It's Showtime!

teachingmusicmusicOCTOBER 2017 VOLUME 25, NUMBER 2 IT’S SHOWTIME! How to Create the Best Musical Ever

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770-17 Breezin Thru Theory Ad_NAfME 8.187x10.875 Full Page.indd 2 6/22/2017 4:17:42 PM October 2017 Volume 25, Number 2 contentsMusic Education ● Orchestrating Success Music students learn cooperation, discipline, and teamwork.

Get ready for great performances at the next In-Service Conference!

26 Hats off to the 2017 NAfME In-Service Conference! In Dallas this November, members will find ample opportunities for learning, performing, networking, and much more!

Features 22 Fixing Fussy 30 it’s Showtime! 36 n avigating 42 rallying and Flute Faux Pas From start to finish, Your Path to Honoring Are your flutists giving here are some great Enrichment through Music you fits? Here are some ideas, both old and new, NAfME offers valuable When a young tips to help make life for creating the best opportunities for trumpeter passed easier for everyone. musical ever with your music educators to away, director Jamie students! pursue professional Clark led the student’s development, enhance bandmates through

their curricula, and the grieving process. investigate cutting-edge research. Cover photo by by Omar Sanders. Omar Sanders. by photo by Cover Victoria Chamberlin, victoriachamberlin.com. Photo this page by

1 Teaching Music october 2017 October 2017 contents Volume 25, Number 2

A happy herd of pool noodle ponies can bring musical horseplay 55 to your elementary classroom.

DISCOVERIES The causes of—and solutions to—the “pops” and “thuds” that can plague beginning saxophonists 20

Nicole Worzel WORKSHOP 14 General Music Building and playing kalimbas DEPARTMENTS in the classroom 48 Brass & Woodwinds CLASSROOMS Developing range in trumpet The mighty Drums of Thunder players the right way 48 from Montclair, New Jersey 12 Strings Teaching older beginners 49 ADVOCACY Percussion A Rhode Island band director The joys and pitfalls of elementary advocates for state-level change. 14 percussion ensembles 50 Choral & Vocal RESEARCH Planning the winter choral concert 51 The results of Give a Note’s demographic study 16 Alternatives The ringtone composition project 52 TECHNOLOGY STAGES Tools to help students sight-read and sight-sing 18 Elementary Hi-yo, pool noodle ponies! 55 Secondary 7 Blueprint for a best-behaving band 56 PRO•FILES Collegiate 7 The 2017 National The beneﬁ ts of forming a Tri-M® Band Director of the chapter at your school 58 Year, Emily McNeil ... RESOURCES Lauren B. Lewis, a highly New media and accessories successful Collegiate for the music classroom 60 advocate ... Collegiate recruiter extraordinaire BRAVA! Vanessa Bliley Teaching Music salutes classical/rock

violinist Daisy Jopling! 64 Photography. Creative King; Ann’s courtesy of Tracy Rob Silveira; Photos clockwise from top left: by Vanessa Bliley 2 Teaching Music OCTOBER 2017 You’re the Expert, Teach Your Way

M Tools for Every Style of Teaching

MY Introducing Quaver’s Song-Based Lessons 38 new lessons using CY tools and techniques inspired by Kodály, Or, and Music Learning CMY Theory approaches to music education. K

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Ella Wilcox Editor Thank you to NAfME’s corporate members for supporting Catherina Hurlburt music education and music educators! Marketing Communications Manager Caroline Arlington Publications/Copyrights Adelphi University Forum Music Festivals Silver Burdett/Pearson Abigail Gyamfi Marketing Coordinator music.adelphi.edu forummusicfestivals.com pearsonschool.com/music Soundtrap AB For a listing of the NAfME Alfred Music Galaxy Music Notes National Executive Board, please alfred.com galaxymusicnotes.com soundtrap.com see our website: nafme.org. All American Games, LLC GIA Publications, Inc. Soundwaves Recording, LLC Articles in Teaching Music do not necessarily allamericangames.com giamusic.com soundwaves.org represent the official policy of the ALGES Corporation Ginger Snaps Apparel Super-Sensitive Musical String Co. National Association for Music Education. algescorp.com and Praise Hymn supersensitive.com American Composers Forum Fashions Suzuki Music USA Teaching Music is created for composersforum.org gingersnapsapparel.com suzukimusic.com NAfME by In Tune Partners, LLC. Hal Leonard, LLC [email protected] Apogee Electronics, Inc. Sweet Adelines International apogeedigital.com halleonard.com sweetadelines.com Irwin Kornfeld CEO ArtistWorks J.W. Pepper & Son, Inc. Time for Three Foundation Susan Poliniak Editor-in-Chief jwpepper.com tf3.com Barbershop Harmony Society Jackie Jordan Creative Director barbershop.org MakeMusic, Inc. Titanic Museum Attraction www.makemusic.com titanicbranson.com Bill White Advertising Manager Berklee College of Music Melhart Music Michael R. Vella Production Manager berklee.edu Tuxedo Wholesaler MFR Holdings, LLC tuxedowholesaler.com Barbara Boughton Business Manager Breezin’ Thru, Inc. breezinthru.com The Midwest Clinic Weill Music Institute, Carnegie Contributors: Michael Adelson, Andrew midwestclinic.org Hall carnegiehall.org/education J. Allen, Andrew S. Berman, Chad Criswell, Brightspark Travel La-Tika S. Douthit, Lisa Ferber, Stephen brightsparktravel.com The Music Stand West Music Company Holley, Joanne Sydney Lessner, Cathy themusicstand.com westmusic.com Applefeld Olson, Adam Perlmutter, Susan Buffet Crampon USA WorldStrides Poliniak, Lori Schwartz Reichl Casio America, Inc. Music Together Worldwide worldstrides.org casiomusicgear.com musictogether.com Wurrly, LLC The National Association for Music Education is Chamber Music Society of Musicnotes, Inc. a voluntary, nonprofit organization representing musicnotes.com all phases of music education in schools, colleges, Lincoln Center YouthCUE universities, and teacher-education institutions. chambermusicsociety.org National Piano Foundation Active NAfME membership is open to all people pianonet.com engaged in music teaching or other educational CODA Concerts work in music. Associate membership is open to codaconcerts.com NUVO Instrumental, LLC those providing studio/private teaching, working nuvo-instrumental.com in the music industry, or advocating for music Cousin’s Concert Attire education. Teaching Music (ISSN 1069-7446), an concertattire.com Peripole, Inc. official magazine of the National Association for peripole.com Music Education, is issued to members four times Custom Tours, Inc. per year in August, October, January, and April at customtoursinc.net Progressive Music an annual subscription price of $10. Office of progressivemusiccompany.com publication: National Association for Music DeMoulin Brothers & Company Education, 1806 Robert Fulton Drive, Reston, demoulin.com QuaverMusic.com VA 20191-4348, U.S.A.; 703-860-4000. quavermusic.com Produced by In Tune Partners, LLC. Institutions Drum Corps International may purchase one volume year of four print dci.org Rhythm Band Instruments, Inc. issues for $212. Single copies of issues are $30. A rhythmband.com limited number of back issues are available for purchase. EASTMAN Permission requests to reproduce or otherwise eastmanmusiccompany.com Rick’s Musical Instruments, Inc. use material published in this journal should be ricksmusicalinstruments.com submitted to Caroline Arlington at CarolineA@ Eble Music, Music Products, Inc. nafme.org. Periodicals postage for Teaching Music grothmusic.com Rivar’s, Inc. is paid at Herndon, VA 20170, and at additional rivars.com mailing offices. POSTMASTER: Send address changes to Teaching Music, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A. Copyright ©2017 by the National Association for Music Education. Printed in the U.S.A. If you would like more information about becoming a NAfME Corporate member go to: nafme.org/corporate email us at: [email protected]

4 Teaching Music October 2017 NAfME CORPORATE MEMBERS AS OF AUGUST 1, 2017

Thank you to NAfME’s corporate members for supporting music education and music educators!

Adelphi University Forum Music Festivals Silver Burdett/Pearson music.adelphi.edu forummusicfestivals.com pearsonschool.com/music Alfred Music Galaxy Music Notes Soundtrap AB alfred.com galaxymusicnotes.com soundtrap.com All American Games, LLC GIA Publications, Inc. Soundwaves Recording, LLC allamericangames.com giamusic.com soundwaves.org ALGES Corporation Ginger Snaps Apparel Super-Sensitive Musical String Co. algescorp.com and Praise Hymn supersensitive.com American Composers Forum Fashions Suzuki Music USA composersforum.org gingersnapsapparel.com suzukimusic.com Apogee Electronics, Inc. Hal Leonard, LLC Sweet Adelines International apogeedigital.com halleonard.com sweetadelines.com ArtistWorks J.W. Pepper & Son, Inc. Time for Three Foundation jwpepper.com tf3.com Barbershop Harmony Society barbershop.org MakeMusic, Inc. Titanic Museum Attraction www.makemusic.com titanicbranson.com Berklee College of Music berklee.edu Melhart Music Tuxedo Wholesaler tuxedowholesaler.com Breezin’ Thru, Inc. MFR Holdings, LLC breezinthru.com The Midwest Clinic Weill Music Institute, Carnegie Hall carnegiehall.org/education Brightspark Travel midwestclinic.org brightsparktravel.com The Music Stand West Music Company westmusic.com Buffet Crampon USA themusicstand.com WorldStrides Casio America, Inc. Music Together Worldwide worldstrides.org casiomusicgear.com musictogether.com Wurrly, LLC Chamber Music Society of Musicnotes, Inc. Lincoln Center musicnotes.com YouthCUE chambermusicsociety.org National Piano Foundation CODA Concerts pianonet.com codaconcerts.com NUVO Instrumental, LLC Cousin’s Concert Attire nuvo-instrumental.com concertattire.com Peripole, Inc. Custom Tours, Inc. peripole.com customtoursinc.net Progressive Music DeMoulin Brothers & Company progressivemusiccompany.com demoulin.com QuaverMusic.com Drum Corps International quavermusic.com dci.org Rhythm Band Instruments, Inc. EASTMAN rhythmband.com eastmanmusiccompany.com Rick’s Musical Instruments, Inc. Eble Music, Music Products, Inc. ricksmusicalinstruments.com grothmusic.com Rivar’s, Inc. rivars.com

If you would like more information about becoming a NAfME Corporate member go to: nafme.org/corporate email us at: [email protected] Bachelor of Music in Performance • Education Composition • Theory

Minor Pedagogy

Areas of Emphasis Jazz & Improvisational Music Collaborative Piano

Double Degree Bachelor of Music/Bachelor of Arts

Discover the power of Engaged Learning. lawrence.edu/conservatory pro•filesFeaturing NAfME’s education professionals

Emily McNeil By Lori Schwartz Reichl

Emily McNeil (far right) and the East Rowan High School Wind Ensemble

at East Rowan High School in Granite 2017 National Band Quarry, North Carolina. She realized the pressure this particular situation brought Director of the Year to the students, community, and her. McNeil’s goals for the band program Emily McNeil works to inspire students while were simple: She hoped to care for the improving the quality of her ensembles. students, inspire them to audition for “This year’s recipient of the National President of NAfME, Denese Odegaard, more honor bands, and build a high- Band Director of the Year Award gives a proceeded to recognize the winner by quality program. Nine years later, she lot of care to her program.” These were reading McNeil’s biography continues this progress by the first words high school band director to the audience. McNeil maintaining a strong Emily McNeil heard echoing from the says, “I was shocked to be relationship with the middle stage while sitting in the audience at the honored as the awards’ school band director and United States Army All-American Bowl recipient.” She was encouraging the younger Awards Ceremony. She was attending the recognized on stage with a musicians to participate in ceremony as a participant in the Band plaque and celebrated with the high school band Director Academy this past January in memorable words about program. San Antonio, Texas. Not knowing who her teaching career. The band program at East would receive this prestigious award, In March 2009, Emily Emily McNeil Rowan High School consists McNeil quickly figured out it could be McNeil was hired as the Band Director, of the Concert Band, Jazz East Rowan High School, her, as there were very few women fourth band director during Granite Quarry, Band, Marching Band, Wind North Carolina

Photo by Kim Howard. Headshot courtesy of Emily McNeil. Photo by present. To her astonishment, the the 2008–2009 school year Ensemble, and 75 energetic

nafme.org 7 • pro files Vanessa Bliley

“I see my strengths as an educator as caring for each individual student and their successes as a growing adult—not just as a musician.”

members. McNeil was present at the adult—not just as a musician.” She bowl events in San Antonio because her encourages students to reach student, Katie Howard, was performing their full musical potential by on trumpet in the U.S. Army All-Ameri- auditioning for as many ensem- can Marching Band (USAAAMB). McNeil bles as possible, both in and out of proudly states that during her tenure, “In school, and she is thrilled when addition to Katie, East Rowan has had former students return to two previous students and one current support the band program and student selected as USAAAMB mem- attend a performance. These bers.” The program continues to flourish former students are often in awe under McNeil’s directorship, and along of how the program continues to with the annual performances and trips grow. McNeil says, “I also find it Denese Odegaard presents the she plans for the band, the Wind significant when former students Band Director of the Year award Ensemble has earned consecutive recall a musical selection they to Emily McNeil. superior ratings in the district’s music performed with the band and can performance assessments for the past recall exactly how the music made them as well as cheering on the team he several years. feel.” coaches. She also enjoys running, fishing, McNeil says, “I see my strengths as an When she is not busy with music and traveling, and looks forward to educator as caring for each individual activities, McNeil enjoys watching another inspiring year of making musical student and their successes as a growing baseball games with her husband, John, memories with her students.

Lauren B. Lewis By Joanne Sydney Lessner

made it possible to cover A Collegiate Advocate hotel fees for members attending the upcoming An undergraduate music student in North Carolina Music North Carolina is involved in advocacy, Educators Association professional development, and more. Professional Development Lauren B. Lewis, a music education and to the university and how Conference. “They have applied clarinet major at East Carolina that experience gave them a collegiate sessions, so we’re University (ECU) in Greenville, North new perspective on able to network and Carolina, is one of this year’s recipients of educational conducting and Lauren B. Lewis understand a little of what’s NAfME’s Shannon Kelly Kane scholarship. vocal techniques,” Lewis Music Education and coming as a professional,” Applied Clarinet Major, Now a senior, Lewis joined her school’s says. A retired school East Carolina University, Lewis says. Greenville, North Carolina NAfME Collegiate chapter as a sophomore principal who works with Under Lewis’s guidance, and was elected its president last January. nonprofit after-school programs visited the chapter has reached out to local In addition to maintaining the chapter’s and conducted a mock job interview. music teachers and responded to their focus on service, advocacy, and fundrais- “That wound up being a really great requests. “We were able to do several ing, she has made professional develop- time,” recalls Lewis. “She picked 10 instrumental petting zoos, taking out ment a priority, incorporating advice and people, and we each had to answer a different woodwind and brass instru- training sessions into regular meetings in question. Then she would tell the group ments and a few strings, just to let the response to member feedback. how we could have improved our kids try to make sounds on them. “We had students talk about an answers.” Adding a dance social fundrais- Hopefully, this piques their interest and

international choir conductor who came er to the usual round of bake sales has helps them in choosing an instrument as Kristina Brantley. Photo courtesy of NAfME. Headshot by

