New to Jazz? Here’S a Crash Course on How to Introduce Your Students to Its Wonderful World

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APPRECIATIONAPRIL IS JAZZ MONTH! teaching APRIL 2019 VOLUME 26, NUMBER 4

AMPLIFYmusicmusic THE FUTURE BRAVO of Music TONY Education KADLECK! Advocating for music education on CAPITOL HILL DARRYL TAYLOR and the Weequahic High School Marching Band A JAZZ PRIMER New to jazz? Here’s a crash course on how to introduce your students to its wonderful world.

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QuaverMusic.com/TeachingMusic419 @QuaverMusic • (866) 917-3633 April 2019 Volume 26, Number 4 PROMOTIcontentsNG THE U NDERSTANDING AND MAKING OF MUSI C BY ALL Music students learn cooperation, discipline, and teamwork.

Students in the Weequahic High School Marching Band with director Darryl Taylor FEATURES 20 INCLUDING THE 22 A JAZZ PRIMER 30 O PENING DOORS FOR 36 H ARD WORK MUSIC OF YOUR Want to bring jazz ALL STUDENTS BIG REWARDS STUDENTS IN YOUR into your classroom, The upcoming 2019 Darryl Taylor and CURRICULUM but don’t know where NAfME National the Weequahic High Every child has a song to begin? Here’s a Conference will School Marching to sing, but is your crash course on a explore more ways Band have overcome bias silencing your sampling of the major to bring all students underfunding—and classroom? It may be eras and players, and music education playing in sweat time to reflect on your how to introduce opportunities! suits—to achieve teaching practices your students to this greatness. to determine if they wonderful world. fully welcome each student. Cover photo from iStock.com/Casarsa. Photo this page courtesy of Darryl Taylor. photo from iStock.com/Casarsa. Cover

nafme.org 1 April 2019 contents Volume 26, Number 4

48 Michael Sekelsky teaches a young drummer.

WORKSHOP General Music Teaching students with dyslexia 46 NAfME delegates walking to Brass & Woodwinds meetings with congressional ofﬁ ces 12 Helping brass students with braces 47 DEPARTMENTS Strings The habits of a successful CHAPTER SPOTLIGHT school string ensemble 48 A Collegiate chapter at the University Percussion 41 of Central Missouri wins awards. 10 Teaching drummers how to SPECIAL: interpret jazz drumset charts 48 SUMMER ADVOCACY Choral and Vocal Looking ahead to Hill Day 2019! 12 Vocal improvisation games 49 STUDY Alternatives Looking for music RESEARCH Teaching jazz composition 50 education opportunities Students with and without disabilities in the “off season”? Orchestra beneﬁ t from working together. 14 Here is Teaching Preparing your orchestra to play jazz 51 Music’s annual listing TECHNOLOGY of summer programs. An interdisciplinary approach to teaching Band Planning the best-ever band camp 51 hip hop and technology 16

DISCOVERIES STAGES A jazz ensemble warm-up can help Elementary players master fundamentals. 18 Thinking through classroom management 55 8 Secondary PRO•FILES David Music students are at LaMorte 6 Constance L. McKoy and risk for bullying. 56 Culturally Responsive Collegiate Teaching … Rob Deemer wins Working with administrators 58 an ASCAP Foundation Deems Taylor/Virgil Thomson RESOURCES Award … David LaMorte New media and accessories wins the 2018 George N. for the music classroom 60 Parks Award … In Memoriam Chris Vadala, director of jazz BRAVO! studies at the University of Maryland in College Park Teaching Music salutes

trumpeter Tony Kadleck. 64 Laurie D’Amico. by courtesy of Michael Sekelsky, Photography, Ashlee Wilcox Photos clockwise from top left by

2 Teaching Music APRIL 2019 CENTRAL CONNECTICUT STATE UNIVERSITY Summer Music Institute 2019 Hands-on Courses • Renowned Faculty • Affordable Tuition JULY 1- 26, 2019 Exciting courses offer hands-on activities, practical teaching techniques, & engaging discussions. GENERAL MUSIC What past participants Teaching Music to Students with Special Needs: A Label-Free Approach have said: — Alice Hammel (July 1-5) “SMI courses refresh my Popular Music Lab — Jesse Rathgeber (July 1-5) passion for teaching with new Rhythmic Development through Drumming and Dance — Anthony DeQuattro (July 8-12) ideas and innovations in the Chromebooks in the Elementary General Music Classroom — Amy Burns (July 8-12) field of music education.”“ Movement in the Elementary Classroom — Missy Strong (July 8-12) “Every aspect of the SMI Bringing Cuban and African Music Into Your Classroom — Jeremy Cohen (July 22-26) experience was first-rate.” Passport to World Music — Colleen Casey-Nelson (July 22-26) “Very practical and applicable classes with fun and friendly CHORAL MUSIC professors constantly keeping The Changing Voice: Delivering Excellence in the Choral Music Classroom your classroom needs in mind.” — Alan McClung (July 1-5) “Excellent faculty, teaching very Your Voice and You — Adele Paxton (July 15-19) current skills and content.” Choral Conducting and Repertoire — Jennifer Sengin (July 15-19) What our Master’s INSTRUMENTAL MUSIC students say: Elementary/Middle School Band Workshop — Scott Watson (July 8-12) Rehearsal Pedagogy: Effective and Affective! — Shelley Jagow (July 15-19) “For me, this is the single best path to a graduate degree.” The Art of Conducting: Creating Music Beyond the Score — Robert Schwartz (July 15-19) “Terrific comprehensive MUSIC TECHNOLOGY master’s program!” Chromebooks in the Elementary General Music Classroom — Amy Burns (July 8-12) Ableton Live: An Introduction for Music Educators — Stefani Langol (July 15-19) Hands-on Courses! ONLINE COURSES: Renowned Faculty! Creativity – Composition – Collaboration! Online Music Creation Using Soundtrap Enroll before May 15 to be — Stefani Langol (July 1-26) entered in our weekly drawing Teaching Music with GarageBand — Barbara Freedman (July 1-26) for a Jawbone Speaker! Get your Master’s in four Summers @ CCSU!

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The Prop-It Portable Tabletop Music Stand Available from Teaching Music is created for • Holds any type of music (printed or digital) NAfME by In Tune Partners, LLC. • Collapses flat to 8” x 11” www.musicarts.com [email protected] Available from Music & Arts - Item 0079344 Item #0079343 IRWIN KORNFELD CEO SUSAN POLINIAK Editor-in-Chief For more information contact JACKIE JORDAN Creative Director S.A. Richards, Inc. Fort Lee, NJ 07024 USA • 201-947-3850 • [email protected] MICHAEL R. VELLA Production Manager CARINE KOWALIK Advertising Manager BONNIE TURNER Business Manager The Hayes School of Music CONTRIBUTORS: Jason P. Barr, at Appalachian State University Andrew S. Berman, Lisa Ferber, Steve Fidyk, Johnathan M. Hamiel, Stephen Holley, is pleased to host Stephanie Jones, Peter J. Perry, Susan Poliniak, Lori Schwartz Reichl SummerSilver Music Educators Burdett Institute (Silver Burdett) The National Association for Music Education is Summer Music Institute a voluntary, nonprofi t organization representing all phases of music education in schools, colleges, June 17-21,19-23, 20192017 universities, and teacher-education institutions. General Sessions: Active NAfME membership is open to all people General Sessions: Audrey Cardany, Sanna Longden, engaged in music teaching or other educational Maribeth Yoder-White, Audrey Cardany, Maribeth Yoder-White, and Andy Beck work in music. Associate membership is open to and Sanna Longden those providing studio/private teaching, working 3 hours of graduate creditcredit availableavailable in the music industry, or advocating for music education. Teaching Music (ISSN 1069-7446), an offi cial magazine of the National Association for Orff-Shulwerk Music Education, is issued to members four times Orff-SchulwerkLevel I per year in August, October, January, and April at Level I an annual subscription price of $10. O f fi c e o f July 22-August 1, 2019 publication: National Association for Music Maribeth Yoder-White,July 3-14, Pedagogy 2017 and Movement Education, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A.; 703-860-4000. Lisa Runner,Level Recorder III Produced by In Tune Partners, LLC. Institutions 3 hoursJuly of graduate 16-26, credit 2017 available may purchase one volume year of four print issues for $222. Single copies of issues are $30. Maribeth Yoder-WhiteLevel, Pedagogy III and Movement A limited number of back issues are available for LisaJuly Runner 1-12,, Recorder2019 purchase. Permission requests to reproduce or otherwise use material published in this journal 33 hours hours of of graduategraduate credit availableavailable should be submitted to Caroline Arlington at [email protected]. Periodicals postage for Teaching Music is paid at Herndon, VA 20170, and at additional mailing offi ces. POSTMASTER: Send address changes to Teaching Music, 1806 Robert Fulton Drive, Reston, VA 20191-4348, U.S.A. Copyright ©2019 by the National Association for Music Education. Printed in the U.S.A. www.camps.appstate.edu/adult-programs

4 Teaching Music APRIL 2019 pro• lesFeaturing NAfME education professionals

CONSTANCE L. McKOY By Lisa Ferber

“If people are thinking about teaching music, they should consider what it is they have a passion about in relation to music.” —Constance L. McKoy

The Work of Culturally Responsive Teaching Constance L. McKoy reflects on passion and the process.

“ACCORDING TO MY MOTHER, I could sing enough to get a teacher, maybe this know these students musically so they can before I could talk,” says Connie McKoy, teacher would help me audition for the take this information and use it in their professor of music education and director conservatory,’” notes McKoy. “I kind of own teaching. “Ask what students’ musical of undergraduate studies in music at the wanted to be the next Patricia Shehan goals are and what they want to do with University of North Carolina at Greens- Campbell or Luvenia A. George. Their music,” says McKoy. “Some children want boro. The Fayetteville, North Carolina, work focused on teaching to be able to play and sing in native started exploring music by playing music of world cultures.” their communities or take her great aunt’s piano. “When I was eight, Culturally Responsive their experiences and share I expressed the desire to learn piano, and Teaching focuses on how them in their classroom.” my mother got me a piano and I started culture influences how McKoy agrees with Paolo studying,” says McKoy. Her classroom- people learn. McKoy Freire who, in his book teacher mother encouraged her, too. currently teaches courses in Pedagogy of the Oppressed, “When my mother started teaching, general music methods and spoke of our “banking classroom teachers were expected to multicultural issues in music system” approach to teaching provide music to their students, so she education; she makes a point where educators “pour” CONSTANCE L. McKOY taught me a lot.” to talk with teachers about Professor of music knowledge into students as While McKoy was at Oberlin, a friend looking at their students as education, director of though they have no undergraduate studies in marched her over to the conservatory and people who have musical music, University of North information unless we give it Carolina at Greensboro

she got a teacher. “I thought, ‘If I’m good information, and getting to to them; instead, we should Katie Lloyd. Stephen Burian. Headshot by Photo top by

6 Teaching Music APRIL 2019 pro• les “People who want to “mine” students for the information they teach in a culturally already possess. “If people are thinking about teaching music, they should responsive way must consider what it is they have a passion constantly seek to do it.” about in relation to music,” remarks McKoy. “And it has to involve working with Education, has a lot of strategies. So, I people. Culturally Responsive Teaching is would suggest people attend workshops, not something where someone can take a but they must understand this is not workshop on and say, ‘I know this.’ It is a something you get a certification in; it’s disposition, and there are strategies you ongoing, and people who want to teach in can apply. The book Vicki Lind and I wrote, a culturally responsive way must constant- Culturally Responsive Teaching in Music ly seek to do it.”

ROB DEEMER By Lori Schwartz Reichl A Resource for Diversity Rob Deemer wins the 2018 ASCAP Foundation Deems Taylor/Virgil Thomson Award.

THE AMERICAN SOCIETY of Composers, just blossomed from there, next year.” Deemer and his Authors and Publishers (ASCAP) has first as a database of women colleagues are also excited bestowed the ASCAP Foundation Deems composers and now one to announce that they have Taylor/Virgil Thomson Media/Internet that includes composers of “started an Institute for Award on Rob Deemer, an associate color and non-binary Composer Diversity at professor of music composition and the composers as well,” notes SUNY Fredonia, which will director of the Institute of Composer Deemer. “Last year, several work on many initiatives Diversity at the State University of New of my students signed up for beyond our databases York (SUNY) at Fredonia, as well as independent studies to help toward the goal of greater

creator of The Composer Diversity with the database, and ROB DEEMER diversity in concert Database. The award was presented to several more are still helping Associate professor of programming and curricu- music composition, director Deemer because of the positive impact us. It took a while to figure of the Institute of Composer lum development at the of this diverse resource on musical out what data points would Diversity, State University K–12, higher education, and of New York at Fredonia programming. be most useful. Currently, professional levels. I also In the summer of 2016, “I began a the main Composer Diversity Database now have a volunteer staff of seven spreadsheet of women composers as a allows folks to search by gender identity, colleagues in Fredonia and around the resource for my composition studio, but living or deceased, racial, ethnic, cultural country to help me with the database, the it soon grew into something that I background, and location, as well as the newly-formed Institute, and the website.”

Photo top by Stephen Burian. Photos bottom by Lori Deemer. Lori Stephen Burian. Photos bottom by Photo top by thought would be useful for everyone. It genres and subgenres of music they’ve NAfME is grateful for this resource, composed.” because it is dedicated to the celebra- Deemer proudly proclaims that he tion, teaching, and advocacy of music and his colleagues have not stopped created by composers from historically adding to the database. “We usually add underrepresented groups. It ties into names every week or two.” The second Standards-based learning, and it version of the website, which launched emphasizes inclusion. Deemer, who also on January 28, 2019, includes wind band serves as the Composition Council Chair music compiled by South Carolina music for NAfME, notes, “The Council is hoping educator Christian Michael Folk. “So, not to organize a composition committee in only are we looking at expanding the every state, which will help more Composer Diversity Database, but we’re students of every gender and racial/ going to be regularly adding new ethnic background to have more websites for different genres over the opportunities to compose.” He hopes that

nafme.org 7 COMPOSER DIVERSITY DATABASE THE INSTITUTE FOR COMPOSER DIVERSITY (composerdiversity.com) at the State University of New York at Fredonia is “dedicated to the celebration, education, and advocacy of music created by composers from historically underrepresented groups through online tools, research-based resources, and sponsored initiatives.” “I began a spreadsheet of women composers Visit this user-friendly resource at composerdiversity.com/composer- as a resource for my composition studio, diversity-database to access a wealth of information about composers in but it soon grew into something that I thought demographic categories such as would be useful for everyone.” American Indian/Alaska Native, Black, Latino(x)/Latin American, the Council can be a greater voice in about any specific initiatives at the Women, Non-Binary, and more. programming diversity throughout NAfME. moment, we do hope to diversify the solo Searches can also be made by geographic area. The composer Deemer, who is an active member of and ensemble lists as well as publisher and pages include photos of the creators distributor catalogues across the United the New York State School Music and list their works in all genres. Association, shares, “While I can’t talk States over the next few years.”

