and Bauman state that they are rst dynamics are absent more often than louder in these looking at the production of the sound. Yontz ones. In ensemble performances, he’s looking for circumstances, says that tone quality impacts all other areas, the director to take dynamic interpretation one and there enhancing intonation and facilitating balance. step further. When the dynamics for all parts in a is a certain In a vocal or choral setting, this manifests itself score are even, he’s relying on the director to as healthy vocal production. “Judges don’t want bond that this know that the melody should be louder. “Make to hear singers abusing their voices, especially sure we can hear the melodic material. Make shared young singers,” warns Bauman. Good vocal sure we can hear moving lines.” experience production leads to improvements in all other Golub is looking for a variety of musical brings.” areas and gives them access to their full ranges. styles: “Judges want to hear how they do —JEFFREY BAUMAN In Yontz’s experience, tone seems to get everything.” Yontz concurs that programming sidelined a lot, and the eects of this are instant- is of great concern to the judges, and not just a ly noticeable from the judge’s chair. variety, but also in terms of storytelling. Robertson notices accuracy rst: pitches, Returning to an earlier metaphor, “Think rhythms, articulations, and expressive markings. about the natural ow of the program, leading

Beyond that, he hopes that the solo student can the listener on a natural journey.” Golub. Photo courtesy of Kevin

32 Teaching Music AUGUST 2015 sight-reading,” says Bauman. “A daily commit- “Take the ment can make a huge di erence.” Yontz says audience on the elements of a good performance come up in a musical rehearsal every day: tone quality, intonation, balance, blend. Robertson recommends that the journey. It’s not teacher establish regular lessons and rehearsals, just right notes with a goal for improvement at each one. and rhythms.” When it comes to practice time, di erent —TIMOTHY YONTZ students will have di erent needs. Robertson suggests planning a start date based on when your student’s or ensemble’s performance is likely to peak. Starting too early may result in the student becoming bored with the piece before the adjudication, and that will show in CLINICS the performance. Starting too late has the A good clinic will not only help students with their obvious problem of the piece not being festival pieces, but also refocus their goals for performance-ready in time. Yontz agrees: Some that festival, teach lessons students will make quick work of a piece while that will beneﬁ t them for “Anytime we’re singing, we’re preparing years, and inspire them to for the festival.” —Kevin Golub others need more time. become better musicians. Jim Ketch is a trumpet Simulating the experience of adjudication is artist, member of the “You Wish to Go to the Festival?” a great way to lessen anxiety for adjudication music faculty at the University of North Tips for Teachers time. Golub teaches in a large district that Carolina at Chapel Hill, and frequent clinician. He Remaining on the subject of music selection, allows him to host a mini-festival with just his feels it is vital to establish Yontz says, “Don’t skimp.” Give this vital step district schools; he brought in an adjudicator to a connection between clinician and student, and its due time. Each piece must meet the needs of score the performances. He also has his students encourages musicians to the students and the audience. Although it’s judge recordings of their own performances, ask questions during their clinics. “Establishing the tempting to save time and resources by having familiarizing themselves with the judging and exchange of information or ideas creates an energy multiple students play the same piece for their scoring process, and with their own sound. that often doesn’t exist if own, individual performances, to do so could Bauman also recommends self-assessment using the clinician monopolizes the platform.” fail to meet the needs of each student, and this recordings, saying, “When you are able to listen Time is limited and must be used wisely, so can show in performance. The teacher should and not actively participate at the same time, Ketch makes efﬁ cient use stand by their choice if they believe the piece is you will begin to hear things that you do not of coaching time. “Some aspects of a solo are easy a good match, but still be open to feedback notice in the heat of the moment.” Yontz has to correct with minimal input,” for example: from each student. “A lot of the work will be had students perform for the class and grade “Expand your concept of on their own anyway, so they should play each other. This can be done in a “speed soft to loud and loud to soft. Your dynamic something they like,” counsels Yontz. He dating” format, where students perform for spectrum can be expand- ed.” Sometimes it’s more suggests letting the student experience the piece each other one-on-one and then rotate to the important to affect a on their own at rst: Have them take it home or next person. student’s frame of mind than technical musical play it in the room without the teacher, as the Simulated adjudications provide the oppor- details. “Learning to acknowledge stage fright student can have a more honest experience with tunity for the teacher and student or ensemble or anxiety is important,” the piece that way. Once the music selection has to go over procedural matters that can be easily he says. “Simply giving oneself permission to be been made, Robertson suggests that the teacher forgotten on the day. Teachers can go over in the moment and perform or play a recording of a high quality when to stand, when to sit, when to tune, etc. recognize that ‘I am nervous’ but also that ‘this rendition of the piece. “It’s important for Yontz recommends that the students download wave of nervousness will pass’ can be a helpful tool, students to have an accurate concept of a a free tuner app to take uncertainty out of the as it reasserts a bit of superior performance of the music.” equation. “The students will be more con dent control back into the hands of the student,” Adjudication prep should have a regular spot if they know what to do when, and know what says Ketch. “A good clinic always makes me want to in lesson plans. “You wouldn’t think of showing to expect,” he advises. It’s also wise to set the be better—a better up to a festival that has a sight-reading compo- expectation that, in the case of solos, the teacher trumpeter, a better jazz player, a better teacher or nent without spending time every day on may not be able to attend. Sometimes it’s better conductor.”

nafme.org 33 “It is often necessary to integrate festival as rhythm warm-ups and scales preparation into the should not disappear from the normal curriculum in order to prepare rehearsal and lesson for a festival.” schedule.” —Michael Bauman stresses the need to Robertson commit the necessary rehearsal time to festival prep. “In a public forum that involves a teacher’s musical peers, it is important to put your best foot forward.” He says the balance between general classroom work and festival prep is easy to accomplish when you consider the two feed each other. “I would argue that the FESTIVAL for a teacher to attend none of their students’ two go hand in hand, and that each one would DISNEY adjudications rather than attend a few and risk be diminished without the other.” Golub Walt Disney World is showing favoritism. “If I’ve prepared them doesn’t draw a strict distinction between festival known for a distinct set of ears, and every correctly, I don’t need to go.” prep and the basics. He says, “Anytime we’re spring those ears are It may be mundane, but it bears mentioning singing, we’re preparing for the festival.” treated to the sounds of talented middle and that the teacher should make sure to settle all high school musicians The Festival Landscape: from all over the administrative matters: ling paperwork on country playing and time, adhering to regional repertoire lists, etc. What’s Out There? singing their hearts out. FestivalDisney is Robertson recounts, “I’ve seen this happen There is a rich network of festivals at every level open to instrumental, before: A student comes to perform a piece within the music education sphere. Beyond vocal, and auxiliary ensembles. Performances that’s not on the approved list, and can’t that, there are many commercial music festivals, take place in Disney’s Hollywood Studios and perform for a score or rating.” ranging from the “Music in the Parks” by Six in Saratoga Springs, Flags to the WorldStrides Heritage Performance New York. Entrants can choose to com- Striking a Balance: Festival Prep vs. Programs. The music education and commer- pete, or to participate non-competitively for Curriculum and Fundamentals cial festivals run independently of each other, rating or comments Participation in music festivals is a valuable but Robertson says, “They have the same goal only. Travel arrange- experience for music students, and preparation in mind.” The festival system exists to provide ments are best left to the experts; teachers deserves time in the schedule. However, this opportunities for expert feedback, motivation, should avail them- should not overshadow the other important and encouragement to student musicians. selves of one of the many agencies that work that goes on in the classroom and the With so many options, how does a teacher partner with Disney to ensure a smooth trip. private music lesson. Yontz counsels that there choose? Robertson counsels that which festivals Looking for tips from are countless things begging for your time and to choose and how many to do in a year are teachers who’ve been through it before? focus as a music educator. Teachers must gauge dependent on the factors surrounding each Start a Disney thread on the NAfME forums what is important for their students, plan individual’s situation: time, money, etc. For at nafme.org/forums. accordingly, and be ready for change. solos, the teacher and the student, with input Festival Disney 2016 runs from March “It is often necessary to integrate festival from the school and the family, should decide 4 through May 7. The preparation into the normal rehearsal and lesson what is the right t. Online research can help. online application can be found at disneyurl. schedule,” advises Robertson. This can be Getacceptd.com is a great resource for connecting com/festivaldisney2016. Beyond Festival accomplished with proper long-range planning festivals to participants. Students can browse Disney, Disney Youth and ongoing communication. Set the expecta- what’s out there, post audition materials, and Programs offers workshops, Disney Honors tions with students and parents early so they take some of the mystery out of the process. ensembles, and other performance opportu- will be ready for additional rehearsals as needed. A teacher should encourage students to do nities such as parades One way to accommodate a busy festival season their best and step outside their comfort down Main Street U.S.A. and stage shows without sacri cing the curriculum is to zone—but stop short of forcing the festival in the theme parks and Downtown Disney. consolidate small lesson groups. Robertson calls experience on a student who’s not suited to or A full list of Disney them “supergroups.” He says, “Rehearsals interested in it. That said, for those students for Youth performing arts programs can be found should still be about making great music and whom it is a good t, a festival experience can at disneyyouth.com.

