Rehearsals Setting up Jazz Figures on the Drum Set

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2019 VOLUME 3 CONSISTENT & CREATIVE REHEARSALS SETTING UP JAZZ FIGURES ON THE DRUM SET

Denis DiBlasio

IMPROVISE Jazz & ENERGIZE EDITOR’S NOTE

SupportED 2019 Volume 3 Young, Talented and Full of Promise Pho une is one of my favorite times of t o

Jthe year because it’s when we host by 4 Navigating Troubled Waters Jo

the Yamaha Young Performing Artists lesc What are the moral and legal obligations of music educators when

(YYPA) Celebration at the Music for h Pho dealing with distressed students? All Summer Symposium at Ball State t o

University in Muncie, Indiana. This year’s grap YYPA winners were among the most h

6 The Magic of Rehearsal Management y Capture your students’ attention by creating consistent inspiring and promising artists we have classroom routines as well as applying some sparks of ingenuity. ever worked with. They were humble, open-minded and rose to the occasion in every professional workshop, rehearsal 9 The Inside Scoop: J. Dash and especially during their performances Rapper, songwriter, producer and multi-instrumentalist in front of a cheering crowd of almost his third year at Rutgers University and won it the most. This act takes humility and J. Dash has a genuine passion and commitment to help young 2,000 music students and teachers at the first place in the ITF solo jazz competition. a deep sense of caring and commitment people realize success through the arts. symposium. The talent, enthusiasm and All three are brilliant trombone players, for what is best for the student. camaraderie showcased at the Summer and all three won the YYPA title early in Have you ever had an especially gifted Symposium were remarkable! their careers. It was heartwarming to see student who you handed over to a more 10 Denis DiBlasio: The Storyteller I was still riding high from this spec them together and hear how their careers advanced teacher? How did you handle it? A life in jazz and teaching has meant improvisation, invention and tacular week when I headed to the are flourishing! Email me at [email protected], so reinvention for Denis DiBlasio. International Trombone Festival (ITF) in Michael (2004 YYPA winner), Altin I can share your stories with our readers. July. There, I ran into three musicians who (2017) and David (2019) share something I hope you enjoy this amazing issue. are connected by a unique thread. Michael with all YYPA winners throughout the 14 United We Stand Dease teaches at Michigan State University program’s 31-year history. These “gifted” Best, As a chapter of United Sound, the Parkway Central and is a brilliant, celebrated soloist and musicians all had teachers who were Middle School band program harnesses the power of music collaborator. Altin Sencalar just finished brave enough to hand them to other to give students with special needs a sense of belonging. his graduate work in performance and is educators who could provide higher-level John Wittmann touring with his combo. David Mosko is in instruction when their students needed Director, Artist Relations and Education 18 Setting Up Jazz Figures Beginning jazz drummers should try this simple and EDITORIAL Ateliers systematic approach. Editor: John Wittmann Director of R&D and Ateliers: Bob Malone Managing Editor: Christine Ngeo Katzman Marketing Editorial Project Manager: June Kikuchi Yamaha SupportEd Lisa Steele-MacDonald Jalissa Gascho Director of Marketing: 6600 Orangethorpe Avenue, Buena Park, CA 90620 Contributing Editor: Sr. Marketing Manager, Winds: Brian Petterson Editor’s Note...... 1 Art Director: Brian Bengelsdorf Phone: 317.524.6272 Marketing Manager, Strings: Ken Dattmore News & Notes ...... 2 Email: [email protected] Artist Relations AND Education Marketing Manager, Accessories: Matthew Kerns Web: YamahaSupportED.com Director of Artist Relations Marketing Manager, Percussion: Troy Wollwage Letter to Myself ...... 20 and Education: John Wittmann Artist Relations Manager: Jalissa Gascho CORPORATE OFFICE Inspiring, empowering and equipping President: Tom Sumner music educators and students through Sales Corporate Vice President: Garth Gilman finely crafted instruments, access to National Sales Director: Doug Steinmetz life-changing musical events and the Ed Boyer Regional Sales Manager: Yamaha SupportED magazine is produced by Cover photo by Rob Shanahan for sharing of gifted artists Regional Sales Manager: David Suter Yamaha Corporation of America Yamaha Corporation of America

C2 SupportED — FOR INSTRUMENTAL IN- STRUCTORS 2019 Volume 3 1 News & Notes

A New Look at MAILBAG NOTEWORTHY Four-Year Study Classical Music F eatureflash P hoto A gency / S hutterstock . com

Thank you so much FIND A MENTOR Dive into the behind-the-scenes stories of CREATING A BALANCED BUDGET Verizon and Shows Impact for telling the story of DRUM CAMP some of the greatest music ever written with IN FORT WORTH the percussion camp 2019 VOLUME 2 Pharrell “Classics Unlocked,” a new podcast produced at Bass Performance Partnership by Universal Music Australia and hosted by of Incorporating Hall in the 2019 Volume ERIC JAUVON Graham Abbott, an Australian broadcaster. SHIN GILLIAM 2 issue of SupportED Virginia Beach’s favorite Each 45-minute podcast focuses on a magazine. TRIPLETHREATS son Pharrell Williams is particular piece of music or a time period in a EDUCATORS PERFORMERS ENTREPRENEURS Modern Music in Our CEO flipped bringing more music to composer’s body of work. “Classics Unlocked” when she saw the well-written and comprehensive his hometown. Bayside launched in May with two episodes, and a new article. And it has already made a huge impact. We Middle School will be episode is added each month. Every episode Curriculum showed the article to several donors and were able to the site of a new Verizon will be available on YouTube initially, then will be get food for the clinicians! Innovative Learning Lab featured on some classical music radio stations Our board and community are extremely proud of that will incorporate music, and Apple Music. the education program at Bass Performance Hall. augmented and virtual “We’re aiming to help you love the music We are gearing up for another set of camps — reality, robotics and machine you love even more, as well as making new onward and upward! learning. The lab is part of a discoveries along the way,” Abbott said on Sue Buratto partnership between Verizon the website uDiscoverMusic. he power and impact of music education was reaffirmed by a four-year research Director of Education and Williams that also in The first six podcasts look at the music of project called Exchanging Notes that took place in the United Kingdom. The twist Bass Performance Hall cludes the launch of a technology-based music curriculum in the more than 100 Bach, Mahler, Tchaikovsky, Wagner, Berlioz and is that the study — conducted by the music charity Youth Music and Birmingham Fort Worth, Texas Verizon Innovative Learning schools around the country. Beethoven. City University — looked at the advantages of integrating modern music like grime