DAVID LaMORTE By Lisa Ferber

everybody … everybody was special for “Being Brave, Being him, and you wanted to please him,” recalls LaMorte. “Everybody knew he did all he Bold, Being Kind, Being could for his students.” After earning undergraduate degrees in music education and performance at the Just, Being Loved” State University of New York at Buffalo, A music educator in New York is the winner of the 2018 LaMorte went on to teach junior high. He George N. Parks Award for Leadership in Music Education. earned his graduate degree in music education at Montclair State University in DAVID LaMORTE, assistant batteries?’ And he said ‘Yeah.’ New Jersey, and states, “I’ve never had a principal of visual, perform- The smile on his face … I said, break from school.” He has run the New ing, and career arts at ‘Remember this when you get York State School Music Association Tottenville High School, older so you can do the same Adjudications and Major Solo Festivals for Staten Island, New York— for someone else.’” 25 years at Tottenville High School. and winner of the 2018 LaMorte—who was born in “The best part of my day is being in the George N. Parks Award for Chicago and raised on Staten classroom with my students,” remarks Leadership in Music Island—supervises culinary LaMorte. “I would tell new teachers you Education from NAfME and arts, ROTC, architecture, and have to know your minor instruments, Music for All—says that his DAVID LaMORTE automotive courses and because you’ll be teaching nine instru- days go well every day. Assistant principal of visual, teaches marching band and performing, and career arts, ments at once in some cases. You have to “If middle school kids like Tottenville High School, symphonic band. “As an AP be around to tutor your kids and be around Staten Island, New York you and you can motivate [assistant principal] of a them, they will do anything to succeed,” comprehensive high school, you have to be “The best part of says LaMorte. He tells of a student who a jack of all trades.” asked how he could get a metronome. “I He credits his high school teacher my day is being in took it out of my bag and I said, ‘I’m gonna Laurence Laurenzano as the reason he the classroom with

give this to you. Can you get some triple-A became a music educator. “How he treated my students.” Tighe. Paul Headshot by Deemer. Lori Photo top by

8 Teaching Music APRIL 2019 if the principal asks, and that becomes your life; you live it day by day, and it becomes part of you.” LaMorte cites the importance of the Bs: “Being Brave, Being Bold, Being Kind, Being Just, Being Loved.” As an example, he recalls, “This one kid was struggling and he wasn’t doing the right thing, and I gave him a sticker with the Bs on it and I said ‘Put it in your wallet.” The student later told him, “‘Mr. LaMorte, every time I go into my wallet, and I see that sticker of the Bs, it reminds me to do the right thing.’ It’s a challenge, but if we get these kids to be successful, then we get to be successful.”

IN MEMORIAM CHRIS VADALA By Peter J. Perry that currently includes three jazz ensembles, multiple ON JANUARY 17, 2019, an Montgomery College in combos, improvisation important voice in music Rockville, Maryland, and as courses, and both undergrad- education was silenced. a faculty member of the uate and graduate degrees. Chris Vadala, director of Maryland Summer Jazz Additionally, Vadala main- jazz studies at the Consortium, the state’s tained an in-demand University of Maryland, longest-running jazz saxophone studio that drew College Park, and one of enrichment program. He students to the university the country’s foremost was a regular contributor from around the world. woodwind artists and to educational periodicals “Chris brought tremendous educators, passed away such as Saxophone Journal devotion, passion and after a 10-year battle and DownBeat magazine, artistry to his work at UMD, with cancer. His work on authored the book Improve along with an unfailing saxophones, flutes, and Placido Domingo, Sarah Your Doubling, and contrib- generosity of spirit as a clarinets appeared on Vaughn, Natalie Cole, Herbie uted to the Approaching the teacher, mentor, colleague, more than 100 recordings, Hancock, Ray Charles, Stevie Standards series and Jazz and friend,” says Jason Geary, as well as numerous jingle Wonder, Henry Mancini, Pedagogy: The Jazz Educator’s director of the School of sessions, and film and Doc Severinsen, New York Handbook and Resource Music. “Under his leadership, television scores. Voices, Frankie Valli, and Guide. His playing can be the jazz program rose to new Vadala first gained many others. heard on the soundtracks to heights and gained the prominence at the Eastman As one of Conn-Selmer’s the films and television national reputation that it School of Music of the most requested Artist shows Criminal Minds, enjoys today.” University of Rochester in clinicians, Vadala traveled Zombieland, Avalon, Anchor- New York, and was then worldwide, performing with man 2: The Legend Continues, quickly picked up by Chuck and conducting student and Intolerable Cruelty, Let’s Go to Mangione. With Mangione, professional jazz ensembles, Prison, and The Cannonball Vadala recorded and symphonic bands, and Run, among others. performed around the world, orchestras. He was actively As director of jazz studies earning GRAMMY®, Golden involved in the International at the University of Mary- Globe, and Academy Awards. Association of Jazz Educa- land for 25 years, Chris From there, he went on to tors (IAJE, and later the Jazz Vadala built up a nationally- perform and record with Education Network), serving recognized jazz program— artists such as Dizzy on the Maryland state board, from one that initially Gillespie, Quincy Jones, including as state president contained only two small B.B. King, Chick Corea, Ella for two terms. He also jazz ensembles and one jazz Fitzgerald, Aretha Franklin, served as jazz director at undergraduate major to one Photo top by Laurie D’Amico. Photos bottom by Erik Sharar. Erik Sharar. Photos bottom by Laurie D’Amico. Photo top by

nafme.org 9 Chapter Spotlight ✢ BY STEPHANIE JONES

among members and potential We purchased members. Getting to know their interests and needs helps 20 ukuleles, her source accordingly. “We and we’ve try to make the stu that we been rockin’ do either bene cial for their and rollin’ career or something that they’re ever since. just going to enjoy doing.” Catering to needs and interests has proven an e ective method for recruitment and UCM chapter president Jenae Maley won grant funding for a “traveling ukuleles” project that offered members welcome retention. Since Maley joined relief from the grind of books and rehearsals. the chapter as a freshman, it has THE 2019 grown from an estimated 30 NAfME students to more than 70. Her COLLEGIATE Recruitment: recruitment approach was to ADVOCACY deploy the kitchen-sink SUMMIT Upgraded method: “I thought, ‘Let’s just Thinking of participat- A NAfME Collegiate chapter in Missouri earns ing in the 2019 NAfME throw everything at the wall, Collegiate Advocacy an award for their recruitment strategies. Summit? NAfME and see what sticks.’” She Professional Develop- TAKING INITIATIVE is but one at the chance to incorporate oversaw the development and ment and Collegiate Programs Manager step toward engaging in “traveling ukuleles.” launch of her chapter’s website, JJ Norman sums up the importance of meaningful, e ective leadership. “I had never really heard of which allowed the chapter to attending this NAfME Collegiate Chapter anybody who had done that email incoming university action-driven event in a few words: President at the University of before,” says Maley, who students directly. When “The Collegiate Advocacy Summit is a Central Missouri (UCM) in conducted brief but rewarding students arrived on campus, place where 125 Warrensburg, Jenae Maley research, learning about a members pulled out all the future music educators from across the earned the 2018 Professional woman who’d travel from one retain-and-recruit stops. Like country come together Achievement Award and has local bar to another, teaching any savvy full-service market- to advocate for the future of music been part of a winning strategy simple chords and progres- ing agency, they succeeded in education. There is power and passion that earned her chapter the sions. “I thought, ‘That would branding their chapter and that these collegiate 2018 Chapter of Excellence be so fun,’ because even a growing its awareness. A students bring when telling their personal Award for Recruitment. Her second- or rst-grader can play sprawling “Welcome Back!” stories: ‘This is how music has changed my particular brand of leadership is the ukulele. And college kids banner and recruitment life and, therefore, I am part military recruitment, part would really like it because the meetings lit up dormitory dedicating my career, and all of my efforts millennial marketing. ukulele is such a ‘thing’ right common areas while “door moving forward, to advancing the ﬁ eld of In four short years, the now.” She went to work decs” splashed across hallways. music education so my undergraduate senior and writing up a grant proposal for On the classroom front, students can have similar opportunities.’ vocalist has helped create an which she received matching members deployed an equally The opportunity to put a face with a name for exciting and attractive funds from the student e ective recruitment e ort. our legislators is what environment for both mem- organization and the music “We designated ensemble makes all the difference when pushing bers and prospectives, one department. “We purchased reps,” says Maley. “So we had our policy agenda forward.” launch at a time. After 20 ukuleles, and we’ve been one person in every ensemble The 2019 Summit learning that UCM o ers rockin’ and rollin’ ever since.” who would make an an- takes place June 17–19 at the Washington grant funding for student The secret of Maley’s nouncement before the next Hilton in Washington, outreach programs that serve success is choosing initiatives meeting and really try to reach D.C. For more information, visit

the community, Maley jumped that generate excitement out to people.” cas.nafme.org. Alicia Brown. Photo by

10 Teaching Music APRIL 2019 THE HARTT SCHOOL SUMMERTERM 2019

EXCITING NEW WORKSHOPS FOR 2019 Movement-Based Active Learning SESSIONS 4–5 JULY 22–AUG. 2 3 CREDIT, FULL-DAY WORKSHOPS through Orff Schulwerk: A Process THE HARTT KODÁLY Developed by Phyllis Weikart Connecticut Arts Institute CERTIFICATION PROGRAM Penny Mahoney Dee Hansen John Feierabend, Edward Bolkovac, Making Music with Adolescent Boys Flute, Clarinet, and Connie Greenwood, Jeff Rhone, and their Changing Voices Saxophone Refresher Gabor Viragh Patrick Freer Andrew Studenski

2 credits, half-day, 8 a.m.–noon Teaching Improvisation THE FEIERABEND ASSOCIATION to People of all Ages Double Reeds Refresher FOR MUSIC EDUCATION (FAME) Javon Jackson Scott Switzer First Steps in Music® The Alexander Technique for 2 credits, half-day, 1–5 p.m. Connie Greenwood Performing Artists and Teachers 2 credits, Half-day, Annmarie Davis Conversational Solfege™ Beginning Is Your Method Book Working? SESSION 3 JULY 15–19 John Feierabend 8:30 a.m.–4:30 p.m. A New Approach to Instrumental Literacy Conversational Solfege™ Advanced 2 credits, Half-day, Nate Strick Guitar Basics for the Music Teacher John Feierabend Christopher Ladd The Alexander Technique for SESSION 5 JULY 29–AUG. 2 SESSION 1 JULY 1–5 Performing Artists and Teachers 8:30 a.m.–4:30 p.m. (no classes July 4) —NEW, Annmarie Davis 8 a.m.–5 p.m. 2 credits, half-day, 8 a.m.–noon Instrumental Conducting Clinic Glen Adsit and Edward Cumming Blending Pedagogy: Incorporating General Music Methods Is Your Method Book Working? SESSION 4 JULY 22–26 in Children’s Choir A New Approach to Instrumental 8:30 a.m.–4:30 p.m. Vanessa Bond— Literacy—NEW 2 credits, half-day, 12–5 p.m. Rehearsal Techniques and Nate Strick Score Preparation 2 credits, half-day, 8 a.m.–noon Hartt School Guitar Festival Glen Adsit and Edward Cumming Christopher Ladd, Richard Provost, Band Instrument Maintenance Scott Tennant Cello Technique Refresher Glen Grigel Carlynn Savot Percussion Know-How Diverse Learners in the 2 credits, half-day, 1–5 p.m. for the Music Educator Music Classroom Ben Toth Best Practices in Heather Wagner Upper Strings Teaching Teaching Improvisation to Low Brass Refresher Winifred Crock People of all Ages— Haim Avitsur NEW 2 credits, half-day, 8 a.m.–noon Javon Jackson 2 credits, half-day, 1–5 p.m. School String Fleet Maintenance High Brass Refresher Glen Grigel Phil Snedecor SESSION 2 JULY 8–12 Technologies for the 2 credits, half-day, 8 a.m.–noon 8:30 a.m.–4:30 p.m. Music Classroom Around the World in Song and Dance Connecticut Arts Institute—NEW Miriam Schreiber Lillie Feierabend Dee Hansen and Leslie Cohen July 8–11, 9 a.m.–3 p.m. K–12 Choral Music Teaching Making Music with Edward Bolkovac and Julie Hagen Guitar Basics for the Music Teacher Adolescent Boys Christopher Ladd and their Changing Voices—NEW Piano Tuning I & II Patrick Freer SUMMERS ONLY Kenneth Lawhorn MASTER OF MUSIC EDUCATION

A General Music Ukulele Curriculum Earn your MMusEd during the summer. Ken Trapp Choose an emphasis in Pedagogy or Kodály and complete 37–42 credits in just three summers!

hartford.edu/hartt/summerterm

Warren Haston PhD, Director, Hartt Summerterm [email protected] 860.768.5526 Advocacy ✢ BY LISA FERBER

New York delegates in the Hart Senate Ofﬁ ce Building Act, and reauthorization of the We want to Higher Education Act. Swain make legislators adds, “I think there is a very aware of the good chance the Higher importance of Education Act might be music education. reauthorized this year. Ultimately, we want to make legislators aware of the importance of music education. We have a slew of new legislators who might not be familiar with why music and arts education are important to educating the whole child.” NAfME AND Last year’s event featured a THE HIGHER Looking Ahead morning rally on Capitol Hill EDUCATION and, in 2017, NAfME leaders ACT RE UP to Hill Day 2019! held a sing-along next to the The Higher Education By advocating at the federal level, NAfME Act (HEA), signed in Russell Senate O ce Building 1965 by President leaders support music programs nationwide. Lyndon Johnson and across from the Capitol. In 2018, reauthorized nine times THE ART OF ADVOCATING for Swain, a NAfME public NAfME met with more than since, is the federal law that strengthens music education is a learned policy advisor, Hill Day is 300 legislative o ces during education resources for colleges and universi- one. Each year, NAfME preceded by an orientation to Hill Day. These meetings ties. It is the origin of welcomes a group of excep- review logistics, meeting tips, produced results, with dozens student aid such as Pell Grants and the Federal tional college students, state and featured public policy of representatives signing on Perkins Loan Program, Music Education Association requests. “There are some as well as teacher as cosponsors of the GAAME preparation grants to (MEA) o cers, and NAfME advocates doing this for the Act and a GAAME Act institutions of higher learning. Because of division leaders to Washington, rst time who might be companion bill being intro- NAfME advocacy D.C., for Hill Day, which will nervous, so we go through duced in the Senate. efforts, music and the arts were declared part be held in 2019 on Wednesday, what a Hill meeting might After their visits this of a “well-rounded education” under ESSA. June 19. The main goal of the look like and what might be coming June, attendees will NAfME now seeks to event is to advocate for asked of them. They also learn enjoy a Hill Day reception and align HEA language with this new ESSA congressional support of music how to navigate the local dinner during which NAfME content by helping all those involved in federal education policies. Metro [subway] system to get Collegiate awards will be recognize that grants Some 300 delegates are to and from Capitol Hill.” presented. The winner of the and, under certain conditions, loan expected this year, including Participants at this annual Excellence in Advocacy forgiveness should be available to music and 125 student leaders from event visit congressional Award, which recognizes one arts teachers as well as across the country. The e ort o ces to promote the most state MEA for outstanding those educators in the sciences, te chnology, seeks to encourage members important items on the accomplishments in advocacy, math, and engineering. We need more of Congress to support and NAfME legislative agenda. will also be revealed. In “well-rounded prioritize education policies This year, focus will be on addition, a number of state teachers”—and that includes music and funding that foster music opportunities for federal MEAs will receive state educators—who can make a difference in and arts study nationwide. support of music education advocacy grants from the their communities. Those who attend describe created under the Every Student Country Music Association To learn more about NAfME advocacy how moving it is to meet with Succeeds Act (ESSA), the Foundation to support music activities, visit congressional decisionmakers. Guarantee Access to Arts and education advocacy at the nafme.org/advocacy/, or contact Tooshar Swain

According to Tooshar Music Education (GAAME) state level. at [email protected]. / ashleewilcoxphotography.com. Photography Ashlee Wilcox Photo by