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Teaching Music Music Teaching Nashville,” says NAfME North Central President Lance Lance President Central North NAfME says Nashville,” Creativity. Empowering of theme the under all performances, and opportunities networking plus sessions, development professional 300 mammoth a yetwith best the be to promises Opryland, Gaylord the at 25–28 October place take will which 2015 event, City. Music in year nal its for Nashville to back Conference In-Service National THE T THE “This is a great theme to have for our last year in in year last our for have to theme agreat is “This the disappointed, not have years two past the While Return to Return Time beforeMoving toDallasin2016 Conference ComestoNashville OneMore The 2015NAfMENationalIn-Service HIRD T HIRD

AUGUST 2015 AUGUST IME’S IME’S de nitely a charm as NAfME brings its its brings NAfME as acharm de nitely into best creativity practices for those classrooms. those for practices creativity best into deep plunge will orchestra and band, choral, for sessions breakout classrooms; their in standard creativity the use can educators music which in ways on discussion the begin and literacy. music increased fostering of ameans 2013 as in Standard Music Core aNational as adopted was Creativity theme: year’s this behind reason compelling another long.” so for There’s city the of part been that’s creativity of sense that is there songwriting, and music of there history the and Nashville of you think “When Nielsen. An opening general session on Sunday will set the tone tone the set will Sunday on session general opening An Music City Music

Photo by Name Here Music City

Under the direction of Edith “With music education, we are very good at the Copley, Regents’ Professor and director of choral studies at performance aspect, with orchestral, choral, and band Northern Arizona University in programs, and we are good with responding to music—we Flagstaff, the 2014 All-National Honor Mixed Choir perform a do a lot of that in the general music classroom. But a lot of concert at the Grand Ole Opry House in Nashville, Tennessee. times we don’t get students involved in that creative process. This theme examines: How do we develop and generate music that is in some way your own?” Nielsen says. With such a broad-reaching theme, this year’s program literally o ers something for everyone. Attendees can elect By Cathy

Photo by Howard Rockwin. Photo by to stick to sessions within their specic disciplines or branch Applefeld Olson

nafme.org 37 out to explore actionable takeaways from SPECIAL LEARNERS PRECONFERENCE other types of music classrooms. “What This year’s Preconference, Oct. 24–25, will be on the subject of Music Education for we’re really trying to do is emphasize Students with Autism Spectrum Disorders (ASD). While previous Preconference sessions have touched on special needs, this is the first deep dive into a specific area, says Alice that music leads to greatness in all areas,” Hammel, faculty member of James Madison University in Harrisonburg, Virginia, who chairs NAfME’s new task force for students with special needs. “We’ve had Preconfer- says Lindsay Sheldon, Marketing ence [sessions] on students with different needs, but none that provided enough specific Communications Director of NAfME. content in an area for teachers to leave with strategies to act on,” Hammel says. “Autism diagnosis is increasing, so teachers are seeing many more students with diagnosis of ASD “It leads to innovation and creativity, in schools.” Attendees at the Preconference (which is available for an additional fee) will and fosters a collaborative environment.” hear from university educators, partake in interactive sessions with K–12 teachers, and get insights from students and adults with autism about their experience with music in Complete conference details can be school. And Preconference attendees will leave with more than just insights: Participa- tion in the two-day event earns 15 continuing education units (CEUs) or one graduate found at nafme.org/nashville2015, but credit offered through James Madison University. here’s an appetite-whetting sample of the of sessions attendees can expect in October. needed to research grants, compose grant proposals, and • HOW TO TEACH AND PLAY JUNKYARD PERCUSSION by David assess the needs of your program. Birrow can help K–12 teachers get their drummer on, The sessions will be plentiful, but lest attendees think making music with buckets, water-bottle shakers, and that they need roller skates to ensure that they don’t miss drainpipe guiros. Repertoire, process, movement, improvisa- anything, NAfME has lengthened the time period tion, and composition will be covered, and teachers will between sessions from 15 to 30 minutes. “This way, you leave with two full lesson plans. “What we’re can follow up with presenters if you have • URBAN G.U.M.B.O. stands for “Great Urban really trying to questions from their sessions, and it also Music Teachers Bring Opportunities!” This do is emphasize leaves more time to network,” says Lisa presentation by Anne Smith will feature Thompson, NAfME’s Manager of Education cross-curricular music activities and Standards- that music leads Products and Services. “Networking is based lessons for teachers in urban schools. to greatness in de nitely a big thing at this conference; • BRAILLE MUSIC IS FOR EVERYONE! presented by all areas.” you’re meeting people from all over.” Audrey Carballo and Jin Ho Choi will put —LINDSAY SHELDON Along with expanding the roster of learning forth the notions that the usage of Braille music isn’t limited sessions, NAfME is changing up the format of some of its to people with visual impairments, and that the sighted general sessions. Rather than have a sole opening session, the community can use Braille music to facilitate the needs of Conference will feature TED Talk–style sessions throughout these musicians. the three days. While each will have a dierent focus, the • GRANT-DAMENTALS—FUNDING YOUR MUSIC PROGRAM will thread of family connections will run through all three. be presented by Jamez E. Dudley, who will provide the tools On Sunday, Nashville-based songwriter/producer Wayne Kirkpatrick and his brother, screenwriter/ Andrew Dost, keyboardist for songwriter Karey Kirkpatrick, will talk the the alternative rock band FUN. audience through their creative process and entertain with a short performance. Wayne won a Grammy for co-penning Eric Clapton’s “Change The World,” while Karey has worked on lms including James and the Giant Peach and Chicken Run. This year, the brothers were nominated for a Tony Award for their score to the Broadway show Something Rotten! On Tuesday, Andrew Dost—keyboardist for the alternative rock band FUN.—will engage in a talk about the development and nurturing of his creative process, accompa- nied on stage by his parents and one of his music teachers. “He’ll be talking about how

his work with his music teacher really Katie Fricker. Photo by

38 Teaching Music AUGUST 2015

BAND DIRECTORS’ ACADEMY Back by popular demand, the hands-on Band Directors’ Academy will take place on Monday and Tuesday morning of the conference and is included in the general cost. Last year’s Academy drew about 120 attendees from every constituency, and this year the sessions can accommodate even more teachers. “We had current music teachers at every level—collegiate music education students, people currently teaching elementary through high school from rural, urban, and suburban areas. A real cross-section,” says Peter Boonshaft, Hofstra University music professor and director of bands, and conductor of the NAfME Band Directors’ Academy. The agenda includes rehearsal techniques, and ensemble development and technique, “a cross-section of topics that would interest band directors working toward best practices and new techniques,” Boonshaft says. “It’s the opportunity of, rather than hearing about a technique or a new piece, actually getting to experience it—which is very different.”

impacted him, and of course it’ll be great to hear from his program co-coordinator at Young Harris College in Young parents,” Sheldon says. Harris, Georgia—who chairs the NAfME Choral Education In another change, last year’s impromptu jam session is Council. “We have good input coming in from a variety of being replaced on Sunday with late-afternoon performances highly quali ed people, and it’s been really positive.” during an all-conference happy hour in the exhibit hall. Five Bauman notes that the conference is poised to continue performance groups are being selected from those that growing both in breadth and depth with the help of council submitted applications. Sheldon notes that, “We’ll have ve members. “We have steadily strengthened our input—we’re groups performing for about 20 minutes each on dierent always writing back and forth about what things we’d like to stages throughout the exhibit hall during happy hour.” be involved in more—and I think you’ll see it changing Performers were still being nalized at press time, but pretty dramatically in the next few years. We’ve had a lot of Sheldon says that they will represent dierent age-groups and input into which individual sessions get selected, so there’s a areas of the country. “Networking is nice, even representation between a lot of The In-Service Conference has been expand- definitely a big dierent interest areas on the choral side—ele- ing during its tenure in Nashville, and a chief mentary vs. collegiate, the education side vs. the reason is increased input from the burgeoning thing at this performance side—because so many people are NAfME councils. Just three years since they conference; giving their opinions.” were established, 14 councils—ranging in focus you’re meeting As with the previous Nashville-based from music composition to band education to people from conferences, this year’s event will capitalize on guitar education to IN-ovations—are oering all over the all that Music City has to oer. Attendees can their views on topics of interest in events country.” again look forward to the All-National Honor ranging from Preconference meetings to —LISA THOMPSON Ensembles at the Grand Ole Opry, and the Give educational sessions to networking opportunities. a Note Extravaganza at the Wild Horse Saloon. “The conference has gotten a lot stronger in the last year. Teachers who might need a hall pass in order to miss We’re starting to lean a little more heavily on the advisory school and attend this event can nd a justi cation tool on councils, which include professionals in all dierent disciplines the NAfME web site they can share with principals and from all over the U.S.,” says Je Bauman—professor of music, administrators. It contains language that explains the director of choral and vocal activities, and musical theatre professional development importance of the event. THE 2016 CONFERENCE IN DALLAS In 2016, after three years in Music City, NAfME will relocate to Dallas for its National In-Service Conference, slated for Nov. 10–13 at the Gaylord Texas Resort & Convention Center. This location was chosen because the growing conference requires Texas-sized digs, and NAfME likes to keep sessions and lodging all under one roof when possible. Also, NAfME is looking to situate the conference in a different geographic area every few years. “We’re trying to position ourselves in different parts of the country, allowing music teachers from around the country to be involved in the professional development opportunity,” says Lance Nielsen. “Since we’re moving further west, we’re hoping to bring in people from the Midwest and Western states.” The planning committee will work over the summer to narrow down themes for next year’s event, and members are looking closely “at the idea of ways to bridge and make connections with people,” Nielsen says. Photos by iStockphotos. Photos by