8 Teaching Music October 2017 Photo courtesy of NAfME. Headshot by Kristina Brantley.

Photo top by Ashlee Wilcox Photography / Documentary Associates LLC. Photo bottom by Jordan Harris so pivotal to their lives, which will help which lives, to their pivotal so was education music why about stories tellfully, their we’ll people have more Hope- representatives. national our even maybe and assembly general Carolina North to our out reaching about “We’re thinking arts. the and music for funding more of securing hope the with legislators local to approach plan fellow chapter members her and Lewis Day in June, Hill at NAfME’s firsthand ofadvocacy power pitch. and cy offrequen- properties the to demonstrate ropes jump using school, elementary day music at an and in a science participated also They school.” gointo middle they Lauren B. Lewis with students with Lewis B. Lauren After experiencingAfter the duct s” rs.” cato u ed future become forthings usto alotdo of great group, they and scholarship the love really I University. Carolina East was coming to Imade sions deci- greatest of“One the music degree in general can be.” can in general degree music a and education music fun how them tell “We freshman. prospective recruiting when major her for enthusiasm her shares Lewis educators.” future become great things for us to us for things great of alot do they and group, scholarship lovereally the I University. Carolina to East coming was made I decisions greatest of the “One school. graduate for focus a selecting before experience field valuable to gaining forward looks she and graduation, after years four for system school public Carolina North in the to teaching at ECU, is committed Lewis Act.” Succeeds Student Every via the funds more gaining in cause the As a Maynard Scholar Scholar aMaynard As Carolina Carolina North Greenville, University, Carolina Eastern Lewis: B. Lauren Washington University, Ellensburg, Bliley: Vanessa S an Sh Wisconsin Oshkosh, Oshkosh, Wisconsin Joshua Schmidt: Rock, Pennsylvania Slippery ofPennsylvania, University Emily Brumbaugh: Alabama Montevallo, Montevallo, Yates:William Carolina North Greenville, University, Carolina Eastern Lewis: B. Lauren Washington University, Ellensburg, Bliley: Vanessa Service: Alabama Montevallo, Montevallo, Music Program: Colle NAfMEAw Aw P 2016–2017 NAfME Coll NAfME 2016–2017 Jersey City, New Jersey University, City Jersey New Professional Development: Washington University, Ellensburg, Recruitment: Warrensburg,Missouri, Missouri Advocacy: Virginia Radford, c r hol of ann rec ard d M ess ars on Radford University, Radford iona a gi em University of Central ofCentral University K p hi i e p Central Washington Washington Central University of University lly K t Central Washington Washington Central Central Washington Washington Central i l A be R t en University of University University of University a e Ch ec Kelly Kane Scholarship Scholarship Kane Kelly Educators Association Association Educators Slippery Rock Rock Slippery c North Carolina Music Music Carolina North plaque, alongside the rds tords executive leadership rs hi ip s ane with her Shannon ien ev a Lauren B. Lewis Lewis B. Lauren

e emen ts pt gi

a e t e t rs nafme.org nafme.org 9 Vanessa Bliley (center) with her Kelly Kane Scholarship plaque, surrounded by WMEA leaders

Vanessa Bliley By Lisa Ferber

ing the 2016 Collegiate Advocacy A Recruiter of Excellence Summit, Bliley wanted to do this at the A student at Central Washington University looks back at state level. She took what she learned her Collegiate successes and forward to student-teaching. from the D.C. Collegiate Advocacy

Vanessa Bliley started playing oboe in that there are more than 150 NAfME Summit and created the first annual her freshman year of high school when members in her CWU chapter, out of WMEA State Hill Day. “I would like to see her band director made a request of this about 400 music members in the school. more involvement across the state and then-clarinetist. Bliley recalls, “My One effort she cites as having led to have it grow bigger every year.” teacher said, ‘We don’t have a lot of CWU winning the Chapter of Excellence She gives a giant shoutout to Mark oboists. Would you like to play oboe?’ award was their beginning-of-the-year Lane, music education professor at CWU, And then I started taking social event. After marching and looks forward to student teaching in lessons, got more involved band rehearsal, the officers the Seattle area in 2018 with music in band, and all the magic set up a rotunda with laptops, educator Mariko Lane. “She just exudes happened.” handed out informational happiness, love, and what music is really Bliley is in her fifth year brochures, and provided free all about. She is everything I want to be at Central Washington pizza. Students could join or as a music teacher and I have never been University (CWU) in renew their membership and more excited for anything in my life,” Ellensburg, and she wants ask questions about the notes Bliley. to re-create her incredible organization. “The lessons I have learned through public school music Bliley notes that one music can be applied to all other areas in experience for other Vanessa Bliley event that led to her my life. It has taught me the importance Music Education Major, students. “I truly believe Central Washington Professional Achievement of work ethic, communication skills, University, Ellensburg, leadership, and overall how to be happy. that music is essential for a Washington Award was a Hill Day project well-rounded education. in January 2017. Bliley It’s pretty powerful.” It’s magical, and I think every student assembled 23 music students from five should have the opportunity to try it.” Washington state universities to She is a recipient of a Shannon Kelly Kane advocate for music education. They met scholarship, is the Washington State with 33 Washington state representa- Collegiate President for the Washington tives, and each Collegiate participant Music Educators Association (WMEA), explained how music changed their lives and is an advocate for and why they chose to go music education on the “The lessons into music education. local and national levels. NAfME holds a yearly Hill She won a Professional I have learned Day in Washington, D.C., Achievement Award, and through music where they advocate for CWU won a NAfME can be applied music at the national level; Collegiate Chapter of Collegiate members have Excellence Award for to all other been invited to participate Recruitment. She notes areas in my life.” since 2014. After attend- Photo top by Ashlee Wilcox Photography / Documentary Associates LLC. Headshot and photo bottom by Ann’s Creative Photography. Creative Ann’s Headshot and photo bottom by / Documentary Associates LLC. Photography Ashlee Wilcox Photo top by

10 Teaching Music October 2017 Free FreeFree Free

An Extraordinary TrainingFreeFreeFree AnAn Extraordinary Extraordinary Training FreeTraining Opportunity for Young AnOpportunity ExtraordinaryOpportunity for for TrainingYoung Young InstrumentalistsInstrumentalists OpportunityInstrumentalistsAn Extraordinary for Young Training An ExtraordinaryAn Extraordinary Training Training Ages 14–17Ages |14–17 Application | Application Deadline:Instrumentalists Deadline:OpportunityOpportunity December December 15, for for 2017 Young 15,Young 2017 Ages 14–17 | Application Deadline:Opportunity December for15, 2017 Young OpportunityInstrumentalistsInstrumentalists for Young Ages 14–17 | Application Deadline:InstrumentalistsInstrumentalists December 15, 2017 AgesAges 14–17 14–17 | Application | Application Deadline: Deadline: December December 15, 15, 2017 2017 NYO2 is recruiting the most talented students from across the US to expandthe pool of young Ages 14–17musicians, | Application bringing greater diversityDeadline: to classical December orchestral music. 15, 2017 This program: ● runs in conjunction with the National Youth Orchestra of the United States of America summer residency ● provides participants with opportunities to play alongside talented peers ● has world-class faculty for group and individual training ● performs on the famed Carnegie Hall stage

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carnegiehall.org/NYO2 Classrooms ✢ BY ADAM PERLMUTTER

Drums of Thunder at a Penn vs. Villanova basketball rudiments from George game at the Palestra in Philadelphia, Pennsylvania Lawrence Stone’s Stick Control, They really and it can take third-graders learn to trust more than a year of daily practice to achieve the control one another required of a Drums of and do things Thunder performance. With together. this level of technique under their belts, the members learn a repertoire that totals about 40 minutes. “The music gets very involved,” D’Amico says. “A lot of it is polyrhythmic, and the kids learn to play not Drums of Thunder! just loud and with excitement, An elementary school percussion ensemble in but quietly as well.” New Jersey plays high-proﬁ le performances Drums of Thunder tends to in the community, on television, and more. do high-pro le gigs—it’s even played with the classic R&B THE TODAY SHOW, Madison percussion class around it.” group Earth, Wind & Fire— MOVEMENT IN Square Garden, Giants That class grew into Drums and, unlike many student ELEMENTARY Stadium: These are the sorts of of Thunder, which today ensembles, it is compensated PERCUSSION venues where you would boasts more than 30 members. accordingly. A performance at ENSEMBLES expect to nd rock stars It’s a wildly popular o ering— the U.S. Open, for instance, Choreography and percussion go hand in performing. Drums of and highly competitive. Usual- netted the group $6,000, and hand, as anyone who’s Thunder has played all three ly, over 100 students audition the money went straight to ever attended a drum corps performance can and many more, yet the group for it. “Some families have Hillside’s overall music attest. Although Drums of Thunder is comprised of musicians who actually moved to the town of program, as all proceeds do. plays on stationary are all third-, fourth-, and Montclair because they want This has its obvious advantag- instruments, Louis D’Amico still choreo- fth-graders. their kids to have the chance es. “If a kid comes in to the graphs movement for the group’s perfor- Louis D’Amico, a longtime to be part of Drums of school and wants to learn mances. “Whether it’s music educator at Hillside Thunder,” D’Amico says. trumpet, no problem. We have something as simple as swaying in time with Elementary School in Mont- The group makes the most the funds to buy it,” D’Amico the music, it does add excitement,” he says. clair, New Jersey, formed of basic band percussion says. Another big advantage of For the band’s Drums of Thunder 35 years instruments: ve bass drums, these gigs is the fortitude that signature number, D’Amico developed a ago. When he began teaching, 12 snare drums, ve sets of they build in Drums of more elaborate routine in which the his school was arts-based, and tenor drums (low, middle, and Thunder’s members, both in performers twirl red the principal requested a high tom-toms), and crash terms of their musical and sparkle dance sticks—an effect made parade of all of the school’s cymbals. Owing to physical personal development. more exciting through the use of LED lighting. di erent disciplines. Naturally, limitations, the kids play in a D’Amico says, “They really He carefully coordinat- the percussion section from stationary arrangement. learn to trust one another and ed the movements to the rhythmic activity D’Amico’s band class played a D’Amico explains, “The do things together, and most of the piece. “It works leading role. “I wrote a little students are too small to carry important”—particularly when really well with one of the phrases I wrote. drum cadence to keep things the instruments, and we also playing before upwards of It’s almost like a merengue,” he says. moving along; my drummers do two kids per drum.” 70,000 people—“it instills “Plus, it’s very loved playing it, and so I ended D’Amico has all of the incredible con dence in entertaining, and it deﬁ nitely always gets

up developing a whole students begin by learning the them.” us attention.” Chanda Hall. Photo by

12 Teaching Music OCTOBER 2017 EASTMAN SCHOOL OF MUSIC

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FOR MORE INFORMATION GO TO: summer.esm.rochester.edu Email: [email protected] Call: (585) 274-1545 Advocacy ✢ By Andrew S. Berman

When somebody says, ‘You can’t throughout the state called Nicole Worzel is a do that,’ look their representatives. powerful advocate at them and say, for music education In 2014, Worzel testified for in her state. ‘Watch me,’ and her bill at the Rhode Island then walk away. State House. It didn’t pass, but her public efforts led to an influx of people rallying to the cause. A policy analyst who lived in her district helped her rewrite the bill. A stronger delegation from RIMEA joined Worzel at the State House in 2015 and, with its revised wording, the bill passed. Tips for Working One Person Can Make Worzel’s efforts at the Rhode Island State Legislature with Legislators underscore why music teachers a Big Difference “Really listen to them,” Nicole Worzel successfully advocated for do what they do. The ensemble says Worzel of legislators. “I learned a a state law mandating music performance is a place where students can go lot from them; I to feel that they are part of a learned patience from programs in public secondary schools. them. I just couldn’t team, and to see the tangible understand ‘Why is this not happening?’” When Nicole Worzel —who before-school music program. results of hard work. “Pro- Just as in music, is director of bands at Woon- Worzel recalls thinking, “This grams that made them feel listening is a key skill when advocating for a socket Middle Schools and is unacceptable.” Following a accepted were being cut,” she cause. If you fail to Advocacy Chair with the student letter campaign, she says. “I saw so many students listen, “you’re going to miss the big picture,” Rhode Island Music Educators met with State Senator Roger cry.” In a poignant moment, she says. So, be aware of what’s going on in the Association (RIMEA)—was Picard who advised that a law her students staged a mock room. Pay attention to growing up on Long Island, mandating middle school music funeral for the music depart- who says what, and their body language. New York, she developed traits programs was unlikely to pass. ment at her school. The cuts This will help you craft careful responses. that would help her in her She replied, “That’s the point. were having observable effects When it’s your turn future career. “My father taught We need to wake people up!” on the kids in her district; this to speak, “Have a clear picture of what you’re me what I know,” she says, Worzel spoke with teachers, was the impetus for her fight. looking for,” advises Worzel. Knowing what crediting him with the lawmakers, policy analysts, To fellow music educators you’re asking for down determination that led to her professional musicians, and who want to help bring about to the last detail will be helpful when it’s time success in getting a music community members. During change in their district, county, to negotiate—and, by the way, “Be willing to education bill through the her quest to reverse these cuts or state, Worzel says to negotiate,” says Rhode Island state legislature. to music education, she became remember that it’s about the Worzel. In more general Ten years ago, Worzel’s Advocacy Chair of RIMEA. children. Keep the fight about advice, Worzel also suggests going through inner-city middle school had a She formed an advocacy team them, about giving them the the representatives for robust music program with 650 that assembled and distributed best education possible, which the district where you teach, not where you students enrolled. Shortly folders with materials to help is what they deserve. Plus, a live, and to “make thereafter, state-level cuts to Rhode Island music teachers little fierce determination friends with policy analysts.” Lastly, be education funding resulted in a advocate for change. At times it doesn’t hurt: “When somebody ready to take on a lot of work by yourself. “You reduction in the music faculty was lonely work, but on says, ‘You can’t do that,’ look at have to be the one who from 11 to three, and only 30 reflection, Worzel imagines them and say, “Watch me,” and does it,” she cautions. “No one hands you

students in what became a that many of her colleagues then walk away.” anything.” JJ Norman, NAfME staff. Photo by 

14 Teaching Music october 2017 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 Research ✢ By Susan Poliniak We believe the best investments in music education are done with intention.

schools and our students. This Charles Kelley (of Lady Antebellum) with Ron Samuels and Sarah Trahern on the stage in turn will help Give A Note A Snapshot of at the grant presentation for the research (and potentially other founda- the Results Most music educators tions) make more intentional, work within subfield NATIONAL IN-SERVICE CONFERENCE specialty areas. In effective grants to schools and particular, middle and high will help our partners at school music educators were likely to be specialists, NAfME develop more whereas those in elementary school programs taught NOVEMBER 12-15, 2017 effective programs to help across a variety of areas. teachers help kids.” Traditional, ensemble- based music education is “We believe the best by far the most common investments in music education form of music education in America. This applies are done with intention,” across elementary, middle, and high schools, albeit the remarks Tiffany Kerns, director non-ensemble, general of community outreach, for the music class is the most common offering in CMA. “We know this research elementary schools. The State of will support the financial The 2014 Music Standards have begun to influence decisions we make throughout music teaching and Music Education the country, based on under- learning. The 2014 A research study has been undertaken to Standards are currently standing the needs, gaps, being referenced more create a profile of music education in the U.S. often than those from 1994. inequities, etc. Without the evi- Fundraising is an important Dallas,TX What is the state of music thanks to a grant from the dence to support why we do part of being a music educator, especially in education in this country? To Country Music Association this work, it can be a challenge urban districts and in answer this question, Give a (CMA) Foundation. “Give a to show our artist community, secondary schools. In urban settings, it is Note Foundation, supported by Note’s mission is deeply who participate annually at generally seen as necessary for a quality music program. NAfME, recently conducted rooted in expanding and CMA Fest for free, the Professional development #NAfME2017 demographic research. “This increasing music education importance of continuing to for music teachers varies considerably. Elementary study is a nationwide survey of opportunities for all children support the CMA Foundation’s music educators were more This November, NAfME returns to Dallas to host the 5th annual National music teachers. We wanted to (especially those in low- mission. This research confirms likely to attend professional development within their In-Service Music Education Conference filled with practical teaching create a focused profile of music wealth and underserved areas what we know to be true: Chil- districts, while secondary school educators were methods, creative techniques, and exciting events! education in the nation by of America), and we need a dren deserve the opportunity to more likely to do so beyond asking music teachers about the deep understanding of the participate in music, but there is their districts. Additionally, music educators had fewer Music educators change the world, and NAfME will give you the work that they do and the status of those opportunities if still a great deal of work to be professional development opportunities within their resources you need to succeed in your music program. context in which they do it,” we are to make progress,” says done to achieve that.” districts than their says Kenneth Elpus, associate Beth Slusher, Give a Note Elpus notes that the results non-music colleagues. Visit nationalconference.nafme.org to find: Music teachers want to professor of music education at Foundation President and can also benefit music educators invest in musical instru- the University of Maryland Board Chair. “The research themselves. “Some of the ments. In the event that • Session descriptions music educators were School of Music in College has shed significant light on results regarding teacher provided with additional • Schedule Park, and one of the researchers both the extent and the professional development can funds to improve their programs, 79% responded • Hotel and travel information on the project. “We comple- makeup of our nation’s music help music teacher educators that they would spend the money on instruments for • Answers to your frequently asked questions ment the survey results with programs (what type of and state music educators’ their students. onsite visits to 16 school instruction is occurring and associations plan better and Local leadership is key. • A justification toolkit to make your case to attend Music education offerings districts from across the for whom). It has also helped more worthwhile professional were often determined • Registration and rates nation.” He further notes that us better understand what development opportunities for locally. For instance, a principal’s desire to the survey was not limited to professional development and music teachers. The music support—or not support— a music program can make only NAfME members. other resources are needed by education research community, a difference between an The study was undertaken music teachers to make an too, always benefits from excellent music program NATIONAL ASSOCIATION for MUSIC EDUCATION and one that is less-so,

by Give a Note Foundation even bigger impact on our descriptive ‘status studies.’” or nonexistent. | CMA. Dusty Draper Photoby  1-800-336-3768 16 Teaching Music october 2017 NATIONAL IN-SERVICE CONFERENCE NOVEMBER 12-15, 2017