12 Teaching Music APRIL 2019 Research ✢ BY SUSAN POLINIAK

Both groups of students gained improved social skills. played a few musical games Both students and performed some dances. with and without Partners were instructed to disabilities gain help each other and work improved social together throughout all skills and partner and small-group understanding activities—there were even from working instances of the students with together. disabilities helping typically- developing students start and stop on-cue during instrument activities.” Both groups of students bene tted. For those music educators The Benefi ts of who would like to implement peer-assisted learning among Interaction their own students, the Update AIDING Students with and without disabilities STUDENTS BY benefi t from working together. article “describes how to AVOIDING introduce to children the LABELS A LARGE MAJORITY of students Judith Jellison, the Mary concepts of working together Music educators can with disabilities are now in D. Bold Regents professor and helping each; establishing perhaps best serve all of their students by regular classes, including in music and human learning rules and routines are necessary focusing on the individual, and not on the regular music classes with at the University of Texas components to structuring peer characteristics implied typically developing peers; at Austin. interaction activities where all by a label—for instance, those labels attached to both groups can bene t from The authors undertook a students can be successful,” students with disabilities. “We humans naturally interacting with each other. study that focused on peer note the authors. “The article tend to put things into “Research shows that social interactions among students also describes how to plan and categories, but children who share the same interactions are necessary for with disabilities and those who choose peer interaction categorical label that we overall cognitive development are typically-developing. activities and vary the length of defi ne (e.g., intellectual disability) are each and that communication “Participants included 36 activities so that all children in unique,” note Draper, Brown, and Jellison. among peers is a way for students in two sections of small groups and partners can “There is a danger of children to acquire skills and rst-grade inclusive general be successful. Teachers will missing unique qualities and characteristics of a knowledge valued by a culture. music classes. Of the 36, six nd that the interventions child when we focus on labels fi rst. Special Early, positive interactions are students (all male) had severe described in this article will be education labels are the best way for typically- disabilities,” note the authors. easy and quick to implement. required for children to receive services under developing students to develop “The preintervention activities Because of our individual and the Individuals with Disabilities Education positive attitudes about people were primarily singing and collective interests, this study Act (IDEA), but beyond with disabilities over time,” playing classroom instruments, was based on many of the ideas that, curricular and instructional decisions say the authors of an article such as xylophones and small and values found in a book by are best made by focusing on the needs of recently published in Update: percussion, to prepare for the one of our authors, Including an individual child. Many Applications of Research in Music students’ upcoming play. The Everyone: Creating Music children will display strengths in music that Education: Ellary Draper, activities during the interven- Classrooms Where All Children they may not display in other settings, and those assistant professor at the tions included traditional Learn by Judith Jellison, and strengths will vary with University of Alabama in music activities such as ideas about peer-assisted each child. Look beyond labels to see children’s Tuscaloosa; Laura Brown, singing, reading rhythm learning that we have published unique abilities in music assistant professor at Ohio patterns, and playing classroom in the Music Educators Journal that may not be demonstrated in other

University in Athens; and instruments. The students also and General Music Today.” educational settings.” Experiences for Students with Severe Positive Fostering Strategies: S. Brown, and Judith A. Jellison. “Peer-Interaction Ellary A., Laura Source: Draper, Photo from iStock.com/ FatCamera. in Music Education (January 2019). doi:10.1177/8755123318820401. (See doi.org/10.1177/8755123318820401 ). Update: Applications of Research Music Classes.” Disabilities in Inclusive

14 Teaching Music APRIL 2019 ✢ André Sirois Technology BY STEPHANIE JONES believes that an interdisciplinary teaching approach can be a gateway for students to deep-dive into the roots of “I Can’t Live the lineage. Without My Playlist” An Interdisciplinary Approach to Teaching Hip Hop and Technology

DECADES AGO, hip hop culture intro- the technology creators that set this duced an inextricable link between whole thing in motion. Now what music and technology, and shifted the people use to create music is basically trajectory of live and recorded music the concepts of what the hip hop going forward. “Hip hop comes out of generation created.” the exploration of technology,” says William E. Smith, assistant professor in “So Wat Cha Sayin’” the Music Technology Program within In 2019, those concepts include the very the Department of Fine and Performing recent move from software installation Arts at Bowie State University in to software as a service (SaaS), which Maryland. In recent years, this practi- allows for greater inclusion and tioner, producer, and NAfME member autonomy among burgeoning has witnessed another shift—basement beat-makers. Apps such as Incredibox as instructor and multimedia supervisor setups and mixtapes giving way to and Chrome Music Lab, and other in the Department of Cinema Studies at SoundCloud streams and playlists—but online programs such as Little Kids the University of Oregon in Eugene, maintains that the relationships among Rock and Grid Club, o er screen-age plans to integrate a new player into his the music and the technology, as well as students a creative way to start produc- production software plugin suite. “I its origins, remain unchanged. ing unique sounds inspired by music have not gotten to teach a class in “A lot of the youth that created hip from their favorite artists. sample-based music, or where my hop didn’t have access to the music Older students who have access to students are hands-on making beats department, music programs, instru- more advanced programs, such as yet,” says the DJ and NAfME member, ments. They took what they had, which Reason and ProTools, are beneting “but I’m leaning towards Serato were the records and the sound system, from the digital beat-making revolu- Sample, which is a plugin for Logic or and they invented things. They were tion, as well. André Sirois, who serves any DAW.”

André Sirois “The Bridge Wars” poses with hero Jazzy Jeff to Sirois’s core philosophy emphasizes the show off some value of students beginning their hardware. interdisciplinary studies on hardware versus software—records and instruments before apps and plugins—but he believes that the ensuing transition into digital production is relatively seamless: “You can make that digital bridge super-easy to a DJ controller or to some software plugin where you’re just downloading sound packs.” According to Smith, cloud-based

technology and digital production also DJ Zimmie. Photo bottom by Joshua Rainey. Photo top by

16 Teaching Music APRIL 2019 RESOURCES FOR MUSIC EDUCATORS Check out Columbia College Chicago’s “Rap and Hip Hop Resources” at bit.ly/RapHipHopResources. The Ohio State University Library’s “Hip Hop Culture: A Guide to Hip Hop Culture Resources” lists numerous database sources at bit.ly/HipHopResources. Per music educator Noah Karvelis, #HipHopMusicEd is an oft-visited hashtag, as is #HipHopEd, which includes a wide range of hip hop topics on Twitter and other social media relevant to music education. The following articles and others can be found in Music Educators Journal, which is free online to NAfME members at nafme.org. • Noah Karvelis, “Idea Bank: Reapproaching Hip-Hop” (vol. 102, no. 3, pgs. 13–14) • Adam Kruse, “Featherless Dinosaurs and the Hip-Hop Simulacrum: Reconsidering Hip-Hop’s Appropriateness for the Music Classroom,” (vol. 102, no. 4, pgs. 13–31) • Noah Karvelis, “Race, Gender, and Rhymes: Hip-Hop as Critical Pedagogy” (vol. 104, no. 1, pgs. 46–50)

students may benet from focusing beat-making techniques will be solely on sounds. Apps and beat-makers motivated enough by the possibilities to present young students with what Smith seek out the roots of the music—get considers the “tactile experience of inside the hardware and equip them- music,” rather than hipping them to the selves with knowledge of the lineage. music-technology relationship as part of “Digital technology presents us with a pervasive hip hop culture. “They learn great democratization,” says Sirois. it’s not just sound out in the air,” he “Anybody with a computer has a says, “it’s produced by people, and you chance. For younger kids, you can’t just can be one of those people.” put them in front of a record and say, But the tactile fascination—and ‘Sample that.’ But they do understand skillset—seems only to evolve as screens. They learn software and apps has ushered in a new era of collabora- students mature. Smith’s students, who really quickly, so just put them on any tion for hip hop—a tradition that produce high-level music with such beat-making app. Get them hooked historically has embraced that approach. cutting-edge resources as with the concepts: ‘This is “There are now di erent websites Logic Pro, ProTools and what you can do with where people can collaborate from Reason, are working technology; this is what totally di erent locations,” he says. “So toward gainful employ- sequencing is; this is how you have all these di erent people ment as beat-makers, you build a song; this is creating music [together] that aren’t producers, artists, and how you program drums.’ even in the same studio. And you have studio engineers. “I’m Once you get them the proliferation of independent teaching them how to get a hooked, put them in front distribution sites like SoundCloud. job using the software of the hardware so they [With] CD Baby, you can create your that’s out there,” he says. Smith grew up during a have a sense of how the app time when young people own page—but SoundCloud is this “The apps they use, were mixing technology is a mimic of that process.” with music, helping to curated spot where people are listening GarageBand for example, create an entire culture While cloud technology to you, and artists are actually getting would be for coming up that resonates today. arguably has ensured more deals by being on SoundCloud, just like with a musical idea, but a professional equitable access to music creation and they were by being on YouTube.” producer would esh out that idea on production, many students of lower The impact of these online distribu- more advanced programs like Logic socioeconomic status (SES) or from tion services is resonating. One of Pro and ProTools.” lower-income districts are left out of Smith’s students who interns at the game simply because they have Universal revealed the major label “Don’t Believe the Hype” fewer opportunities to adopt new recently signed an artist based primarily Even with the real-world, career- technology. “That’s the challenge,” on SoundCloud content. enhancing impact of integrating apps says Smith, o ering a nal note for and streaming services, Sirois considers consideration: “Schools need to have “Ain’t No Half-Steppin’” the interdisciplinary approach a the resources to make these [programs] But before they plunge headphones-rst gateway strategy. He hopes students available and show their students

Photo courtesy of William E. Smith. into the online distribution game, experimenting with cloud-based what’s possible.”

nafme.org 17 Discoveries ✢ BY JASON P. BARR Music educators can use a jazz band's warm-up time to sneak in valuable instruction on fundamentals.

A Jazz Ensemble Warm-Up

Infor a few Inexperienced minutes each rehearsal, yourPlayers students can master some jazz fundamentals in a fun and interactive way.

JASON P. BARR is an assistant I’ve been teaching jazz at Glenville professor of music at Glenville State College for ve years. This State College in Glenville, West institution is in the center of West Virginia. He can be contacted at Virginia, about three hours south of [email protected]. Pittsburgh. Because the school is style, and certainly not improvisation situated in the heart of Appalachia, its instruction! So, how can we as instruc- JAZZ ENSEMBLE DIRECTORS devote so student population is re ective of the tors sneak in some quick fundamentals much time to preparing for perfor- surrounding area of Gilmer County. and techniques to help improve the mances that in-depth learning about Pell Grant recipients—an indicator of overall performing and learning style, interpretation, and improvisation the percentage of low-income students outcomes for our students? Collegiate is sometimes overlooked. Reinforcing at a postsecondary institution—make up jazz bands are often restricted to techniques that are fundamental to 70 percent of the student population minimal rehearsal times during the various jazz styles is, like scales and (compared to the national average of 38 week, and concert preparation almost arpeggios, a necessary routine that percent). Most of our students come always wins out over basic pedagogy. belongs in every jazz band rehearsal. from very small, rural band programs I have found that consistently using Attention to fundamentals is especially with high director turnover. These the rst ve or 10 minutes of rehearsal important in small music departments schools are often lucky to have enough to teach jazz fundamentals is most where many students may be participat- students with functional instruments to e e c t i v e . ing in a jazz ensemble for the rst time. perform “The Star-Spangled Banner” at I start by passing out a very basic In this article, I o er a simple football games. In these music pro- blues scale pattern that serves as an warm-up exercise designed to intro- grams, jazz instruction is a luxury. introduction (see Figure 1). I use this duce, enhance, and reinforce the Consequently, our course Music 13 simple pattern not only as a means of fundamentals of jazz style in a way that (Jazz Band) is often the rst jazz introducing students to the scale itself, is approachable to students and involves instruction my undergraduate music but also as a catalyst for explaining minimal time during rehearsal. While majors experience. Nothing can be swing style. Your students should this exercise was created to serve as a assumed—not “do-dahts,” not swing understand that the default setting for means of introducing students with no jazz experience to concepts such as FIGURE 1 swing style, articulation, interpretation, and improvisation, it can also be used and expanded upon to reinforce these concepts in ensembles comprised of

more experienced players. Dustin Crutchfield. Photos by

18 Teaching Music APRIL 2019 musical dialogue—the very heart of improvisation—is nurtured. This exercise lasts four weeks before I ask each section to solo. All ve saxophones, four trumpets, etc., blow to the same blues changes, one section at a time instead of the entire band. After four weeks of soloing within the students’ own sections, each rehearsal starts with ve to 10 minutes of 12-bar blues from the rhythm section with a “dealer’s choice” of soloists at around the 12th week. (I chunk this into four-week pieces because, at my institution, we rehearse once a week. The amount of time spent singing, improvising as a huge group, etc., can be altered to t individual rehearsal swing articulation should be legato, the lingo!), I then have the rhythm schedules.) It is usually at about this with a slight accent on the o beat. If section play two more choruses. The point in the semester that we have the this is not addressed, you’ll end up with entire band—at the same time—is then last rehearsals before the semester very choppy-sounding eighths that don’t encouraged to scat a solo over the last concert. It is also at this point that swing at all—what I call “middle school two choruses. In my experience, having students begin asking whether they swing.” The pattern in Figure 1 can the students vocalize a solo engages can solo on “Night Train,” “Things help to reinforce what swing should them more in the creative aspect of Ain’t What They Used to Be,” “Blues sound like. Additionally, since this is a improvisation (which is fun) rather than in the Night”—whatever 12-bar blues unison pattern, emphasis should be the technical aspects, such as following tune I pulled at the beginning of the placed on which player the students chord changes (which can be intimidat- semester, thus putting preparation should listen to. In situations such as ing). Since the entire class is scatting, it into practice. this—where everybody is playing the is also more encouraging for your In addition, any number of funda- same thing—all ears should be on the students who are less outgoing and mental techniques can be taught in this lead trumpet. As the students get might be willing to learn about manner. I have used this warm-up to comfortable with this warm-up, have improvisation, but not in front of teach ii–V–I patterns, modes, and your lead trumpet player experiment everybody. pentatonic scales. The important part of slightly with di erent interpretations of As the semester continues, this your planning requires putting tunes in this lick to test how tight your band is. warm-up is altered slightly. After four your jazz bands’ folders so they can I then follow up with the rhythm weeks of scatting, the band is able to apply what they have been learning. If section playing a very simple 12-bar improvise solos with the same 12-bar you are teaching modes, play “Maiden blues. The rst time around the blues changes, but each on their own Voyage” that semester. If you would like changes, I have the students listen to just instrument—and, again, all at the same to teach rhythm changes during your the progression as the rhythm section time. Not only does this allow students warm up, pass out “Cottontail” as well. goes around. The second time around, I to jump the ever-present “fear of While you might not be able to teach a have them sing as a group—typically on making up my own solo” hurdle, as 45-minute master class in jazz during “doo” or “la”—the root of each chord they can create their own ideas without every rehearsal, ve or ten minutes in as it is played, After explaining what is being the center of musical attention, each can ultimately result in a sizeable meant by “chorus” (or “head,” “ride,” but this exercise also creates a very improvement in your group’s knowl- etc.—this is a great opportunity to teach social learning environment where edge of the fundamentals.

nafme.org 19 Lectern ✢ BY JOHNATHAN M. H AMIEL

Including the Music of Your Students in Your Curriculum Every child has a song to sing. Is your bias silencing your classroom?