40 Teaching Music AUGUST 2015 NAFME50927 2015ConferenceAd_NafmePub_vM.indd 1 3/3/15 4:44 PM LEADING A

In Florida, Kevin Ford has built a successful music program in a school that aims to make Musicalyoung musicians into leaders. BY CYNTHIA DARLING

“Build a culture of excellence, establish expectations, and inspire a culture of achievement.” —Kevin Ford Life

42 Teaching Music AUGUST 2015 Photos courtesy of Kevin Ford. KEVIN FORD, FOUNDER FORD, FOUNDER KEVIN never stop de stop never excellence. ning and course, of amatter as challenges see Value collaboration, today: impact have to continues that aphilosophy of product the is Arts the for Conservatory Leadership The success. astounding to bounded has that program magnet this built and spearheaded colleagues his and Ford School, High Springs Tarpon at time his During alike. students and colleagues dedicated alongside work his of result the as achievements his of all sees truly Ford accomplishments, individual his for distinctions these 2014. in despite But County Pinellas Year the of for Educator Outstanding as Year, well the of as Director Band 2015 of NAfME that recently most accolades, numerous earned has Ford school. high the at bands of director as year 22nd his entering is Florida, in School High Springs Tarpon at Arts the for Conservatory Leadership the and director of of director and outlined our collective vision for what what for vision collective our outlined and students) and boosters, tion, administra- (community, partnerships our of components four all of up made was which force, atask developed “We waters? rocky these navigate participation.” student our and curriculum our expand to us allow potentially to tunity oppor- this use to also but population, student our save to only not mission we a on went program, education music our eliminated essentially have would which situation, catastrophic this with “Confronted total. students 30 approximately with program music the left have would map zoning new The Ford. says accomplishment,” greatest our into turned challenge or setback greatest our “Probably process. zoning re- amajor through went Schools, County Pinellas district, school Ford’s Just how did Ford and his colleagues colleagues his and Ford how did Just when 2008 in began story The Caption —Kevin Ford —Kevin to perform.’” want you way the ‘Rehearse Tarpon: at asaying have “We role-modeling, understanding self- role-modeling, understanding positive attitude development, on focuses which skills, leadership teaching on based is program “This operation. its distinguish characteristics signature Several programs. its for renowned is 2008.” in approved was program magnet our and students, our of ment develop- the on have could this impact and need the saw board school the fully, Thank- program. our in participate to transportation district our throughout students of amount alimited allow least very the at it would approved, if We knew, program. amagnet as board school the to concept this “proposed colleagues his and Ford areality. school Arts.” the for Conservatory Leadership School High Springs Tarpon the of idea the with up we came Collectively, program. education music our for we wanted Seven years later, the Conservatory Conservatory the later, years Seven new this make to was step next The nafme.org nafme.org 43 motivation, responsibility on a national level. I can recall assessment, communication one day this past spring, when skills, personal responsibility, sen- we had ve of our performance sitivity in working with peers, ensembles performing on the action plans that achieve group same day in and out of the state. goals, and a curriculum that The amount of logistics that go inspires our young students to into ensuring that each ensem- think beyond just today.” A leadership give exact examples for the students, ble is taken care of is substantial. I course is required for all freshmen, and and they have a concrete understanding credit our entire organizational team these leadership skills and lessons are of tone, pitch, balance, and blend. We and teachers that allow us to provide also integrated into each of the per- found that the band sounds homoge- these opportunities for our students.” In forming arts courses. “Every instru- nous almost immediately, and our a similar vein, Ford notes that, “Addi- mental or music student takes a student musicians are producing much tionally, we require every student to leadership course, a semester music more mature sounds.” participate annually in our district solo theory course, and an electronic music With such attention to tone, pitch, and ensemble evaluations. I truly course where they learn to compose and balance, the Conservatory also believe that there is no other event in music. We now have a full orchestra operates with a couple of across-the our curriculum that helps develop our program and have added dance to our board requirements for the students: individual musicians as much as curriculum. Finally, our instrumental “All of our students are required to play preparation for this evaluation. This is a department has doubled in size in the all 12 major scales. No exceptions. This lengthy process, and it requires my last ve years.” The school’s magnet allows them to play in every key and colleagues and I to work with every status puts Ford and his “I am blessed to work with incredible teachers, student multiple times in colleagues in the unique an amazing instructional staff, and quality preparing for this event.” position of educating middle school teachers who are also a very As the school has grown the entire student, and had more and more “While our approved important part of our team. All of them bring students participating in magnet program does energy and inspiration every day.” multiple events, teachers not allow us to audition students or learn pitch tendencies and how to adjust have had to adjust their approaches. deny participation based on skill level, to those challenges. We sight-read just “When the band was smaller, it was it does a ord us the opportunity to about every day. When sight-reading, relatively easy to listen to each student o er young people in our district the we just don’t focus on right notes and individually every week. While we still opportunity to develop as young men rhythms, but we focus on making value one-on-one experience, we have and women. Our program allows them musical decisions. We always assess our had to rely on other methods of to apply those skills to develop as young performances and discuss.” Most assessment to assist us in our quests to artists.” importantly, the school focuses on provide every student individual Ford cites speci c musical practices process and does not distinguish feedback. Because of the educational that keep the school running well. “We between performance versus rehearsal. value of SmartMusic, our principal has value tone quality. Making beautiful “We have a saying at Tarpon: ‘Rehearse purchased a subscription for every one sounds on our students’ instruments is a the way you want to perform.’ We try of our students. Christopher De Leon, huge priority at Tarpon Springs. We do very hard not to change our intensity our associate director, has done an lots of long tones, lip slurs, and chordal level or standards when we have an amazing job assigning relevant assign- exercises. We also use a system from upcoming event. This consistency ments and recordings several times a Inspire Music and Entertainment allows our students the con dence month. This has allowed us to continue Productions. That company developed needed when they perform live.” to hear them individually and provide aural models for each instrument Now that the Leadership Conserva- feedback, and has allowed us to make through actual recordings of profes- tory for the Arts has grown, the school adjustments to our pedagogical pro- sional musicians on each instrument. By faces challenges of a new kind. Says gram to accommodate the needs of our implementing aural modeling of Ford, “We now have seven di erent students.” professional symphonic musicians, we performance ensembles that all perform With the Conservatory’s attention to

44 Teaching Music AUGUST 2015 Today’s lesson: As a member of the National Association for Music Education, you could get an additional discount on car insurance. GEICO can help with homeowners and renters insurance, too.

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6763 NAfME GEICO Ad.indd 1 7/10/14 8:23 AM music pedagogy and leadership training to de ne ‘yourself’ as a leader. I believe their intentions on a yearly basis. for students, it can be easy to overlook leadership starts with you the director! Ford is e usive in his unwavering the incredible attention to organiza- Before embarking on this process, I belief in his colleagues and their tional management that Ford and his think it is critical that you know exactly commitment to the students and the colleagues exercise daily. He encourag- who you are, what you stand for, and music. “My wife, who is also the es teachers to take time to de ne what how you measure success. This will director of our Tarpon Springs Color type of organization they’d like to run. provide you with the leadership ability Guard program, is probably one of the “Build a culture of excellence, establish to be consistent, e ective, and proac- best educators I have ever seen. She has expectations, and inspire a culture of tive.” Ford has followed through with the extraordinary ability to get students achievement.” He recommends several this advice, and he and his colleagues at to believe in themselves and achieve steps for someone looking to build an the Conservatory get down to the nitty things that not even they thought were organization. “The rst place to start is gritty of de ning their mission and possible.” One experience earlier in Ford’s career at Tarpon Springs High On School still resonates today. “In 2002, How I Teach Getting Your my wife Jeannine, my business partner Stephen J. Kogut Students Frank Sullivan, and I were hired to Choral Music Director & Department Head In Tune design and choreograph the Opening Music Technology Instructor, Ceremonies for the FIFA World Cup Ormond Stone Middle School, Centreville, VA Soccer Championships in Daejeon Metropolitan City, South Korea. We How long have you been using In Tune? had the opportunity to work with all I have been at Stone Middle School for 22 years, and currently teach chorus and music technology. We’ve gotten In Tune for our students the branches of South Korean military since 2006. bands and some of the nest perform- How do you use it in the classroom? ing artists in all of South Korea.” True The articles and features really help extend what I do in the to his character, Ford carries those classroom by covering current artists, technology and experiences with him into every equipment, music theory concepts and techniques, history, decision he makes at the Conservatory and style. I’ve also used it in class to reinforce our school- wide reading program. today. Says Ford, “[Working in South Do you use In Tune for speciﬁ c subjects? Korea] was an enriching musical, artis- I do. I use it so my chorus singers get to see areas of their mu- tic, and performing arts experience that sical world they rarely would have come to know otherwise. helped propel me to always try and But then, ten years ago, I created a Music Technology Class think beyond what’s in front of me to meet the needs of students who love music but don’t necessarily want to perform. It covers composing on DAWs using musically, artistically, and personally. notation software and sequencers. We start with a music theory The experience in South Korea inspired “boot camp” and then dive in to arranging and composing. The me to look at a more global approach to class also provides hands-on experience with setup and proper use our own arts curriculum and how we of audio equipment for PA and recording. approach our students educationally.” How has the magazine helped you connect with students? Ford goes on to cite the words of a This year, we utilized In Tune’s much-improved website [to expand valued educator, “An inspirational lessons] on sound design, vocal warm-ups, and more. My students gure in my life and our students’ lives also take advantage of the pop quiz and matching quiz provided in is Tim Lautzenheiser. He taught me sev- each month’s teacher edition. I learned to create a Kahoot! game from eral years ago: ‘To be the best, surround the quizzes. We end each month with a rowdy game reviewing the answers and having fun. yourself with the best.’ We have always tried to follow that philosophy: From You already get In Tune’s Teacher’s Edition. bringing in exceptional guest conduc- Now it’s time to get your students IN TUNE! tors to work with our students, guest