Dallas,TX #NAfME2017

This November, NAfME returns to Dallas to host the 5th annual National In-Service Music Education Conference filled with practical teaching methods, creative techniques, and exciting events! Music educators change the world, and NAfME will give you the resources you need to succeed in your music program. Visit nationalconference.nafme.org to find:

• Session descriptions • Schedule • Hotel and travel information • Answers to your frequently asked questions • A justification toolkit to make your case to attend • Registration and rates

NATIONAL ASSOCIATION for MUSIC EDUCATION

Photoby Dusty Draper | CMA. Dusty Draper Photoby 1-800-336-3768 nafme.org 17 Technology ✢ By chad criswell

Love at First Sight-Read Here’s a rundown of some of the latest and best apps and more to improve your students’ sight-reading and sight-singing skills.

Helping students to become proficient Brennan has some very specific criteria in complex skills such as sight-reading in mind when integrating sight-reading and sight-singing can be challenging or sight-singing apps into his curricu- for both the student and the teacher. lum. His contact with his students is Yet today we have myriad options limited to mostly large ensemble available to us for teaching, practicing, settings. Because of this, his selection of and assessing these essential musical apps centers around three main criteria. skills through apps and more that can “First, the apps need to be able to be track student progress and adapt to their used effectively in a rehearsal with pedagogical techniques needed to make ability levels. To discover what’s out everyone playing. Second, I need to be good use of it. While using an image there and how to use it, we spoke with able to use them in multiple ways to projected on his whiteboard in the Joseph Brennan, orchestra director at develop ensemble skills. Finally, the classroom, Brennan says that he will Haverford Middle School and Haver- programs need to be able to quickly “often add bowings, counting, fingerings, ford High School in Havertown, and readily bring up new examples for and any manner of notations. I will often Pennsylvania, and Joseph M. Pisano, the group. If the program isn’t easy to have a metronome going aloud, but I also associate chair of music and director of use and fast in that way, then the like using the iPad apps SpeakBeat bands at Grove City College in Grove downtime can result in classroom Metronome or MetroTimer. I also use a City, Pennsylvania. management issues. A fourth criteria laser pointer to draw the students’ eyes “Today’s music students have a would probably be cost, but that to the projection and allow me to walk serious advantage over the students of goes without saying.” around the room. It’s so easy for even five or 10 years ago,” says Pisano. Three examples of kids just to watch their peers “Today there are many substantive software and apps that play, and not be looking at the music programs to help them become Brennan uses on a board.” better vocalists. These apps take much regular basis are When he is actively trying of the guess work out of self-assessment sightreadingfactory.com, to get the kids to sight-read and provide a fun and interactive way Audiation Assistant, and the music on the screen, for students to build upon their Tune Assistant, but Brennan tries to keep things practice.” Pisano recommends options along with the moving along quickly to such as sightreadingfactory.com, Auralia, software comes the prevent any classroom and Voice Lessons by Erol Singer’s hardware and management problems. “I Studio in his clinics and classes. For like to give the kids a advanced students looking for work chance to practice the beyond sight-singing, Auralia can sight-reading for a few provide a very challenging experience seconds. While that is “There are many in multiple ear training areas. substantive music going on, I put my LCD programs to help On the orchestral side of things, projector on freeze to Chad Criswell. Photos by them become better vocalists.” —Joseph M. Pisano 18 Teaching Music october 2017 NinGenius These apps take much of the guess work out of self-assessment and provide a fun and interactive way for students to build upon their practice. —Joseph M. Pisano

A Selection of Sight-Reading and Sight-Singing Apps, Software, and Browser-Based Options

■ Audiation Assistant 2.0 NoteWorks allows students to practice by Gia Publications, Inc. sight-reading notes without rhythms and (Mac and Windows, $35) giamusic.com provides entertaining feedback. Also available is a free, “Lite” version with Audiation Assistant is drill and practice limited features. software with which students can practice music theory, tonal patterns, and ■ SightReadingMastery rhythmic patterns at various skill levels. (browser-based, $19–$79 per month) ■ Auralia by Rising Software sightreadingmastery.com (browser-based, $99–$149) This option provides professional- risingsoftware.com ly-composed sight-reading passages (not randomly generated) that have been cre- This full-featured sight-reading and ated specifically for each instrument. It sight-singing/aural training option currently has libraries available for pia- provides drill and practice on pitches, no, voice, guitar, flute, trumpet, clarinet, intervals, chords, scales, and much more. violin, and cello with other instruments It is also available as part of the coming soon. Students can practice on- MusicFirst suite. line and take live, personal sight-reading ■ Erol Singer’s Studio—Voice lessons from a private lesson teacher via hold the frame, and then I’ll go to my Lessons by Erol Studios Inc. video conference. Subscriptions range depending on content use and the num- (iOS, $44.99) erolstudios.com computer or iPad to bring up the next ber of private lessons desired. The app example,” he notes. “When ready for This iOS app helps students sing with in- also offers a time-limited free trial. stant visual feedback on pitch problems. the next example, I put the projector Provides 73 unique voice lessons and 60 ■ Sight Reading Factory by ear-training exercises. The app focuses Gracenotes, LLC (iOS or browser-based, back on the computer source. The on breathing, tone, range, and vocal price varies) sightreadingfactory.com flexibility. document camera can also be very Available as a stand-alone subscription helpful for just projecting a quickly ■ NinGenius Games 4 Kids, Studio or as part of the MusicFirst suite, Sight Games, and Class Games by Reading Factory is flexible enough to written sight-reading pattern, some- NinGenius Music (iOS, $2.99–$15.99) use in ensemble and/or solo practice settings. Users can select from a large ningenius.net thing in the music, or even the score. I variety of instruments, and set note will often ask other sections to try to For basic, single-note sight-reading prac- ranges, rhythmic complexity, the use of tice and assessment, NinGenius is a fun, rests, size of interval jumps, dynamics, play the notes, or at the very least the competitive app that helps students to articulations, key signature, and time memorize notes and fingerings on a wide signature, and then have the system rhythm of other parts by reading from variety of instruments. Student scores generate a page of music notation made the projected score. This broadens the are recorded on a leaderboard and the to those specifications. The music can results can be exported from the app also be printed as needed for use in live ensemble’s awareness of the other parts, for assessment purposes. All common assessment sessions. woodwind, brass, strings, and keyboard and I truly feel that it builds a sense of instrument fingerings are included, or a ■ Tune Assistant by Gia respect, understanding, and camarade- student can simply practice note-naming Publications, Inc. (Mac and with letters. Windows, $35) giamusic.com rie within the ensemble.” ■ NoteWorks by Azati This Mac and Windows software app Corporation (iOS and Android, $4.99) focuses on building and developing audiation skills. It is promoted as a doremiworld.com Technical Considerations comprehensive resource for playing, Focusing mainly on note identification as notating, and managing music for use in for Success well as piano and guitar fingering skills, the classroom. To get the most out of whatever app you are using requires a modest with the software. Not using head- recording purposes, an external investment in the hardware and time phones will result in the microphone microphone of a decent quality will to get things set up in an optimal picking up both the voice and any tone usually yield more accurate results. manner. Says Pisano, “One of the best or pitch being assessed, resulting in a Also, the background noise(s) or room things you can do when using vocal skewed assessment. While the built-in ambiance levels will also affect the assessment software is to have microphones of smartphones and software’s ability to analyze properly high-quality headphones and use them computers tend to work adequately for what is being heard.” 

nafme.org 19 Discoveries ✢ BY ANDREW J. ALLEN

Stop the Pops: The Secrets

Hereof Saxophone are some pointers for Articulationavoiding the pitfalls of popping sounds as your students learn to play the sax.

articulate in the same manner. Brass ANDREW J. ALLEN is a players, especially, are fond of the “ta” saxophonist and assistant professor of music at Midwestern State articulation. This works well for most University in Wichita Falls, instruments. However, in the case of Texas. He can be contacted at the saxophone (and, likewise, the [email protected]. clarinet), “ta” can cause other problems here. ONE OF THE MOST common questions The “ta” articulation is designed for that I encounter when teaching young those instruments on which articulation saxophonists centers on articulation. is achieved by the tongue coming into Even when a great sound and technique contact with a part of the mouth to are present, many students exhibit interrupt the airstream. When playing faulty articulation. A “pop,” “thud,” or single-reed instruments, the player will “slap” is a very common sound in band notice that a large part of the tongue rooms throughout United States, and comes into contact with a large part of very likely elsewhere as well. What is the reed. In addition, it usually results the cause of this phenomenon, and in a sloppy articulation to begin with. I prefer a “teh” or a “ti” articulation what can be done to prevent it? This contributes to a slow, “thuddy,” or syllable for clarinet and saxophone. The In short, the problem arises from the “poppy” start. “Ta” is ine ective as an result is much more consistent and misconception that all instruments articulation syllable for the single reeds. e ective. In addition, the resulting tongue position yields an even more characteristic sound for both instruments. While the introduction of this new syllable will prove to be the most important factor for the elimination of poor articulation, other factors may also be at play. If a poor articulation results at the beginning of a phrase while internal tonguing is ne, the student may not be preparing his or her airstream in advance of the articulation. Students should understand that their

Andrew Allen air should be pressurized behind their percds/iStockphoto.com. photo by Top Allen. Headshot and photo left courtesy of Andrew J. with a student

20 Top photo by percds/iStockphoto.com. Headshot and photo left courtesy of Andrew J. Allen. er from the instrument. the from er whatsoev- weight no bear should hands Astudent’s hands. the by “lifting” or “holding” no with position head and posture anatural with standing or sitting is she heor while embouchure student’s the enter directly will piece mouth- the that so adjusted be should strap neck The reed. the to tongue the of relationship or airstream the alter can area this in problem potential Any position. and height neck-strap incorrect of that is saxophonists young play. to begins individual the moment first the from achieved be can sound afull and freely vibrate to begin can reed the that so tongue Another common problem for for problem common Another will be most effective. While sitting, sitting, While effective. most be will hip the of front the students, larger and instruments smaller For hip. the of side the on contact make it should students, smaller for and instrument larger the For hip. student’s the with contact into come should saxophones baritone and tenor, alto, standing, While situations. other all in detrimental it is that clear made be it should bands, marching in necessary is this While avoided. be should body the from away saxophone the holding of practice common present, many students exhibit faulty articulation. faulty exhibit students many present, are technique and sound agreat when Even In terms of instrument carriage, the the carriage, instrument of terms In more step to excellence. excellence. to step more one be It will articulations. noise-free beautiful, create to able be will players “thuds,” “pops” and of Instead avoided. be largely can clarinets and saxophones with problems articulation common many advice, of words few these thigh. right the of inside the with contact make will guard key E-flat the students, taller For hip. right the with contact makes instrument the dents), stu- smaller for altos (and baritones and tenors For apply: rules same the If you and your students can follow follow can students your you and If  nafme.org nafme.org 21 Lectern ✢ BY La-TIKA S. DOUTHIT

Fixing Fussy Flute

Are yourFaux flutists giving you fits?Pas Here are 10 tips to make life easier for everyone!

1. Instrument Assembly: With young La-TIKA S. DOUTHIT, NAfME flute players, poor alignment is often member, is adjunct professor of music and the source of problem. Many students assistant director of bands at Winston-Salem “Even though students State University, adjunct professor of music either disregard the proper alignment or come from a variety of musical backgrounds, at Forsyth Technical Community College, never learned it. Make sure that it many have similar issues.” and flute instructor at Catawba College, all in North resembles the picture provided in the Carolina. She can be reached at [email protected]. band method, which means aligning body of the instrument. Young students the tone hole with the first key of the often allow the fingers to hang way over AFTER 19 YEARS in music education, I’ve middle joint, and aligning the post of the keys and place the right thumb in an observed that even though students the foot joint rod with the middle of unnatural position. Also, the flute can be come from a variety of musical back- the last key of the middle joint. slightly less than parallel with the floor. grounds, many have similar issues. I Because of the unique posture required recently compiled a list of the most 2. Incorrect Hand Position: This for flute players, it is a good idea to assign common problems I’ve encountered in usually creates problems with balance, only one flute player per music stand. intermediate and advanced level flute affects the clarity of the tone produced, players. While this certainly isn’t a and hinders the facility that usually 3. Placement of the Lip on the Lip definitive list of challenges that students reveals itself when a student is trying to Plate: The roll-down method is an face while playing the flute, I have play technical passages—or even the age-old technique, but it not foolproof. captured those that are often the most simple changing of C to D on the staff. Sometimes this causes the placement of prominent that are most likely to get in The flute should rest at the base of the the lip plate to be too high or too low. the way of successful performances. left index finger, allowing the fingers to Students should place the edge of the This check list is designed to assist band naturally land on the centers of the keys. lip where the skin changes to the edge and orchestra directors and anyone else The thumb should be comfortable of the tone hole on the lip plate. I call who is working with young flute resting on the B-flat key and the this “edge-to-edge,” and it works very players, who are not flutists themselves, B-natural key. The right-hand fingers well. Students often produce a clear to quickly identify some of the com- should rest naturally in the center of the tone right away. mon problems of student players not keys, and the thumb should be posi- producing a characteristic clear and tioned beneath the index and middle 4. “Smiley-Face” Embouchure: This

beautiful tone. fingers of the right hand underneath the results in an okay sound, but focus is Jonathan Collin Greene. S. Douthit. Headshot by Photos courtesy of La-Tika

22 Teaching Music october 2017 When the equipment is iffy, you will never be able to truly assess the student’s talent.

thumb B-flat allows students to avoid contrary motion and provides better facility when playing flat scales and requires only one finger when changing from B-flat to C. The B-natural left-thumb resting position on the flute is best used when playing the chromatic scale or in sharp keys where B-natural is most often used. Advanced students may also begin experimenting with the lever B-flat as well. This is, again, a better option than the one-and-one B-flat.