tunity to expose students to rich and ences more inviting and welcoming of JOHNATHAN M. HAMIEL enlightening music with cultural and all genres of music and all people. is the multicultural awareness educational substance. In high school, While teaching elementary school, I chair of the North Carolina Music Educators Association, I played classic band literature; I observed the motivation and excitement and the director of bands at enjoyed and respected that music, but I that all of the students possessed during R. J. Reynolds High School in wanted more. I was eager to perform music class. Now, as I teach high Winston-Salem, North Carolina. He can be music by artists who had a background school, I see those once-excited contacted at [email protected]. similar to mine (I am an African students not enrolled or even interested American male who was raised in a in something that used to bring them so BEING ABLE TO IDENTIFY and perform rural town). Many times, I wanted to much joy. I’m aware that this situation songs that are present in your students’ study the music with which I was may be the result of the demographics communities means that you, the music raised—the music my parents, family, and socioeconomic status of students in teacher, need to familiarize yourself with and community listened to. Since early dierent schools, but I cannot help but the cultures of your students. Who are in my career, I have noticed that, as wonder what happened to all of the your students’ friends and families? Who music educators, we all have prefer- passion and joy of my younger students. are the individuals whom your students ences as to the music we most enjoy What experiences did they go through admire? What music are these people listening to. Our job as professionals is from kindergarten to high school that listening to? The bene ts of a culturally to notice our preferences and step changed their outlook on music, and diverse music education are greater than outside our comfort zones to learn how can we help to change it back? we may know. Your classroom can oer about the diverse musical genres and I used to struggle with teaching Irish your students windows on styles of others’ cultures. In music in my classroom. It was simply a many worlds and greater addition, we need to be style of music that did not appeal to me at enjoyment of their own aware of the fact that the time. It wasn’t until a coworker cultural treasures every student has a suggested that I use it as an example to as well. story to tell and a help teach students about the 6/8 time I do my best to point of view that signature and simple duple meter by make every musical could help to make allowing them to hear, see, and practice experience in every our classrooms, some of what Irish music oered that I

classroom an oppor- meetings, and confer- began to appreciate the style. Implement- istock.com/123foto, istock.com/Wavebreakmedia. Photos from left by

20 Teaching Music APRIL 2019 “I believe it is my responsibility to retain in the music program every child with whom I come in contact.” —Johnathan M. Hamiel uphold the ideals of multiculturalism or pluralism. That is, it may not support equal legal, educational and economic opportunity for all groups. For example, although South Africa is culturally diverse, it is seldom considered a “multicultural” society. Pratte (1979) argues that the designation “multicultural” is only applicable to a society that meets three criteria: (1) cultural diversity, in the form of a number of groups—be they political, racial, ethnic, religious, economic, or age—is exhibited in a society; (2) the coexisting groups approximate equal political, economic and educational opportunity; and (3) there is a behavioral commitment to the values of CP [Cultural Pluralism] as a basis for a viable system of social organization. (p. 141) To earn the designation “multicultural,” then, a ing my colleague’s suggestion helped simply: “Am I really being as authentic society must evidence a shared belief strengthen my students’ uidity and and genuine as possible while giving in freedom of association, competing musical competency. My classroom these dierent cultures the respect and ways of life, and the preservation of became more culturally diverse. Relating care they deserve?” di erences ... (p. 14) duple meter to something as common as The following quote is an excerpt As a music educator, one of the most marching or walking allowed the from David J. Elliott’s article “Key detrimental things I hear students say is students to internalize the beat of music Concepts in Multicultural Music that he or she loves music but hates using these meters/time signatures. As I Education,” published in music class. Have we done viewed the joy that the students experi- the May 1989 International these students a disservice enced when we performed Irish music, I Journal of Music Educa- by not accepting their came to the realization that I was the one tion. It may give a music as art forms who was holding us back! I had to learn better understanding worthy of study? to embrace a style of music not in my of what to look for Rejecting your comfort zone—an art form that was not when addressing students’ music, to a preference of mine. Now, anytime I multicultural issues them, can mean not approach a unit of teaching 6/8 time and and awareness. accepting them, their simple duple meter, I always use Irish As a descriptive term, family history, or the music to enhance the lesson. “multicultural” refers to the culture and community of I believe it is my responsibility to coexistence of unlike groups in a which they are a part. I challenge you retain in the music program every child common social system (Pratte, 1979, p. to re ect on the practices that you use with whom I come in contact, and to 6). In this sense, “multicultural” means and to ask yourself whether they make every single kid feel as welcome “culturally diverse.” But the term welcome and include each of your and involved as possible in my class- “multicultural” is also used in an students in all of the demographic areas room. By the way, I’m not referring to evaluative sense. It connotes a social that your school serves. Are the art forms the clichéd performances of a spiritual ideal: a policy of support for exchange they cherish authentic to the culture rep- during Black History Month, “Danny among di erent groups of people to resented? Is there evidence of cultural Boy” for St. Patrick’s Day, “La cucara- enrich all while respecting and preserving pluralism and dierent musical points of cha” during Cinco de Mayo, and Jewish the integrity of each. Thus a country can view? I challenge you to listen to the songs at Hanukkah. The question is be culturally diverse, but it may not ideas and the musics of your students!

nafme.org 21 Want to bring jazz into your classroom, but don’t know where to begin? Here’s a crash course on a sampling of the major eras and players, and how to introduce your students to this wonderful world. BY PETER J. PERRY

22 Teaching Music APRIL 2019 Jazz is America’s classical music. In April, we celebrate Jazz Appreciation Month, focusing on jazz education in our schools. With this said, Scott Joplin if you have limited or no experience with jazz, or know little about teaching it, you might not know where to begin in terms of introducing it into your classroom or curriculum. If you want to bring America’s music to your students, the information below can be a good starting point.

JAZZ CONTEXT AND HISTORY The origins of jazz are in post–Civil to form and bring together brass band, saxophones, trumpets, trombones, and War New Orleans, Louisiana. Many ragtime, and the blues to form a new rhythm (guitar, piano, bass, drums). types of music in uenced what would type of music, Dixieland, of which two The rhythmic feel changed as well: become jazz. The strong Western styles emerged: the earlier New Orleans Rather than the two-beat feel of musical traditions brought to the style and a later Chicago style. Both Dixieland, a four-beat feel was United States by the European settlers used polyphonic, collective improvisa- employed with emphasis on beats two were well-established (New Orleans tion performed over a two-beat feel. and four (usually with the hi-hat from housed one of the rst opera houses in The New Orleans style used a banjo the drums) and a walking bass line. the country, two symphony orchestras, and a tuba. Initially, a drum section While solo improvisation was an and several military bands); the city’s comprised of snare, cymbals, and bass important part of this music, the location as a port city on the Mississippi (as in a brass band) was used, but was written arrangements positioned these made it a natural place for people to later consolidated into a drumset. The solos within the compositional congregate, and to import and export Chicago style replaced the banjo and structure. Contrasting tutti (termed culture. Slavery brought the in uence tuba with a guitar and bass; together “shout”) sections and soli sections of African music to the country; once with the drum set, this was the begin- were used as well as repeated rhythmic it was abolished, the classically-trained nings of the traditional rhythm section. gures called ri s. Duke Ellington Creole musicians of New Orleans A Chicago style added the saxophone (piano/composer), Count Basie began to perform with the descendants as a melody instrument. Musicians (piano/bandleader), Glenn Miller of enslaved people, who brought their such as Louis Armstrong (trumpet), (trombone/bandleader), and Benny own soulful songs and syncopated Bix Beiderbecke (cornet), Jelly Roll Goodman (clarinet/bandleader) are rhythms. This combination began to Morton (piano/composer), and important names in this movement— impact and in uence the more classi- Fletcher Henderson (piano/bandleader) as is Mary Lou Williams (pianist/ cally-trained musicians. At the turn of pioneered this music. composer/arranger), the self-taught the 19th century, ragtime—made Moving further into the 20th First Lady of the Keyboard whose career popular by pianists such as Scott century, swing or big band grew out lasted through multiple eras of jazz. Joplin—was an initial melding of these of the combo-style ensembles of In the 1940s and 1950s, new forms traditions, using written music but Dixieland. The instrumentation of jazz developed, this time on opposite

Illustration designed by freepik.com. freepik.com. designed by Illustration highlighting syncopated rhythms. consisted of larger sections (reminis- coasts of the country. In New York Small instrumental ensembles began cent of brass and wind bands)— City, bebop returned the focus to

nafme.org 23 smaller ensemble and improvisation, JAZZ RESOURCES FOR MUSIC EDUCATORS • NAfME has a number of free resources about jazz, including how to teach rather than on complex big band it and why. Visit bit.ly/NAfMEJazzArticles. arrangements. While big band was • The members of the NAfME Council for Jazz Education can be contacted by email. meant for dancing, bebop was meant See bit.ly/CouncilforJazzEducation. • Check out the Jazz Academy videos from Jazz at Lincoln Center at for listening, and was performed in bit.ly/JALCExploringJazz. small club settings. The tempos were • NAfME copublisher Rowman & Littlefield has a wide selection of books for quicker and the music contained sale on jazz and jazz education. See bit.ly/NAfMERLEJazzBooks. • Visit s.si.edu/2DU5Gaa to see what the Smithsonian Institution offers in the complex melodies, harmonies, and way of jazz history, images, and other resources. rhythms. There was a heavier reliance • The U.S. Library of Congress maintains the National Jukebox, which includes numerous recordings in many genres, including jazz. Learn more at on and use of dissonance, and the loc.gov/jukebox. drummer was more interactive with the • Do you have students who excel at jazz performance? Encourage them to soloists. Dizzy Gillespie (trumpet), apply for the NAfME All-National Honor Jazz Ensemble. Information is available at nafme.org/ANHE. Questions can be directed to [email protected]. Charlie Parker (alto saxophone),

Duke Ellington of Congress. Gottlieb/Library William P. Photos by

24 Teaching Music APRIL 2019 Dizzy Gillespie

Thelonious Monk (piano/composer), Bud Powell (piano), Max Roach “We can show [students] the overlaps and the (drums), Dexter Gordon (tenor saxophone), and J.J. Johnson (trombone) links between jazz and the music they listen to, spearheaded bebop. In Los Angeles, providing them with a tangible connection to where cool jazz took shape. Musicians such as their music has come from.” —James Moore Miles Davis (trumpet), Dave Brubeck (piano/composer), Paul Desmond (alto saxophone), Chet Baker (trumpet/ Benny Goodman vocals), Gerry Mulligan (baritone saxophone/composer), and Stan Getz (tenor saxophone) wrote and performed music that was softer and lighter. The solo improvisations were shorter, melodies and rhythms where simpler, modal harmonies were explored. Composers such as Gil Evans wrote intricate arrangements using classical instruments including the ute, French horn, and bass clarinet. In the middle of the 20th century, bebop in uenced the creation of hard Louis Armstrong

Photos by William P. Gottlieb/Library of Congress. Gottlieb/Library William P. Photos by bop, which was populated by musicians

nafme.org 25 SUGGESTIONS FOR LISTENING AND LEARNING RAGTIME Scott Joplin—Scott Joplin: The Complete Rags, Waltzes and Marches (Joshua Rifkin) • “The Entertainer” • “Maple Leaf Rag” DIXIELAND Louis Armstrong • “Muskrat Ramble” (1926) • “St. James Infirmary” (1928) • “Stardust” (1931) BIG BAND Duke Ellington • “It Don’t Mean a Thing (If It Ain’t Got That Swing)” • “Caravan” • “In a Sentimental Mood” • “Take the ‘A’ Train” Count Basie • “Jumpin’ at the Woodside” Thelonious Monk • “April in Paris” • “Moten Swing” such as John Coltrane (saxophones), creased further with fusion jazz during BEBOP Charlie Parker Cli ord Brown (trumpet), Sonny the 1970s, with its heavy use of • “Ornithology” Rollins (tenor saxophone), and Charles instruments such as synthesizers, • “Yardbird Suite” Mingus (string bass). Hard bop electric organs, electric guitar, and • “Now’s the Time” consisted of smaller ensembles made up electric bass, and an emphasis on studio COOL JAZZ of tenor sax, trumpet, piano, bass, and recording techniques and e ects. The Miles Davis—Kind of Blue • “So What” drums. The melodies were simpler and forms moved to straight-eighth rock • “All Blues” tempos generally slower than in bebop, feels; harmonies were more modal, and • “Freddie Freeloader” and it featured an extensive use of both bass lines were repetitive. Miles Davis HARD BOP blues and gospel music. It also brought experimented with this style, as did John Coltrane—Giant Steps • “Giant Steps” in “non-swung” music forms such as Herbie Hancock (piano), and Chick • “Naima” Latin and funk. Corea (piano). • “Mr. P.C.” The free jazz movement of the 1960s No single, dominant stylistic trend FREE JAZZ used open and free forms, where pieces emerged in the 1980s and 1990s. Ornette Coleman—The Shape were sometimes completely improvised. Eclecticism or main stream jazz has of Jazz to Come • “Lonely Woman” There were few predetermined harmo- been described as a continuation of • “Peace” nies, a heavy use of dissonance, and previous styles and movements. There FUSION JAZZ experimentation with new textures and were some notable aspects within this Herbie Hancock— colors, such as having instruments style, such as a return to older jazz The Essential Herbie Hancock • “Watermelon Man” produce squeaks and screams. There was traditions, continued interest in • “Cantaloupe Island” also an interest in visual e ects, as well electronic music techniques, and • “Maiden Voyage” as non-Western musical models and renewed use of arranged compositions. ECLECTICISM electronic music. Major names in this Wynton Marsalis (trumpet), Pat Wynton Marsalis—Blood on the Fields movement include Ornette Coleman Metheny (guitar), and Cassandra • “Work Song (Blood on the Fields)” • “Soul for Sale” (alto saxophone/composer), Cecil Taylor Wilson (voice), are all representative (piano/composer), Sun Ra (keyboards/ of this type of jazz. band leader), and Don Cherry (trumpet). Currently, this trend continues. As

Interest in electronic music in- Todd Stoll, vice president of education of Congress. Gottlieb/Library William P. Photos by

26 Teaching Music APRIL 2019 Charlie Parker Mary Lou Williams

at Jazz at Lincoln Center in New York standard repertoire and listening to City, says “In 2019, we have the entire quality literature. “Don’t try to learn spectrum of jazz being performed.” everything at once. Immerse yourself in With the above context in mind, the Wynton jazz: Louis Armstrong, Benny Good- jazz continuum can be brought to your Marsalis man (from the 1930s), Ella Fitzgerald, classroom in a variety of ways. Dizzy Gillespie, Charlie Parker, Miles Davis (from the 1950s and 1960s), John Coltrane, Woody Herman, Art Blakey, WHERE TO BEGIN? Count Basie, and Duke Ellington (from As with other musical endeavors, the 1930s).” Ske ngton, too, suggests establishing a basic concept of the music listening to Louis Armstrong, “a in your classroom begins by listening to musician to which a variety of jazz it. “Treat it seriously,” says Craig genres can be traced back.” Ske ngton, band director at South Mike Kamuf—an author for Alfred Portland High School in South Music Publishing, and co-director of Portland, Maine. Exposure to the instrumental music ensembles at John T. important recordings of jazz is an Baker Middle School in Damascus, important rst step. In a classroom Maryland—underlines the importance setting, Ske ngton suggests using a of knowing the key players on each resource like the Ken Burns’ Jazz instrument and in each genre (e.g., series, which is a 10-part documenta- Dizzy Gillespie on bebop trumpet). It is ry series about the history of jazz that also important to understand that some aired on PBS in 2001, and is musicians transcend genres—for available on DVD and streaming example, Miles Davis, whose platforms. “Get the sound of that music evolved over time [jazz] in your head,” says Stoll. He (from cool jazz to fusion) recommends not overwhelming and dees characterization.