THE YOUNG MUSICIAN’S TEXTBOOK artists to perform with our students, and the exceptional teachers we currently have hired to teach in our leadership conservato- MONTHLY For more information on getting classroom sets of In Tune Monthly call 914.358.1200 x310 or e-mail [email protected]. To view a sample issue of In Tune please visit www.intunemonthly.com. 46 Teaching Music AUGUST 2015 ry. Our associate and jazz director our choreographer and creative consul- stands out is his truly cooperative Christopher De Leon, our percussion tant Michael Shapiro all hold certain vision. “Build a team of people who director Todd Leighton, our guard things in common. They are, rst and support your organization’s mission and director Jeannine Ford, our dance foremost, all student-driven. They make share your educational philosophy. teacher Jason Herrington, our musical decisions, and curricular and creative Surround yourself with great teachers. composer/arranger Frank Sullivan, and choices based on the students they are Enjoy being a team member. I am working with. They all share a growth blessed to work with incredible mind-set. They are committed to teachers, an amazing instructional sta , excellence and, even more importantly, and quality middle school teachers who they are committed to growing are also a very important part of our intellectually and creatively.” team. All of them bring energy and

WITH KEVIN FORD Listening to Ford’s re ections, what inspiration every day.”

What do you know to be true Qabout teaching music that you Bring didn’t know when you started? It’s How I Teach one of the greatest life-changing gifts Music Alive! you can give a child. Music can literally for Your Veronica Romansky change and transform lives. I’ve had the K-5 general music and chorus teacher, honor to witness it. Students Downey School, Brockton, MA If I weren’t a music teacher I’d … Qpursue being a creative designer for Cirque du Soleil or Walt Disney World. However, I couldn’t imagine not being a How long have you been using Music Alive!? music educator in some capacity. Our urban district is the ideal place to share my enthusiasm for all types of music, and Music Alive! has always been a part of my 20+ year career. What advice would you give to a Qteacher trying to start a program How do you use it in the classroom? similar to yours? Go for it! Be ready to My 700+ students—including special needs classes—all head work hard … really hard. Have a vision and work relentlessly toward providing straight for the “Song of the Month.” By the end of the school that experience for your students every year, even the kindergarten students can scan the lyrics. day. Make no excuses, and focus on the My students enjoy various genres of music, and every year, solutions. Be patient. You will have to constantly set short-term goals and they each fi nd issues of Music Alive! that include remind everyone of the bigger picture. their favorite styles. These same kids love Mozart Don’t let anyone defi ne your success on as well! While the articles are sometimes above an outcome of a contest or evaluation. The growth and improvement of your my students’ reading level, we’re able to use Music students is always at the forefront of Alive! for instrument identifi cation, notation reading, whether you succeed or falter. Connect and music vocabulary, which are all parts of our the “dots” for everyone involved in your curriculum… and supported by Music Alive! organization. Constantly, lead them step by step and raise the bar after Do you use Music Alive! for specifi c subjects? every achievement. Celebrate your students’ achievements, but never settle Music educators debate the use of popular vs. classical music for where you are. but I was inspired by wonderful teachers myself, and my varied background includes early piano lessons, serving as accompa- What’s the biggest lesson you nist for my elementary school chorus, and performing in “GB” Qwant your students to learn bands and musical theatre productions. I love and use it all. during their time in your classroom? Success is a process, and never give up! How has the magazine helped you True leadership is service to others. connect with students? Never put yourself ahead of the people you are trying to lead. The arts trans- I fi nd it thrilling to hear the exuberant singing following form lives, and always support the arts those spontaneous shouts of “I know this song!” even when you’re older. Playing your instrument is privilege—cherish every moment. Commit your life to learning and a growth mind-set. Believe in Keep your students learning about the ever- yourself and you can change the world. changing world of music with Music Alive! Always choose to be a difference- maker. Honor all your commitments.

TODAY’S MUSIC EDUCATION RESOURCE What have you learned about Qstudents and parents through your work over the past years? They are capable of achieving amazing things! Never place a limit on their potential.

For more information and to get classroom sets of MusicAlive!, call 914.358.1200 x310 or e-mail nafme.org 47 [email protected]. To view a sample issue of Music Alive! please visit musicalive.com. workshop

Euphoniums, steel drum ensembles, guitar classroom management, and more.

Julius Kyakuwa, a visiting musician GENERAL MUSIC from Uganda, interacts with a group. used xylophones and metallo- phones to simulate instruments Exploring such as the Zimbabwean marim- World Music ba, and Trinidadian steel drums. with Classroom Playing world music on classroom instruments does bring Instruments up the question of authenticity, These days, thanks to the but Bartolome feels that once Internet, we’re more connected music has been removed from its to the world of music than ever original application, it has already before—music that can be used as require the purchase of new equipment, been re-contextualized to the school source materials in the classroom. as many of its instruments have their environment. She explains, “If we rst To learn more about the role of counterparts in common classroom connect to an authentic recording and international music in the classroom, instruments. The sounds of shakers and discuss the unique features of the music we reached out to Sarah J. Bartolome, drums from di erent cultures can be in its cultural context, we can then feel assistant professor of music education recreated with maracas, egg shakers, free to use the resources we have on at Northwestern University in and hand and oor drums. Meanwhile, hand to let the children participate in Evanston, Illinois. having one or two authentic demon- the music,” adding that it’s also won- “The idea is that we can get kids stration instruments—Bartolome always derful to bring in a culture-bearer playing typical patterns and melodies buys a sampling when in faraway locales when possible to give students the drawn from a variety of musical —can add depth and excitement to the opportunity to interact with this cultures,” says Bartolome. “We can start experience. musician as part of their world music with listening, tuning into the authentic “I frequently use a single demonstra- learning experience. sounds, then transferring those sounds to tion instrument the students can see, For repertoire, Bartolome has tended whatever instruments we have available. hear, and touch—for example, an axatse to focus on the music of a di erent Students can ‘play along’ to traditional [a dried gourd covered with a beaded culture in each grade level. She teaches recordings, actively engaging in what net] from Ghana. Then we will play everything from a unit on Panama for [ethnomusicologist] Patricia Shehan typical Ghanaian rhythms on the egg rst graders to one on Ghanaian Campbell calls engaged listening.” shakers, since I have enough for drumming for fth graders—lessons Teaching world music needn’t everyone,” says Bartolome, who’s also that dovetail with the more traditional ™ ™ Western curriculum while expanding 6 ™ œœœœœœ œœœœœœ œœœœœœ œœœœœœ ™ students’ horizons. “While the experi- &8 ence of playing and performing classical music is an incredibly rich educational Traditional mbira music can be streamlined and arranged for Orff instruments, which—in tandem

with a classroom demonstration of an actual mbira—can make for a rich educational experience. experience, the integration of world Bartolome. J. Photo courtesy of Sarah