______In an interview with Billboard, Williams spoke about how art can impact lives. K athy H utchins / S hutterstock . com electronic dance as well as bringing music industry professionals and local music- “I want all children to have access to that kind of creative growth, access and making projects into the school setting. We want to hear from you! Please let us know what support,” Williams said. Exchanging Notes worked with 974 students and tracked 72 of them over the four you think of this issue or share stories about your music Verizon Innovative Learning has helped more than 1 million middle school years of the study. Teachers and students were encouraged to break out of old habits program. Write to us at [email protected]. students by providing free technology, internet access and technology curriculum. and think differently about their musical and educational identities. Students even ______Find out more at www.verizoninnovativelearning.com. helped select which music to include in the lessons. In an open letter about the study, CEO of Youth Music Matt Griffiths wrote, “… young people participated in a music curriculum which reflected their diverse interests and Ear Training Games existing lives in music. This contributed to their personal development and emotional WURRLYedu is making music more fun! In June, the music well-being as a result of regular music-making. An important factor was that the type education content platform company launched a series of music explored in the curriculum wasn’t imposed on them — it was instead decided of music and ear training games that focus on students’ DJ Khaled’s Gift to and delivered with them.” listening skills in three categories: scales, melody, and Some key findings of Exchanging Notes include: rhythmic call and response. Students can increase the difficulty of the games Brooklyn School • Students who were at risk of exclusion at the beginning of the study maintained by adjusting the speed, scale type, key and tempo. At the end of each game, The High School for Public Service in high attendance levels (more than 95 percent) throughout the project. Yamaha Fact students receive an accuracy score to track their progress. Brooklyn, New York, received a big gift from • Music helped build strong social connections that re-engaged students, resulting Yamaha helps music teachers buy essential “[Our] games are entertaining and can be played anywhere, with the producer and songwriter DJ Khaled. A DJ in self-confidence and more positive attitudes to learning. classroom supplies through its partnership with purpose of training the ear and improving motor skills,” said Nadine Levitt, lab was installed at the school featuring • Over the four years of the study, two-thirds of the students maintained or DonorsChoose.org and the #MusicEssentials founder and CEO of WURRLYedu, in a press release. “Using the games, equipment donated by Khaled and his We The improved their grades in English and math. match program. To date, the partnership has students not only improve their musical abilities in a fun and safe space, but Best Foundation with the help of a VH1 Save • The study tracked increases in emotional, psychological and social well-being, they also improve their overall comprehension skills that are vital to reading, the Music Tech Grant. The music recording noting that students joined in with peers, made friends, and developed teamwork raised over $375,000 and has speaking, writing and listening.” and production equipment will be used to and empathy. helped 997 teachers and Learn more about the games and WURRLYedu’s suite of music education teach deejaying, beat making, songwriting and To learn more about Exchanging Notes and read about some of the participating 241,100 students. lessons plans and tools at www.wurrlyedu.com. audio engineering. students, visit www.youthmusic.org.uk/exchanging-notes.

2 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 3 Program Management eter Warshaw, fine arts director for the Leander (Texas) Indepen dent School District, gives presen ta tions about suicide Where kids will choose awareness to music educators. Warshaw to vent is a safe space, has lost two students as well as his wife to suicide, so he knows firsthand about the and for a lot of them, warning signs and the grief. [that’s] the band room. Music educators might have more per sonal relationships with their students than