Photos by William P. Gottlieb/Library of Congress. Gottlieb/Library William P. Photos by McBride. Clay Photo of Marsalis by yourself, but instead focusing on the James Moore, dean of the

nafme.org 27 faculty and former director of jazz ensembles at West Virginia Wesleyan College in Buckhannon, suggests a slightly di erent approach. “It does not have to happen chronologically. It is not a linear process. Let them come into it where it feels right.” In ensemble settings, Skengton notes that educators should “start by listening to the publisher’s demonstration recordings of the ensemble pieces—listen to ‘how it should sound.’ Overall, with the available technology, there is no excuse not to listen.” YouTube, streaming music services, and the jazz-specic streaming app Jazz on the Tube (jazzonthetube.com) are great resources for this. It is particularly important for students to listen to jazz to hear and begin to understand key concepts. “Use the recordings in your teaching as models,” says Moore. These listening sessions can also serve as examples for class activities such as writing prompts and discussions about Count Basie history. They can provide a background and context to studies of how jazz evolved, or how its harmonic and rhythmic characteristics inuenced classical composers such as George Gershwin and Maurice Ravel. CLASSROOM APPLICATIONS AND RESOURCES In a general music classroom setting, Kamuf suggests, “introducing students to key historical players and styles of jazz via YouTube and performance videos. It’s our job as music educators to help students make these connections, and technology has made this incredibly easy to do.” Skengton suggests that music educators use YouTube to bring jazz to students. “There are literally thousands upon thousands of videos out there dealing with jazz education.” Online resources such as Jazz in America by The Thelonious Monk Ella Fitzgerald Institute of Jazz (jazzinamerica.org), as of Congress. Gottlieb/Library William P. Photos by

28 Teaching Music APRIL 2019 “It’s our job as music educators to help students make these connections, and technology has made this incredibly easy to do.” —Mike Kamuf

well as Smithsonian Jazz at the provide a technological solution. In Neiman Foundation gift of the LeRoy Big Band, painting Neiman’s LeRoy rights reserved. All National Museum of American History teaching improvisation, Kamuf says (americanhistory.si.edu/smithsonian-jazz/ that the approach you use “depends on 9 National Museum of American History, Smithsonian Institution Museum of American 9 National History, . education) pair online media content and the level/age of the group. If the group ©20 1 grade-speci c lesson plans to present is young, start with simple, one-note jazz material to students of di erent patterns. Get everyone involved. Get grades. “Use a text like Discover Jazz by the kids latched on rst, and then they John Hasse and Tad Lathrop or Concise will get into it.” Moore says that there Guide to Jazz by Mark Gridley that are two challenges: Individual learning teaches jazz appreciation through experience and getting comfortable listening,” suggests Stoll. “Or, better with improvising. He suggests that yet, have a swing dance class … and students learn from listening to solos introduce kids to music through dance! and recreating them on their own That makes it authentic and social!” instruments. After seven days, sing along with the solo on the recording. WHAT ABOUT With this process, once the student starts playing, he/she has internalized IMPROVISATION? and vocalized the information. Moore Improvisation is an integral part of jazz notes that adding the theoretical and can be particularly challenging to components are important. “We have teach if you do not have a jazz back- to do better at teaching the rules about ground. As a start, explore this through how to apply the theory and harmonic listening examples. One approach aspects. Connect the theoretical and could include compiling a Spotify organic sides of the brain. Give both playlist of di erent versions of a jazz types of students’ [learning styles] standard such as Billy Strayhorn’s access to the other side.”

“Take the A-Train,” and have students Smithsonian compare how di erent musicians solo MAKE over the same tune (e.g., the Cootie Williams trumpet solo on The Popular CONNECTIONS Duke Ellington, and Cli ord Brown’s Making connections to what students trumpet solo on Study in Brown) and are currently experiencing and listening Get Your Free begin to expand students’ understand- to is important for e ectively teaching Jazz Poster! ing of how di erent musicians respond jazz. Moore says that as students are The Smithsonian Institution in Washington, to the same chord changes. It can also searching for relevance for what they D.C., has published a Jazz Appreciation Month poster for teachers and other be a participatory activity for classes are studying, “we can show them enthusiasts of one of America’s best-loved on, for instance, guitar or piano the overlaps and the links between jazz music genres. performance, and theory. A live or and the music they listen to, providing This year’s poster shows the third panel recorded rhythm section can be used to them with a tangible connection to of LeRoy Neiman’s painting Big Band, and features artists Gene Krupa, Dizzy Gillespie, work on this. Play-along recordings where their music has come from.” Wynton Marsalis, Miles Davis, J. J. Johnson, such as the Jamey Aebersold series, or This personal relevance can enhance Tommy Dorsey, and Glenn Miller. those produced by other music publish- students’ understanding of jazz (and You’ll ﬁ nd a copy of the 2019 poster in this ers are great resources for this. Addi- music in general) but, more important, issue of Teaching Music, and teachers can order an additional copy at no charge from tionally, mobile apps such as iReal Pro as Stoll says, it will help make them a the Smithsonian at smithsonianjazz.org. or software like Band-in-a-Box can “cultural and literate populace.”

nafme.org 29 30 Teaching Music APRIL 2019 OPENING DOORS FOR ALL STUDENTS The upcoming 2019 NAfME National Conference will explore more ways to bring all students to music education! BY LORI SCHWARTZ REICHL

THE THEME FOR the 2018 NAfME interact with their knowledge.” Fennell National Conference, held in Dallas, most enjoyed and was inspired by “the Texas, was “Amplify: Lead. Engage. powerful and open conversations, honest Inspire,” and it drew an overwhelmingly dialogue, and individuals sharing their positive response from its organizers, stories, ideas, as well as needs for support. presenters, and attendees. It was such a collaborative environment Anne Marie Fennell—NAfME Inno- that was empowered by the ideas and vations Council Chair and General Music dialogue of so many amazing music Council Member, and also as a music educators. Our room became a safe space educator and creative arts department where people were willing to discuss and chair at Mission Vista High School in connect, as well as push back a bit.” Oceanside, California—led the Innova- Alice Hammel, music education tions strand of the conference. In an faculty member at James Madison

ilcox Photography/Documentary Associates LLC (2), and Matt Janson Photography. Associates LLC Photography/Documentary ilcox e ort to promote student engagement in University in Harrisonburg, Virginia, music-making, she says, “Presenters were mentions that she was “delighted that asked to address character dispositions NAfME is now purposefully including that support student-centered learning Culturally Relevant Pedagogy and issues and music-making, and to also address of diversity and equity in our confer- the ‘how’ of teaching in order to encour- ences.” Hammel, who led the 2018 age deep connections to music as students conference strand, “Amplify: Involvement,” Photos clockwise from top by Ashlee W Photos clockwise from top by nafme.org 31 says that its purpose “was to create a greater awareness of students who are African American in our public schools and to talk about students who live in poverty.” She recalls the poignant moment in the conference when Je rey Murdock from the University of Arkansas in Fayetteville discussed the struggles he had growing up in poverty ment, there are many pieces of the as a young African American man, and upcoming conference that she is excited the barriers he experienced before to share with members. Similar to the becoming a college professor. Hammel 2018 event, Tuttle mentions, “the shares, “It was moving to see partici- sessions o ered at the 2019 conference pants begin to cry as they realized ways will focus on themed content, allowing they could change who they are in the attendees to go more in-depth and future for their students. I appreciated deepen their understanding around big being reminded that there is an element content areas in music education—ev- of racism in all of us and an element of erything from creativity (what is it and classism in all of us. We need to work how do we allow for it in our perfor- against that to make sure we can see mance-based classrooms?) to student our students for who they really are!” engagement (how do we best engage As if on cue, the theme for the 2019 students in our Standards-based National Conference is “Amplify the learning environments?).” Tuttle Future of Music: Opening Doors for announces that these content strands, All Students.” It will be held November which will be two days in length, will 6–10, 2019, at the Gaylord Palms include the following themes to guide Resort and Convention Center in practice and collaboration: Orlando, Florida. Music educators, • Amplify: Creativity—How do higher education researchers, music we create a learning environment that teacher educators, state leadership, supports student voice, creativity, preservice music educators, and others collaboration, and choice, whether via from across the country will gather to composition, improvisation, in current learn, network, converse, and collaborate. ensembles, or other pathways for According to Lynn M. Tuttle, creative musical endeavors? NAfME Director of Public Policy, • Amplify: Student Engagement— Research, and Professional Develop- How do we engage all students daily Top and right photos by Matt Janson Photography. Left photo by Anne Fennell. photo by Left Matt Janson Photography. and right photos by Top 32 Teaching Music APRIL 2019 LOOKING FORWARD TO within our classrooms and throughout our schools as they create, perform, THE 2019 ALL-NATIONAL respond, and connect to music? HONOR ENSEMBLES • Amplify: Instruction—How do “The All-National Honor Ensembles performers represent collaboration and we expand instructional practices to creativity in its highest musical form,” says Bianca Roberts, Manager of support student ownership, voice, Member and Student Programs for NAfME. “These exceptional musicians have the unique opportunity to learn from top conductors in the field.” Students choice, and assessment in Standards- will be selected in June and then notified regarding their acceptance status by the end of the same month. Roberts also mentions, “We’re excited to based, high-quality music education? announce the first-ever All-National Modern Band. Students from across the • Amplify: Access—How do we United States will come together to play and sing the modern music they know and love on a variety of instruments: electric guitar, bass guitar, keyboards, guarantee and expand access to music drum-set, and more. The ensemble will be a chance for students to show their love and talent for performing pop, rock, hip-hop, R&B, and other modern education for every student in our musical genres. We’re amped to expand our musical offerings to get more school sites and classrooms; this could students involved in learning and performing music!” involve parents, administration, and other outside connections. • Amplify: Community—How do we successfully create a musical community within our schools and/or beyond school walls in urban, rural, or suburban settings? Tuttle a rms that the layout for the upcoming conference will resemble that of 2018. “A major highlight for me was how successful this conference design proved to be. Many participants loved that the strands were in place, as it allowed for a more thorough discussion and more thoughtful outcomes, including practical ones for the classroom, as well as planning time to discuss what to do next.” Tuttle notes that there will be day-long experience tracks. She poses these questions to members: “Have you ever wondered about social-emotional learning, or how to incorporate songwriting into your classes, or how to start a ukulele program? Or a digital or hybrid music-performing class? Or perhaps a hip hop class or ensemble? These nine, day-long experience tracks will allow a teacher to dig in and learn a new instrument and how to adminis- ter a new program, or give a deeper understanding of a relevant topic. You’ll learn how to build out a curriculum for this new program in your school, with information on logistics, resources, and the necessary tech. And, nally, several of these tracks will allow you to showcase your new learning in a

nafme.org 33 brief informance on the big stage at the end of the day.” JJ Norman, Professional Develop- ment & Collegiate Programs Manager for NAfME, enthusiastically shares the nine, day-long tracks. • Gospel Choir • Hip Hop • Steel Drum • Ukulele • Composition in Traditional Ensembles • Digital and Hybrid Music • Liberation World Drumming • Social-Emotional Learning • Songwriting “All nine will be offered in the table space, and the poster session will Orchestra); Tesfa Wondemagegnehu course of the conference, with the first be paired with an afternoon reception. from St. Olaf College in Northfield, four tracks culminating in an infor- “Combining again with our Nation- Minnesota (Mixed Choir); Bill Swick mance at the end of the day,” notes al Conference are our All-National from the Las Vegas Academy of the Arts Norman. Honor Ensembles (ANHE), which will in Nevada (Guitar Ensemble); and Todd Poster sessions are also a highlight include more than 600 of the top high Stoll from Jazz at Lincoln Center in of the conference as an “Amplify: school musicians from across the New York City (Jazz Ensemble). Scott

Inspiration Showcase.” “While poster country,” says Kristen Rencher, Burstein of Little Kids Rock in Los sessions are well-known for our Director of Development, Strategic Angeles, California, is scheduled to lead colleagues in higher education, we will Initiatives, and Student Programs for a new edition to the ensemble line-up: have, for the second time, a poster NAfME. This year’s ANHE conductors Modern Band. session for K–12 educators to share what include Emily Threinen from the Rencher notes that the conference they know and what’s going well in University of Minnesota in Minneapo- week’s events “will conclude with the their classrooms,” says Tuttle. Music lis-Saint Paul (Concert Band); Soo Han All-National Honor Ensembles educators are invited to showcase from the Baldwin Conservatory of concerts, both Saturday evening and

knowledge and research on three feet of Music in Berea, Ohio (Symphony Sunday morning. Both events will Photography/ Ashlee Wilcox Photos by Documentary Associates LLC. Matt Photos counterclockwise from top by courtesy of Anne Fennell, Janson Photography, Photography. Ashlee Wilcox

34 Teaching Music APRIL 2019 new instruments and new teaching techniques to better reach today’s students; meaningful discussions about how we best engage our students and create better learning experiences in our classrooms; student compositions and how and why they compose; and performances from the All-National Honor Ensembles,” as we celebrate student artistry under the leadership of outstanding guest conductors. Attendance at the conference will allow participants to join in profound conversations and musical experiences with colleagues from across the country. It will be organized to allow attendees to dive deeply into the themes, and attend day-long experience tracks to immerse themselves in new musical programs to bring back to their schools. Tuttle notes that this type of learning “is what many administrators are asking for from their teachers.” In addition, there are receptions planned throughout the conference period, allowing ample time for networking, music-making, and collaborating with colleagues. “These range from a jam session to a drum circle to the less formal performances that are part of the day-long experience tracks,” remarks Tuttle. Fennell is also helping plan and build the 2019 conference as a member of the Professional Development Committee. She looks forward to this year’s conference and shares, “I believe growth and expansion occurs in individuals when people can nd a glimpse of themselves within new possibilities, while they reect on their

take place in the same convention and conservatories to discuss how current processes and practice. In space within the Gaylord Palms their institutions could be part of education, change is the only constant, Resort, and students, parents, and these elite students’ futures.” and as music educators we get to be a directors will have easy access to our In looking ahead to the 2019 part of this expansive growth to engage exhibit hall, which will include our conference, Tuttle says, “As a music all learners in music. How fortunate we third annual ANHE College Fair. educator, I think in terms of not only are to be a part of this through music!” Over the past two years, NAfME has what I’ll see, but what I’ll hear.” At this For more information on the 2019 been pleased to welcome more than year’s conference she promises that NAfME National Conference, visit

Photos by Ashlee Wilcox Photography/ Ashlee Wilcox Photos by Documentary Associates LLC. Matt Photos counterclockwise from top by courtesy of Anne Fennell, Janson Photography, Photography. Ashlee Wilcox 75 of the top colleges, universities, members will “hear colleagues learning bit.ly/AmplifyTheFutureOfMusic.

nafme.org 35 HARD WORK, BIG REWARDS Darryl Taylor and the Weequahic High School Marching Band have overcome underfunding—and playing in sweat

suits—to achieve greatness. The Weequahic High School Marching Band BY ANDREW S. BERMAN

DARRYL TAYLOR, head marching band in the 1980s when he attended year. He says his passion for music has band director at Weequahic High Weequahic High School. After kept him with the band, “but, more School in Newark, New Jersey, knows graduating in 1987, he continued to importantly, I do it for the students.” the importance of band in his students’ play and work with the band as a These students are not just the lives. With it, in addition to learning the mentor to the younger musicians, and students of Weequahic: Taylor’s value of hard work and commitment, studied privately with Otis Brown, Jr., marching band includes members from “they will develop self-con dence, inde- one of his predecessors in the role of other schools in Newark, as well as pendence, and a sense of belonging,” he head marching band director there. from nearby Irvington and Union, all says. Taylor believes in the power of “Under his mentorship, I received in New Jersey. The band admits band not only because he sees his students training in all woodwind, brass, and students as young as fth grade. With acquiring new skills on a daily basis, percussion instruments,” Taylor such a broad membership, one would but also because he was a Weequahic remembers. After 31 years as assistant expect opportunities for funding to be Marching Band kid himself. director of the Weequahic Marching expansive as well, but the Weequahic

Taylor was a member of the school’s Band, Taylor became head director last Marching Band has met with nancial Photo courtesy of Darryl Taylor.

