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NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 3 The North Carolina Music Educator Volume 65 - Number 4 - Spring 2015 Official Publication of the NORTH CAROLINA MUSIC EDUCATORS ASSOCIATION

Voting Members District 8: Brian Barfield Teacher Education: Cindy Wagoner EXECUTIVE OFFICERS [email protected] [email protected] President: Richard Holmes District 9: Jonathan Chesson Technology Chairs: [email protected] [email protected] Amy Koo Immediate Past President: District 10: Pauline Reimers [email protected] Sonja Z.M. Williams [email protected] Justin Barrett [email protected] District 11: Angela Mangum [email protected] NEW President-Elect: [email protected] Tri-M: Windy Fullagar Marching James Daugherty District 12: Altrovise Terry [email protected] [email protected] [email protected] Young Professionals: Lisa Qualls Recording Secretary: District 13: Mary Sumner [email protected] Percussion Susan Trivette [email protected] [email protected] District 14: Gregory Shreckengost AWARD, GRANTS & Member-at-Large: [email protected] SCHOLARSHIP CHAIRS 30 years of marching percussion Theresa Kennedy District 15: Jenifer Hutson Awards: Jane Williams history and leadership in [email protected] [email protected] [email protected] design is now coming to life. Member-at-Large: Honor Administrator Jonathan Matthews Non-Voting Members Music Education Advocate [email protected] STANDING COMMITTEE CHAIRS NCMEA Hall of Fame Award Yamaha proudly introduces a new Advocacy: Jonathan R. Drye Grants: lineup of marching percussion featuring SECTION CHAIRS [email protected] NCMEA Mini Grant: maple shells. Years of industry-leading Band: Alice Aldredge Constitution: Maribeth Yoder-White Sonja Z.M. Willams research with the world’s top drum and [email protected] [email protected] [email protected] Band Section Delegate: Finance: Sonja Z.M. Williams NCMEA Summer Professional bugle corps have led to the development Brent Harris [email protected] Development Grant: of marching percussion instruments [email protected] Membership: James Daugherty Christie M. Lynch Ebert with improved hardware performance, Collegiate NAfME: Rosalee Bailey [email protected] [email protected] [email protected] Publications: Kim Justen Scholarships: John Corey III increased tone projection, and Elementary: Jazzmone Sutton [email protected] [email protected] exemplary articulation, demonstrating why [email protected] Bill McCloud Scholarship Yamaha is the number one High School Choral: Ed Yasick COMMISSION AND Barbara Bair Scholarship [email protected] COMMITTEE CHAIRS Ruth Jewell Scholarship brand of marching percussion in Higher Education: Gloria Knight Exceptional Children & the United States. [email protected] General Music: Rue S. Lee-Holmes EX-OFFICIO MEMBERS Jazz Education: David Wortman [email protected] Collegiate NAfME Advisor: [email protected] Government Relations: Jane McKinney Jazz Section Delegate: Christie M. Lynch Ebert [email protected] TBA [email protected] Editor: Kim Justen [email protected] Assistant Conference Chair: [email protected] Middle School Choral: Libby Brown Executive Director: Pat Hall Stephanie Peo [email protected] [email protected] [email protected] Professional Development Historian: Dr. John Henry, Jr. Orchestra: Margot Holloman Conference Chair: [email protected] [email protected] Barbara Geer Music Industry Representative: Orchestra Section Delegate: [email protected] Barry Carroll, Jr. Donald Walter Mentoring: TBA [email protected] [email protected] [email protected] Representative from the State Department 9300 Series Multi-Cultural Awareness: of Public Instruction: DISTRICT PRESIDENTS Kiyoshi Carter Christie M. Lynch Ebert Marching Snare Drums District 1: James Markey [email protected] [email protected] Available in Blue Forest, Black Forest, [email protected] Music In Our Schools Month Red Forest and White wrap. District 2: Patty Fayssoux Angela Mangum NCMEA OFFICE [email protected] [email protected] Executive Director District 3: Wendy Cooper Music Program Leaders: Pat Hall [email protected] Janae Copeland [email protected] District 4: Helen Sigler [email protected] 883-C Washington Street [email protected] Research: Suzi Mills Raleigh, NC 27605 District 5: Janet Berry [email protected] 919-424-7008 YamahaCorpUS [email protected] www.ncmea.net District 6: Monica Adams Retired Membership: David S. Albert Visit 4wrd.it/MS93NCME for complete details [email protected] [email protected] ©2015 Yamaha Corporation of America. All rights reserved. District 7: Alice McIntyre Student Activities: James Daugherty [email protected] [email protected] Updated 12/1/14

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NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 5 6 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 7 TABLE OF CONTENTS