math or science teachers, so they may — PETER WARSHAW, FINE ARTS DIRECTOR, occasionally learn sensitive details about their LEANDER INDEPENDENT SCHOOL DISTRICT students’ lives. What should they do with this information, and do they have obligations to help students in certain situations? County School District. “If we suspect last thing you want is to take a kid out of child abuse, then we are to report it. the program, and the principal forces you Suicidal Thoughts There are criminal actions if you don’t to take that kid back,” Morgan says. Because of various pressures during ado follow the letter of the law.” Only remove students from the program lescence, students are at risk for mental Rules vary by state, but a teacher who as a last resort. “Band may be the only health issues. Therefore, teachers should learns about suspected abuse must report reason why they’re coming to school,” learn to recognize the signs of depression the information to a specific school or law Warshaw says. “How arrogant of me to and suicidal thoughts, says Warshaw, a enforcement official within a prescribed time take that away from them. I may be making former band and orchestra teacher. Some period. Then law enforcement will investigate. the problem worse.” school districts provide training. Warshaw helped prevent one student Belligerent Students Alone Time with Students from attempting suicide because he alerted Sometimes students act out in class. In Whatever the circumstances, avoid spend the parents. “If someone had suicidal some instances, problems outside the ing one-on-one time with students because ideation, I would go with the student to the classroom may be to blame. it may appear inappropriate. counselor,” he says. “If the student is mad “Where kids will choose to vent is a safe “False allegations are easy to make at me, that’s the price I’m willing to pay to space, and for a lot of them, [that’s] the and sometimes very difficult to disprove,” N keep [him or her] potentially alive.” band room,” Warshaw says. “They’re not Morgan says. “I hate it that teachers have lashing out at us. It’s almost always about to put themselves in a position to see all of N Child Abuse something outside — a bad interaction the possibilities out there, but in this day A G If a student mentions physical, emotional with a classmate, maybe their boyfriend or and time, they do.” T G or sexual abuse, a teacher must report it to girlfriend just dumped them, or it can be Band students often trust their instruc v A the authorities even if the student shared something else that is significant — maybe tors, so they may feel like they can open up details in confidence. something is going on at home.” about their problems. “I would encourage i i “[Almost] all 50 states have some type Communicate about repeated them to talk to someone else — usually a of what we call the ‘mandated reporter disruptive events with your principal. counselor,” Warshaw says. statute,’” says Barry Morgan, the solicitor “Make a written record through email: If you need to speak with a student general of Cobb County, Georgia, and ‘This happened in my class today; this privately, ask another teacher to be present a former music educator in the Cobb is what I’ve done,’” says Morgan, who or record the conversation if it’s legal in TroubleD Waters runs legal clinics for music educators. “If your state. things come to a head, and the teacher “Tell the student, ‘I’m recording this con What are the moral and legal obligations of music educators is accused of overreacting, he can show versation, not because I’m going to share it the steps taken and how he has followed with anybody, but because I record all of my when dealing with distressed students? policy and procedure.” conversations with students,’” Morgan says. Occasionally, a student needs to be “It might stifle the students’ willingness to By Lisa Fields removed from the band program. See if the really talk about what their issues are, [but] Peter Warshaw Barry Morgan school administrators will intervene. “The you have to protect yourself.”

4 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 5 Professional Development few times each semester, the band room at Hill Country Middle School in Austin, Texas, would fall completely silent. As students walked to The Magic of Rehearsal rehearsal, they saw signs reminding them that their rehearsal would involve no talking from anyone P hoto C ourtesy of UIUC B ands — not even the teacher. After students took their seats, the instructor gestured for students to begin playing with information projected on a slide at the front Management of the classroom. On those silent rehearsals days, the room was filled only with the sound of music, not with voices. “It’s a big game,” says Cheryl Floyd, retired director of bands at Hill Country Middle School and now a Yamaha Master Educator. Though Floyd’s silent rehearsals were

effective for helping students focus on the INVOLVE AND MOTIVATE STUDENTS: Instead of a top-down approach, Stephen Peterson (left) music, they also required a high degree of encourages students to be problem-solvers during rehearsal. Elizabeth Peterson (above) encourages trust between the students and instructor. directors to come up with creative solutions to motivate individual students. “You have to have a routine for how you do things,” says Floyd, whose students director of bands at Illinois, has taught high a challenge. “They are a blank slate when looked forward to silent rehearsals as school, college and graduate levels. “When they come to you,” she says of middle special occasions. I used to have problems with a [high school students. Music educators can use a variety of school] student, you … never deal with tactics to maintain a smooth flow during that student in front of the whole group,” The Role of Music Selection rehearsals. Floyd along with University of he says. “There’s no way you’re going to According to Floyd, the music itself can also Illinois professors Dr. Stephen G. Peterson win that situation.” influence the level of energy in the room. Her and Dr. Elizabeth Peterson share their students’ rowdiest days would often happen best practices for managing the musical when the band rehearsed pep tunes for foot classroom. Finding the magic ball games. “That’s what it’s supposed to do — stir up the crowd!” she says. Different Techniques for of classroom Consequently, Floyd planned for these Different Age Groups days, knowing that the rehearsals would Rehearsal management techniques can management takes be less productive. vary quite a bit based on the ages and Beth Peterson agrees that music selection musical experiences of the students. both consistency can be a factor in classroom management Generally, the younger the students, the and recommends that teachers present more energy they will have, and the more and flexibility. about a dozen pieces to their students at the direction they will need. beginning of the term, then settle on three or To keep young musicians engaged, four that prove to be the best fit once they Beth Peterson, who is the assistant With college-aged students, Peterson get a better feel for their group. Capture your students’ attention by creating consistent classroom director of bands at Illinois, recommends notes that students are serious about “There’s no reason you have to determine directly modeling what the students need music and can often focus on musical what to play at your first concert the first routines as well as applying some sparks of ingenuity. to do. “With beginning band, I would aspects of the rehearsal. “They are adults, week of school,” she says. “New teachers model with my trumpet all the time,” she and I treat them as adults,” he says. come in with a few pieces they know, and says. “I would play a two-measure phrase Though older students can often have then they get down the road, and the music by Savy Leiser and have them echo me.” an easier time maintaining focus, Floyd might be too hard, and they get stuck.” Stephen Peterson, who is currently believes that younger students are up for Peterson says that when selecting P hoto by J ustine B ursoni hotography

6 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 7 By Marcia Neel

Education Insider au l music, it’s so important to include pieces written by a diverse group of composers