36 Teaching Music APRIL 2019 struggles consistently. “The cost to articulating the attitude that sparked a Marching Band in a December 2015 purchase and repair instruments and $30,000 campaign to out t the “Secret Santa” segment. In this equipment, as well as maintain uni- marching band with fresh, new segment, it was revealed that the Life Is forms for our kids, has always been an uniforms and replace their old and Good Kids Foundation was making a issue for our program,” Taylor reports. broken equipment, some of which was gift of $15,000 to the marching band. When the band’s uniforms deteriorated being held together with duct tape. The “It was an honor and a privilege to be to the point that they could no longer Weequahic High School Alumni recognized on The Meredith Vieira be used, Weequahic went without them Association spearheaded the eort with Show,” says Taylor. “The exposure from for three years. “The band members support from the Newark Police her show allowed the band to receive were wearing sweat suits and hoodies to Department and the Newark Fire publicity and interest in our program, their performances,” recalls Taylor. It Department. The campaign soon went which in turn generated several was then that the community got viral and caught the attention of NBC’s donations as well as numerous opportu- involved. The Meredith Vieira Show, which nities for the band.” The campaign is

Photo courtesy of Darryl Taylor. “Enough was enough,” says Taylor, pro led Taylor and the Weequahic ongoing, but Taylor is proud to

nafme.org 37 announce that it has already yielded Despite its nancial hardships, He knows that prestige attracts a fair funds to purchase 60 new uniforms and Weequahic has always set a standard number of students, but he believes several woodwind, brass, and percus- of excellence for its band, and it has the there are other reasons kids join and sion instruments. Success begets success, awards to show for it. Taylor reports stay. “The students continue to be a and Taylor shares that “as a result of our that the band holds ve national part of the band because our band is new look, the band has doubled in marching band championships, most more like a family,” he explains. “Every size.” recently from OrlandoFest in 2017. child who becomes a member of our A good program is often an indica- “Our marching band has consistently program gains an extended family.” tion of a good support system. In been known as one of the elite march- This sense of community that October 2017, Weequahic High School ing bands in our area,” Taylor arms. Taylor has fostered in his students is got a new principal in Newark native perhaps his greatest success. He Andre Hollis, whom Taylor says has recognizes the need in these kids’ lives been integral to the success of the “Every child for guidance and positive reinforce- marching band. Just as the band’s ment, and he’s made the Weequahic membership reaches outside the walls of who becomes Marching Band a place where students the school, so does administrative a member can go to get that support. They know support reach in. Taylor is proud to that Taylor, having directed them on a recognize the assistance of his district’s of our program volunteer basis for so many years, is superintendent Roger León, and school gains an there for them. He was an ocer with board member Kim Gaddy. the Newark Police Department before New uniforms are not the only extended leaving the force to devote his time thing that has students ocking to join family.” fully to teaching. He decided that the

the Weequahic Marching Band. best way he could have an impact on Photos courtesy of Darryl Taylor.

38 Teaching Music APRIL 2019 “I do it for the students.”

WITH DARRYL TAYLOR

What do you know to be true Q about teaching music that you didn’t know when you started? I initially thought, by becoming a band director, I would just be teaching music. However, I learned that teaching involves so much more. I teach music, create dance and flag routines, select uniforms and other attire, and more. Also, I must be able to teach and adapt to diverse personalities and various age groups, as our program involves youth ages 5–19. In addition, I learned that I teach not just music, but life skills as well, such as the value of hard work, self-discipline, time management and independence, among other things. What do you think you’d be Q doing if you hadn’t gone into music education? I was a police officer for the Newark Police Department until I retired a few years ago. I honestly can’t Darryl Taylor say what I would do if I weren’t teaching in rehearsal music; I am so passionate about what I with the band. do. However, if I were to do something else, I know it would be something that includes working with the youth and our children’s lives was through his work route and the football eld. The community. What’s the biggest lesson you with the marching band. Taylor recalls members of the band know they are Q want your students to learn a time when his work shifts with the involved in something special, and the while in your program? While in my program, I want my students to learn police department conicted with inux of support validates their self-confidence and responsibility. They should also learn that to be successful marching band rehearsals; in his involvement even further. For many of you must have an outstanding work absence from band, attendance them, this is the rst time they’re ethic. The music education profession dropped, and he found out that one of getting to wear a marching band Q would be better if … We would his former students had joined a gang. uniform (that is not a hoodie and all support our music programs with the same intensity that we use to back our Later, Taylor was called to the scene of sweatpants). Quality matters, and athletic programs. a shooting and, when he arrived there, having new instruments to play and What have you learned about Q students and parents through found that the former student was the looking their best while they do it is your work? I have learned that the students are excited about being a part victim. It was then that Taylor realized enhancing something that is already of our program, and because of their he could save more lives as a teacher productive for them. desire, it’s easy for them to sacrifice and be dedicated. Unfortunately, I have than as a police ocer. To learn more about the Weequahic learned that not enough parents are Taylor’s choice to devote himself to Marching Band, visit Weequahic High involved in their children’s extracurric- ular activities. Some have conflicting teaching marching band has certainly School’s website at nps.k12.nj.us/weq, as work schedules, some have smaller children to attend to that prevent them made a dierence in the lives of his well as the site for the Weequahic High from coming; however, there are a lot students. What he has helped create in School Alumni Association, which can who just aren’t interested in what their children are doing. the Weequahic Marching Band is a be found at at weequahicalumni.org. You What advice would you give vital experience for a wide range of can nd Darryl Taylor’s segment on Q to a teacher trying to start a program similar to yours? I would tell kids, the value of which can be seen The Meredith Vieira Show by searching them the same thing I tell my students: The work is hard, but the reward is beyond the walls of the school and past for “Meredith Vieira Darryl Taylor” on massive.

Photos courtesy of Darryl Taylor. the cheering crowds on the parade YouTube.

nafme.org 39 RESOURCE DIRECTORY 2 019 SUMMER STUDY

Teaching Music’s Annual Listing of Summer Music Programs/Camps

CERTIFICATION PROGRAMS ...... 42

CONTINUING EDUCATION ...... 42

ELEMENTARY, JUNIOR, AND SENIOR HIGH SCHOOL MUSIC SCHOOLS/CAMPS ...... 42

GRADUATE MUSIC SCHOOLS ...... 42

PROFESSIONAL DEVELOPMENT .... 43 Music: Designed by Kjpargeter/Freepik. Burst: Designed by Freepik. Burst: Designed by Kjpargeter/Freepik. Music: Designed by

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Title of publication: Teaching Music. mounting on metal music stands. Lung Publication Number: 1069-7446 GRADUATETrainers LLC, lungtrainers.com MUSIC SCHOOLS Date of fi ling: October 1, 2016. Frequency of issue: 4 times annually—January, April, August, and October. American Band College of Subscription price: $10.00 with membership. CentralSnap Washington Cards for University Upper Complete mailing address of known offi ce of publication: Contact: Scott McKee 1806 Robert Fulton Drive, Reston, VA 20191–4348 USA. Address:Voice 407 Treble Terrace Street, Clef, Ashland, Complete mailing address of headquarters of general business offi ces of the publishers: 1806 Robert Fulton OregonLower 97520 VoiceU.S.A. Treble Drive, Reston, VA 20191–4348. Phone: 541-778-4880 Full names and complete addresses of publisher, editor, Clef, and Bass Clef and managing editor: Publisher—Ella Wilcox (Editor): Email: [email protected] National Association for Music Education, 1806 Robert By Theresa Pritchard ($19.99 each) This Fulton Drive, Reston, VA 20191–4348; Susan Poliniak Website:series of bandworld.org/abc skill-building fl ashcards is a class- (Editor-in-Chief): InTune Partners (Teaching Music), room tool that was designed 582 N. Broadway, White Plains, NY 10603 Americanto help students Band College confi dently of CWU is the Owner: National Association for Music Education. world’slearn largestto sight-read master’s while degree having program, Known bondholders, mortgagees, and other security specififun ascally a class. designed After foryears band of directors, holders owning or holding one percent or more of total learning which intervals and amount of bonds, mortgages, or other securities: none. bypatterns band directors, are consistently using a world-class chal- Nonprofi t organization authorized to mail at special faculty in order to help you improve the rates: The purpose, function, and nonprofi t status of this lenging for emerging singers, organization and the exempt status for federal income tax wayTheresa you approach Pritchard directing. purposes have not changed during the preceding twelve developed a months. Centralreliable methodWashington for University, simplifying this typ- EXTENT AND NATURE OF CIRCULATION: Masterically intimidating of Music Education A. Total number of copies printed (net press run). Average Contact:subject. Bret Educators P. Smith number of copies each issue during preceding twelve months: 57,847 actual number of copies of single issue Address:will fi nd CWU suggestions Department of Music, for utilizing the cards published nearest to fi ling date: 48,775. 400 East University Way, Ellensburg, B. Paid circulation. (1) Mailed subscriptions (outside- in the classroom for county). Average number of copies of each issue during Washington,both teaching 98926 and U.S.A. preceding twelve months: 55,280; actual number of copies assessing reading of single issue published nearest to fi ling date: 47,093. (2) skills. BriLee Music, Mailed subscriptions (in-county). 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Free distribution (by mail and outside the mail). (1) Outside-county: Average number of copies of each issue Preprofessional Program during preceding twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. with Residential Option (2) In-county: Average number of copies of each issue (students ages 14–20) during preceding twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. (3) Other classes mailed through USPS: Average number of copies of each issue during the preceding twelve July 3 –14, 2017 months: 156; actual number of copies of single issue Application deadline published nearest to fi ling date: 131. (4) Distribution outside the mail: Average number of copies of each issue April 3, 2017 during the preceding twelve months: 0; actual number of copies of single issue published nearest to fi ling date: 0. E. Total free distribution. Average number of copies of Junior Program each issue during preceding twelve months: 156; actual (students entering grades 4–8) number of copies of single issue published nearest to fi ling date: 131. F. Total distribution. Average number of copies of each July 10 –21, 2017 issue during preceding twelve months: 55,581; actual number of copies of single issue published nearest to Application deadline fi ling date: 47,361. May 15, 2017 G. Copies not distributed (offi ce use, left over, spoiled after printing, and others). Average number of copies of each issue during preceding twelve months: 2266; actual number of copies of single issue published nearest to hartford.edu/hcd/smti fi ling date: 1414. H. Total. Average number of distributed copies and 860.768.4451 undistributed issues for each issue during preceding twelve months: 57,847; actual number of copies of single issue published nearest to fi ling date: 48,775. Percent Paid. 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Jazz drumset charts, vocal improvisation games, band camp, and more.

GENERAL MUSIC McCord recommends teachers Teaching “have an aid use a small device Students with that looks like a window that ts the size of one measure of Dyslexia in the music. This aid must read music General Music well, because he/she will move Classroom the window forward while covering the measure just “Not all children with dyslexia performed.” experience music the same way. Matching pitch can be Some will have one of several challenging to a student with challenges,” says Kimberly dyslexia. McCord says, “If the McCord, professor emeritus of teacher is assessing kindergarten music education at Illinois State students on matching pitch by University in Normal. She has asking them to sing indepen- chaired the International Society dently, the child with the of Music Education’s Commis- learning disability may need a sion on Music in Special longer processing time to sing Education, Music Therapy, and the pitch back correctly. Often, Music Medicine, and was the Extra processing time is needed the rst pitch the child sings is for students with dyslexia. founder and rst chair of the incorrect. The teacher should NAfME Special Research Group on “music is hard to look at because the understand that this particular child Children with Exceptionalities. contrast of black notation on a white may require additional processing According to McCord, “Many background is too bright. Individual time to match pitch to that of the children with dyslexia have diculty notes seem to jump around the sta, teacher’s.” Suggested strategies to help reading music.” In the general music or parts of the sta are not visible at students match pitch are for a teacher classroom, this can be applied to all.” She suggests that teachers use to “scoop” their voice or point in the singing and/or the beginning use of colored plastic overlays to reduce eye appropriate direction, up or down. instruments. This can be a teaching fatigue and instruct students to McCord also mentions that steady challenge, she explains, since “our highlight each space on the music beat is a large focus of early childhood music classes tend to be heavily sta in dierent colors. Students with curriculum. McCord says, “Because of focused on reading music.” Often, dyslexia may also struggle to look the slower processing time, students music appears blurry to students with ahead to the next measure when with a learning disability often cannot

dyslexia. She reminds educators that reading notation. In this case, achieve the concept of steady beat.” Photo courtesy of Kimberly McCord.

46 Teaching Music APRIL 2019 Some students with dyslexia cannot recommends asking the spatially visualize their instrument to special educator to look like the ngering chart of their include the necessary recorder, guitar, or ukulele. McCord music conversion shares that students may “reverse their notation software instrument to look like the ngering programs in the chart, because the chart does not student’s plan in resemble what the instrument looks order to make the like in their hands.” There are dyslex- curriculum accessi- Braces needn’t force a student to ia-friendly ngering charts available ble. “If it is written take significant time off from for students on instruments such as in the IEP [individu- playing a brass recorder, ukulele, and guitar. She also alized education instrument. remarks, “Students are terri ed of program],” notes singing and/or playing by themselves. McCord, “it should be If you know they struggle, don’t provided out of federal embarrass them in front of their peers funding for special education.” by making them sing or play alone.” —Lori Schwartz Reichl McCord reminds us that students

with dyslexia “cannot process so many BRASS AND WOODWINDS suggests focusing on producing the dierent things in a piece of music, best quality, “sweetest” sound such as key signatures, time signa- Brasses and Braces possible. This result involves a focus tures, dynamics, tempo markings, Students face many challenges as they on better air support, as well as better and, of course, pitch and rhythm.” She learn an instrument. As their bodies use of air, allowing the student to rely nds that students look at the contour grow and develop, the attendant less on physical pressure to play the of the melodic line and use that to physical changes can create challeng- instrument, and therefore diminishes help them with pitch. “They look at es—and for brass players, orthodontics the negative eects the braces cause. rhythm as slow and fast notes. For can be particularly troublesome. The As with other medical therapies, example, a group of 16th notes means mechanical straightening of teeth and braces work over time and with ‘play as fast as you can’ or ‘hold the other aspects of the mouth and jaw can periodic adjustments that aect the note for a while.’” McCord recom- severely aect the development of brass dental structure incrementally. When mends using alternative notation, and performance skills, especially as the students rst get braces, Conerty says with software such as Figurenotes or related muscles are developing. More that the second day is the most Dorico, “you can create several important, braces can cause physical painful day, as the teeth start to move. versions of the notation within the pain, bleeding, and emotional anxiety The second through fourth days are software. Both include colors and in the student. “I wouldn’t practice. It the most sensitive days for the symbols, and are much easier to was a lot of pain,” recalls Mike student. On the rst day after the understand than traditional notation. Conerty, a trumpet player and band braces are installed, he suggests that Another option is to let students play director at Hartford Memorial Middle the student take it easy and not play. by ear by providing recordings for School in White River Junction, With the braces on, the student can them to listen to and sing/play along. Vermont. His experiences as a trumpet lose half an octave and their tone can Extra processing time will be needed player dealing with braces inspired him be adversely aected. Therefore, for these students, too.” to provide his students with encourag- Conerty suggests that the new-to- The most important tip McCord ing ways to work around this challenge. braces brass player, “Save their shares with music educators is to “The pain caused by the braces is emotions, and just nger along.” discuss with each individual student, actually caused by pressure the When it is time to start playing again, the student’s parent(s), and other student uses,” Conerty explains. To Teon tape on the brackets can help teachers about how best to assist the address this, he recommends return- protect the inner mouth tissue; this child: “Do this away from the group ing to and working on the fundamen- works better than wax. As a reintro- so as not to embarrass the student in tals of brass playing—speci cally, duction to the instrument, he suggests