48 Teaching Music AUGUST 2015 music allows students to explore more later. Think of a trumpet player not broadly the phenomenon of music- using the third valve slide for written making around the world. As we low Ds. I would say the fourth valve prepare students to live and interact in should be introduced when the student our global society, our repertoire and is switched to a euphonium in the third course content must re ect the reality year. Thus, all the school’s euphoniums of the world at large.”—Adam Perlmutter (and tubas) should have four valves.” —Chad Criswell BRASS & WOODWINDS Euphonium: Low STRINGS “Part of any band’s recruitment process should be to make sure there are Teaching the Brass Powerhouse euphoniums in the group.” —David Mathie The euphonium is an important but Tune-Up often overlooked member of the low [the baritone]. I would recommend that This month, we turn the spotlight on brass section. In some schools, it is often by the time the students are in their tuning. How can a teacher facilitate the thought of as a secondary instrument— third to fourth year of study they process of getting a roomful of begin- one to which a director might switch a should be switched to euphoniums.” ning students tuned up without this student after a few years of playing Mathie continues by pointing out taking the full period? Michael T. trombone or trumpet. From a di erent that “All of us, myself included, Hopkins, associate professor of music at perspective, David Mathie, euphonium erroneously use the terms ‘baritone’ the University of Michigan School of player and professor emeritus at Boise and ‘euphonium’ interchangeably. The Music, Theatre & Dance in Ann Arbor, State University in Idaho, says, “The euphonium is the tenor voice of the has written extensively on this topic most important thing I could mention tuba family and has a large conical bore and o ers his advice. would be to start euphonium or and large bell; the baritone is the tenor Hopkins notes that, for beginning baritone players during the rst year! voice of the saxhorn family and has a instrumentalists, the rst year of Switching trumpet players to the much smaller bore and bell. A true playing should involve training the instrument in the spring or beginning baritone is quite rare in this country student’s ear without introducing the of the second year also works, but and is usually seen in British brass physical skills of tuning the instrument. switching someone to euphonium in bands. The bell-front instrument called For this initial period, the teacher, then, high school (often as work begins on a ‘baritone,’ and common in public is in charge of tuning students’ instru- the Holst Second Suite) is too late. Part school bands, is actually a small-bore ments. Hopkins advises teachers to lead of any band’s recruitment process euphonium. The di erence between a young players in exercises such as should be to make sure there are true euphonium and a ‘baritone’ is singing the pitch of the A string and euphoniums in the group. I have often enormous, more than any other then scaling down to the D, or singing said that one of the easiest ways to instrument pair I know.” improve the sound of a band is to add While a baritone is okay to start on euphoniums. They add to the lower by middle school or early high school, octave and strengthen the overtones of Mathie recommends making an e ort the full band.” to upgrade to a four-valve euphonium Many band directors consider the when the opportunity allows. “The euphonium and its similarly shaped fourth valve xes the sharpness of low cousin the baritone horn to be inter- C and B-natural, and adds additional changeable. To some extent, this is true notes below the low E-natural. During in the lower grades, and Mathie says the rst two years, those problems are that starting students on a baritone is fairly modest (a good composer for often an acceptable alternative. “There young bands will avoid low Cs for the Teachers should encourage students to take ownership of the tuning process.

Top photo by iStockphoto; bottom photo by Jackie Jordan. iStockphoto; bottom photo by photo by Top really is no problem starting students on low brass!) but do become important

nafme.org 49 or humming the perfect fth intervals tuning environment. Rather, tuning and note placement, they t in very of the open strings. He also states that becomes as important as, or even more quickly,” says Bettner. students should not use a “method book important than, the act of practicing. As for the instrumental investment, or sheet music while playing until Hopkins does cite a few common he notes that, “I have witnessed many playing position, left hand, and bow roadblocks of which teachers should be smaller ensembles that have a handful hold are well established.” aware. Students can have trouble if they of pans, possibly a couple of lead pans, a Once students are ready to learn the are “not listening long enough to the double tenor, guitar pan, and possibly physical skills required for tuning— reference pitch before tuning.” Addi- other resources to provide some bass usually around the second year—Hop- tionally, “playing too loudly when and rhythm accompaniment. A very kins maintains that teachers must tuning or continuing to play after standard setup would most likely encourage students to take ownership nishing tuning” can cause a lack of include the following: lead, double of the process so that those students are listening that leads to poor accuracy. tenor, double second, guitar pan, and each evaluating their own ability to Hopkins even advocates that teachers bass pan. This can very adequately tune. This can foster a greater sense of require no talking during the tuning provide proper coverage for the voices autonomy and independence further process to ensure accuracy and a high in most steel band arrangements. There down the line. He o ers exercises for level of respect for the act of tuning. is also the initial cost of cases, stands, training students in tuning. “Practice —Cynthia Darling and then of course daily storage will loosening and tightening the ne tuner need to be a huge consideration.” One while plucking the string and listening PERCUSSION Students with other music to a reference pitch.” The teacher can performance experience can have the student pluck the string while Steel Drum pick up the skills for steel drums very quickly. the teacher adjusts the ne tuner until Ensembles the student can tell when the string is For those music educators looking for out of tune. Then, the teacher and something di erent for their classrooms student can do the same exercise, now or percussion ensembles, steel drums using the bow. can be a good option. Terry Bettner, Eventually, student and teacher can director of the Richmond High School tune using the peg tuners, which will Steel Band in Richmond, Indiana, can require greater control from the attest to this. He notes that his group, student. The teacher must demonstrate though relatively young (eight years) how the student needs to push the peg and consisting of just a few grade levels, nancial caveat to keep in mind in while adjusting. Doing the peg has already taken hold in the school and involves the cost of upkeep. Says adjustment while the student is listen- community. “The Steel Band class at Bettner, “We put about $1000 into the ing to a reference pitch can help the RHS is open to students currently cost of keeping the pans tuned each student to know when the pitch is o . enrolled in grades 9–12. I have seen year. If this is a consideration within Hopkins identi es several character- other programs become established at your school district, you will need to be istics of an e ective tuning routine. For younger grade levels as well, but up-front about the necessity of this. one, it is student-centered. “The typically this may be in an environment Pans are a great addition to your students maintain control of their that may share grades 7–12, thus program, but pans that are not tuned instruments, are encouraged to listen opening the door for a younger start.” are fairly ‘painful’ to listen to!” and make aural assessments, and assume What skills should aspiring steel A resource that Bettner recommends responsibility for the tuning.” Hopkins drum players have at the ready? “The to steel drum beginners is The Steel goes on to identify a key aspect of an students who pick up on the skills of Band Game Plan: Strategies for Starting, optimal tuning process: “The room pan very quickly tend to have a bit of Building, and Maintaining Your Pan atmosphere is solemn and reverent, background in band, choir, and Program by Chris Tanner. “It is a must characterized by deep sincerity and orchestra performance classes. I think for anyone who is interested in starting seriousness of purpose.” In this way, that if a student has a willingness to a program, developing their existing Hopkins steers teachers and students learn from ‘square one’ with this class program, or just interested in the

away from the possibility of a chaotic and a patience level to learn notation historical aspects of a steel band. This iStockphoto. Photo by

50 Teaching Music AUGUST 2015 APRILCOMING 2015! has become my ‘go-to’ book that can Something Good Just Got Better... handle all questions.”

Arrangements are plentiful, but STUDENT TEXT 001T when it comes to starting out, Bettner FIFTH EDITION | PILOT 2014 FOURTH EDITION MUSIC STYLES - REGGAE recommends “something they can MAJOR SCALES and Their is a QUARTER NOTE. It receives ONE BEAT in 4/4 time. Relationship to CHORDS UNIT Œ is a QUARTER REST. It receives ONE BEAT in 4/4 time. quickly nd success with, and see that Play example 1, resting on beats 1 and 3 and strumming on beats 2 and 4. FirstChords are derived from scales. The scale is builtYear first and11 chords are then they can do this and have a great time constructed on each of the seven pitches of the scale. The basic chord is called Eape 1 a TRIAD. MUSIC STYLES: REGGAE A TRIAD IS A CHORD CONSISTING OF THREE NOTES. while playing. I have tried to nd some FIFTH: this note is a fifth above the root. Guitar stop the string vibration, deadening the sound THIRD: this note is a third above the root. D M: RHYTHM ROOT: the noteBASS on which the chord is built. ARPEGGIOS GUITAR GUITAR ENSEMBLE basic things online that are fairly easy, You know that the distance from one note to Listen as you play. Notice that the strings vibrate beyond beat 2 into Melody 1 To find the third: say the letter name of the root and the following another is called an INTERVAL. You have already beat 3 and beyond beat 4 into beat 1 of the next measure. To create BARRE CHORDS | POWER CHORDStwo notes. The | third SCALES note you named | is ANDa THIRD MORE above the root used whole and half-step intervals to construct the silence required by the rest, it is necessary to DAMP the strings (measures 1 and 3 below). major scales. Two new intervals, the third and between strums. To do this, place the right side of the right hand simple chord structures, some repetition fifth needed in the triad, will be found by counting 2 To find the fifth: say the letter name of the root and the following silently on all strings at the proper time. Imitate picture 7. FROM THE CHORD ROOT. Follow the steps. four notes. The fifth note you named is a FIFTH above the root (measures 2 and 4 below). Count out loud as you play example 1 again, this time damping the strings on beats 1 and 3. When the strums and silence are clearly to reinforce very basic playing patterns. heard, memorize the facts below. x x x x x x x x Picture 7 NOTES: D E F D E F G A E F G E F G A B This has worked great for my kids.” He INTERVAL: 3 (third) 5 (fifth) NOW3 (third) IN COLOR5 (fifth) NOW IN COLOR Now stack up the ROOT, THIRD and FIFTH to create the TRIAD. TheseTHROUGHOUT! are called ROOT POSITION triads because the root is on THROUGHOUT!= down strum the bottom of the chord with the third and fifth above it. Notice that all root position triads are lined up on either consecutive lines or consecutive spaces. There are no exceptions. ≥ = up strum

5 UNIT ELEVEN keeps “a very consistent structure to 5 MAJOR SCALES simile≤ = in the same manner 5 3 3 3 R R Strum example 2. R C TRIAD F TRIAD G TRIAD our steel pan rehearsal: set-up time NANCY LEE MARSTERS A handy tool for chord construction is the CHORD ALPHABET. Eape 2 EDITED BY G - B - D - F - A - C - E Any three pitches in order form a triad: i. e. GBD, CEG, EGB Memorize the alphabet. EDWARD PRASSE (which eats a chunk of our time), basic LEO WELCH UNIT 11: TRANSPOSITION 107 CHAPTER 5: MUSIC STYLES-REGGAE 3 playing together on a series of ve-note scales utilizing di erent rhythms. We The First Year Guitar and Explore It! textbooks have been start with something familiar to get the transformed with a new color interior, new conceptual kids playing together, moving together content and new sequencing. See page samples and more a bit, and then move on to a piece we details at www.classguitar.com. Available April 2015! are still working through. If there is time to do so, I like to review a section Visit our website at www.classguitar.com we have been working on, and then or call 1-800-440-1914. ‘dig-in’ to something new. I like to try to nd a way to save time for a piece that I simply refer to as one of their favorites. It is a nice way to wrap things up by making the performance state- ment of ‘This is a blast!’ I like to leave them with the best feeling possible to keep them coming back for more!” —Susan Poliniak