10 PRESIDENT’S MESSAGE 12 NOTES FROM THE EXECUTIVE DIRECTOR 14 TECHNOLOGY SECTION Technology Update ...... 14 Using Technology for Assessments on the Go ...... 16 20 JAZZ SECTION Tips for the New Jazz Ensemble Director ...... 20-22 24 HIGHER EDUCATION SECTION Preparing Future Music Teachers in Your High School Music Program ...... 24-25 26 BAND SECTION Band Section Chair ...... 26-27 28 ELEMENTARY SECTION Elementary Section Chair ...... 28 29 ORCHESTRA SECTION Orchestra Section Chair ...... 29 30 MIDDLE SCHOOL CHORAL SECTION Middle School Choral Section Chair ...... 30-31 32 HIGH SCHOOL CHORAL SECTION High School Choral Section Chair ...... 32 33 YOUNG PROFESSIONALS’ SYMPOSIUM Young Professionals’ Symposium for Secondary Students ...... 33 Young Professionals’ Symposium Application ...... 34

FUTURE NCMEA November 7-10, 2015 November 5-8, 2016 CONFERENCE November 11-14, 2017 DATES November 10-13, 2018 — CERTIFICATE OF ATTENDANCE — AUDITION DATES for 2014-15 NCMEA will provide a Certificate of Attendance for each member who registers for the conference. Members should: December 6, 2014 1. Request prior approval from their school system (LEA) before attending the conference. 2. Complete the Session Log, using approved sessions as listed in the Conference Program Book Approved Session list. January 24, 2015 3. Return their Certificate of Attendance form and their Session Log to the appropriate person in their school system. February 7, 2015 February 28, 2015*

* final date to be considered for a music scholarship/assistantship ADVERTISERS HELP MAKE EVERY ISSUE OF THE OPEN HOUSE for PROSPECTIVE STUDENTS NORTH CAROLINA MUSIC EDUCATOR POSSIBLE Monday, October 20, 2014 High school students and parents will be able to attend music classes and rehearsals, as well as meet with LET THEM KNOW music faculty and admissions personnel. YOU APPRECIATE THEIR SUPPORT

336.334.5789 performingarts.uncg.edu [email protected] 8 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 AUDITION DATES for 2014-15 December 6, 2014 January 24, 2015 February 7, 2015 February 28, 2015*

* final date to be considered for a music scholarship/assistantship

OPEN HOUSE for PROSPECTIVE STUDENTS Monday, October 20, 2014

High school students and parents will be able to attend music classes and rehearsals, as well as meet with music faculty and admissions personnel.

336.334.5789 performingarts.uncg.edu [email protected] NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 9 PRESIDENT’S MESSAGE

By RICHARD HOLMES MEMBERSHIP CAMPAIGN At the January meeting, James Daugherty, our President-Elect and I hope all have had a successful Membership Chair shared that we met school year and are ready to focus on our goal of 125 members on December all the events and activities the end of 8, 2014. I am very pleased to report that the school year provides. as of January 31, 2015 we had 158 new HIGHLIGHTS FROM THE JANUARY members! I wish to extend a warm thank 2015 NCMEA BOARD MEETING: you to the NCMEA board members who NCMEA will be a sponsor of assisted in reaching out to all of these folks. A special thank you goes to James Arts North Carolina “Arts Day” in RICHARD Daugherty and Pat Hall for their efforts in Raleigh on May 19-20, 2015. Our HOLMES sponsorship will help with our organizing our campaign. We would not long-term advocacy efforts with have made it without their leadership. our state government. NCMEA is where all North Carolina NCMEA met its Membership Music Educators belong! Campaign on December 8, 2014 Alliance for Arts Education. In closing, I would encourage (125 new members). The stretch Christie Lynch-Ebert and Slater everyone to begin reflecting on the goal was 175 new members by Mapp with NCDPI also attend 2014-2015 school year. Write down January 31, 2015 (updated info the meetings. things you were very pleased with, provided below). Comprehensive Arts Education-SBE as well as things you had hoped went Positive feedback provided for the Issues Session-January 7, 2015 better. Then write down what you can new conference app used at the The State Board of Education do to make both the good and not so 2014 Professional Development agenda for the January 7, 2015 good better for the 2015-2016 school Conference. Plans are underway meeting included an Issues Session year. I changed schools this year and to add more features for 2015. on Comprehensive Arts Education have already begun my reflection The NCMEA website is in NC. The session provided process for this school year. Thank you undergoing a change with a an overview and update on the for everything you do each day for the launch date of late February Senate Bill 66 Comprehensive students in North Carolina. I appreciate 2015. Pat Hall asked for photos Arts Education Task Force report your efforts! Best wishes to each of you from our events. Please submit and resulting plan (2010). Jointly as we all finish a great school year. Be high-resolution photos. presented by the NC Department safe and God Bless! All sections have been asked of Cultural Resources and to use the NCMEA and NAfME the NC Department of Public logos on programs for student Instruction, the presentation events to help promote NCMEA highlighted major areas of HAVE YOU and NAfME. progress and next steps around Choral Director Danny Yancey was Comprehensive Arts Education MOVED a top ten finalist for the Grammy in NC’s schools accomplished Music Educator Award. This is through partnerships and cross- RECENTLY? the second year that a NCMEA sector collaboration at the state member has been nominated for and national levels. this national award. ANALYSIS OF STUDENT Please notify Arts Education Leadership WORK COMMITTEE NCMEA and NAfME Coalition (AELC): This committee is in the final stages AELC is a coalition of arts of formation and the names of the of your change of education leaders that meets members will be posted on the NCMEA address. four times a year to discuss website by the time you receive this common issues and initiatives edition of the NC Music Educator. Please impacting arts education in be willing to share ideas and resources NAfME NC. Richard Holmes, James when called upon by members of the Daugherty and Pat Hall were committee. Specifics about the process http://www.nafme. invited to represent music keep changing so please be sure to org/login education at the January keep current by visiting the ASW website 2015 meeting. Members of http://ncasw.ncdpi.wikispaces.net/. the group include: Dance In case you missed the session at our Association for NC Educators, Professional Development Conference, NCMEA NC Dance Alliance, NC Theatre the information Christie Lynch Ebert [email protected] Arts Educators, NC Theatre and Janae Copeland shared can be Conference, NC Art Education found at http://ances.ncdpi.wikispaces. 919.424.7008 Association, ARTS NC and NC net/NCMEA+2014.