— women and persons of color. “This will THE RIGHT FIT: Elizabeth The Inside Scoop: PHOTO by K ing P help all students know that they are being Peterson says that music represented and included,” she says. selection can play a big role in helping students enjoy CHANGE Challenges rehearsals. P hoto C ourtesy of UIUC B ands J. Dash to Strengths When teachers have some talkative students t the 2019 National Association of Music Merchants (NAMM) in their ensembles, don’t view them as Advocacy Fly-In to Washington, D.C., where NAMM members problems, Floyd says. Use those students’ gathered to lobby members of Congress for positive music strengths. “Say, ‘Who’s the loudest here?’ A education measures, I had the opportunity to meet rapper, song and have [that student] be the keeper of the writer, producer and multi-instrumentalist Jameyel Johnson, better pulse,” she says. known as J. Dash. His personal, long-term relationship with music In addition to extraneous talking, class inspired and absolutely captivated me. I was struck by his sincere rooms face a new challenge: technology. desire to influence lawmakers through his unbridled enthusiasm for While cell phones can be a major distraction, music education and his genuine passion and commitment to help Floyd recommends using them for the young people realize success through the arts. advantages they offer. “You can have [students] record them selves, even when they can just play ‘Hot students. Stephen Peterson recommends with creative solutions to unique problems Q. When did you know that you were group of people through time. What is played, and how he chose to market Cross Buns,’” Floyd says. “They think moving away from a top-down approach that arise. For example, Beth Peterson going to make music the focus of your crazier than feeling the emotion an artist himself, I’m pretty sure it would be the that’s amazing.” and instead engage students. coached a student-teacher on how to professional life? or composer intended hundreds of years most interesting conversation I ever had. Phone apps for metronomes or tuners “If something’s out of tune, you might motivate a child who was misbehaving. A: I always knew that I wanted to create after the inspiration was felt? If that can also be helpful. say, ‘What’s wrong here?’ [or for rhythm “[The student] wanted to switch instru music, professionally or not. It became doesn’t blow your mind and express the Why is it important to protect access problems,] ‘Who’s responsible for this ments, so she set up a contract with him,” a career goal when I was 14 years old importance and magic of music, then I to a musical education? Internal Motivation rhythm?’ ‘Who’s slowing down?’” he says. Peterson says. and heard “Up Jumps Da Boogie” by don’t know what will. Beyond the fact that learning music During the 2018 Music for All Summer “It’s all about a higher level of learning where After the student showed positive be Timbaland & Magoo. That was the first improves students’ test scores and has Symposium at Ball State University in they’re involved in the process instead of havior in class, fulfilling his end of the time I remember thinking, “I want that to be What’s your favorite guilty pleasure food? been known to increase confidence, Muncie, Indiana, the Petersons each gave waiting for answers.” contract, the teacher allowed him to switch how I make money for the rest of my life.” Sour worms it gives them a reason to go to school a presentation on rehearsal techniques in Teachers may also need to work indi instruments to the tuba. when they otherwise may not have one. which they explained some ways to motivate vidually with some students to come up Often, teachers must find out what moti What piece of music do you wish you had Which person from history, dead or With so many things stacked up against vates students and then use that internal written and why? alive, would you want to have lunch with, the next generation, it is our obligation motivation to keep rehearsals running “Exit Music (For a Film)” by Radiohead and what would you discuss? to do what we can to give every single smoothly. For example, Floyd keeps her is one of the most hauntingly beautiful There are way too many, and my answer child the best opportunity for a well- students from talking during silent rehearsals pieces of music, in my opinion. It strikes would probably change depending on rounded education that includes music by making them a special occasion. “You a chord with me that vibrates down into when you asked me. and the arts. can’t do [a silent rehearsal] every day,” she my bones every time I hear it. Music But today, I would have to say Prince. ______P hoto by E ddie jennings says. “It would lose its charm.” that does that is special, and I’m pretty Considering what he did for popular Read the full interview with J. Dash on Because students put a premium on silent jealous that I wasn’t in the room when music, the consistency in writing hit yamahaeducatorsuite.com. Learn more rehearsals, they naturally hold themselves that one was made. songs, the variety of instruments he about J. Dash at therealjdash.com. and their peers accountable. “If anybody does talk, the other kids will put their fingers What is your biggest pet peeve? in front of their lips,” she says. “They don’t Ego About the Author want the magic to be broken.” Marcia Neel is senior director of education for Yamaha Corporation of In the end, finding the magic of class Why is music important to humanity? America. She is president of Music Education Consultants Inc. and serves room management takes both consistency Music is not just our history; it is our as the education advisor to the Music Achievement Council. She presents and flexibility to set expectations for the time machine to the successes and sessions with practical success strategies for music educators at state music

STRENGTHS INSTEAD OF CHALLENGES: Yamaha Master Educator Cheryl Floyd encourages directors entire class and handle the needs of tribulations of the past. It is a way to conferences, district in-service days and dealer workshops. To inquire about Neel hosting or to look at problems as possible assets. individual students. preserve the energy of an individual or attending a session in your area, contact [email protected].

8 SupportED — FOR INSTRUMENTAL INSTRUCTORS 20192019 VolumeVolume 23 99 ARTIST SPOTLIGHT

THE TELLER STORY

enis DiBlasio is a natural were 11 others. I thought I was ready for Glassboro, New Jersey, where he also For Denis DiBlasio, a life in jazz improviser. He was about the road,” he jokes. leads the jazz studies and composition 10 years old when his Humor and self-deprecation are big program. In addition to teaching and music teacher wrote down parts of the DiBlasio persona. He can poke playing the baritone sax, DiBlasio is a and teaching has meant improvisation, a blues scale in F. “He said, fun at himself, knowing his reputation as flautist, arranger and composer. ‘Just make up stuff and use one of the leading jazz saxophonists of his these notes,’” DiBlasio says. “I must have era is secure. DiBlasio spent many years “FUN IS A GREAT MOTIVATOR” invention and reinvention. played that thing for two years. I just beat playing with legendary bandleader Maynard DiBlasio stepped into music rather than that thing to death.” Ferguson and is currently the executive being pushed into it — though his parents After spending so much time on the F director of the Maynard Ferguson Institute were always supportive and enjoyed hearing BY BEN NUSSBAUM / PHOTOS BY ROB SHANAHAN scale, “I was upset when I found out there of Jazz Studies at Rowan University in him play. “I didn’t have a piano-playing