CHORAL AND VOCAL Preparing High School Singers for College Applications and Auditions

When a high school student decides to pursue an undergraduate degree in vocal performance, there are many details that require attention, including the all-important entrance audition. How can a teacher help their students navigate this process to maximize the chance for acceptance? First o , choir directors should

nafme.org 51 recommend that students start thinking modations are available. We have rooms seriously about their college choices and designated for parents visiting their kids auditions around the beginning of their in the dorms, which is signi cantly less junior year, notes Diana Livingston expensive than a hotel.” Friedley, professor of music and For recorded auditions, Friedley has Students director of undergraduate studies in should start recommendations for music educators music at Idaho State University in researching to pass along to their students. “Some- undergraduate Pocatello, Idaho. “The students programs in times it’s an MP3 that students can send voice around shouldn’t procrastinate. If they want the beginning on the Internet, sometimes it’s a CD of their their parents to take their career choices junior year. (but that’s getting rarer), and some seriously, they need to do their home- places accept audiovisual recordings. If work, and choral directors can lead rized pieces: one in English, one in a a student is doing anything visual, make their students to schools that may be foreign language. Simple and elegant is sure they’re dressing appropriately: good for them. The students will want preferred to dicult and poorly They should wear heels or nice shoes. to check the websites of the colleges performed. I’ve heard many badly Women should wear make-up so they and make a chart that includes the performed versions of ‘Rejoice Greatly.’ don’t look wiped out. Make sure there’s name of the university, what it costs, Something from the Italian art song no ambient noise. If they’re doing it in the application fee and due date, and collections, or a well-performed the high school choir room, do it before the dates and requirements of the musical theatre piece—from Carousel, or after hours. And warm up before you auditions.” She also recommends that Show Boat, etc.—can work. I would sing your taped audition! You want to students nd out if a university requires encourage every choral teacher to apply make the most professional impression that a student apply to the school and for a grant and request the Joan Frey you can.” —Susan Poliniak music program separately. Boytim repertoire books. You’ll get a Choral directors should note that nice cross-section of solos, and some- they may be asked to write letters of times music educators are more versed ALTERNATIVES recommendation in support of their in French or German—it covers those students, and that this needn’t be a languages.” Guitar Classroom tedious process. “You can get a For an in-person audition, Friedly Management template going and then customize it recommends that students nd out if an Large groups such as those found in by mentioning what projects you’ve accompanist will be provided (and if the guitar classrooms can be tricky for a worked on with your student. If a student will need to pay that person), teacher. Not only is it harder to get to student has a good work ethic, that’s and if there are any required placement know each student individually than in important to include—the GPA isn’t exams, sight-reading tests, or meetings smaller ensembles, but a big group can always representative of that. The on the day. It is extremely important mask an individual student’s ability teacher should also include positive that the student arrive early. “They level. For suggestions on how to best attributes of the student, as they will should leave themselves plenty of time manage a large guitar classroom, we have formed a relationship unlike other to warm up. And they shouldn’t freeze reached out to Matthew Polk, director high school teachers,” says Friedley, up when they take the ancillary exams! of mariachi and classical guitar at Pasco who also notes that directors can begin Placement exams are there to gure out School District 1 in Pasco, Washington. to form relationships with universities where they’re at. In our program, we Polk feels that authentic relationships that regularly accept students from their have students in their audition do some with students are critical to their schools. “Those relationships are really rhythmic and melodic sight-reading and musical development. These relation- important. High school instructors in maybe some pitch-matching, and then ships might be challenging to develop particular shouldn’t work in a vacuum. we do an interview—about 10 to 15 when the students are within a large Write those letters and get your school minutes with each student.” group, but this is possible. “Thankfully, on the radar.” For an audition that requires we often have the opportunity of work- When it comes to the audition, signi cant travel, choral directors ing with students in a music program music educators and students alike should recommend that their students over a number of years and we can use should take particular note of the arrive the night before, if possible. that time to get to know our pupils

requirements. “It’s usually two memo- “They should check out what accom- individually,” he says. iStockphoto. Photo by

52 Teaching Music AUGUST 2015 Polk nds that delegating responsi- bilities is a good way to keep a class running smoothly. Polk abides by the old slogan “Never do for others what they can do for themselves. Our COUSINS students are generally very capable individuals who are often looking for PATRIOTIC opportunities to be trusted with responsibility. One of the best things that we can do is to entrust them with a PERFORMANCE job that helps them to serve others.” • All of our Dresses are MADE IN THE USA! • Hot New Designs for Guys, Gals & Youth He relies on dierent strategies to • Coordinating Styles for Your Entire Group hand over responsibility to his students. • New Sparkle Dresses & Unbeatable Prices • Over 40 fast ship items ship out within 5-7 days While he nds that simple tasks such as • Full Separates Line and so much more! having each section leader take attendance (which encourages accountability for being at rehearsals) can be eective, he often issues more challenging assignments. He may have a student run a sectional or transpose a part. He also has them change their own strings— which is good practice for the students, plus it frees him to focus on teaching.

Matthew Polk instructs a guitar student.

ALL COUSIN’S DRESSES & SEPARATES However Polk guides his students, ARE MADE he makes sure that everyone is always IN THE USA! occupied. “The days of having three- quarters of the class quietly sitting in their seats while the director drills a passage that only pertains to a few students are long gone. We need to make sure that students are ngering SPECIAL NAFME DISCOUNT along, listening for something in a Coupon may only be used once per customer. Not to be combined with passage, or doing something else that any other discounts. Coupon must engages them to participate. The chaos % be submitted at the time of order. Use promo code NAFME10A for online orders at www.ConcertAttire.com that can erupt from a large class will OFF Offer expires 10/31/2015. dissipate if everyone has a role and speci c responsibility.” 1O

Photo courtesy of Matthew Polk. —Adam Perlmutter 800.881.5343 | www.ConcertAttire.com

nafme.org 53 Student texts and Lesson Books for Music Teachers THE Presenting a series of books for students and lesson books for teachers from the publishers of In Tune Monthly and Music Alive! magazines. Lesson books LIBRARY feature reproducible articles with lesson plans, activities, and a CD.

Eniam vulluptatue conulla ndignit wisci etum in exer sis ad magna acilluptat.Dio doloreet wisim il delisim illum velit adigna coreet wis nos dolore commolortie consequismod molore tat. BOOKS Obor autpatu erosto eui tem dit utpat auguer am nis delenia mcommy nos digna facip elit nostion veniatin ex enibh er susciliqui tem dolortie consequat lutpat alit lore tat. Uptat lortio eu BOOKS feugait landiamcor sequisi.Ipissit utpat incing eraessed magna adip elit am, conullan veliquat. Ure min ut utpatisit prat. Unt vel digniat. Ut numsand reriureet iusto od tie do commolo rperos er aliquatio con etue moloreros adiamco numsandre tet ea con vulput am il ipsuscil enim in eugiatie mod min euis dolobore vullam, vulput ut nisi. Jazz Then A Teacher’s Guide Exploring the Blues

“Alisl ut am dolorer aessectem exer se magnim essit adipit ut num quisl enim num iure mod modolob orperos nim quamet lortionsecte euisi blandre elis nim eugait, si. Faci exerit, secte vent ea facing er si tionsenit adiate minci erat ipsustrud tatinci llamcon se- quis numsan ut vullupt ationse quissectem quip el dolum irit ate volestrud minibh ea feuguer iliqui bla facm quisisc iduipit.” —Name Someone, quat, quis nit lore venibh et prat velit alit inisit vel in heniscing erilis adipit alit la feug quat. & Now $24.95 (w/CD) to Jazz Then & $39.95 Topics include: “Faciliquat, si. Orem zzrit, si. Ectem dolore dolobor sit nullam dolortie vent lamet illa facinci A teacher’s Guide to duiscil il endio erit nim delisi blaorper suscilis dipis eugait, sum zzrit, veliquat inim iriure do- loborper iuscil estrud et auguercil dolenisim nibh euismolorem zzrilit ing eu feugait, conumsa ndigna feugue velisis eugiat adit velessit alit at. Exer susting eu faci ea corper iriusto essed.” —Name Someone, quat, quis nit lore venibh et prat velit alit inisit vel in heniscing erilis adipit alit la feug quat. JA ZZ Jazz history and its A Z DAVID LEE FISH Ph.D Eniam vulluptatue conulla ndignit J Z Now $39.95 Provides Birth of the Blues, Early wisci etum in exer sis ad magna acilluptat.Dio doloreet wisim il delisim illum velit adigna coreet wis nos dolore commolortie consequismod molore tat. Obor autpatu erosto eui tem dit Then Then utpat auguer am nis delenia mcommy nos digna facip elit nostion veniatin ex enibh er susciliqui tem dolortie con &Now sequat lutpat alit lore tat. Uptat lortio eu feugait land &Now iamcor sequisi.Ipissit utpat incing eraessed magna adip elit am, conullan veliquat. Ure min ut. relationship to today’s jazz. classroom lessons and Blues Guitarists, Women CD INCLUDED

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A Matter of Time (Management) Healthy time management skills can prevent a full plate from overﬂowing.