Photo from iStock.com/xavigm. front of their peers.” In addition, she tone production and air support—and working on scale patterns that utilize

nafme.org 47 the rst ve notes of the B-at major Selby is the co-author of Habits of a the tools they need to critique their scale. As the teeth-straightening Successful String Musician and Habits of a own performance as well. For this, process progresses, the braces are Successful Orchestra Director. Selby asks students to write down often tightened, causing more pain “The most important information a performance goals and to share with which can, in turn, lead to using teacher can give to beginning students the ensemble areas where they feel more pressure. Once again, Conerty is a vast and memorable collection of they’ve shown improvement and suggests laying o the instrument for aural and visual examples of good where they might be struggling. a day or so after tightening. When the string-playing.” Since most educators “Students learn and remember skills braces nally come o, he notes, have spent years watching and listen- best when they teach these skills to “They will nd that their accuracy ing to their peers, private teachers, someone else.” Selby accomplishes went away.” To readjust to this conductors, and accomplished this by pairing up stand partners and reality, and to change muscle memo- performers, we should already possess instructing them to listen to and ry, he suggests lip slurs. “Spend some a developed visual and aural image of watch each other, all the while paying time to get used to what it feels like the skills needed to be pro cient in attention to elements of bowing, again.”—Peter J. Perry playing, teaching, and conducting. intonation, ngering, and musicality, Because of our depth of knowledge, it among others, and to provide feed-

STRINGS is incumbent upon us to regularly back on these elements. “I have model concepts to our students. “A students tell each other all the positive The Habits of a young string student has none of this things they heard in their partner’s Successful High imagery guiding them. They must performance and one thing to work School String rely entirely upon the sounds and on.” —Stephen Holley Ensemble images they learn from their rst teachers.” Selby goes on to mention PERCUSSION There’s no doubt that all of us, from the the importance of cultivating the newly-minted director to the veteran aural image through listening to Teaching orchestral conductor, can bene t from outstanding school and professional Drummers How the knowledge of great educators. For orchestras. This also serves to solidify to Interpret Jazz Chris Selby—NAfME member and the primary recording as the goal Drumset Charts orchestra director at the School of the toward which the orchestra and the Arts High School in Charleston, South director should strive. Percussionists who have a background Carolina—developing and fostering In addition to listening, Selby in primarily snare drum, mallets, and young string musicians and their encourages students to internalize the timpani often nd it a challenge to read directors is his passion. In addition to music through singing. This oers the and interpret jazz drumset charts. Since being a highly sought-after clinician, added bene t of imparting to students there isn’t a standardized method that arrangers or publishers use when writing these parts, it is up to the players to determine what is musically appropriate for the given situation. “A drumset chart is like a GPS guidance system that tells a driver when to begin, the length of the trip, when to make turns, and when the driver has arrived at the destination,” states Michael Sekelsky, retired dean of the College of Arts, Humanities, and “The most important information a teacher can Social Sciences, as well as professor of give to beginning students is a vast and memorable music and assistant director of bands at collection of aural and visual examples of the University of Central Missouri in good string-playing.” Warrensburg. “The GPS doesn’t tell —Chris Selby the driver how fast to drive, when to Photo from iStock.com/Furtseff.

48 Teaching Music APRIL 2019 the end. A musical vocal sounds that are not rule-bound in drummer will understand the traditional sense of notation, they the form of the chart and, learn that there can be freedom in the like other musicians in ways they express themselves vocally the ensemble, repeat and musically—vocally in terms of the sections according to the myriad ways that a voice can be used form. expressively, and musically in terms of • Dynamics: Where pitches and rhythms that may be chosen are the high points of the based on a given context,” notes Patrice chart? Where is the drum Madura (Ward-Steinman), professor of part simply accompani- music education at the Jacobs School of Michael ment? Does your groove Music at Indiana University in Bloom- Sekelsky teaches a and choice of playing ington. “Vocal improvisation games young drummer. surfaces t the texture of also help students learn to listen to the the band, section, or sounds around them more carefully, speed up or slow down, when to yield, soloist? and develop deeper aural understand- or when to come to a complete stop. • Accents and cues: What are the ings of how music works.” The comparison is that a drumset other instruments doing throughout The games themselves can range chart simply indicates a beginning, the chart? Are there accents or cues from the simple to the complex, and middle, and end. The chart usually marked that the drummer should just therefore can be used with any level of includes the style of the piece. Some- ignore? Are there accents that you student. “It’s important to match the times, but not always, information like hear that are not marked in the chart? game’s musical requirements to the cues, rests, lls, form, and dynamics Sekelsky notes, “It may take students’ skill level,” says Madura. are included.” several times through a chart before “Students with little musical knowl- It is important for drummers to there is a clear understanding of what edge or experience can improvise with develop the con dence to “look to play and what to ignore. Listening vocal sound e ects to enhance a story, away” from the part and listen to the carefully and progressing through the while sophisticated musicians can play rhythm section and horns. “Many big chart with purpose will go a long way with a variety of vocal ornaments to band drummers employ the technique in determining the best drum part to embellish a musical phrase, or with the of listening before reacting,” contin- create for each piece of music.” use of di erent jazz scales over the ues Sekelsky. For example, the music For additional information about 12-bar blues progression.” In terms of may be best served with the drummer the various notations used for begin- group size for this activity, that playing through the entire jazz ning, intermediate, and advanced depends on its goal. “Small group drumset chart and doing nothing drumset charts, as well as suggestions games are best when the goal is to give more than keeping time. for setting up or kicking the band, see each individual the opportunity to Sekelsky recommends that drum- Sekelsky’s PDF “Decoding the Jazz improvise a short solo, while large mers who are approaching jazz Band Drum Chart” at sekelsky.com/ group games can make students feel drumset charts should bear in mind Decoding.pdf. —Steve Fidyk ‘safer,’ contributing to a mass or wall the following: of improvised sound.”

• Style: Does the style marking CHORAL AND VOCAL Madura notes that some students appear to be correct? Is there a may be inclined to feel self-conscious, written timekeeping pattern on the Vocal Improvisation “however, if the teacher keeps the part? Is your timekeeping pattern Games game focused and interesting, the lining up with the bass player’s part Improvisation, while a valuable skill for students will nd themselves in- and rhythms? a student to master, can be intimidating trigued and having fun. One strategy • Form: Many jazz charts follow for those singers who are new to it. I discovered through trial and error standard jazz forms such as AABA. One way to help them along is to use was that having singers improvise a Other forms may be more like vocal improvisation games in your melody while using lyrics about a commercial music: intro, verse, verse, choral classroom. “Because improvisa- recent vacation or upcoming holiday

Photo courtesy of Michael Sekelsky. chorus, verse, solos, and a chorus at tion games ask students to produce helps take their attention o their fear

nafme.org 49 of singing the ‘right’ notes. The result for Singers and Choral Groups, is a more natural vocal improvisation co-written with Je rey Agrell; and IS THERE A COMPOSER that encourages humor, relaxation, Getting Started with Vocal Improvisation. IN YOUR CLASSROOM? and better communication among the —Susan Poliniak The NAfME Student Composers Competition, sponsored annually by improvising singers.” the European American Musical Alliance, invites young people from Here are just a couple of games ALTERNATIVES elementary through graduate school to that Madura recommends: submit a composition they have created to be considered for perfor- • “Echo Me: In a circle, one Teaching Jazz mance and monetary awards. student sings a short, four-beat Composition One of the 2018 winners, Helen Lyons, called her participation an “incredible musical pattern on ‘doo’ or solfège, Teaching jazz composition to middle or experience” and was inspired by the and the next student imitates it. Each high school students can be a daunting opportunity to have her string work “Midnight Traveler” performed. student in the circle imitates the task. “The most important thing is to Learn more, including how a student previous student’s pattern without listen to jazz,” explains Barry Milner of can enter the 2020 competition, at bit.ly/NAfMEStudentComposers. losing a beat. When successful, ask the Eureka Springs Public Schools in Enjoy the entire November 2018 students to repeat the game, but Eureka Springs, Arkansas. “Folksongs Young Composers Concert, which took place in Dallas, Texas, at instead of imitating exactly, change of the African American tradition, bit.ly/2018YoungComposersConcert. the dynamic level of the previous ragtime, New Orleans–style, blues, big person’s melody. Repeat again, asking band of the early 20th century (both Ensemble by Mike Steinel, and the students to change the articulation of Chicago and New York), bebop, cool second is First Place for Jazz by Dean the previous person’s melody (i.e., jazz, and acid jazz,” is just one sample Sorenson. Both books are excellent from legato to staccato). Variation: list for listening . “Listening to jazz methods into performing jazz style, Repeat the game in triple meter and/ from early elementary through high and start at the absolute beginning. or minor tonality.” school helps to provide a background to They are also excellent for students • “Circle Song: Stand in a circle, this genre and style.” who are new to the concept of impro- eyes closed. Anyone may start a vocal Jazz performance is, clearly, the goal visation.” ostinato. Anyone may join in at any of jazz composition, and the core of There are also many exercises and time, layering melodic or rhythmic every great jazz performance is classroom group activities that an patterns over the ostinato. Text may improvisation—but this can be a educator can explore when teaching include scat syllables, humming, or subject that is dicult to teach and jazz composition. “As a class, you can lyrics made up on the spot. Variation: unnerving for a student to approach. take any jazz tune and alter the rhythm Layer the ostinatos from the highest “There are several excellent method of the melody forward and/or back by a range to the lowest range.” books about how to get started half beat in places,” states Milner. “The For other games and more infor- performing jazz if the student is an main beat emphasis in jazz, rock, and mation on this topic, see Madura’s absolute beginner,” continues Milner. pop is on beats two and four in 4/4 two books: Vocal Improvisation Games “The first is Essential Elements for Jazz time. So, a potential exercise could be: Take a familiar piece and play around “Vocal improvisation games also help students with the rhythm of the melody by learn to listen to the sounds around them more carefully.” —Patrice Madura (Ward-Steinman) shifting it forward or back by a half beat. This would be a good exercise for a middle school student to do and play on their instrument. Scales are also important source material for melodies and improvisation. Those who know major, minor, pentatonic, blues, whole tone and symmetrical scales, and modes will have an easier time coming up with material for melodies, counter- melodies, and improvisations.” Here is just one method that Milner

recommends for taking a basic idea Jacobs School of Music. Indiana University Alain Barker, Photo by

50 Teaching Music APRIL 2019 your budding jazz orchestral musicians, the advice is to keep things minimalist. “Just watch a great jazz ensemble director,” notes Straiton. “Get the band started and then move out of the way, let the group take over—kind of like a conductor-less Brandenburg Concerto.” Eventually, you may wish to allow students to improvise—jazz is all about Listening is very important when first learning jazz composition. improvisation, after all. This can greatly intimidate many classical and developing it to create a new High School in Williamsport, Pennsyl- musicians, and not just those who are musical composition: vania, former string chairman of the young students, so some encourage- 1. Decide on the time International Association for Jazz ment may be required to get your and key signature. Education (IAJE), and professional pops orchestra at even a minimal level of 2. Create a one- to two-measure conductor. As for that rst repertoire, comfort. “Stress that in jazz, in many rhythm. he recommends beginning with “an ways, there is no such thing as a 3. Write the harmony for that original head chart, no notation, taught ‘wrong’ note,” advises Straiton. “Some one- to two-measure rhythm. by rote—a simple four-measure notes are better than others, and they Always start with the I chord melody that works over a 12-bar blues should trust their ears—and instincts— of the key. pattern (three times a four-bar melody) to know the dierence. Trial and error, 4. Improvise over the I chord using to build upon the aural tradition of for sure.” —Susan Poliniak the major and minor pentatonic jazz.” This beginning strategy scales, and the Mixolydian and helps to ease the fears that your Lydian modes. —Steve Fidyk otherwise-classical orchestral musicians may experience. “I’ve always endeavored to eliminate ORCHESTRA the ‘fear factor’—unison Preparing Your performance tends to raise Orchestra to everyone’s comfort level more Play Jazz rapidly. Kids are quick to get traction,” notes Straiton, who “Get the band Even with a roomful of skilled instru- otherwise emphasizes that most started and then move out of the mentalists, orchestra directors may nd important of practices for all way, let the group take over.” that there are challenges to bringing musicians: listening. “I start by —Walt Straiton together classical musicians and jazz for having the kids briey ‘listen’ to the rst time. How can you ease that capture the ‘aural essence,’ and then transition and give your students a jump into the tune.” Beyond actual BAND valuable and educative experience with playing in the rehearsal, listening to Planning this most American of musical art recordings by jazz greats is, of course, the Best-Ever forms? also a good idea so that students can get In terms of prerequisite knowledge that “feel” into their ears and minds. Band Camp required in your student musicians, it is “Find and share relevant recordings According to Tremon Kizer, associate quite modest: “Know the major/minor that feature jazz in a string context.” director of bands and director of scales of the key that you’re working Of particular relevance to your string athletic bands at the University of in. I always start from a minor,” players are examples by jazz violinists. Central Florida in Orlando, the most recommends Walt Straiton, educational “Reference the recordings of Stéphane essential element of a successful support manager for the Conn-Selmer Grappelli, Noel Pointer, and Regina preseason marching band camp is a Division of Education, former director Carter,” advises Straiton. great sta. This includes experts to

Photos from top: iStock.com/ DragonImages; iStock.com/nsergeyn. iStock.com/nsergeyn. Photos from top: iStock.com/ DragonImages; of orchestras at Williamsport Area In terms of your own conducting of instruct or coach the drum majors,

nafme.org 51 guard, dance team, majorettes, woodwind and brass sections, drumline, and section leaders. Kizer also notes, “A logistical support team is necessary to set up and tear down the eld and sectional rooms, ll water coolers, provide snacks, and so forth. You also need people who know CPR and rst aid.” Kizer’s collegiate marching band program has two doctors on sta . Regarding the facilities, he mentions that “sectional rooms and “The more things you complete early on, the easier band camp will be.” —Tremon Kizer marching band practice eld(s) and/or parking lot(s) that are accurately need, simply out of tradition. from what types of forms need to be painted” are also crucial. Equipment Kizer often begins planning his completed, to the band camp sched- needs, Kizer says, include “a good marching band camp in February: ule.” In addition, sta need to know microphone system for the eld and a “The more things you complete early what time to report each day, their tower that has enough height where on, the easier band camp will be.” In teaching content and location, when the instructor can see the whole eld.” regards to planning the show selection they will be compensated for their time In addition to having selected music and design, he insists that this should and expertise, and so forth. and drill ready to be taught by the start be started immediately and nalized by Kizer highlights a few additional of camp, he recommends that directors early spring. “The music should be tips for running a successful marching prepare a daily breakdown of what arranged by June so the drumline and band camp: needs to be accomplished. “This should guard coaches can begin writing.” • Always have a plan. include only the things that your E ective communication with • Remain encouraging, especially to students will need to know for the students, parents, arrangers, drill your students. marching band season.” He further designers, sta , and administrators is • Go slow to go pro. Have your notes that directors often teach things also required. Kizer notes that this students learn at a pace at which they that the students will not instantly communication includes “everything will absorb everything you need them to learn. • Treat your staff well. They will treat your students well in return. THE AMERICAN • Always put your students and staff in a position to be successful. KODÁLY INSTITUTE • Don’t use exercise as a form of AT LOYOLA UNIVERSITY MARYLAND punishment, especially in the heat. SUMMER MASTER’S DEGREE PROGRAM “You will need to plan with the end • OAKE Endorsed Kodály • Teaching Lab with AKI Demonstration Singers in mind” Kizer recommends. “For Certification Levels I, II, III • Build and play dulcimer, guitar, and ukulele instance, if your goal is to go to • M.Ed in Kodály Music Education • Learn hundreds of songs, folk dances, • Kodály methodology based on and play parties Nationals for Bands of America, then current research • Elementary General or Secondary Choral Track everything you do throughout band The American Kodály Institute is endorsed by the Organization of American Kodály Educators. camp should help you prepare for those Apply Today! Courses run July 6-26, 2019. performances.” Not to be forgotten, he Attend a Free Saturday Workshop – Register Online! adds, is “support from family and 4501 N. Charles Street • Baltimore, MD 21210 friends. This is one of the most intense times of the year and you, the director, HOW WILL YOU DRIVE EDUCATION need someone or a set of people to go ? to so you can recharge your battery for