10 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 11 mother who was like, ‘You need to do this, a teacher and enjoyed his happily ever after. or you need to work like that,’” he says. It’s work. “What was really important is that I was left on my own to figure it out, to play with it on “NOTHING’S WRONG WITH THEM!” my own. It was always my thing.” DiBlasio says that every five to seven years, Music appealed to DiBlasio for a simple he has to come up with a whole new way reason, one that might seem radical in of teaching. “The way I’m teaching now today’s overscheduled world. “I just think has nothing at all to do with the way I used it was something that was fun, like other to teach,” he explains. “The 19-to-22 age things were fun,” he says. “I don’t want to range isn’t the same as 19 to 22 was when say practice wasn’t a chore, but there were I started.” times when I practiced a lot, and there were For DiBlasio, teaching is a partnership times I didn’t. I was a kid. I’d put it down WISE WORDS: A teacher who really listens to students ends up filling a lot of roles. “This kid may not with each student. In the same way that for about a month, fool around, play sports, need a lesson,” DiBlasio says. “He may just need someone to listen. He may need someone to help he changes the way he performs based on Improvisation and I’d pick it up later.” share his pain. Someone else may need to be leaned on a little bit.” who he’s playing with and the audience, DiBlasio is quick to note that fun isn’t the he changes the way he teaches based on same thing as a free-for-all. “I knew early on Other options included becoming a marine profile band. Even though he was a full-time what his students know and care about and that the better you became, the more fun it biologist or a veterinarian. He quickly realized touring musician for only about five years, their life experiences. “You have to tune in to was,” he says. that he didn’t want to be a vet. “There was DiBlasio continued to play on and off with them,” he says. Impediments Learning to play an instrument takes too much math in it,” he says with a laugh. Ferguson for decades. He remembers when students knew jazz When asked if his experience improvising in jazz impacts his ability to stay flexible as a discipline, and being a professional means “I didn’t realize it was science. I thought you DiBlasio describes Ferguson as a “musical greats like Buddy Rich, Count Basie, Duke teacher, jazz saxophonist and music educator Denis DiBlasio recalls what jazz pianist many days consumed by hours of practice. just played with animals.” big brother.” The bandleader’s career started Ellington and Woody Herman. But for many Denny Zeitlin said in an interview with Monk Rowe: There are three reasons people But DiBlasio emphasizes that the point of all in the 1940s and continued up to his death students today, “Count Basie might as well don’t succeed as improvisers. that work was always enjoyment. “ALL JUICED IN” in 2006. Ferguson was, at different times, be Beethoven,” DiBlasio says. “Fun is a great motivator,” he says. “[But] So DiBlasio stuck with the sax. “The a session player for Paramount Pictures, He sometimes sees new teachers taken 1. They need to be in control. fun doesn’t mean you’re goofing around. more you stay involved, the more you get a close associate of counterculture figures aback by how little their students seem to 2. They’re afraid of looking bad and making a mistake. You’re working hard. You’re working really involved,” he says. “Before you know it, Timothy Leary and Ram Dass, an inventor know about jazz, but DiBlasio sees this 3. They sabotage their own success out of guilt. hard. Coltrane practiced 11 hours a day. He you’re all juiced in with all these different of new brass instruments, a successful inexperience as an opportunity. “There are didn’t do it because he hated it. He did it activities, and you know a lot of people. ... recording artist, and, of course, a bandleader an awful lot of people who are interested in “Flip it and ask, what do I get from jazz and improv?” DiBlasio asks. “It’s probably because he was driven. He loved it. Call it You have a big, wide-open group of friends. who played all over the world and developed music but don’t know much about it,” he taught me not to worry about being in control. It’s probably taught me not to worry love, call it fun, call it whatever.” And it kind of went from there.” a reputation for nurturing young talent. says. “As a teacher, you’re trying to bring about failing. And I don’t have any guilt about liking it or being good at it. Those are the DiBlasio didn’t commit to a life in music After getting his master’s in studio writing Part of the way DiBlasio keeps Ferguson’s them into it.” gifts from working with jazz.” until he needed to choose a major in college and production at the University of Miami, memory alive is by telling stories. “Just go to DiBlasio says a typical reaction of a new at Glassboro State College (now Rowan). DiBlasio earned a spot in Ferguson’s high- YouTube and type in my name,” he says. “I teacher is: “These kids don’t know Count posted about 30 stories about Maynard.” Basie. What’s wrong with them?” what it is. You don’t know what teaching is. to be great,” he says. “You have to work DiBlasio has embraced the video- DiBlasio practically roars his rhetorical Everybody knows content. Ninety percent of at liking it. It’s like tuning an instrument sharing site. He’s posted instructional response: “Well, nothing’s wrong with them! teaching is getting their attention.’” or paddling a canoe. It only looks like it’s videos on a range of topics. They’re short, They’re fine!” Hilda went on to explain that a different going straight, but really you’re making funny and loaded with great suggestions. tactic is needed with 3- to 5-year-old small adjustments all the time. That’s what In fact, DiBlasio says that people who find “MAKING SMALL ADJUSTMENTS” students with attention deficit hyperactivity teaching is, at least for me. … If you’re not him on YouTube often reach out to ask him But DiBlasio readily admits that he went disorder (ADHD). “She told me, ‘You want flexible as a teacher, you’re done.” to teach or perform. “They don’t know who through a painful awakening. A few years to teach them to count? You have to figure Like playing jazz, teaching involves Maynard is, and they definitely don’t know after he started teaching, he complained to out how to make them want to,’” he said. listening and reacting. “You’re a psychiatrist about my career,” he says. “But they’ve his wife. “I was resenting it,” he says. “I was DiBlasio tells the story gleefully. “If you one day, a coach the next day, the next one seen the videos.” saying, ‘These kids don’t get it.’” want pity, don’t marry a smart woman.” you’re their friend, the next one you’re their DiBlasio credits his time in Ferguson’s At the time, his wife, Hilda, was teaching But the humor masks a devotion to dad,” DiBlasio says. “If your radar is up and band with launching the rest of his career. preschool children with learning disabilities teaching and a huge heart for his students. picking up their signals, you find yourself