MEET AIMEE PFITZNER: music director at the Cannon School Lower School in Concord, North Carolina, a well-known advocate of Or - Schulwerk, a blogger on her teaching experiences (ofortunaor .blogspot.com), and the author of a new book, Hands to Hands. Along with her family life, this makes for a very full plate. How does she manage it? “Time management can be dicult; too many things pulling us in di erent directions. Prioritize what must get For Aimee Pfitzner, done and add in what you want to get school work stays done. Determine where you want to be at school. She reserves her home time for at the end of the year, midway through being with her family, creating doodles the school year, next month, etc. in (such as the one pictued here), and terms of organization, structure, etc.” other activities. How does one keep from being overwhelmed? “Don’t skimp on the creative energy. Sometimes a class will dinner.” Is it permissible to bring value in a ‘brain break’ for yourself; need more time with a topic or ask a classroom work home? “Lesson walk around the hallways for two question that will lead us down a planning, comments, grades, etc. must minutes. The point is to slightly di erent path be done at school. It’s a line I rarely work in small chunks of “I abhor than I had planned. I try cross as it creates too many conicts time towards a goal.” procrastination. to be exible and indulge with my non-teacher self—the other Any tips to improve Get it done in that deeper learning.” part of me that wants to doodle, sew, classroom performance? Other tips include take a walk with my family, or go to “Create and organize. sooner rather organizing digital les by the farmer’s market on the way home.” Both also require pacing than later.” grade with a time-of- And procrastination? “I abhor yourself to get the best AIMEE PFITZNER year subfolder, maintain- procrastination. Get it done sooner teaching accomplished. One of the best ing a “Things to Develop” folder with rather than later.” pieces of advice I ever received: Think ideas for further exploration, and There you have it. Organize your of your teaching as a marathon, not a grouping manipulatives together in materials and digital les, keep school sprint.” labeled plastic tubs. and home separate, plan lessons but be How about long-range planning? “I What about the school/home exible, prioritize everything, keep know some teachers who have their balance? “Once I am at school, I am in lesson records, honor your need to clear whole year planned out before August, school mode. The same is true for your brain and never procrastinate—all others plan in segments. I don’t personal time; once I am home, my wise words to improve our lives as

Art by Aimee Pfitzner Art by function that way; it inhibits my focus is my family, the housework, music educators.

nafme.org 55 TAG E S S secondaryBY DEBBIE GALANTE BLOCK

Accentuate the Positive When critiquing student composers, informed encouragement is key.

TEACHING COMPOSITION is tricky you conveying the information you stay with that technique. Here are some because music can be very personal, and want to convey? If it’s an electronic helpful suggestions.’” the composer can’t be wrong, notes piece: ‘How can you tweak the mix That’s not to say that there are no Rob Deemer, associate professor of and get the sound just the way you nuts-and-bolts specics in terms of music and head of music composition at want it so that it will sound best on a writing music. “A teacher can o er the State University of New York at stereo system?’” “I gauge where suggestions in terms of Fredonia. “I gauge where the student is Teacher suggestions orchestration books. going, then point out what they are should be broad. Deemer the student is Sometimes I will even doing well and make suggestions with a notes that he does not o er going, then copy out some of their positive spin.” specic advice—e.g., “You point out what music and write in some Students often begin to play should change this from an detail examples.” instruments at the elementary school F to an F-sharp”—but they are doing When teaching level, and as they go forward through rather he says, “‘How can well and make composition, a music school they may discover that they you make this piece more suggestions educator needs to be want to compose. Budding composers interesting?’ Find the spots with a positive exible. After a concept can often be the students who like that work and o er is taught, a student practicing the least, Deemer says. suggestions as to how to spin.” ROB DEEMER composer may not “They don’t like to play someone else’s push it a little bit further in spots that completely and immediately understand music. Teachers will notice that they don’t work.” He o ers an example of a it. This may take a while—perhaps a start making up stu , and then teachers critique: “If the composer is using a lot year or two. “Give them some time might then show them some theory. of cut-and-pastes and repeating things a and they will get it. There is no Instead of forcing Beethoven, smart lot, I’ll say, ‘That’s a good way to get immediate gratication in composing teachers may encourage the students started, but you don’t normally want to for the teacher or the student.” (often pianists) to continue to create their own music, and then composing just grows naturally.” While Deemer notes that working with composers of any age is pretty much the same, when working with and critiquing high school students, he encourages them to perfect their compositions. Even if a piece doesn’t seem to be working, “I focus less on getting them to write a di erent piece and more on improving the piece they have written. I’ll ask, ‘How can you ensure that it is the best that it can be, and musicians will interpret it the way “I’ll ask, ‘How can you ensure that it is the best that it can be, and musicians will interpret it the way you want them to?’” —Rob Deemer

you want them to?’ Or, I will ask, ‘Are Photo courtesy of Rob Deemer

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www.colbertcreative.com (604) 681-5386 TAG E S S collegiateBY ANDREW S. BERMAN

Building Your Résumé—Before You Teach Certain experiences and approaches can highlight a new teacher’s strengths.

THE WORK OF BUILDING a résumé for that opposite isn’t necessarily true.” He teaching experience. It’s better to keep rst music teaching job should begin found that his own internship experi- to a smaller, diverse list, highlighting early. Thomas Priest, director of music ences were a revelation. “I made the experiences such as directing a choir education at Weber State University in classic mistake of trying to push over singing in one. Ogden, Utah, says that teaching traditional notation on kids “When Priest emphasizes the experience prior to student teaching is before they were ready for importance of composition key. “Students who have those early it,” he recalls. Every you’re skills. The ability to create a experiences do better when they’re teaching experience can be going for custom arrangement or student teaching. It’s become a standard valuable. Everyone makes your ﬁrst composition for your of the National Association of Schools mistakes, and those who students is a standout. of Music to have pre–student-teaching start learning from their job, you “Composition experience, internships.” A list of teaching intern- mistakes earlier draw that want to performance experience, ships, varying in grade level and much more of an advantage. keep things and teaching experience all environment, are attractive to hiring When it comes to listing ‘lean and inform each other.” committees and, of course, excellent performance experiences, With the advent of techno- preparation for a wide variety of jobs. Priest cautions against an mean.’” logical advances come further Middle school experience in extensive list. “When you’re THOMAS PRIEST opportunities for making particular is an eye-catcher, Priest says. going for your rst job, you want to oneself look great on a résumé. Video “If you can teach junior high, you can keep things ‘lean and mean.’” A long of one’s teaching or performance work be successful in high school. The list of performances distracts from can be impressive, as employers are anxious to see you in action. “I can’t Specific teaching and think of anything that would be more performance experiences can make a new music compelling for a principal to see than a educator’s résumé shine. video of an applicant teaching.” Print your website URL on a paper résumé and include links in an online résumé, when the option is available. Attendance at a conference can also shine like a beacon. NAfME’s own 2015 In-Service Conference will be held October 25–28 in Nashville (see nafme.org/nashville2015). When it comes to other information on the résumé, Priest notes that he also loves to see an applicant’s teaching philosophy: Tell why you think music is important, and why you want to teach. This can make you truly stand

out among other applicants. E. Lindquist College of Arts & Humanities. Photo courtesy of the Telitha

58 Teaching Music AUGUST 2015 Makes better musicians.

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BOOKS 3 Trombone Shorty The Complete Ring, Dance, Alfred’s IPA By Troy “Trombone Shorty” Andrews, Illustrated Marching Play: First Made Easy: A by Bryan Collier (2015, hardcover, 50 pgs., $17.95) Band Experiences with Guidebook for the Hailing from the Tremé neighborhood in New Choirchimes® and International Orleans, Troy “Trombone Shorty” Andrews got his Resource Orff Schulwerk Phonetic Alphabet nickname by wielding a trombone twice as long as he Manual: By Griff Gall and Paul By Anna Wentlent was high. A prodigy, he was leading his own band by Techniques and Weller (2014, paper- (2014, paperback, 64 age six, and today he headlines the legendary New Materials for back, 128 pgs., $20.95) pgs., $9.99; also Orleans Jazz Fest. With illustrator Bryan Collier, Teaching, Drill The lessons in available as eBook) Andrews has created a lively picture autobiography Design, and Music Ring, have been How many years has it about how he followed his dream of becoming a Arranging Dance, Play been since your last musician. This little book is a celebration of the rich By Wayne Bailey, specifically created for diction class? This cultural history of New Orleans and the power of Cormac Cannon, and grades K–5 with an handy guidebook is an music. Abrams Books for Young Readers, Brandt Payne emphasis on developing easy reference for the abramsyoungreaders.com (2015, paperback, 320 overall music literacy symbols used in IPA: pgs., $47.50) Supple- through Orff Schulw- what they look like and mented with musical erk’s full-body approach TEACHING AIDS 3 how they are pro- arrangements, and child-centered way Music Room Posters Set 1: warm-up exercises, of learning. By nounced. Example Sousa, Vaughan Williams, and over 100 drill employing a “child’s words for every symbol Holst, Grainger charts—and updated world of play,” elemen- are included in English, By Maria Olson ($39.95) These large, well-designed to reflect new stan- tal music-making can Latin, Italian, German, posters can be a great way to brighten any music be both fun and easy. French, and Spanish. An educator’s classroom! This first set includes dards for drill design historical information and various other facts about and more—this third This collection of online resource four of our most well-known and beloved composers, lessons can be helpful includes recorded presented in a colorful and engaging layout, with edition of the Manual each printed in a 24" x 36" presents the fundamen- to any music educator demonstrations of format. This can be a fun way every sound. This little to introduce your students to tals and advanced looking for a fresh, new the music and techniques that are approach to engage book is a clear and lives of John Philip Sousa, essential for successful their students—it can concise tool for those Ralph Vaughan marching band have your classroom who sing in foreign Williams, Gustav Holst, leadership at all levels. ringing, dancing, and languages; it’s equally and Percy University of playing in no time. useful in the choir room Grainger. Gia Publications, Pennsylvania Press, Gia Publications, and the vocal studio. giamusic.com upenn.edu/pennpress giamusic.com Alfred Music, alfred.com