8. Incorrect Trill Fingerings: This is an issue that many woodwind instru- lost in the middle and low register, and 6. Playing Flat All the Time: Again, if mentalists encounter. When nothing is tends to produce a pinched sound in the there are no instrument issues, the head indicated, assume that the trill is to be upper register. There may also be a joint is pulled out too far or is too far executed from the main note up one complete loss of tone production rolled in—in which case, the lip is diatonic step. Newer music often will altogether in the lower register. The covering the tone hole, preventing indicate whether another note is to be best embouchure is produced by proper airflow. trilled—for instance the half-step—or relaxing the corners of the embouchure if the trill should be downward. Most downward, keeping the lower lip tissue 7. Incorrect Fingerings: So many trills are simple, but some can be a little relaxed, and tightening only in the students do not vent the left-hand index bit tricky, particularly in the third center. The tightening is controlled by finger on D and E-flat in the staff, and register. A trill chart can be found the upper lip. many students begin using some online for very tricky or awkward trills. alternate fingerings rather than the Either refer the student to a fingering 5. Playing Sharp All the Time: First, primary. For instance, for F-sharp in chart or to a reliable trill chart. (wfg. make sure that no pads are compro- the staff, many students use the middle woodwind.org/flute/fl_tr2_1.html) mised: If they’re all intact, the head finger of the right hand instead of the joint could be pushed too far into the ring finger. If the third-register F-sharp 9. General Equipment Problems: middle joint (beginners are notorious is prone to crack, then using the middle When the flute is not producing any for pushing it all the way in) or the finger is acceptable. An alternate sound or is emitting a really strange head joint itself can be rolled too far fingering that is encouraged but is often noise, there is probably something out, preventing the airstream from overlooked is the thumb B-flat. It is wrong. So often with a young player, it going into the tone hole. Also, over- recommended that students use the is easy to blame the student. Flutes have blowing can cause sharpness, coupled thumb B-flat rather than the one-and- so many keys and rods that it is easy for with clenched teeth. one B-flat that is normally taught. The a screw to come out or for a key to go

nafme.org 23 out of adjustment. Some of these are discarded when the flute is purchased. finding the best instrument for the easy fixes but others are more compli- When students acquire an open-hole student. Remind parents that students cated. If you do not have a lot of repair flute and still use the plugs to com- who play well can get scholarship experience, do not guess or assume. pensate for tone hole coverage, assistance for college for participating Take it to the shop, and let a profession- chances are that the hand position in band and majoring or minoring in al diagnose the problem. Even when it needs adjustment, or the flute itself is music. This is an investment with a is a young player, try to provide the not a good fit for the student. There probable return if the student is best possible instrument available. are many models of open-hole flutes serious about practicing. It can offer Investing in good equipment will assist with several different specifications. a distinct advantage to the young in providing a good beginning experi- Consult a flute professional to assist in musician.  ence. When the equipment is iffy, you will never be able to truly assess the student’s talent.

10. Transitioning to open-holed flutes: There comes a point in most flute players’ journeys when they outgrow the closed-hole model. The closed-hole model limits the ability of mature students to be competitive when intermediate and advanced players are still playing on beginner- model instruments. If students have committed to playing the instrument in high school and are competing in All-County, -District, or -State settings, it is safe to assume that the student is ready for an open-hole model. To reinforce proper hand position, all plastic plugs should be

24 Teaching Music october 2017 The DePaul University School of Music Faculty is dedicated to your success.

› Upon graduation, DePaul Music Education majors obtain teaching positions at schools throughout the Midwest and across the country.

› Undergraduate students obtain teaching experience in their junior year, while receiving individual attention from the music.depaul.edu faculty throughout their four years of study. ☎ 773-325-7444 ✉ [email protected] › Master’s students earn a degree while continuing to teach and are eligible for a School of Music scholarship. depaulschoolofmusic DePaulSOM DePaulSOM DR. JACQUELINE KELLY-MCHALE / Director of Music Education Hats Off to the 2017 NA ME In-Service By Cathy Applefeld Conference! Olson Opportunities for performance, networking, and more abound at this year’s event in DAllas.

Hats off to the fifth annual triplicate as the Directors’ Ensem- National In-Service Conference— bles, which are open for orchestral November 12–15 in Dallas, Texas— and choral directors. Boonshaft will which includes Directors’ Ensembles and direct the band, Christopher Selby participate,” says Kristen Rencher, more opportunities for intra-NAfME will lead the orchestral ensemble, NAfME Director of Member and networking, among other new additions. and Jo-Michael Scheibe will helm Student Programs. the choral counterpart. Interested The ensembles place the baton in the The More the Merrier! parties can register for the ensem- other hand, so to speak, Rencher notes. Aside from its must-attend tracks, bles at no additional fee when they “Instead of just watching students the conference for the past several register for the conference. perform, they get to be the performers years has featured a popular Band “The Band Directors’ Ensemble has themselves. They really enjoy the Directors’ Academy led by conduc- had overwhelming success, so we’ve community and get to switch posi- tor Peter Boonshaft. This year, the opened it to have more Directors’ tions.” The experience will also arm

experience will be offered in Ensembles so that other directors can teacher participants with practices they Big_Ryan/istockphotos.com. Photos by by Illustration Victoria Chamberlin, victoriachamberlin.com.

Scenes from the 2016 In-Service Conference

26 Teaching Music october 2017 Gaylord Texan Resort & Convention Center

can implement in their own classrooms delegates, no matter which conference when they return. “The idea is these track they’ll be attending. educators can walk away with new “We’ll have educators there, teaching [methods]—that there are collegiate attendees—all active mem- practical implications for their own bers and staff in one area together,” classrooms,” she says. Rencher says. “We haven’t had that Not to be overshadowed, student opportunity previously. It’s been performing groups will have a go-go-go with so many sessions, so this greater presence than ever this year. is a way of taking time so they can all A total of 10 performing groups will come together as NAfME members entertain and inspire conference-go- from across the country in an organic ers on a pop-up stage between space and create this kind of communi- sessions. Rencher notes that attend- ty feel instead of segmenting everything ees can expect a vibrant mix culled into tracks.” from entrants. “The council went The happy hour will lead into the through the selection process and opening night performance, which this found some really different ensem- year features Presidio Brass. “We were bles, so it’s not just the traditional looking for something very high-ener- sounds.” gy and exciting,” Rencher says. “They are loud and engaging, young and So Happy Together fresh—just great entertainers.” Setting the tone for the entire confer- Sponsored by Jupiter/XO Brass, the ence is the uber-networking opportunity: Presidio Brass performance kicks the Jam Session Happy Hour at 6:30 p.m. conference into high gear. “We’re on Sunday. This event for the first time trying to do a mix every year,” she says.

Photo by Judith Jellison. Illustrations from istockphotos.com. Judith Jellison. Illustrations Photo by ever brings together all conference “Some years it’s more choral groups and

nafme.org 27 strings. This year, it’s more of a brass some with required three-hour If an attendee has completed all of band that will continue the high energy workshops, plus supplementary reading the requirements, “we’re offering the of the networking event sand carry into material and/or webinars. Areas of opportunity to take a brief assessment the conference.” concentration include Advocacy, on site, and then we’ll grade it and In another new element, NAfME is Standards and Assessment, Teacher provide a credential,” says Tuttle, who offering attendees the chance to get a Evaluation, and Composition—with notes that NAfME has launched a new “micro-credential” in a specific area of more to come, according to Lynn online community platform so that music education. The credentialing Tuttle, NAfME Director of Public educators can receive their credential in results from attending specific sessions, Policy and Professional Development. digital form.  it's time

to provide a musical experi- Josh Bledsoe and Geoff Durbin ence to inspire these young on trombone, and tuba player Presidio Brass children.” Mike Frazier. A member of the KHS Perhaps not surprisingly, TO START A The high-spirited ensemble looks America Academic Alliance each band member began his forward to performing for NAfME. performing exclusively music career in school band. on XO Professional Brass The inspiration provided by Tri-M MUSIC When attendees emerge leave inspired and smiling.” Instruments, Presidio Brass the dedicated school music from the In-Service happy hour The group’s genesis dates combines brass quintet with educators they encountered on November 12, they’re in for back to 2006, when mem- piano and percussion instru- joined them in the primary a real audio treat: The opening bers converged to provide an ments and employs fresh mission to promote music night of this year’s event antidote to the silencing effect arrangements. The five-mem- education and apprecia- concludes with a performance of budget cuts on school music ber ensemble hails from San tion. As such, Presidio Brass by Presidio Brass, presented by programs. “California state Diego and features trumpeters couples master classes and KHS America. budget cuts decimated middle O’Connor and Miles McAllister, other school programs with The performance will fea- and elementary school band their performances at every ture “our very own fresh ar- programs throughout South- “This is not opportunity. rangements of classic movie ern California. Several younger “We are really excited to honor scores presented in a fun band programs simply closed your traditional work with an ensemble that and high spirited way,” says their doors,” says O’Connor. brass quintet. brings youthful excitement SOCIETY CHAPTER Steve O’Connor, a trumpet “As many kids were left with Your audience and a high level of passion player with the genre-bend- no outlet for music education, to their performances and ing brass quintet. “This is Presidio Brass was formed will leave educational outreach,” says not your traditional brass alongside our non-profit, inspired and Rick DeJonge, KHS America Strengthen your school’s Music. Honor. And Society. quintet. Your audience will Musicate the Mind, in an effort smiling.” artist and educator relations ® manager. “The group sounds Starting a Tri-M Music Honor Society chapter will fantastic on their XO horns help show the value of your music program to the and will be a natural draw for school. It will also benefit your students by allowing the next generation of student them to: musicians.” So, what are the Presidio • Build an impressive record for college Brass members most looking • Grow as leaders in music forward to about performing • Serve their community at the In-Service this fall? “We’re looking forward to Ready to start a chapter? working with KHS America and connecting with people Visit MusicHonors.com that are as passionate about music education as ourselves,” says O’Connor. “We’re also looking forward to surveying the current landscape of music education from band directors’

perspectives to help us more ® effectively inspire and shape

kids’ love of music.” Brass. Photo courtesy of Jupiter/XO MusicHonors.com | 1-800-336-3768 | [email protected] 28 Teaching Music october 2017 it's time TO START A Tri-M MUSIC honor SOCIETY CHAPTER

Strengthen your school’s Music. Honor. And Society. Starting a Tri-M ® Music Honor Society chapter will help show the value of your music program to the school. It will also benefit your students by allowing them to:

• Build an impressive record for college • Grow as leaders in music • Serve their community

Ready to start a chapter? Visit MusicHonors.com

MusicHonors.com | 1-800-336-3768 | [email protected] nafme.org 29 Students from the Barbara Ingram School for the Arts in Seussical

30 Teaching Music OCTOBER 2017 BY ANDREW S. BERMAN

From start to ﬁ nish, here are some great ideas, both new and old, for selecting the show, recruiting students to participate, working with parents and faculty, and so much more.

Littleton High School’s 2017 production of Bye Bye Birdie

If you were involved in a school musical theater production growing up, it was probably a formative experience for you, and perhaps you re ect on it fondly. That is the case for the writer of this article, and it is also the case for Laura Muller, instrumental music director at Union High School in Union, New Jersey, where she was once a student herself. Muller’s participation in her school musical had a hand in her choice to become a music teacher, although she says it “prepares students for any job,” as students learn discipline, time management, and how to break a daunting undertaking into smaller, achievable tasks. Steven Bergman, NAfME member and music and drama teacher at Littleton Public Schools in Massachusetts, concurs. He became involved with Littleton’s musical theater department 12

Left photo by Kelly Johnson. Top photo by Brian O’Neill. photo by Johnson. Top Kelly photo by Left years ago, and it has grown to include multiple

nafme.org 31 Robert Van Wyk’s Rahway High School students in Mary Poppins

Some of the Best School shows a year. He says that the school sound or lights, stage-manage, and Musicals musical provides a supervised environ- even try their hand at directing. You’ve Never ment in which to develop organization- Chwalyk’s colleague at Lyndhurst, Heard of al and mechanical skills and positive English teacher Cheryl Ruiz, who relationships. “Oh yeah, and they get to directs and choreographs their shows, Muller is a big fan of revues for school musicals: They’re malleable, and they sing, dance, act, and have fun!” says they try to “make everyone feel as tend to have small casts and instrumentation, which you can augment as important as the lead of the show.” your school’s talent base allows. She A Place for Everyone Chwalyk has seen crossovers such as recommends: The musical theater program extends cast members who are inspired to • And the World Goes Round A revue of songs by John Kander the bubble of acceptance and affirma- switch to pit orchestra because of how and Fred Ebb tion that exists great the music • A Grand Night for Singing A Rodgers & Hammerstein revue around most music sounds. NAfME • Sophisticated Ladies programs. “It gives member Robert Van A revue based on the music of Duke Ellington every kid a role to Wyk, band director at Chwalyk warns that “by choosing play, even if not in Rahway High School an obscure title you’re making more work for yourself in terms of mar- the cast,” says in New Jersey, has keting.” If you want to try something NAfME member seen this happen in the different but still take advantage of name recognition, then it might be James Chwalyk, Jr., other direction: a a good idea to try a new show. Van middle school band trumpeter in the pit Wyk says that Rahway High School was one of the first in the area to put director and who was moved by the on Big Fish earlier this year. Ruiz says that The Wedding Singer wasn’t yet assistant high school Lyndhurst acting and singing on High School’s well known in their community when band director at stage went on to play Lyndhurst High School did it in 2013. production of Bergman is a playwright and a Lyndhurst Public Little Shop of the lead in Big Fish composer, so his schools in Littleton Horrors have performed some of his original Schools in New the following year. works, including a middle school Jersey. Students can also play in the pit, “We try to give our students as broad musical called Reigning Cats & Dogs, (winner of the 2015 Jackie White build sets, work on the stage crew, run an understanding of the production National Children’s Musical Theatre Award), along with adaptations he’s created. “What can we cast easily? What shows off the students’ talents?

What will be well-received by the community?” —Daniel Galliher Wyk. Cheryl Ruiz. Photo top courtesy of Robert Van Photo bottom by

32 Teaching Music OCTOBER 2017 from the teachers involved in the production, and the list is edited down Building a Pit further based on suitability: “What can Orchestra we cast easily? What shows off the Pit orchestras range from a single students’ talents? What will be well-re- piano to a small rock band to a sizeable symphonic ensemble, and— ceived by the community?” Galliher depending on the school’s budget and his team ask. They look for a show and student talent—can be composed of professionals, students, faculty, that will be a good experience for alumni, or (often) a mix. “It’s a huge undertaking to learn a musical,” says everyone. Input may be taken from Muller. Pit books are written for pro- students, but show choice always fessional musicians, and alterations to make the parts easier are prohibit- belongs to the teachers in charge, ed by contract. Chwalyk approaches his more serious high school music “Although [students] have plenty to students—those who are studying say,” adds Ruiz, who likes to keep the privately—for the pit. Some of these students play in the middle school show choice a secret from the students pit as well, showing those students that the pit is an opportunity for until it is officially announced—“They them when they get to high school. have their guesses”—as it drives up At Rahway, Van Wyk and the rest of the instrumental staff evaluate interest and excitement about the applicants for the pit based on their production. midterm performance exam. Reed books, which contain parts for mul- Acknowledging the parameters for tiple instruments, he splits up among multiple students. “Students are your search doesn’t mean shying away trying to get good at one instrument,” from a challenge. Last year, Van Wyk he explains. Van Wyk also says that playing in the pit alongside a profes- process as possible,” says Muller. did Once on This Island, which is a sional musician is a great experience for an aspiring music student. Daniel Galliher, band director and sung-through musical with a nontradi- Muller’s pit orchestra, along with drama club adviser at Germantown tional orchestra. The aforementioned other aspects of Union High School’s musical theater program, has won Central School District in New York, production of Big Fish was also a multiple Rising Star Awards from Papermill Playhouse, a regional notes that it’s an opportunity for kids to challenge with its wide range of musical theater in Millburn, New Jersey. “feel successful, valued, a part of styles. Van Wyk says that the choice of Her pit orchestra is well-known in the community as a high-quality something.” The hours get longer and show must “give them experiences to ensemble: It’s composed of the strongest musicians in her music longer as the rehearsal process goes on, make them the best they can possibly program. Muller says, “I want to make and everyone’s in the trenches together. be.” Bergman looks to give the students the audience wonder, ‘Are those kids back there?’” Pit orchestra rehearsals Students learn “how to work respect- a variety of experiences: “One year are a major time commitment for her students, starting at eight to 10 hours fully with people when you’re running light and fluffy, next year something per week at the beginning of the on a small amount of sleep,” he says. “It with some edge to it.” Littleton High eight-week music rental period, and culminating at 20–25 hours per week makes you more forgiving.” School did Bye Bye Birdie last year, so during tech. Muller uses her rehearsal time economically, taking advantage of repeated thematic material. “If Choosing the Show and you learn the recurring theme, even “I want to make the audience if it comes back in another key, the Recruiting Students wonder, ‘Are those kids student’s like, ‘Oh, I already learned that.’” Selecting a show for your school’s back there?’”—Laura Muller musical theater production is “the most difficult and important responsibility,” Rahway High School’s Mary says Van Wyk. “It’s not so different Poppins pit orchestra from programming for a concert.” He says you have to look at your talent pool and see where it leads you: “If we don’t have great singers, no Candide. If we don’t have great dancers, no 42nd Street or Crazy for You.” Galliher meets with the students in the drama club to pick their brains for ideas. A short list is