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NAMMF_NAFME_7x4.875.indd 1 11/20/18 4:14 PM A E TAG S S elementaryBY STEPHEN HOLLEY

Thinking through Classroom Management How can music educators best invite their students into the learning experience?

might not come about as planned the rst “This is not about relinquishing control or expertise.” —Cathy Benedict time, but she encourages teachers to push past these awkward moments. “I always tell teachers with whom I am working not to give something up just because it didn’t go the way you wanted it to go the rst time.” Benedict suggests the learning curve is applicable to teachers as well, and that we should consider this and share with our students. “The most powerful step we can take is to share with the students why we are engaging dierently and to model to them our willingness to think out loud about our own decision-making processes.” As an educator who is deeply invested “THESE ARE HUMANS not just in front out lesson plan. “What helps me when I in teacher education, Benedict believes of us, but with us, and as such we work with young students, even universi- that teachers want more from professional shouldn’t be ‘managing’ them. We want ty students, is the importance of ow. And development than a simple “what’s going to create, as a class community, a space in by that I don’t necessarily mean having a to work for me on Monday.” One of her which all feel comfortable participating lesson that jumps from activity to activity tweets from this past year reads, “The and creating; a space in which control to activity, quickly paced. I mean a lesson more I work w/ teachers I recognize they doesn’t govern every decision we make plan that has been thoughtfully imagined want to think critically about what they as teachers.” For Cathy Benedict, where each engagement is connected do; they long for a space to think through NAfME member and associate professor musically.” Benedict also values the power w/ others. Workshops that only present of music education at Western University of silence and uses it often. “It may seem ‘activities to take back that ‘work’’ deny/ in London, Ontario, Canada, “classroom counterintuitive to leave places suppress inherent transformative management” is both a phrase and a of silence with students … we “It is about capacities.” Indeed, she has faith mindset that is as antiquated as it is ruin it all of the time by honoring in teachers and their ability to oppressive. Benedict chooses to invite her immediately giving a direction what it act and be treated as musician students—no matter the age—into the after something has come to an means to scholars in their own right. learning experience and to respect their end—which only serves to Redening classroom position as learners. “This is not about model to the students that teach and management requires a relinquishing control or expertise; it is re ection isn’t important or learn.” reconceptualization of how we about honoring what it means to teach necessary.” Re ecting on and sharing in act toward and with the young humans and learn—to be human.” the learning experience is key to building under our tutelage. You can learn more To achieve this manner of symbiosis in a learning environment that is both about Benedict’s philosophies and her classroom, Benedict notes the thoughtful and respectful. teaching strategies by visiting her website

Photo from iStock.com/miodrag ignjatovic. Photo from iStock.com/miodrag importance of ow and a well-thought- Benedict acknowledges that this skill at cathybenedict.com.

nafme.org 55 S GE A ST secondaryBY STEPHANIE JONES

Risk Assessment Music students are at greater risk for being bullied.

FOR YEARS, educators have been well Music educators can Caption versed in anti-bullying awareness, help by teaching their students bullying- rhetoric, and strategizing. But many response communication strategies for both music teachers have little concept of victims and witnesses. bullying’s growing prevalence among music students themselves, with much of the aggression taking place inside the music room. Quantitative analyst and NAfME member Kenneth Elpus teamed up with colleague Bruce Carter to share with music educators the alarming data collected in their chorus rooms. “The biggest revelation from our research is that music and theatre students are more likely than kids who are not music and theatre students to report that nonetheless helpful in distinguishing Elpus. “You can have a kid make eye they have su ered some sort of bullying two distinct categories of bullying, both contact with a kid who’s a victim and aggression,” says Elpus, who works as of which a ect music students. then make eye contact with a kid who’s associate professor of music education at “A lot of the bullying research looks at an ally-perpetrator … and that [action] the University of Maryland School of these two kinds,” says Elpus, “one as can be almost invisible, even to a really Music in College Park. Elpus and Carter’s being more prevalent in ‘girl culture’— good music teacher.” ndings suggest that more than one in and that’s bullying by social exclusion, Fortunately, music educators have an three music and theatre students experi- rumor-spreading, or secret-sharing, edge: “Music teachers often serve as an ence bullying, with those numbers versus physical aggression, which tends to inuential nonparental adult,” says peaking in middle school. be more associated Elpus. “If you’re serving this mentorship Elpus and other “You really need with adolescent role for your students, you really need to experts agree: For music to have a handle masculine culture. One have a handle on the social climate in teachers to have a chance on the social uses friendships as a your rehearsal room—or in and around at reducing and elimi- climate in your weapon; the other uses your rehearsal room.” nating bullying, aware- threat of violence.” Elpus and his colleagues recommend ness is critical. The rehearsal room.” Female music and music teachers and their students engage report identies two models of adoles- theatre students reported the highest in classroom-level supports, which may cent bullying infecting the music room: incidence of social-relational victimiza- include using instructional time to victimization through physical aggres- tion than any other group of adolescents, discuss bullying, developing social and sion and victimization through so- according to the study. Perhaps the most emotional competencies among students, cial-relational aggression. Elpus argues chilling aspect of this type of bullying is helping students improve peer-to-peer that these models developed out of what its inherent detection resistance. communication, and teaching bullying- he considers “somewhat outdated gender “Social-relational aggression can happen response communication strategies for

roles in adolescent culture,” but are in a choir room in two glances,” says both victims and witnesses. Debenport. Photo from istock.com/Steve

56 Teaching Music APRIL 2019 S GE A ST collegiateBY ANDREW S. BERMAN

Working with Administrators A good relationship can save time, frustration, and your program.

THE RAPPORT YOU HAVE with your Take the time to principal and other school and district create an effective communications leaders makes a di erence. Mark Lane, style to foster NAfME member and emeritus professor positive rapport with your of music at Central Washington Universi- administrators. ty in Ellensburg, says that a good relationship with your principal can make them a partner in building your program. Fostering connections with your administrators takes time and e ort. “Take the time to come in to the oce on occasion to just talk,” advises Lane. Beyond casual conversation, He suggests educating the principal about your program and its value to your students whenever you can. “Advocacy should be Lane counsels that involving them educates them, and who better? part of everything you do and a part of should be a last resort. “If you are Principals respect professionalism, so all communications with administrators, unsure whether you should seek embody it in your work life, and parents, and students,” says Lane. In administrative support, you denitely understand their point of view when these face-to-face interactions, let the should ask your immediate supervisor,” you’ve crossed the line. Lane recalls an administrator get to know the real you, advises Lane. If you know a problem is incident early in his career when he and let them see your passion for your making its way to your principal’s desk spoke out of turn to a parent about his subject. Take care not to (say, via an angry parent), try principal. The principal found out about complain, and don’t be “Advocacy to beat it there. “Administra- it, and reacted sternly. Lane says he’ll afraid to ask questions. “The should be tors hate surprises. never forget what that principal said to administrators will appreci- part of Remember that adminis- him: “Either we are going to build this ate the fact that you are everything trators are on your side. program together, or it will never be trying to learn school and Interactions should start built!” That moment was formative for district procedures, which you do.” from that place of common Lane, and he recalls it as a turning point. ultimately makes their jobs easier,” Lane interest. Lane o ers the perspective that He repaired the relationship, and from adds. Later, when you forward them “principals want all their teachers to then on they worked together. “It short emails with the latest research succeed so students succeed.” A policy totally changed the way I operated, and ndings, the principal will remember of open communication is always best. we went on to build a band program the pleasant conversation the two of you “Own your mistakes.” Your principal’s from 40 kids to over 250 kids.” had about music. impression of what went on may be “Ultimately, the relationship you In addition to one-on-one conversa- inaccurate, and perception matters, so have with your principal can save you tions, your administrator’s perception of clear it up. Your principal may not have time and frustration,” summarizes Lane. you is shaped by how you manage your a background in music, and that’s not “This will give you more time to spend

classroom. Administrators are busy, so their fault. You can be the person who on what we all love: making music!” Olena. Photo from iStock.com/Yakobchuk

58 Teaching Music APRIL 2019 1289651_AD.indd 1 3/6/19 8:33 AM resources

BOOKS 3 Music Education in the Yes, You Can! A Way of Classroom Caribbean and Latin America: Survival Guide for Music Keyboard: A Comprehensive Guide Teaching Strings Education: Play and Create Text by Stephen Edited by Raymond Torres-Santos (2017, 282 Classic Chinese Melodies with pgs., hardcover $90.00, paperback $45.00, Benham, Edited by Wisdoms Chords eBook $42.50) This textbook discusses music Doris Gazda (2018, By C. Victor Fung By Patricia Melcher education from 20 Latin American countries and 132 pgs., spiral-bound (2018, 240 pgs., Bissell with Brereton Caribbean islands, including Costa Rica, El $45.00) This practical hardcover $99.00, Wadsworth Bissell Salvador, Guatemala, Mexico, Peru, Venezuela, guide for teaching the paperback $27.95, (2017, 128 pgs., Cuba, Puerto Rico, and others. As regards the essential techniques of eBook price varies) A hardcover $45.00, music of each, it addresses the early days, music orchestral string Way of Music Education paperback $22.00, education in Roman Catholic education/convents, instruments may prove integrates ancient eBook $20.50) This Protestant education, public school/music in the useful for those coming Chinese thought into book—which includes schools, cultural life, music in the community, into this from another the canon of music 100 musical elements teacher training, music in university/higher discipline, such as band education in a and 300 activities— education, development, and more. NAfME/ or choir. It describes structured, system- has modular content Rowman & Littlefi eld, rowman.com techniques and atized, and philosophi- that can be taught in compares them to cal way. The book’s several fl exible knowledge music three central sources— formats. Melodic educators already the Yijing (The Book of repetition and possess. Topics Changes), Confucian- gradually more covered include tone ism, and Daoism— demanding accompani- production, bowing, inform author Fung’s ments help students string crossing, argument that the play successfully. INSTRUMENTS 3 markings, left-hand human being exists as Those with prior Komplete Kontrol M32 technique, tuning, an entity at the center experience will fi nd By Native Instruments ($129.00) This portable, aural skills, rehearsal USB 2.0-bus–powered keyboard and MIDI of an organismic world that this course controller is designed to provide hands-on preparation and in which all things introduces them to workfl ow and comprehensive digital audio workstation capabilities with a small footprint routines, adaptations, and events, including aspects of musician- and less than 3 pounds of weight. Thirty-two string program music and music educa- ship that can enhance synth-action keys work alongside eight touch- sensitive control knobs, two touch strips, and a organization, and tion, are connected. future efforts. NAfME/ four-directional push encoder to help you with more. Carl Fischer Oxford University Rowman & Littlefi eld, all of your playing and inputting needs. Native Instruments GmbH, native-instruments.com Music, carlfi scher.com Press, oup.com rowman.com

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nafme.org 61 Performances Live Streamed at livestream.com/wcupa resources... CONTINUED TEACHING AIDS 3

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Each entrant must be sponsored by a NAfME 2019 member teacher, or be a NAfME Collegiate ELECTRONIC member in good standing. Compositions should be 5 minutes or less and should either be composed electronically MUSIC or include electronic instruments (vocal and/ COMPOSITION COMPETITION or acoustic instruments may be combined with electronic instruments).

Entries must be received by April 19, 2019 bit.ly/NAfMECompetitions Presenting Sponsor

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nafme.org 63 bravo! ✢ BY SUSAN POLINIAK TONY KADLECK

TRUMPETER Tony Kadleck has been praised as a highly effective sideman who has lent his hand to numerous musical activities. He is currently one of the most sought-after trumpet players in the New York area. While attending the New England Conservatory in Boston, Massachusetts, and the Manhattan School of Music in New York City, Kadleck studied both classical and jazz music, which would later benefit him, as he went on to perform and record with the Boston Pops Orchestra. In 1986, Kadleck was asked to join the trumpet section of the Buddy Rich Band. He has recorded with artists including Luther Vandross, Michael Jackson, Elton John, Celine Dion, and Tony Bennett, and has performed live with Frank Sinatra, Ella Fitzgerald, Stevie Wonder, and Steely Dan. He is currently a member of many ensembles, including the Maria Schneider Orchestra, the New York Pops, the John Fedchock NY Big Band, and John Pizzarelli’s “Swing Seven.” He is on the faculty of Purchase College in Purchase, New York, the Manhattan School of Music, and Montclair State University in Montclair, New Jersey. His recent CD Around The Horn is available at tonykadleck.com and on iTunes.

What is your earliest musical memory? We went to church each week, and I vividly remember hearing the organist play. I couldn’t read music at that time, but I tried to follow along in the hymnal. I suppose that was my first real introduction to live music.

You’ve had an incredible career. What has been your favorite accomplishment so far? Just pondering this question makes me realize how lucky I’ve been. There have been several “goose-bump moments,” as I like to call them. I suppose that it would be a tie between Frank Sinatra’s final European tour and Michael Jackson at Madison Square Garden. And seeing one of my former students sitting next to me on a gig also qualifies as one of my favorite things!

What’s on the horizon for you? I’m looking to do more teaching in addition to performing. I also have a new big band recording coming out within the next few months, which I’m very excited about.

What advice do you have for the kids who want to follow in your footsteps, and for the teachers who want to help them? While it used to be the case that just playing great would guarantee you a certain amount of success, that’s not the way it is today. I tell my students to also learn Pro Tools or Logic, learn Finale or Sibelius, learn how to compose and arrange, be able to teach lessons, play a church gig, play in a wedding band, play some jazz, play some classical music, have your music business chops together, etc. Obviously, we can’t be amazing at everything, but being versatile can sometimes create hidden opportu- Being nities. Because you never know what you’ll have to fall back on when it’s slow out there. versatile can Why do you think music education is important for kids today? The sometimes importance of the formal training we receive from our teachers cannot be create hidden overstated. Whether it’s private lessons, playing in ensembles, music opportunities. theory, ear training, or studies in composition, our teachers have the enormous task of guiding students, and more important, inspiring them!

Do you have any words of encouragement for music educators? Keep doing what you are doing, and thank you for doing it! My music teachers are/were some of the best people on earth, and I think of them every time I pick up my horn. Your ability to inspire these students is such a powerful thing, and you often work tirelessly to do so—thank you! Photo courtesy of Tony Kadleck. Photo courtesy of Tony

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NAfME member insurance plans are offered through the Trust for Insuring Educators (TIE) NAfME member insurance plans are offered through the Trust for Insuring Educators (TIE)

Some discounts, coverages, payment plans and features are not available in all states, in all GEICO companies, or in all situations. GEICO contracts with various membership entities and other organizations, but these entities do not underwrite the offered insurance products. Discount amount varies in some states. One group discount applicable per policy. Coverage is individual. In New York a premium reduction may be available. GEICO may not be involvedSome in adiscounts, formal relationship coverages, with payment each plansorganization; and features however, are notyou available still may in qualify all states, for a in special all GEICO discount companies, based or on in your all situations. membership, GEICO employment contracts or with affiliation various withmembership those organizations. entities and otherGEICO organizations, is a registered but service these entities do not underwrite the offered insurancemark products. of Government Discount Employees amount varies Insurance in some Company, states. Washington, One group discount DC 20076; applicable a Berkshire per poli Hathawaycy. Coverage Inc. subsidiary. is individual. © In 2018 New GEICO York a premium reduction may be available. GEICO may not be involved in a formal relationship with each organization; however, you still may qualify for a special discount based on your membership, employment or affiliation with those organizations. GEICO is a registered service mark of Government Employees Insurance Company, Washington, DC 20076; a Berkshire Hathaway Inc. subsidiary. © 2018 GEICO

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8167 NAfME GEiCO Ad.indd 1 3/13/19 10:21 AM

8167 NAfME GEiCO Ad.indd 1 3/13/19 10:21 AM Hassle-free assesment. More time to make music.

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