JAMMING WITH FRIENDS: DiBlasio formed his first band with neighborhood friends. “We would do “Everything kind of blew up after that, doing or behavioral challenges. DiBlasio recalls that It takes constant self-care to keep teaching changing a lot. That’s what’s exhausting. gigs at my aunt’s house and just play the blues scales with different grooves. They didn’t care, they clinics and concerts and teaching,” he says. she lovingly dressed him down: “She told fun. “Having a great attitude about teaching Not that they don’t deserve it. They’re good just fed us meatballs and sausage,” he said with a laugh. But it’s not as simple as saying he became me, ‘You only know your topic. You know doesn’t mean that all your days are going kids; they’re great kids. I love it.”

12 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 13 SUCCESS STORY ocialization is typically a by product of a music program. However, in one music class at Parkway Central Middle School in Chesterfield,

Missouri, socialization is the P hotos b y Brandon S hih goal. Parkway Central hosts a chapter of United Sound, a national not-for-profit program that provides musical performance experiences for students with special needs through peer mentorship. Parkway Central’s band director, Paul Holzen, says that 20 of his band students volunteer to be “Peer Mentors” and build trusting, caring relationships with exceptional students who might not United otherwise have a chance to participate in a band program. They’re not molding special STRONG SUPPORT SYSTEM: Khaliyah (seated) gains confidence on her instrument with help from education students into musicians; they’re Peer Mentors (from left to right) Laurna, Audrey, Samantha and Ryan. including them in the band as peers and as “New Musicians.” “They’ll ask them, ‘How are you doing?’” Haleigh Stiens, Parkway Central’s essen “Music is just the vehicle we’re using to Holzen says. tial skills and special education teacher, build these relationships,” says Holzen, who Once the socializing is done, it’s time for sees her students enjoying increased inde was named a GRAMMY® Music Educator of music. Learning to play an instrument helps pendence, applying social skills and relying the Year Semifinalist in 2019. students with their artistic, cognitive and less on adults. “I have a very wide range of physical development, Holzen says. For at students,” she says. “It’s astounding to see We Come, Be Friends with Us least one United Sound musician, learning how much they’ve grown.” Students with intellectual or developmental the clarinet has strengthened her facial disabilities might spend most of their days muscles, and her speech therapist has Peers Supporting Peers in their own classroom. United Sound noticed the improvement, he adds. United Sound has 85 chapters — 18 at broadens their horizons and makes them middle schools, 62 at high schools and five feel part of the greater school community. at universities — in 25 states. No matter “The band room is where friends [are the level, all chapters are 100% student- found]; if we can open the door and say, led. United Sound provides training and ‘Come, be friends with us,’ then we’ve materials for teachers, student volunteers maybe made a lifelong change,” says Julie and the New Musicians. Stand Duty, founder of United Sound. Recently completing its second year, As a chapter of United Sound, the Parkway Central Middle Kacey Ruckstaetter’s daughter, Alaina, Parkway Central’s United Sound chapter has been playing cornet as a United Sound meets weekly and has six New Musicians, School band program harnesses the power of music to give musician for the past two years at Parkway each one taught by three Peer Mentors. Central and has built peer relationships “The students do all the work,” Holzen says. students with special needs a sense of belonging. with students who are not in her other “They get to know their New Musician and classes. “As she walks the halls, students develop a relationship.” give her a high five and say, ‘Hello,’ Working as a team, one mentor might by Frank DiMaria because they know her from band class,” model playing the instrument while another Ruckstaetter says. points to the music. For the first 15 minutes of the United Directors just starting a United Sound

Sound class, Peer Mentors encourage New INSPIRED AND INSPIRATIONAL: Alaina’s Peer chapter should place their trust in the Peer Musicians to exchange personal stories. Mentors help her hold and play the cornet. Mentors, Stiens says. “United Sound is

14 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 15 really built on peers supporting peers and allowing them to cultivate a relationship without constant guidance,” Stiens says. “It’s beautiful to watch.” Each year, Holzen appoints a president

and a vice president among the Peer P hotos b y Brandon S hih Mentors and communicates solely with them. They, in turn, communicate with the other mentors. Holzen’s system gives students a new perspective on leadership, Starting a United understanding and awareness, important qualities for middle school students. “I’m helping them to be leaders, and it’s going Sound Chapter down the chain,” says Holzen. As far as teaching methods, Peer usic directors who are interested in starting a United Sound chapter at their schools