Photo courtesy of Robert Van Wyk. Photo courtesy of Robert Van developed from that input and ideas

nafme.org 33 they’ll probably choose something more Caption contemporary for 2018. Muller looks four years back and four years ahead, ensuring that her students are exposed to a broad sampling of the musical theater repertoire over their time at Union High School. Careful show choice can prevent a lot of trouble when it’s time to recruit students for the production. Generally, the same students return for the musical year after year, so choosing a show based on who is expected to audition means less beating-the-bushes for possible cast members. Even the relative unknown element that is the incoming freshman class can be demystified by close contact with the middle school music program (or musical theater program, if it has one). “You can monitor their progress,” says Chwalyk. “The priority is that they graduate having had these experiences, The middle school team can “pass a and become better people as a result.” —Steven Bergman note to the high school so they know what talent is coming.” Galliher has perennial challenge of recruiting boys Germantown, parents paint the set and older students perform scenes for the to the cast of a school musical are help with costumes. In Littleton, younger students at an assembly, and long-term ones that include planting Bergman assigns a parent liaison to Germantown also has a fifth- and the seeds when they are young. recruit fellow volunteers. In addition to sixth-grade drama club that gets kids Bergman has found that going to the sets and costumes, Rahway parents interested at a young age. “Kids already source can also help. For example, if assist with fundraising and communica- want to be in the show when they get you manage to recruit one student tion. “Without their efforts, we to high school,” he says. athlete, others may follow. For Lynd- wouldn’t be able to do what we’ve A good musical theater program hurst High School’s production of Guys done,” acknowledges Van Wyk. He recruits for itself, notes Van Wyk. “It and Dolls, Ruiz and Chwalyk needed attributes the longevity of his parent has to be fun,” Chwalyk adds. Of Ruiz, students with a particular look, so they volunteers to the fact that they feel that he says, “She has expectations but approached those students directly. they’re a part of something special. makes the process fun.” When kids are Ruiz says this results in a diverse cast; “In a public school, you have to having a great time, they spread the students interact with people they wear many hats,” says Muller who, in word, and bring their friends. “It’s one ordinarily wouldn’t outside of the musi- addition to being the music director, thing when you hear a teacher tell you cal. “It’s not a fantasy world,” she builds a lot of the scenery for the shows. how cool it is to be in the school clarifies, but “they do become a family” The production team is a small number musical, but it carries more weight by the end. of teachers doing a large amount of when the students say it,” remarks work. The choreographer for Union Chwalyk. Most of the solutions to the Collaborating with High School’s shows is a woman who Parents and Other Faculty works in the district central office and “It’s one thing when you Most school productions don’t succeed does a lot of publicity for the shows. In hear a teacher tell you how without the help of involved parents Rahway, all of Van Wyk’s music cool it is to be in the school and teachers. Galliher begins with a colleagues help with the pit, and the musical, but it carries more parent night where he shares the areas elementary school art teacher helps weight when the students that need volunteers and asks parents with painting. Chwalyk counsels not to

say it.” —James Chwalyk, Jr. what skills they have to offer. At take on more than you need to yourself. Wyk. Photo courtesy of Robert Van

34 Teaching Music OCTOBER 2017 Robert Van Wyk’s students in “When it’s musical time, Footloose (far left), “Telephone Hour” (left) and “What Did I the community comes Ever See in Him?” (below) from Littleton High School’s out and supports us.” Bye Bye Birdie —Robert Van Wyk

“You’re still the director, but why would you try to do all of these things yourself when you have a specialty, and so do others?” “I can’t be backstage during the show,” says Bergman, so he finds parents to be a big help in that area. “If at the end of the night no one’s hurt, crying, or injured, part of the show,” agrees Ruiz, who and everyone made their entrances, [the used faculty for the Mutants at Table parents have] done their jobs,” he Nine in The Wedding Singer. Students summarizes. Bergman shares that a fun and faculty working together in this way to include parents, teachers, and manner makes for a great experience particularly administrators is with for both, says Ruiz. “Backstage, they’re onstage cameos. Chwalyk has done this all the same at that moment.” as well, using a faculty member as the Building Superintendent in The Drowsy “What do you get?” droves to see the musical. Galliher says Chaperone. “This definitely brought in “When it’s musical time,” says Van you get to “take an audience, for audiences that wouldn’t usually come to Wyk, “the community comes out and two-and-a-half hours, somewhere they see the musicals,” reflects Bergman. supports us.” Former teachers, alumni, weren’t before.” Chwalyk says, “It gives

Photo bottom courtesy of Robert Van Wyk. Top by Brian O’Neill (2). Brian O’Neill by Wyk. Top Photo bottom courtesy of Robert Van “Sometimes they’re the most hilarious and parents of alumni come out in a sense of district pride.” Bergman recalls a father who was unaware of all the work that goes into a musical theater production until he saw his son singing and dancing on stage. “Your son or daughter is becoming comfortable performing in front of people, gaining collaborative skills, and improving their public speaking abilities.” Among Rahway’s musical theater alumni is Shanice Williams, who starred as Dorothy in NBC’s 2015 broadcast of The Wiz Live! “To be able to see her start as a freshman and then see her on TV was unbelievable,” boasts Van Wyk. That’s an impressive credit, but Van Wyk says the rewards are in the growth that every student, teacher, parent, and community member takes from the experience. Bergman concurs: A performer “The priority is that they graduate in Big Fish at Rahway having had these experiences, and High School become better people as a result.” 

nafme.org 35 By Joanne Sydney Lessner Navigating Your Path to Enrichment

AfME membership affords tion quiz. A score of 75 or higher will access to a variety of return a certificate of completion professional enrichment valued at one contact hour. NAfME resources. Some, such as Academy, which evolved from a more NAfME Academy and the traditional, pay-per-view structure, Library of Congress’s launched in November 2016 and is on “Teaching with Primary track to surpass 100 webinars by its Sources,” are accessible one-year anniversary. from the comfort of one’s home. JJ Norman, NAfME’s Professional Others, such as the 2018 Music Development and Collegiate Program Research and Teacher Education Manager, describes the enthusiastic National Conference, require travel but response that NAfME Academy has Schwartz, and “Fostering Independent offer a wealth of information and received. “Music educators love the fact Musicianship in the Choral Classroom” in-person networking opportunities. that NAfME is offering professional by Karla McClain. Webinars listed development that’s relevant to their under “Beyond the Classroom,” such as NAfME Academy classrooms. The webinars are archived, “How to Land Your First Job” and NAfME Academy is an online learning so you can watch them on your own “How to Prepare for Retirement,” have platform for music educators that time and apply what you’re learning the proven just as popular as those pertain- currently houses over 80 hours of very next day.” ing specifically to the classroom. webinars and is available to members Some of the most popular videos “NAfME is made up of 66,000 for a yearly subscription fee of $20.00 include “Top Ten Tips to Energize music educators across all facets of ($100.00 for nonmembers). Each Your Rehearsal” by Angela Ammer- music education, and everyone who webinar runs approximately 45–60 man, “Essential Time Management opts in to NAfME Academy has access minutes and is followed by a five-ques- Strategies for Teachers” by Emily to everything on the learning platform,”

36 Teaching Music OCTOBER 2017 Navigating Your Path to Enrichment

NAfME offers several valuable opportunities for music educators to pursue professional development, enhance their curricula, and investigate cutting-edge research. Illustration from istock.com/sorbetto. Illustration

nafme.org 37 “NAfME has 66,000 music educators across SAMPLE LIBRARY all facets of music education, and everyone OF CONGRESS who opts in to NAfME Academy has access to everything on the learning platform.” CURRICULUM JJ Norman —JJ Norman RESOURCES CHORUS says Norman. “Despite the fact that articles since the June 2016 issue and RESPONDING UNIT, you’re a band guy and aren’t interested then follow a link to a quiz, successful ACCOMPLISHED in the choir content, it’s in there for the completion of which returns a certi - LEVEL This four-lesson Chorus Responding Unit, Accomplished Level A Curriculum Project of the National Association for Music Education (NAfME) o -chance that your administrator cate of completion. sequence is intend- and the Library of Congress of the United States (LOC) ed for students Teaching with Primary Sources comes down the hall at the end of the At the 2017 National In-Service with seven to eight school year and says, ‘Hey, guess what? Music Education Conference, Novem- years of choral experience. Employ- You’re teaching the beginning choir ber 12–15 in Dallas, Texas, NAfME ing inquiry methods such as Observe, Refl ect, and Question, students use the class next semester. Have a great will be o ering over 150 sessions, and song “Go Down, Moses” as the basis summer!’” teachers will be eligible for 17 hours of for an overview of the African-Amer- ican spiritual. They explore the song’s Over 1,900 educators have sub- professional development. “When historical and cultural signifi cance by comparing recordings, analyzing sheet scribed, earning over 2,500 hours of people come, they attend everything music, and reading contemporaneous professional development recognition. from the keynote to the concerts, and documents about Harriet Tubman, known as “Black Moses.” Students While the academy is an approved there’s something to be learned in all of develop their own criteria to evaluate the song and performances of it, pre- provider, accreditation is an ongoing them,” says Norman. senting their conclusions in the form of process because of requirements that a pre-concert lecture or program notes. The lessons can be linked to perfor- di er by state, district, or even by THE LIBRARY OF mance practice during a concert cycle school. and can be completed sequentially or CONGRESS: “TEACHING extracted separately within a fl exible “Anytime someone comes to me WITH PRIMARY SOURCES” time frame. “I found that the length of time and says, ‘You’re not approved in my Also present at the In-Service Confer- allotted for activities was reasonable and state,’ I get on it that day,” says Nor- ence will be Johanna Siebert, Project made the unit doable in a class where the pressures of performances/assessments man. Some states have stringent Director for NAfME’s Library of really drive the content/type of instruc- requirements for certi cation and Congress grant, and her writing team tion.” —Choral Music Pilot Participant review applications infrequently, but chairs. This year, the grant funded the GENERAL MUSIC RESPONDING others move within weeks. “There’s a creation of curriculum modules for UNIT, GRADE 2: RESPONDING TO handful of states that come to mind general music education and chorus, MUSIC THROUGH

GENERAL MUSIC RESPONDING UNIT, GRADE 2 that, as long as you’re doing profession- using selected materials from the RESPONDING TO MUSIC THROUGH MOVEMENT MOVEMENT A Curriculum Project of the National Association for Music Education (NAfME) and the Library of Congress of the United States (LOC) These lesson plans Teaching with Primary Sources al development, the state doesn’t get in Library of Congress online archives. contain musical exploration and the way.” Norman is also hoping to “We’ll be presenting a session on the response activi- engage district arts supervisors and teacher resource units, and we’ll also tell ties for selected recordings, as well as images that allow them to opt in for their teachers a little bit about the new ones we’re suggest movement or depict dance. The recordings include well-known songs all at once. “The vast majority of writing for band and orchestra,” Siebert such as “Moon River” and “The Blue educators have come to the academy says. She notes that the Library of Danube Waltz,” to which students can invent their own movement. They can on their own,” he explains. “This way, Congress “Teaching with Primary also learn dances such as the Russian we’re reaching anywhere from 50–250 “Kamarinskaia” and the Swedish “Gustafs Skål” by watching videos. educators all at once with support from When looking at artwork, students are asked to imagine what they would their district.” Music Educators Journal hear and see if the picture could o ers another way to get contact hours: move. In response, they create music that expresses the elements of dance Educators can read any of the featured they observe. They also self-evaluate their own videos and examine how their movement relates to the music. “I think of all these By listening, analyzing, relating, and resources as something answering questions, students develop tools to apply their knowledge to new that helps teachers become musical experiences. more facile at working in “I was pleasantly surprised as to how it met the different needs of all my students, these different processes. Briana Nannen, including my special needs students.” one of the —General Music Pilot Participant More tools in the toolbox.” writers of the —Johanna Siebert NAfME/LOC Karen Bensen. Photo bottom by Mark Finkenstaedt. Headshot by Choral Units, at the Library of 38 Teaching Music OCTOBER 2017 Congress

Sources” (TPS) offers enrichment for teachers beyond the prepared modules (see loc.gov/teachers/tps). “TPS is a whole area online that can give you resources for your own development, as well as for your students. There are so many different digital collections with hundreds of options in each file. You can get recorded music, documents from the times—those are the kinds of things we utilized in coming up with the units, and they’re available to everyone.” Using the TPS resources to link composers and their work to historical events helps teachers incorporate the Connecting strand of the National Standards by deepening their knowledge base and personalizing it for Attendees at the 2016 MRTE National Conference students. “We often ask students to enjoy one of several poster sessions. interpret the composer or creator’s intent, and when we look at periodic think, ‘What would I do differently and better, but they also gave us great times, this brings it into a bigger why?’ With any module, I’m always feedback about how they changed their relationship,” says Siebert. “What were going to riff off it and change it for my practice,” reports Tuttle. “All the the influences on composers that made classroom.” Tuttle encourages teachers writers for the general music and chorus them write the way they did? The using the resources to do just that. units are willing to do webinars talking resources can help with that. Not just “Maybe the content in that module isn’t about how they changed their practice music’s relationship to music—but to a fit for your class right now, but you or how they engaged kids in the the world. If you’ve never done this can still pick up those inquiry methods classroom, and those will be available before, those aligned resources can help and use them with whatever you’re on the NAfME website.” bring it home for the kids.” working on.” “We’re about process, not product,” Lynn Tuttle, NAfME’s Director of Tuttle and Siebert are looking for Siebert adds. “I think of all these Public Policy and Professional Develop- ways to showcase and share the ideas resources as something that helps ment, notes that using the curriculum embedded in the writing and piloting teachers become more facile at working modules “changes your practice to of the modules, which is, in itself, a in these different processes. More tools think about an inquiry-based process form of professional development. in the toolbox.” and not just getting to that final “Not only did we learn back from the product of performance. It makes me teachers how to make the modules The Music Research and Teacher Education Wendy L. Sims accepting the 2016 NAfME Senior Researcher Award at National Conference the MRTE National Conference Another tool available to NAfME members is the biennial Music Research and Teacher Education (MRTE) National Conference, which returns to Atlanta, Georgia, in March 2018. “The conference is a forum for all music education researchers, music “The MRTE conference is a great opportunity for a teacher educators, music administrators, wide array of attendees to access the latest research in and curriculum specialists,” says music education along with the pedagogical innovations Adriane Darvishian, NAfME’s Director

that will shape the future.” —Adriane Darvishian of Governance Constituencies. “It’s a Headshot courtesy of James Byo. & Video/www.RobbsPhotos.com. Robb Cohen Photography Photos by