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60 Teaching Music AUGUST 2015 CDS 3 ACCESSORIES 3 The Positive Baton Basics: Merry Pranks Today Is Band Room Pianist: Communicating of Master Till Forever/ Double- Music through How Flow Can By the London Hoy es para Stack Guitar Bring Passion to Gestures Philharmonic Orchestra By Diane Wittry siempre Case Rack Practice and (2015, 6 tracks, $16.98; (2014, hardcover, 248 By Future Hits By GuitarStorage.com, Performance also available as digital pgs., $99.00; also (2014, 24 tracks, a subsidiary By Thomas J. Parente download) of A&S Crafted available as paperback $15.00; also available as (2015, hardcover, 150 Products ($799.00) This innovative digital download) and eBook) This text is This new, durable rack pgs., $99.00; also based on the premise recording of Richard Indie musician and enables guitar available as paperback that the most effective Strauss’s colorful tone Chicago Public Schools teachers to store 20 and eBook) By using or more guitar cases forms of conducting are poem, Till Eulenspiegel’s teacher Matt Baron and Mihaly Csikszentmi- of various shapes and about conveying energy, Merry Pranks, features his band Future Hits, sizes in a durable halyi’s theory of flow, and that this is a narration written by together with special double-deck rack Parente shows that fundamentally physical conductor Stephen guest guitarist David while making the linking productivity and instruments quickly activity. Wittry offers a Simon, and recited by Vandervelde, have enjoyment in piano and easily accessible conducting approach beloved storyteller released an album that in a classroom or playing has a positive based upon the concept Yadu. The music depicts is a vivid and joyful studio. It features a impact on students, celebration of ordinary mechanism to lock of conveying weight, a colorful cast of cases to the rack, motivating them to resistance, and energy, life, with songs characters, and the wood guitar pick- practice more in order addressing topics such combined with size, piece itself serves as a shaped bookends to to experience flow beat placement, and as friendship, responsi- keep the cases upright reminder that lightness again; this creates speed, through familiar bility, birthdays, and stable, and of heart is a valuable heavy-duty casters to optimal learning gestures and in order to seasons, family, and enable teachers to conditions for practic- asset, but we should communicate a better more. Every song is easily wheel the rack choose our audience ing. Parente argues for concept of musical presented twice—once as desired (including wisely because, for an objective, goal-ori- sound to the musicians. in English and once in through 33" door- some people, humor is ways) and then to lock ented backdrop that Includes many detailed Spanish—so that the it in place. It is easily no laughing matter! The will lead piano students drawings and access to album is welcoming to assembled with a to achieve greater over 60 video examples album album includes speakers of both single hex wrench confidence, accuracy, on the companion an interpretation minus tongues, as well as (included), and an alternate rail position and musicality. website. narration as well. those learning a second accommodates small Oxford University Oxford University Maestro Classics, language. Future Hits, or 3⁄4-size guitars. Press, oup.com Press, oup.com maestroclassics.com futurehits.org GuitarStorage.com

nafme.org 61 resources... CONTINUED WEBSITES 3 Be Part of the Music NAfME is partnering with several music education, industry, and arts organizations in a project called Be Part of the Music. This program offers online tools, including a variety of videos, to encourage ensemble participation and enhance recruitment and retention. The ﬁ rst tools are now available free online at bepartoftheband.com. A disc

TAP, TAP . . . (WHO'S THERE?)

You are! Singing, dancing, playing, and making a difference called Be Part of the Band, in children’s lives—and in your own. Teach our much-loved the ﬁ rst in a series of research-based family and preschool programs, and enjoy the programs, can also be support of our creative and energizing teaching community. purchased for $10 via the website. Stay tuned for more information about Be There’s a workshop near you. Part of the Music in the October 2015 issue of Teaching Music!

Music Educators Toolbox ® (Free) Carnegie Hall’s Weill Music Insti- THE JOY OF FAMILY MUSIC tute has launched a set of free online resources for music teachers that includes lesson plans, activities, assessments, video examples, and documented best practices. Designed to be effective in and adaptable to a wide variety of music (800) 728-2692 • MUSICTOGETHER. COM classrooms, these resources were developed through Carnegie Hall’s ﬁ ve-year residency at PS/MS 161, a New York City elementary/middle school. The Toolbox features grade-speciﬁ c music education resources addressing fundamentals of Music Educators“I Journal/Teachingdon’t have perfect Music Ad Dimensions: 4.562”w. x rhythm and meter, form and design, pitch, 1806 Robert Fulton Drive 7.25”h. and more. Carnegie Hall’s Weill Music Institute, carnegiehall.org/toolbox Restonpitch, VA 20191-4348 but I have relative (1/4-page vertical) Phone: 800-336-3768 x307 or 703-860-4000 Fax:pitch. 703-860-9027 I’m glad I don’t MUSIC EDUCATORS have perfect pitch, JOURNAL/ because perfect pitch TEACHing MusiC AD can drive you crazy.” —Billy Eckstine (sourcequotes.com) IBRARY OF CON G RESS. L IBRARY GOTTLIEB/ WILLIAM P.

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nafme.org 63 bravo! ITZHAK PERLMAN

VIRTUOSO VIOLINIST, CLASSICAL MUSIC ICON, AND MULTIPLE GRAMMY ® WINNER Itzhak Perlman is one of the most celebrated musicians of our time. A 2003 Kennedy Center Honoree, he has performed at the White House (multiple times), with every major orchestra in the world, and on a long list of recordings, television programs, and ﬁ lm scores. A much sought-after teacher, he has been on the faculty of The Juilliard School since 1999. The Perlman Music Program (perlmanmusicprogram.org)— which has a campus on Shelter Island, New York, with public concerts every weekend through Labor Day—was founded by his wife Toby 21 years ago and offers musical training to gifted young string players. This month, Mr. Perlman turns 70. We at Teaching Music both salute him for his many contributions to music and music education, and wish him a very happy birthday!

You’re heavily involved in music education. Why do you think it is important in general? Music education is just as important as any other kind of education. It gives us what society needs. I am a ﬁ rm believer that teaching is the number two most important thing in our lives as far as children are concerned—parenting is ﬁ rst. Sometimes teaching is number one when students really rely on their teachers. Teachers have a great responsibility to our young. When you think of this responsibility—they take and mold the lives of their pupils. They affect their lives forever.

Do you have any recommendations for music teachers who are trying to get their students to stick with it? There are no shortcuts, and every student is different. What I say to my students is that the important thing is “Do you like what you do?” If you’re really a dedicated musician who loves it and has a passion for it, you’ll have a chance to do good things in music, but it’s not just one thing or else. If someone wants to study so they can play Carnegie Hall—if it doesn’t work out, do you just give up on your music? There’s nothing wrong with playing Carnegie Hall, but there are other things you can do—you can play chamber music, you can teach, you can start your own group. The important thing in life is to be happy with what you do for a living. Musicians are lucky to be in a profession that has so much beauty. If you’re a teacher, you are exposed to different types of talents with students—each one has their own challenges and own gifts, and each one is different. Teaching is a great profession. Playing chamber music is a great profession. You should ﬁ gure out what’s good for you. There are many ways of planning out your life, and a teacher can help you with that.

Do you have any words of encouragement for music teachers? If you have a teacher with great enthusiasm, they can really make you love anything, but it’s all up to the teacher. Teaching has to be higher on the list of priorities. Teachers should be just as high as doctors and lawyers—higher, even. First and second grade—these are the formative years for our children and, boy, are they affected by who’s there. It’s such a responsibility. Just keep going, do a good job, and you will be If you have appreciated. Don’t be discour- aged, because you are in a a teacher great profession. When you with great see a student who is brilliant, enthusiasm, what can be better than they can really teaching someone who really make you love absorbs what you have to say? anything, but What a great feeling! But you it’s all up to have to look for it and be out there giving it your all. the teacher. Christian Steiner. Photo by

64 Teaching Music AUGUST 2015