Mentors take their cues from Stiens and EMBRACING EDUCATION: Peer Mentor can get started by following a few easy steps. First, this program is a partnership Holzen. “The best thing a mentor can do BUILDING RELATIONSHIPS: Director Paul Holzen has hosted a chapter of United Sound at Parkway Samantha (left) enjoys giving feedback to New M between music and special education teachers. If you already know someone in in the beginning is watch how teachers Central Middle School in Chesterfield, Missouri, for the past two years. Musician Khaliyah. the special education department, reach out to him or her and then complete the teacher interact with their students,” Stiens says. registration form on UnitedSound.org. If not, register alone and United Sound will send Stiens says that she has witnessed attention, listen, solve problems and create a training program. First, they watch two Another challenge was persuading the you materials for starting that conversation. middle schoolers zoning out in the class a bond with their musician. United Sound videos. Then, Stiens shares Peer Mentors to embrace their instructional Once registered, both teachers will participate in a training session to learn everything room, but it’s different with the United Before student volunteers can begin specific information about the musicians roles. Even giving simple fingering directions they will need to know and to get comfortable “trading roles.” Special education teachers Sound Peer Mentors. They zone in, pay teaching, they’re put through the paces of they’ll be mentoring. Some of her students was difficult for them at first. “They’re not have the primary role of training and helping the Peer Mentors, while music teachers are nonverbal, some have the use of only used to doing that,” Holzen says. “This will continue to do what they do best: Teach music to the New Musicians. In this way, one hand, some don’t like loud noises, challenge gets gradually easier.” teachers aren’t expected to do anything they’re not already comfortable doing. Following and some have vision impairments. She Holzen’s personal goal is to help all the training session, both teachers will receive everything they need to get students ing Food t discusses strategies, communication and of the New Musicians move forward and registered, train Peer Mentors and begin! Us o motivation. “I typically try to convey that feel like they are accomplishing something United Sound is a turnkey program and includes training sessions for the Peer Mentors each student is capable of achieving the while feeling as though they belong. (including videos and materials), specialized method books to help guide Peer Mentors in same skill, but it will be in their own way,” Although United Sound meets during the teaching process, and lessons plans to get your group started. each Rh Stiens says. Parkway Central’s weekly structured T ythm enrichment periods and not during one Overcoming Challenges, of Holzen’s traditional band classes, the of his band. When the band hosts its two band director and her Peer Mentors, after Reaping Rewards United Sound New Musicians are members yearly concerts, the New Musicians perform a year and a half, she finally succeeded in nited Sound has found a unique way to take the abstract concept of rhythm and United Sound is just a fraction of Parkway not as a separate ensemble but shoulder to playing the cornet,” Ruckstaetter says. Umake it concrete to students with special needs. Each page in United Sound Central’s band program. Holzen is one of shoulder with their Peer Mentors, who write Now United Sound is the highlight of method books is divided into two parts. The top of the page features a traditional staff, two band directors and the school’s fine musical parts specifically for them. Alaina’s week. “All weekend she would like one would find in any musical notation, but with the traditional notes removed and arts department chair. Holzen and co- “If you only learned two notes all year, let the family know how excited she was replaced with images of foods. director Chris Higgins collaborate frequently we’ll write you a modified part to this song about going to United Sound on Mondays,” A cake represents a quarter note. Donuts, which can be eaten faster, represent eighth as they teach 250 band students in 6th, 7th that plays B flat and A at exactly the right Ruckstaetter says. “She enjoyed it so much notes. A bowl of soup signifies a half note because it takes much longer to eat it. and 8th grades. time,” Duty says. “Every time that B flat that the program made an impact on our “Everything is also spatial, so … the half note is literally twice as long as the quarter Starting the United Sound chapter as comes around, you’re going to play that B entire family.” note,” says Julie Duty, founder of United Sound. “Because a longer note is [spatially] part of Parkway Central’s overall band flat. Everybody’s playing a part that meets Alaina’s cornet playing has inspired her longer, suddenly for a beginner, this makes perfect sense as opposed to having to program had several challenges. But once them right where they are.” younger brother, who plays the trumpet, decode that this dot is different from [that] dot.” overcome, the rewards were significant. Like any young musician learning an to apply to be a Peer Mentor next year. Below this “tasty” music notation, the United Sound method books also show the The biggest problem was having too instrument, United Sound performers have “He is so excited about the opportunity to song or musical passage in traditional notation, so that teachers can transition their many students who wanted to be Peer practical challenges too. Initially Alaina work with students like his sister and help students to traditional musical notation at a pace that’s comfortable for each person. Mentors. “I had lots of students interested in had difficulty learning proper breathing them learn [to play] band instruments and

Finale, the music notation software, has written United Sound’s font into its product participating,” Holzen says. “I hope to always PHYSICAL DEVELOPMENT: Hannah is coached technique to get sound from her cornet. get to know them through United Sound,” and offers it is as a free download atUnitedSound.org/font . have that problem.” on proper mallet grip. “She persevered, and with the help of the Ruckstaetter says.