40 Teaching Music OCTOBER 2017 INFORMATION ON THE 2018 MRTE The 2018 Music Research and Teacher Education (MRTE) National Conference at the Westin Peachtree Plaza in Atlanta, March 22–24, 2018 welcomes educators, researchers, program leaders, music ad- ministrations, and curriculum specialists. Members of the Society for Research in Music Education (SRME), the Society for Music Teacher Education (SMTE), and the Council of Music Program Leaders (CMPL) will present research on topics including, but not limited to, the conference focus of diversity, equity, inclusivity, and access. Registration information will be available on the NAfME website in early October 2017, with a detailed agenda to follow in mid-January. The conference draws primarily from the higher education community, including graduate students in music education. “It affords opportunities and exposure not only for seasoned researchers but also for developing researchers who aspire to make important contributions to music teaching and learning,” says James Byo. “This conference appeals to the research community, yes, but much of its content is relevant great opportunity for a wide array of Music at Louisiana State University in to PreK–12 music teachersPoster session and students, because this is what so James Byo attendees to access the latest research in Baton Rouge, and SRME Executive many of us are interested in.” music education along with the Committee Chair. “There is a lot of All research must be original and can pedagogical innovations that will shape talking going on, perspectives being be delivered in several ways: 20-minute presentations; 90-minute symposia fea- the future.” shared, and that human interaction is turingJames several Byo research papers unifi ed by a common theme; and 90-minute poster The conference typically draws over just great. That’s what becomes the feed sessions, which are always very popular. 600 attendees, mostly from higher for new ideas, new perspectives, and the “During the multiple poster sessions, attendees have the opportunity to directly education, although the conference furthering of those ideas.” interact with the researcher to discuss their research fi ndings and conclusions. In attracts K–12 teachers interested in The MRTE Conference is often the 2016, over 250 posters were presented, music teacher education as well. “This rst phase for research that appears providing a dynamic and interactive professional development experience,” says is professional development maybe at its subsequently in professional journals, Adriane Darvishian. best for the folks in higher education. It where those who can’t attend the One researcher will receive NAfME’s Senior Researcher Award at the end of provides an opportunity for meaningful conference can catch up. “Reading is the conference. Two past award winners interaction among the attendees,” says the best form of professional develop- and experts in diversity—Patricia Shehan Campbell of the University of Washing- James Byo, director of the School of ment for teachers,” Byo points out. ton in Seattle, and Judith Jellison of the University of Texas at Austin—are helping the planning committee organize fi ve Poster session sessions around the conference focus, including a plenary session to open the conference in place of the customary keynote speech. “Pat and Judith and a diverse array of other voices will get us more closely connected with what needs to happen in order to be culturally respon- sive,” says Byo. “We as a music-teaching body must strive to provide real access to more heterogeneous bodies of music students in grades PreK–12 and in college. We need to understand how to make music education work for more students and, by extension, how to plant seeds to develop a more diverse music teacher workforce.” “This should prove to be a very inter- esting event,” says Darvishian. “It’s also a great opportunity for networking in a manageable setting, with multiple opportunities for professional development.”

nafme.org 41 Following the loss of a bandmate, Jamie Clark helped his student musicians to grieve and come together to commemorate their friend. Rallying Honoringand through Music By Stephen Holley

How would you react if you lost a student? How would you respond if one of your students, a seemingly healthy 12-year-old boy, passed away in his own bed? As directors, we’ve all dealt with our share of pain, drama, and emotional situations—but the unex- students and their director, Jamie Clark, ine” in the coming days and years after pected death of a 12-year-old? The to begin the healing process. heartbreak struck his small town. students at Trottier Middle School in Clark is known as “the guy who tells “Eric was a kid who played trumpet Southborough, Massachusetts, a suburb jokes about his house cat, his girth, and in the top Big Band: super smart, of Boston, experienced this tragedy in his bottomless affection for doughnuts,” athletic, talented musically, but pretty 2012. Thanks to a new book titled Mr. notes O’Brien. “One way I connect quiet—he wasn’t the jokester!” recalls Clark’s Big Band by band parent and with the kids is to be genuine at all Clark. He goes on to note that both author Meredith O’Brien, we can times—if they’re not playing well I’ll Eric’s older sister and brother had been appreciate how the community, the tell them,” says Clark. He would lean in the band—as a flautist and a percus-

school, and parents rallied behind the on this character trait of being “genu- sionist, respectively—so he knew the Robert Holland. Photo top by Melissa Shaw. Photo right by

42 Teaching Music OCTOBER 2017 “A lot of our focus was getting us and the kids through that year.” —Jamie Clark

family well. He recalls Eric as “a vibrant and healthy young man who had played in a basketball game the night before. The entire thought of Eric not being there was mind-boggling, to say the least.” On a cold, winter’s day in January 2012, their middle school world was Jamie

Photo top by Robert Holland. Robert Holland. Photo top by Melissa Shaw. Photo right by turned upside down. O’Brien relates, Clark “My son was a seventh-grader, a drummer in his middle school’s Big Band. That day, he learned that his friend, 12-year-old Eric, died in his sleep. The passing of this generous, kind boy sent ripples through the small town of Southborough. Students at Trottier Middle School were plunged into mourning, particularly in the band room, where Eric’s music stand stood empty, his silver trumpet silenced.” That morning, Clark began his Big Band rehearsal at 7am and noticed that Eric was not in attendance. He asked the other band members if they knew where he might be and, upon receiving no additional information, made a note in the back of his mind and moved on with the rehearsal. After his first period After rehearsal, all students were whatever would be good for you.’” In rehearsal, the administration asked the called to their homerooms where their light of the situation, Clark knew he members of the faculty crisis team—of teachers expressed the heartbreaking had to be honest and genuine about his which Clark was a member—to meet news. Clark recollects, “After the feelings. “I had to show the kids how I in the faculty room. He recounts, “I announcement, the schedule was was feeling—I couldn’t be disingenu- knew it was going to be bad news when scrapped. The entire school of 600 was ous, so I just began to cry. It made them I noticed they were weeping—students and feel like they could be upset and show putting out tissue boxes,” teachers openly crying in their feelings, too—that it was OK for but he was not prepared the hallways, the school them to cry. A lot of our focus was when the principal, filled with grief counsel- getting us and the kids through that ashen-faced, told the ors and parents just year.”

faculty that Eric’s mother wanting to see their kids. “Clark took risks—big ones, Deidre Secrist. Photo by Top Robin Boucher. Bottom photo by had called the school to let Kids who thought they them know young Eric were immortal suddenly had passed away in his realized they weren’t. sleep. The kids wanted answers While the school and we had none to give. decided how to best They’re used to having convey the news to the adults explain things, but The book Mr. Clark’s Big Band students and the school by band parent and author we couldn’t.” The school Meredith O’Brien community, Clark had to community would find teach the next period: his 7/8 band of out months later that Eric had an which Eric was a member. “We played undiagnosed heart condition, but this every piece of music they had—I just knowledge did little to calm the fears of had to get them through this rehearsal,” the kids or parents. One parent related a notes Clark. He goes on to recall that story of how she would go into her because Eric’s siblings attended the local child’s room late at night, just to check high school, word quickly spread on him and feel his heartbeat. among students and parents. “I was Clark recalls, “Later in the day we getting calls and texts, but we were told had sectionals, and I didn’t know what not to communicate yet—I couldn’t to do. I told the kids ‘We can play if even tell my wife.” you want to, talk if you want to—

44 Teaching Music OCToBER 2017 he knew they could, he pushed. I was played Eric’s part, the trumpet solo.” thoroughly impressed with how Clark O’Brien continues, “I thought about led the students through treacherous that performance for days afterward. emotional terrain.” ‘How did they get through it without By June of that year, the Big Band crying? How were they able to play so was preparing for their final perfor- beautifully?’ I knew first-hand that the mance of the year at Jazz Night, a kids remained shattered—haunted, concert of 14–16 tunes with a featured really. Then it hit me. It was him, it was guest artist. Before the concert, the Mr. Clark.” students were worried they’d make a That same month, a committee was mistake, in their minds dishonoring Eric’s memory. Clark reassured the band, telling them “doing your best is the best way to honor Eric.” As Clark began to speak and reminisce, he heard crying and sniffling throughout the with Jamie Clark crowd; emotions were still raw. O’Brien describes the evening - What do you know to be true Q about teaching music that you especially of the emotional variety,” “Green neckties, emerald hair ties, and didn’t know when you started? My years of teaching have confirmed remarks O’Brien. “He thoroughly bright memorial ribbons pinned to that all students—regardless of their threw himself into his teaching, apparel were seen on all of the Big Band innate talent, stage of development or challenges they face—have a funda- holding very little back from his members. They were so raw, that I mental love of music (even if they don’t know it!) and a need for music in their students. If they wanted to meet with couldn’t imagine them successfully lives. I see it as my responsibility to help them discover that love and help them

him in private to cry about the loss of performing ‘Swing Shift,’ the last jazz become life-long lovers of music. their friend, to express their worries piece Eric played, a recording of which If I weren’t a music teacher I about their own lives, their playing, was played at his funeral. But they did; Q would ... I don’t think I could actually do it, but if I weren’t a music teacher their parents’ divorce, he gave them the and with tremendous heart and I’d love to be a writer of historical fiction time, he gave them an audience, he precision. The children delivered a or fantasy novels. What’s the biggest lesson you gave them a hug. If the students needed powerful rendition of Carl Strommen’s Q want your students to learn while in your program? To believe in

Top Photo by Deidre Secrist. Deidre Secrist. Photo by Top Robin Boucher. Bottom photo by Melissa Shaw. Headshot by to be pushed in order to achieve what jazz chart, especially the boy who themselves, trust themselves, and know that through hard work and dedication they can accomplish great things and make the world a better place. The music education profes- Q sion would be better if … music teachers had more time to develop connections with their students. I have found that better connections lead to more profound learning and more joyful music-making. What have you learned about Q students and parents through your work? Students have an almost unlimited potential to achieve amazing heights both personally and musically. They just need teachers to believe in them, push them, and support them. Today, parents are more worried about their children than they ever have been—worried about their children’s safety, development, and futures. I have found that if parents know that you gen- uinely care about their children, you will have incredibly loyal allies. What advice would you give to a Q teacher trying to start a program similar to yours? Be authentic and see your students, treat your students, and expect your students to be the best possible versions of themselves.

nafme.org 45 formed of several parents, teachers, and students to consider how to best celebrate the life and memory of Eric. His family decided that donations should be made to the music program in Eric’s honor. Clark met with the committee to determine how to make best use of the funds. The group decided to commission two pieces: one for the concert band (‘A Kind and Gentle Soul’ by James Swearingen) and The Master of Music in one for the jazz band (‘Kaleidoscope’ by Erik Morales). Clark adds, “The pieces are performed around the world. When MUSIC EDUCATION you look at the top of the piece and read the dedication, they wonder who Eric was—that’s what we wanted.” As educators, there isn’t a class that touches on the subject of one of your Now available fully online! students dying. There isn’t a curriculum, a 12-step process, or a pamphlet online.uncg.edu/music-ed that helps guide you through the process. “If you teach long enough, something like this is going to touch you. I want this story out there to remember Eric and, hopefully, teachers will have some example of what do,” adds Clark. Clark continues to direct the bands, and the two commissioned pieces have been performed every other year in memory of Eric. Eric’s mother still attends several performances each year, and on his angel-versary (the day he passed), she brings baked goods to school. Clark notes, “Those pieces have been enormously helping in remember- ing Eric.” Clark mentions a section at the end of ‘A Kind and Gentle Soul,’ as the trumpets play the nal notes of the melody and fade out, a single ute echoes the trumpet, which is quickly followed by a cymbal scrape. He and Swearingen never discussed Eric’s siblings, and Clark prefers to think of it as a serendipitous moment. “The pieces were a really good idea for the community. They help to place a nice, nal chord.”

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instance, the notes of the I triad General Music were white. He also taught the Building and kids some fuller arrangements. “One of the songs that went over Playing Kalimbas really well was the ’60s song in the Classroom ‘Stand by Me.’ I was able to adjust When Kyle Headstream was hired the original recording [from the as a music teacher and band key of A major] to D—the key director at Payson High School in that the kalimbas are in—and the Payson, Arizona, he had only a kids just had a blast playing the few weeks to decide what to do bass line.” In the end, the class was with an open-ended course called One of Kyle Headstream’s a great success, and tied together homemade kalimbas “Music Exploration.” “There music-making with instrument wasn’t much of a budget for the class Headstream had his students make their history and a little woodworking. and, as it was held in the library, there own kalimbas, whose materials he Headstream was glad to see how weren’t any instruments to explore estimates cost 50¢ apiece. The kids positively his students responded. with,” Headstream says. “So, I just brought in old rakes, and he helped “They were thrilled to be able to keep started Googling and YouTubing ways them cut the tines to different lengths their instruments and play with them to make instruments in a hurry.” for specific pitches. “I also used a plastic during the summer.” —Adam Perlmutter One of the videos that Headstream tip to finish the tines, so that they stumbled on demonstrated how to would be easy on the students’ fingers.” fashion kalimbas (thumb pianos) from As the class was a general elective, not Brass & Woodwinds bobby pins. This seemed like a good all of the students had musical experi- idea, but Headstream realized that the ence. However, due to the kalimba’s Developing Range instrument would be hard to hear on simplicity, everyone was able to make in Trumpet Players account of the pins’ small size. So, he music pretty quickly by using solfège or the Right Way checked out the website Kalimba Magic a number system found on Kalimba A common goal of trumpet students is (kalimbamagic.com) to study examples of Magic. “I picked simple songs that they to extend their high range. Left to their kalimbas and began to experiment with already knew—just the melody—so that own devices, many students wind up building his own. “I used some I wouldn’t have to spend too much time teaching themselves bad habits that, in wood—an old shelf from the choir focusing on rhythm.” the end, can hold them back from room—to make the box, a rake for the As the students progressed, Head- reaching their full potential. Erika tines, and some screws to put it all stream brought the concept of harmony Schafer, associate professor of trumpet together,” he says. This homemade into play. He had the students paint at the University of Tennessee at

instrument performed quite well, so their tines certain colors for chords: For Chattanooga, remarks that she sees Headstream. Kyle Photo by

48 Teaching Music october 2017 players of all ages try to force things at rst. “It is really counterproductive to New Jersey, but she also has a have tension in the body when trying strong background in strings, to play the high range. Students having begun studying Suzuki typically attempt too much too soon. violin at age three. At Peddie, The most important thing is to play in a approximately one-third of the relaxed manner with good breath student population is involved support. Put this together with a solid, in the school’s extensive and regular practice routine and you will active music program. Students

nd that the student’s range naturally “Remember that playing with a good do not audition to join the increases over time. It’s almost like the sound and with great air support should orchestra, although they do be your primary goal.” —Erika Schafer right way to develop high range on audition for placement once trumpet is to not try to develop high Practice is what builds your high they have joined. As a result, Green and range on the trumpet.” register, not a di erent mouthpiece.”Caption instrumental music director Alan A regular practice routine, proper Schafer also recommends several Michaels found themselves with more breath support, and lack of body tension method books to help develop range than a few older beginning string are key to a good high range, but and exibility. “Lowell Little’s The players. beyond those fundamentals there are Embouchure Builder is a great place to Around 2014, Green and Michaels things that a student can work into start even for beginning students.” She created “String Lab,” an ensemble their schedule to make things happen also recommends Jean Baptiste Arban’s designed to help these students. Based more quickly. “If we want to focus Complete Conservatory Method for on placement auditions, anywhere more on range, then I recommend a Trumpet, Max Schlossberg’s Daily Drills between six and 10 students are speci c scale routine. We start with a and Technical Studies for Trumpet, and Bai assigned to the lab. The ensemble meets basic low F# one-octave major scale at Lin’s Lip Flexibilities to help build once a week, and it provides students a moderate tempo, marcato-tongued, strength and technique. with more individual attention than playing with a good sound, crescendo- “Remember that playing with a they would get in the orchestra alone. ing up to the octave and then back good sound and with great air support “Most know they belong there,” down. We then continue with the next should be your primary goal,” notes observes Green, “so there is not a lot of major scale, moving up by half steps. Schafer. “If you have a regular practice self-consciousness.” She further notes When they start to strain on the high routine, you will slowly be able to play that “String Lab is results-oriented. note, they need to stop the exercise for higher notes. It’s when you devote a lot We’re not just practicing scales; a big that day. They should do this routine of extra time forcing yourself to play part of the mission is to get them earlier in the day after warming up, and the higher notes that causes problems. through orchestra parts as well as rest their embouchure in between each A trumpet player’s range should possible. We do start each session with scale. Students who do this every day develop naturally over time.” scales and warmups. We do use method will nd that the highest note that they For more information or to contact books. We focus on posture, tuning can reach will vary from day to day, but Schafer, visit utc.edu/trumpet. instruments, bow holds, bow strokes, eventually this will even out and —Chad Criswell intonation, and rhythm. We try to become more consistent. Once they avoid bad habits that would have to be have that consistency and the highest “Always maintain a judgment-free note isn’t hard anymore, they should STRINGS atmosphere.” —Marisa Green continue to the next scale upward.” Contrary to popular belief, a Teaching Older student’s choice of mouthpiece makes Beginners very little di erence in the long term. Most beginning string players are very Schafer notes, “Students should not young, but others begin playing as switch mouthpieces just to play high. teenagers. How can instructors help these This can be detrimental. A Bach 3C is a students to be engaged and enthusiastic? great mouthpiece and is what most high Marisa Green is the director of vocal

Top photo by dlHunter/istockphoto.com. Bottom photo courtesy of Peddie School. dlHunter/istockphoto.com. Bottom photo courtesy of Peddie photo by Top school students should be using. music at Peddie School in Hightstown,

nafme.org 49 unlearned later. All of this, though, is By the spring term, weekly sessions involved. Pay attention to what you get based on the needs of the orchestra give way to more sporadic meetings, as on the rst day in terms of everyone’s music. That gives a good way to frame the students are more capable of individual skill levels, and remain exible things; it puts the technical work into handling the orchestra music. and practical in terms of the music you context. Moreover, playing in orchestra Green o ers advice to those who choose. In the sessions themselves, is fun, so the goal-directed technical want to start such a program. “Remem- choose warmups carefully to make them work becomes enjoyable.” Working on ber that scheduling will be di cult. For relevant; always have an eye toward orchestra excerpts constitutes the example, we make sure our String Lab context. The skills you work on should second half of the period. “Here we sessions coincide with Chamber Orches- relate directly to the orchestral excerpts. teach them how to practice, how to put tra (our advanced, auditioned ensemble) And always maintain a judgment-free their technical work to use.” String Lab rehearsals. This way, we avoid overlap. In atmosphere.” —Michael Adelson has turned out to be quite successful. general, the time must work for all

PERCUSSION The Joys and Pitfalls of Beginning Every Student Needs an Elementary Their Own Copy Percussion Ensemble You’ve decided that a percussion ensemble would be a great activity for your fourth- and fth-graders: Congratulations! So, now what? For starters, how can you tell that

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March 2016 $3.99 Vol. 13 • No. 6 put the room together and strike it with SHAKES UPC 884088547516 ✦ Beyoncé’s drummer ✦ Guitar great Pat Metheny ✦ The conductor’s instrument minimal assistance, you’re going to ✦ PVRIS, Music News, and the Listening List! waste precious class time.” There’s also the question of whether to THE YOUNG MUSICIAN’S TEXTBOOK make the group all-inclusive or selective. D’Aconti prefers the former approach, “Even if you have a student that struggles, the beauty of the ensemble is that you can nd a part for your weakest kid to nd success and you can nd a part to MONTHLY challenge and engage your stronger kids.” For the instrumentation, she recommends For more information and to get classroom sets of “a mix of high and low skins with some In Tune's student edition, call 914.358.1200 x310 metal and wood thrown in. If you have or e-mail us at [email protected] money to spend, Remo sells a few intunemonthly.com di erent drumming packages that have an amazing mix of instruments. The smallest

50 Teaching Music OCTOBER 2017 one is good for about 25 kids, and I use D’Aconti. “I remember at one concert, many of the instruments to supplement we were still in the process of teaching CHORAL AND VOCAL my general music classes as well, so it is the community about audience behavior. de nitely a worthwhile investment.” The crowd would not stop talking so Planning the Winter In choosing repertoire, D’Aconti that we could get started, so I went into Choral Concert recommends a happy medium for all. “If the call-and-response that I used to get The end-of- rst semester concert is a you’re starting a new program, it is the kids’ attention in class, and then long-held tradition in many schools, important to get the stakeholders and segued into about ve echo patterns. The but changing times have brought new kids on your side from the get-go. If that audience silenced immediately and after challenges for today’s choral director. means you’re going to have to add the last echo pattern they clapped. They For example: What to name this drumming to a Bruno Mars song, do it! were impressed just with our regular old performance? Many parochial schools However, there are skills and concepts to classroom warmup!” —Susan Poliniak still call it the “Christmas concert,” but be learned in every genre of music, so you might nd it useful to choose well-balanced repertoire rst, and then back up to nd the di erent concepts you will focus on in each.” Resources she recommends include World Music Get Your Students the Drumming (worldmusicdrumming.com), Perfect Accompaniment Plays Well Together by Margaret Jerz, and Peanut Butter Jam: An Introduction to World Music Drumming by Tom Anderson. The management and organization of the classroom and the instruments can be tricky with a young percussion ensemble. “I encourage each student to learn or at least experience all of the parts of the ensemble, so there needs to be a way to ensure they are not always playing the same thing,” says D’Aconti. Once you have the ensemble up and running, it is important to search out and create performance opportunities for your little drummers. “Drums are loud, impressive, and are always well received, and you truly don’t need to do anything complicated, especially when you are

Photo by OJO Images /istockphoto.com Photo by building your ensemble,” remarks

TODAY’S MUSIC EDUCATION RESOURCE “Even if you have a student that struggles, the For more information and to get classroom sets beauty of the ensemble is that of MusicAlive!, call 914.358.1200 x310 or you can ﬁ nd a part e-mail [email protected] for your weakest kid to ﬁ nd success.” musicalive.com —Vanessa D’Aconti

nafme.org 51 foreign-language piece that is sometimes a Christmas carol or Hanukkah song, and a lovely ballad with gorgeous “I think about what concepts I want my students to learn and choose literature that exercises the skill.” —Sarah Giordano text.” She further ensures that the music is that which she can use to teach solid many public and other schools are in the future.” As the month of musical content. “I have learned to look encouraged to avoid this terminology. December contains signi cant holidays for music with a skill-based perspective. “Our middle school choirs and bands for several religions, each with their I think about what concepts I want my share a concert that we call the ‘Winter own rich traditions of vocal music, students to learn and choose literature Concert,’ but colloquially many people choral directors have much repertoire that exercises the skill.” in the community still refer to it as our upon which to draw that is of a high Rehearsal of the repertoire for this ‘Christmas Concert,’” says Sarah Gior- level of quality, both musically- and concert should, ideally, begin early in the dano, a NAfME member and music pedagogically-speaking. However, fall semester. “This year our winter teacher at Jackson Middle School in because of the religious content, cultural concert is on December 1st. My beginner Villa Park, Illinois. sensitivity is called for. “When we are ensemble rehearses once a week before Since this is often a major perfor- learning a piece that is sacred, I am school, and we will start our music (a mance for the singers, planning for this sensitive to review with my students little at a time) in late September. Winter concert may be in the back of a why we are singing this: educational concert music will not be the sole focus director’s mind throughout the year. and aesthetic value rather than devo- of rehearsal until November,” remarks “Concert planning for me is continual. tional content. It has never been an Giordano. “I have found that giving I am always on the lookout for quality issue,” notes Giordano. “A typical choral students all (or most) of the music for the repertoire, and I attend reading sessions set list may include a ‘classic’ winter semester at the beginning of the school and festivals,” says Giordano. “I have a song/carol with an encouraged audience year is bene cial. My leaders take it upon le full of repertoire ideas I keep to use singalong (‘Winter Wonderland,’ etc.), a themselves to learn the music ahead of time, and if there is ve minutes left in a rehearsal it is easy to ask students to take out a certain piece and learn a little section. We learn our pieces a little at a time and go into great depth. Final THE AMERICAN decisions on performance pieces will be made about two weeks before the KODÁLY INSTITUTE concert so that the program can be AT LOYOLA UNIVERSITY MARYLAND completed.” —Susan Poliniak

KODÁLY COURSES ARE OFFERED THREE WEEKS EACH JULY: ALTERNATIVES • Solfa Fundamentals • Kodály Certification Levels I, II, and III The Ringtone • Secondary Choral Track for MS and HS teachers • Level IV Core Education and Research Composition Project The work that students do in music Apply Today! Courses run July 7-27, 2018 or classes is often removed from that which attend a Free Saturday workshop in January! they are drawn to beyond class. Chris 4501 N. Charles Street • Baltimore, MD 21210 Lee—who teaches music theory and technology at Newtown High School, in WWW.LOYOLA.EDU/KODALY Sandy Hook, Connecticut—recently Program Information: 240-993-9181 or [email protected] Application Information: 410-617-7741 or [email protected] guided his students through a project that addressed this disconnection: composing HOW WILL YOU DRIVE EDUCATION cell phone ringtones. “As a composition ? teacher, I liked the idea of students

creating musical pieces that are both Giordano. courtesy of Sarah Photo by

52 Teaching Music OCTOBER 2017 concise and compelling— a challenge engaged in a form of ear training “Students could use as many tracks as that is fun and also very authentic to the appropriate to their musical level and needed, and I encouraged them to eld of music production,” Lee says. keyboard skill. They also absorbed explore a variety of software instru- In preparation for the project, he had valuable techniques from professional ments and/or e ects settings.” the students do an aural analysis activity composers.” At the end of the project, students in which they described and catego- Next, Lee had the students create exported their ringtones as MP3 les, rized sample ringtones. “This allowed their own ringtones, whether modeled which they then uploaded to their us to discuss, hear, and identify musical on the iOS examples or created from smartphones. “They engaged with attributes such as texture—monophonic scratch. Though he encouraged the music they literally carry around in versus polyphonic—and timbre— students to let their ears guide their their pockets,” Lee says. “And sure acoustic versus electronic, and dry work, he sometimes suggested basic enough, their engagement and enjoy- versus processed,” says Lee. “I love that source materials such as a pentatonic ment of the experience was clearly students were digging in to these scale. “I wanted the project to maintain revealed through diverse and often professional ringtone examples with exibility and allow students to imitate captivating results.” —Adam Perlmutter active ears and minds.” or create according to their own He organized the ringtone project comfort levels,” Lee says, adding into distinct phases. In the rst, which that the nal step was for students was an aural cognition exercise, he to give catchy and evocative names presented a collection of Apple iOS to their ringtones. ringtones and asked the students to As for the equipment used to recreate them accurately or similarly. compose these ringtones, Lee “Whether they found exact pitches and assigned the students to work in rhythms or approximated the general GarageBand or Logic Pro, rather “They engaged with music they literally carry around in their pockets.” —Chris Lee gesture of a ringtone, students were than with paper and pencil. Go advance your career. 100% Online Master of Music in Music Education

As a distance learner, I chose UWG’s online master’s degree in music because of its high accreditation, flexible schedule, and affordable tuition. The professors, who represent the highest quality musicians and educators, created a dynamic distance learning environment. I felt challenged on an individual level by my professors and I grew with a community of accomplished professionals. My degree from UWG was exactly what I needed to advance professionally. The course content was directly applicable to my classroom and strengthened my pedagogy, research, assessment, and music skills. I was able to obtain the next level of public school teacher certification and have been accepted into a doctoral program in educational leadership. UWG is leading the way in virtual instruction. I loved being a part of that effort.

uwgonline.westga.edu – Jessica Wiese

nafme.org 53 AMPLIFY JOIN THE LARGEST COMMUNITY OF MUSIC EDUCATORS IN THE COUNTRY!

AMPLIFY IS AN EXCLUSIVE ONLINE SOCIAL NETWORK JUST FOR NAfME MEMBERS. • Discuss and Share – Younger educators can ﬁ nd ideas and share what they have learned. Experienced educators can mentor colleagues new to the profession. Plus, download resources relevant to your career—all in one platform.

• Network with Educators – Wherever you are, you can reach out to colleagues in other states and countries. Search a directory of your fellow 60,000 members.

HOW TO GET STARTED: • Go to community.nafme.org. • Create a profi le using your NAfME username and personal password. • Control what is visible on your profi le. • Join/subscribe to a community, or create a new one. • Control the frequency and format of email notifi cations from Amplify.

Visit Amplify’s FAQ section: bit.ly/AmplifyFAQ (case-sensitive).

Reach Member Services at: 800-336-3768 or [email protected].

Bookmark Amplify on your browser: community.nafme.org. a e tag S s AMPLIFY elementaryBy Andrew S. Berman JOIN THE LARGEST COMMUNITY OF MUSIC EDUCATORS IN THE COUNTRY! Hi-Yo, Pool Noodle! A herd of pool noodle ponies can bring equestrian fun to your classroom.

Carnival of the Animals. The possibilities for music choice and choreography are seemingly endless. “Using manipulatives in music class just makes sense,” says King. “It addresses various student learning styles, helps make abstract concepts more concrete, and sometimes is just the hook needed to keep students engaged.” King’s use of pool noodles in the classroom doesn’t stop at ponies. For an activity called AMPLIFY IS AN EXCLUSIVE ONLINE SOCIAL NETWORK JUST FOR NAfME MEMBERS. “Noodle Notes,” she slices With pool noodles, felt, duct tape, and craft eyes, you can have a herd of classroom ponies in no time. noodles into different sizes • Discuss and Share – Younger educators can fi nd ideas and share what they have representative of note values, learned. Experienced educators can mentor colleagues new to the profession. Plus, “As elementary educators, many of wiggly eyes. She says that having the drawing the appropriate note on each, download resources relevant to your career—all in one platform. us tend to be crafty and a bit thrifty,” kids make them is a great activity for a and has the students group the pieces says NAfME member Tracy King. summer music camp, but time is together to make four-beat measures. • Network with Educators – Wherever you are, you can reach out to colleagues in other King teaches music at Fredericktown limited during the school year so she King also makes noodles into swords for states and countries. Search a directory of your fellow 60,000 members. Intermediate School in Fredericktown, brings completed ponies into her an activity she calls “Steady Beat Missouri, though many know her as classroom. “They are not only an Swords” (you can learn about these ideas HOW TO GET STARTED: “The Bulletin Board Lady,” or from her inexpensive movement and more on her blog). blog, “Mrs. King’s Music Class” prop: Their novelty “Their novelty Pool noodles are a • Go to community.nafme.org. (mrskingrocks.blogspot.com). Her craftiness keeps students engaged keeps students versatile material with • Create a profi le using your NAfME username and personal password. and thriftiness senses were tingling and really ignites their engaged and which to work. • Control what is visible on your profi le. when she came upon a photo of pool imagination,” she really ignites King’s readers have • Join/subscribe to a community, or create a new one. noodle ponies on Pinterest. King explains. King has really taken the pool • Control the frequency and format of email notifi cations from Amplify. “immediately knew that I could use children act out their imagination.” noodle pony idea and run them in my classroom.” Combining the horse-themed songs, dancing around with it (or galloped?). She receives ponies with an activity she recalled the room with their colorful ponies. In photos and videos from all over the Visit Amplify’s FAQ section: bit.ly/AmplifyFAQ (case-sensitive). from Artie Almeida’s Parachutes and addition to classroom favorites adapted country of ponies made with different Ribbons and Scarves, Oh My! that used for the equestrian theme (“This Is the materials, and gets a kick out of how Reach Member Services at: 800-336-3768 or [email protected]. stick ponies, she was off on a trip to the Way We Walk Our Horse,” “Ten Little many teachers and students her pool 99¢ store to stuff her car full of pool Horses”), students can be exposed to noodle ponies have reached: “It’s noodles. classical pieces such as Rossini’s delightful that other people look at my Bookmark Amplify on your browser: community.nafme.org. King makes pool noodle ponies for “William Tell Overture” and “Wild weirdness and say, ‘Oh, my gosh—that’s

Photo courtesy of Tracy King. Photo courtesy of Tracy her classroom using felt, duct tape, and Donkeys” from Saint-Saëns’ The a great idea!’” 

nafme.org 55 S TAG E S secondaryBY LORI SCHWARTZ REICHL

Blueprint for a Best-Behaving Band Management of band rehearsal and performance behavior requires consistency.