16 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 17 MUSICAL TIPS ow do you treat figures on the Sample 1 drum chart in big band and small group jazz? I want to provide some clarity for those of you who are jazz band educators who do not play the drum set. I also want to Sample 2 help folks who are interested in applying their drum set skills to big band or small group jazz playing. SETTING UP The term “figures” simply refers to the written musical notes on the sheet music. For almost all instrumentalists, the task is to play exactly what is written on the on the snare drum, with the written figure stopping in the bar before the figure, sheet. For the drummer, a figure may accented with bass drum and cymbal. potentially tricky for some. mean one of three things: 1) play the exact If the desired musical effect is simply to figure, 2) do not play the figure or 3) play accent the note without a setup, the time IN SMALL GROUP JAZZ prior to the figure and then play the figure continues on the cymbal, and the note is With small group jazz drumming, the (more commonly referred to as “setting played traditionally by the snare drum or figures are treated differently because, in up” the figure). These scenarios can be bass drum. general, the volume level of the group is daunting for inexperienced drummers I teach the “&” of beat 2 first, followed lower than a full big band. because it can contradict much of their by the “&” of 3 and then the “&” of 4. I save Many times, just lightly playing the JAZZ prior concert band training. the “&” of 1 for last because it requires exact figures with either the snare drum or The decision to approach these figures in starting the setup in the measure before bass drum gets the desired musical effect one of these three ways will differ depend the figure, potentially challenging for without setting them up. However, if the ing on the director’s and the drummer’s inexperienced drummers. music calls for a figure to be set up, the tastes as well as the skill level and needs same system I described for the big band of the ensemble. Sometimes the figures IN BIG BAND FOR works in a small group setting as well. should be played as written on the snare or FIGURES BEGINNING ON THE BEAT By playing the two eighth notes prior to an bass drum; other times, the figures can be To set up a figure starting on beat 2, stop offbeat figure and stopping one quarter note ignored altogether. Often, figures will be set ping on beat 1 and leaving a space before before a figure on the beat, setting up and up with fills. playing beat 2 is a traditional approach. A playing figures becomes an easy process. FIGURES Here are a few simple but effective drag, flam or even rolling into beat 2 can This system is also helpful when reading a mechanisms I have learned that have been add some additional color, but stopping chart for the first time as it provides a clear helpful to both students and band directors the beat before is very effective. (See approach to playing the figures. when setting up jazz figures. Sample 2.) For those of you working with drummers, In working with novice drummers, I this system gives you a way to break down IN BIG BAND FOR have found that teaching beat 2 first is this skill into easy and repetitive tasks. FIGURES BEGINNING ON THE OFFBEAT effective because stopping on beat 1 feels Ultimately, deciding how to approach To set up a figure beginning on the “&” natural for many musicians. Once beat figures in the drum chart is a collaborative (offbeat), I recommend playing the two 2 becomes comfortable, I teach 3, then process between the band leader and the eighth notes preceding the figure, and then 4 — saving beat 1 for last. As with the drummer and should always be com Beginning jazz drummers should try the written note. (See Sample 1.) offbeat figures, setting up beat 1 requires municated openly. With students, I begin teaching this concept using the “&” of beat 2 (4/4 this simple and systematic approach. time), as I find it is most accessible to ABOUT THE AUTHOR the inexperienced jazz drummer. To set Sammy K is a GRAMMY®-nominated educator and performer based in BY SAMMY K up a figure beginning on the “&” of 2, the Los Angeles. He is a performing artist for Yamaha, Remo, Zildjian, Vic drummer would play “(1) & 2 &,” which sets Firth and Kotz Cajon. His credits include Bob Hope, Dave Brubeck, Lucy up and then plays the written figure. The Lawless, Jon Hendricks, Jimmy Heath, Disney, Six Flags and Ferrari. two preceding eighth notes can be played Learn more about him at www.slamminsammyk.com.

18 SupportED — FOR INSTRUMENTAL INSTRUCTORS 2019 Volume 3 19 LETTER TO MYSELF

Every issue of SupportED will close with a letter written by a Yamaha Master Educator to his or her younger self. These letters will offer advice, anecdotes and inspiration for a fulfilling career in music education.

here’s one piece of advice that I want to emphasize as you embark on your career as a music educator — be patient! Be patient and stop worrying about the things you can’t control! Don’t Kevin Ford focus on “what is good for me” but rather on “what is best for your students.” Yamaha Master Educator Remember, the real joy as a teacher is making a difference in the lives of the Director of Bands extraordinary individuals you have the privilege to teach every day. You entered this profession because you wanted to be a difference maker. Founder and Director of the All of the students in front of you — yes, even the most challenging ones — Tarpon Springs Leadership possess the potential for something great. Be the difference in their lives and Conservatory for the Arts the catalyst that propels them to greatness. No two students learn the same way. Be patient, get to know them and search out what motivates them. Don’t compare them to one another. Don’t allow a day to go by without acknowledging someone’s improvement. Avoid comparing your performance ensemble to someone else’s. Every situation is different. Never forget to show students through your actions what they can become and are capable of as individuals. Remember that the performing arts is a discipline, and mastering a discipline will take time — so be patient! Celebrate the small successes one day at a time and stop worrying about whether your students will get it. Some of your best moments as an educator will not be when the audience is watching. The process is what matters! Focus on what needs to be done today to make your students better than they were yesterday. Be patient as you work toward developing a growth mindset in your organization. AND YOUR STUDENTS Your responsibility is to focus everyone on the long-term goals, but remember that short-term goals allow long- term goals to reveal themselves. Provide daily goals and acknowledge when they are achieved. Remember, you are building a culture, and it will take time. Remember, excellence is not a destination, and never mistake activity for WILL GO FURTHER achievement. Quality matters! Through your example and consistent standards, students will have opportunities to develop their own habits of excellence. The ultimate goal is for students to take responsibility for their own learning. Guide them to make The Yamaha Master Educator Program independent decisions that release the artistry and passion inside of them. Take pride in the everyday. It will be hard … really hard. Be patient and make no excuses. The musical journey never ends. That’s why we brought Master Educators together to inspire teachers and students to realize their full potential. Workshops are designed for middle school through collegiate level and include topics such as: Habits of Successful The hard work will build character and pride. Ultimately, inspire students to a way of doing and being that allows Middle School Band Directors, Building Leadership In Your Ensemble, Developing a Programming Philosophy and more. them to move forward and make positive impacts in all aspects of their lives. Inspire them to be the best versions of themselves and never forget to acknowledge the greatness, artistry and potential within them, and always Master Educators include: remember … be patient! Dr. Rodney Dorsey Dr. Travis J. Cross Dr. Emily Threinen Best, Professor of Music in Bands, Professor of Music and Music Director of Bands and Associate Professor Indiana University Department Chair, UCLA of Music, University of Minnesota in 2019 To learn more about the program and choose from 19 specialized Master Educators who will help you reach your goals, please contact Jalissa Gascho at [email protected]. Visit us at YamahaEducatorSuite.com. 20 SupportED — FOR INSTRUMENTAL INSTRUCTORS DON’T MISS A SINGLE ISSUE

FIND A MENTOR CREATING A BALANCED BUDGET DRUM CAMP IN FORT WORTH

2019 VOLUME 2

ERIC JAUVON SHIN GILLIAM

TRIPLETHREATS EDUCATORS PERFORMERS ENTREPRENEURS

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