NANCY DITMER, professor of music at The College of Wooster in Ohio and Past President of NAfME, has conducted hundreds of secondary school bands. However, the summer of 2016 was the rst time she served as conductor for a particular youth band camp. Upon taking up her position on the podium, she was astonished at how much chatter was present amongst the musicians. She knew she had to nd a ne line between productive rehearsals and camp fun, so she returned the following “The concert is an important summer better prepared. musical aspect, but it shouldn’t “The concert is an important be as important musical aspect, but it shouldn’t be as as the process.” —Nancy Ditmer important as the process,” says Ditmer, who insists that however, and encour- students before rehearsing music, and classroom management “If my students ages short moments of encourages teachers to show students and discipline must be haven’t met my downtime between what certain behaviors mean to save forefront in a conduc- expectations, selections. When she time throughout the year. “A cut-o is tor’s plan. She notes steps o the podium, an invitation to listen, not an invita- three aspects of 95% of the time her musicians are tion to talk” she tells her students. teaching this behavior- I haven’t clearly permitted to brie y Teachers can’t assume that all students al process. articulated those chat with one another know what do to. “We must articulate 1. DECIDE HOW YOU expectations.” while percussionists our expectations,” Ditmer says. “I’ve WANT STUDENTS TO transition. found over my long teaching career BEHAVE. What are your expectations 2. ESTABLISH A RAPPORT AT THE that if my students haven’t met my for students? Do you want the students BEGINNING OF THE SCHOOL YEAR. expectations, 95% of the time I haven’t to be silent during rehearsal? Will you Ditmer once had a professor who said clearly articulated those expectations.” allow for free talk? Will you permit to her: “Don’t smile until Christmas.” 3. BE CONSISTENT WITH EXPECTA- meaningful discussions in the large She doesn’t follow this advice to the TIONS. Expectations must be upheld ensemble or smaller sections? If so, extreme, but instead recommends, every day—not just on certain days. what are the expectations for respect- “Whatever you want your expecta- As each performance approaches, ing each speaker? tions and classroom management style Ditmer encourages teachers to review Ditmer realizes that she can’t expect to be, then you must be stern to begin concert etiquette, such as reminding

students to remain silent for an entire with and go slightly overboard with students not to wave to parentsCaption or 90-, 60-, or even 45-minute rehearsal. it.” She suggests that teachers review gesture to friends in the audience Caption

She expects silence during rehearsal, classroom management scenarios with while walking onstage. FangXiaNuo/istockphoto.com. Photo by

56 Teaching Music OCTOBER 2017 Discover the path toYour Future

More than 180 artist-teachers and scholars comprise An unparalleled combination the faculty at this world-class conservatory with the of academic excellence and resources of a major research university, all within applied music studies. one of the most beautiful campus settings. More than 80% of Jacobs MUSIC EDUCATION FACULTY School students receive some form of financial aid. Katherine Strand, Chair Lissa May Curriculum, Participatory Music Associate Dean for Instruction; Practices, Qualitative Research, Instrumental Music Education, General Music Teacher Education 2018 AUDITION DATES Brenda Brenner Joyce McCall Jan. 12 & 13 | Feb. 2 & 3 String Music Edudcation, Instrumental Music, Postdoctoral Mar. 2 & 3 Applied Violin Scholar

Frank Diaz Peter Miksza ADMISSIONS INFO Instrumental Music, Mindfulness, Instrumental Music, Psychology 812- 855-7998 Student Teacher Supervision of Music, and Research Methods [email protected] music.indiana.edu Brent Gault Lauren Kapalka Richerme Elementary and Early Childhood Philosophical Foundations Music; Director, IU Children’s Choir and Arts Policy Patrice Madura Ward-Steinman Follow us @IUMusEd Choral, Vocal Jazz, and Research S TAG E S collegiateBY LISA FERBER WHEN The Value of Honor A Tri-M ® chapter can beneﬁ t your students with more than just recognition.

JUSTIN CAITHAML knows the value of having an honor society chapter at his school—in his case, one that is a liated with Tri-M Music Honor Society. “I feel so strongly about Tri-M,” he says. musicmusic “That’s the vehicle for advocacy, especially in the culture we live in now with high-stakes testing. We have to CAN BRING AN ENTIRE ght to be relevant in that culture.” Tri-M, which is sponsored by NAfME, welcomes middle school and high school students. Members of Midview’s Tri-M NATION TO ITS FEET Caithaml is the director of Chapter Chapter 2522 work the NAfME 2522 of NAfME’s Tri-M honor society booth at Ohio’s MEA Conference at his alma mater, Midview High this past February. School in Grafton, Ohio, where he teaches middle and high school choirs. awareness of the music department in the room of course, but I’m not the “I was president of this chapter in high within the school. “Every year, a lot of one leading the meetings.” IT’S WORTH school,” he notes, “and now I’m back schools have a recognition ceremony He would like to draw more teaching and serving as an advisor.” and recognize Tri-M along with other attention to the music department, and This Tri-M devotee would love to organizations such as National Honor has a marketing idea for that. “At high increase membership and awareness of Society. We are all on an equal playing schools, the sports teams have really the program. “It’s so important that eld.” Caithaml notes that the Tri-M nice-looking game schedules and schools have a Tri-M chapter. A lot of members get to wear pink graduation posters, and I’ve always envisioned people don’t know that cords at the ceremony. really nice music department posters. It this exists.” He notes that “I am a ﬁ rm Caithaml remarks that would look professional. Not that we’re teachingteaching there are currently 30 to believer in his chapter produces the competing with sports, but we can take 40 chapters across Ohio, letting the school talent show in an idea from our colleagues.” and wants students to students lead March, to correspond with Caithaml o ers a great tip for getting know it can bene t their Music In Our Schools the students to come to the 6:45a.m. lives without depleting themselves.” Month®. “We invite people meetings before school: “I absolutely, their free time. “The biggest thing I’ve from around the school that might not 100 percent bribe them with doughnuts. found is that it’s not a ton of extra be in choir or band and are interested in I think we underestimate the simplicity work, and it rewards those students making music.” About 350 to 400 of something like that. It tells people to Collegiate who are going above and beyond and people attend the event, and he remarks get there quick, and they come at 6:45, allows them to be recognized for what that the biggest challenge is to empow- and they want their glazed or frosted they are already doing.” er the students to make their own before anyone else gets it.” Another reason to start an honor decisions. “I am a rm believer in For more information on starting a 1-800-336-3768 | [email protected] | www.nafme.org

society, Caithaml says, is to help raise letting the students lead themselves. I’m Tri-M chapter, see MusicHonors.com. Thomas Stefaniak. Photo by

58 Teaching Music OCTOBER 2017 WHEN musicmusic CAN BRING AN ENTIRE NATION TO ITS FEET IT’S WORTH teachingteaching

Collegiate

1-800-336-3768 | [email protected] | www.nafme.org

nafme.org 59 resources

Books 3 Children’s Home Musical Horn The The Band Experiences Across the World Technique: A Children’s Teacher’s Edited by Beatriz Ilari and Susan Young (2016, 198 New Approach to Music Studio: Percussion pgs., hardcover $70.00, paperback $30.00, eBook an Old Instrument A Reggio-inspired $29.99) This book offers a perspective on home Guide: By Jeffrey Agrell (2017, Approach Insights in Playing musical activities of young children from countries 464 pgs., paperback By Wendell Hanna and Teaching including Brazil, Denmark, Greece, Israel, Kenya, $19.9, eBook $9.99) (2017, 232 pgs., Percussion the Netherlands, Singapore, Spain, South Africa, and is a look Horn Technique hardcover $105.00, By Stewart Hoffman Taiwan. Narrowing their study to seven-year-olds at ways, old and new, to paperback $36.95, (2017, 256 pgs., from middle-class families, the writers of the get from one note to eBook price varies) hardcover $105.00, articles argue that home musical experiences another, and includes This book provides a paperback $27.95, provide new and important windows into musical many musical examples manual for designing eBook price varies) childhoods as they relate to issues of identity, family and exercises detailing music studios that This resource is for life, gender, culture, social class, and schooling. the most efficient ways capture the imagination educators and band Indiana University Press, iupress.indiana.edu in which to teach the and creativity of directors who want to instrument to students children, and includes Software 3 learn more about at all levels. It is a studio plans, examples percussion instruments eMedia Music Theory resource for teachers of Reggio-inspired and playing techniques, Tutor Complete and a road map for music studio explora- refine their percussion- ($99.95) The software features over 430 serious students that tions, and documenta- teaching skills, or set the lessons organized to encourages them to tion of children’s work classroom stage for a teach the crucial musical elements of combine the book’s in music studios. Early more effective teaching rhythm, melody, and approach with what childhood and elemen- harmony with the use experience. Hoffman of images, audio, they already do and use tary music teachers offers this handbook to interactivity, and the book as a spring- practical music theory may find this book help set teachers and examples. This music board to make new useful as it provides students on the road to theory curriculum can take a student from basic music theory for beginners all the way to more discoveries about the ideas for Reggio-inspired classroom success, and advanced music theory, including work in ear best ways to master the music teaching and presents a foundation in training. Users can start with learning how to read music, chord theory, scale construction, and basic instrument. Wildwind learning techniques snare drum, timpani, chord progressions, and advance to understanding Editions/CreateSpace that can be integrated keyboard percussion, the circle of fifths, chord substitution, chord progression theory, and cadence. The Intelligent Independent into an existing drum set, and more. Practice feature tracks progress and automatically Publishing Platform, curriculum. Oxford Oxford University selects questions to improve weak spots. eMedia Music Corp, emediamusic.com horntechnique.com University Press, oup.com Press, oup.com

Please send all media for consideration with photos to “Resources,” 582 North Broadway, White Plains, New York 10603 U.S.A.

60 Teaching Music october 2017 AUDIO RECORDINGS 3 instruments 3 When Music Habits of a Mundo Verde/ Trippin’ Epiphone Goes to Successful Green World Round the Les Paul SL By Mister G (2017, 11 By Epiphone ($99.00) School: Choir Mitten The SL is an afford- tracks, CD $14.99, Perspectives Director By Randy Kaplan able two-pickup Les digital download $9.99) Paul that is available on Learning and By Eric Wilkinson and (2017, 18 tracks, CD Mister G’s eighth album in six colors, and has a Teaching Scott Rush (2017, 256 $14.99, digital lightweight poplar is a collection of By Danette Littleton pgs., paperback $29.95) download $9.99) This body that’s slimmer than a vintage model, (2015, 172 pgs., bilingual songs intended album is a stream- Wilkinson and Rush making it easy to hold to unite people of all hardcover $60.00, have created a guide of-consciousness for new players. The paperback $30.00, ages and ethnicities in collection where Randy bolt-on mahogany that presents effective neck has a traditional support of global eBook $30.00) This text teaching principles and raps and sings his way 24.75'' scale with an aims to disclose a provides a practical conservation and through songs and easy-to-play profile action. The album and pearloid dot deeper understanding approach to everyday parodies about noses, inlaids. The headstock of music’s importance in issues choir directors features collaborations mitten-shaped states, has the look of a classic Les Paul with children’s lives, and with major figures in beach antipathy, face, including program the “clipped ear” their need to know, organization and the Latin music scene doo-wop kings, food design and bell-shaped explore, wonder, and management, teaching performing an eclectic costumes, sugar traps, truss rod cover seen on vintage models. range of styles, from play. Directed toward the components of Mars missions, and The neck and bridge music teachers, teacher singing, rehearsal bomba and samba to more. Like his earlier pickups are ceramic single-coil, and were educators, and scholars, reggae and bossa nova. strategies and ensem- albums, it contains skits designed to provide a it invites inquiries and ble fundamentals, music The album’s title track is and dialogue woven tight low-end response with a provides insights into literacy and repertoire a samba-inspired ode to into the numbers. Songs smooth mid-range contemporary selection, and strategies the wonders of the include “Honk Honk,” and a slightly more challenges to learning for assessment. natural world, and its “Beach Song,” “Mr. pronounced top-end tone. Controls include and teaching in an era Additional sections final track, “Las Bassman,” “Sugar,” volume and tone with of standardization. A address musicianship, Estrellas,” inspired by “Every Second Counts,” traditional black ABS “top hat” knobs, as compendium of essays, classroom management, the great Brazilian “Jungle,” “Comb Your well as a three-way classroom voices and working with parents master Antonio Ears,” “Cat & Mice,” pickup selector. Other vignettes is supported and colleagues, the Carlos Jobim, features “Sleeping Dog,” “Mr. features include an adjustable truss rod by research in music importance of warm-up Cuban/Mexican jazz Spaceman,” “Bye Bye and chrome hard- education and compan- time, and more. legend Arturo O’Farrill. Baby,” and others. ware; an optional hard case is available. ion disciplines. Rowman GIA Publications, Inc., Coil Records, Yellow Thing Records & Epiphone Guitar & Littlefield,rowman.com giamusic.com mistergsongs.com Books, randykaplan.com Corp., epiphone.com

nafme.org 61 Performances Live Streamed at livestream.com/wcupa resources... CONTINUED

APPS 3

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nafme.org 63 brava! ✢ BY SUSAN POLINIAK DAISY JOPLING

CLASSICAL/ROCK VIOLINIST Daisy Jopling, who was born in London and currently lives in New York, has played as a solo artist at London’s Royal Albert Hall (at the tender age of 14!), toured the world with the Daisy Jopling Band and the creative string trio Triology, recorded eight CDs, and composed music that has been performed in major concert venues throughout the world. A documentary ﬁ lm about the The String Pulse Experience (see below) has aired on Mountain Lake PBS and is planned for a national PBS airing in 2018. Learn more about Daisy and her music at daisyjoplingband.com.

What is your most memorable moment as a musician so far? My most memorable experience is performing for 30,000 people at the opening of the Vienna Festival; it was an extraordinarily uplifting moment for me.

What is The String Pulse Experience? The String Pulse Experience is an original show created by me in collabo- You ration with rhythm specialist Michael Feigenbaum and ﬂ utist/composer/producer Brian Delma Taylor. The have the music is incredibly eclectic, spanning from gypsy, reggae, Irish folk music, and capacity classical to rock and pop. It is scored for my band, soloists, and students to to be be able to play in string orchestras, wind and brass bands, and choirs. We also have a lighting design and projections made especially for the greater show. The students are mentored by world-class professional musi- than your cians for one to six months, and then perform alongside them on a wildest major stage. dreams in What’s next on the horizon for you? We are creating a concert every way. for the Earth at the Theater at Madison Square Garden, with a 1,000-child choir. I have already worked with 930 choral students, so we are pulling them together and adding a few more.

Can you tell us about your foundation? The Daisy Jopling Founda- tion (daisyjoplingfoundation.org) creates extraordinary musical experiences that enrich lives and empower youth to become more conﬁ dent, creative, and empathetic human beings.

Why do you feel that music education is important for kids today? Music education is about self-expression and listening, which requires the student to be rooted in the awareness of the moment and to be in touch with what they are experiencing and feeling. We have also noticed our students empowered on many levels—more conﬁ dent in everything they do, and in who they are.

What advice do you have for kids who want to follow in your footsteps—and music educators who want to help them? For the students: I want to remind each one of you that whatever dream you have, it is absolutely possible for you to create it. You have the capacity to be greater than your wildest dreams in every way. Stay open to help coming your way from the most unexpected places. It is there waiting for you. And for the music educators: Thank you. Please know that you are honored and profoundly valued by all professional musicians, and all whose lives you and your students touch. Photo courtesy of Daisy Jopling.

64 Teaching Music OCTOBER 2017

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Walnut High School, Walnut, CA

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