10 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 CORRECTION Please note this correction to the Winter issue. On page 19, Tamara Shook was listed as the NCMEA Mentor Committee member for Middle School Choral. The correct contact is Kasie Ryan, [email protected].

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NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 11 NOTES FROM THE EXECUTIVE DIRECTOR

By PAT HALL Representatives. Senator Burr is a member of the Health, Education, Labor and Pensions (HELP) Committee that is On behalf of the NCMEA Board of working on ESEA reauthorization bill. Directors, I am very pleased to announce NAfME staffers are closely monitoring that NCMEA is a Grand Sponsor of Arts this bill and lobbying to keep music and Day 2015. This is an important way for arts education as a core subject. NCMEA to be a leader in arts education NAfME is also hosting the second advocacy in North Carolina. annual Collegiate Advocacy Summit Arts Day combines a conference for Hill Day, June 24-26. NCMEA day devoted to learning about advocacy PAT Collegiate President, Rosalee Bailey, with a day to visit the North Carolina HALL attended last year. She stated, “I Legislature. On May 19 - 20 more would love to see a large group of than 300 artists, arts leaders, arts collegiate members go to Washington administrators and arts patrons will DC next year.” If you would like to gather in Raleigh to hear new ideas, learn more about music education join in lively discussion on advocacy On day two, prior to legislative visits, advocacy issues and be a part of our issues, and visit with State Senators we’ll hear from Secretary of Cultural national advocacy efforts please visit and Representatives. Conference Resources, Susan Kluttz, on the state of the NAfME website hillday.nafme.org. speakers include UNC School of the the arts in North Carolina. Welcome New Members! Arts Chancellor Lindsay Bierman, and In late June, NCMEA leadership NCMEA and NAfME collaborated author Lee Smith. Danny Yancey was will travel to Washington, DC to attend on a new member recruitment one of 10 finalists for the Grammy Music Hill Day sponsored by NAfME. We campaign that wrapped up on January Educator Award, and will be bringing his will be making appointments to visit 31. We are happy to announce that we Honors Chorus from Martin GT Middle North Carolina Senators Richard Burr exceeded our goal and welcome 158 School in Raleigh. and Thom Tillis as well as several new members to our NCMEA family.

I want to thank NCMEA President- Elect and Membership Chair, James Daugherty for leading this successful effort. We will continue to work in increasing membership in NCMEA throughout the year. “Membership is an investment in our career and the future of music. By elementary, middle, and high school belonging, we strengthen one another and ensure music lives.” ~ James band, choir, and orchestra Daugherty SAVE THE DATE www.SMMFestival.com November 7 – 10, 2015, we’ll be or call:1-855-766-3008 back in Winston-Salem for 3½ days of learning, networking and music making! We are pleased to announce that NAfME President, Glenn Nierman will be attending our Conference. President Nierman was a leader in developing the new National Core Arts Standards and is now working on assessment and music teacher evaluations. He will be sharing the results of his research with us.

12 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 UNCSA_Music_NCMEA_Spring_7x10_1415.pdf 1 1/15/2015 2:42:09 PM

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NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 13 East Carolina University® TECHNOLOGY SECTION School of Music TECHNOLOGY UPDATE with technology and who would be BY AMY KOO, Chair happy to help. NC ASW WIKI For questions about the ASW Many counties in our state are process, be sure to check out this great going 1:1 with technology (whether that resource: http://ncasw.ncdpi.wikispaces. be chromebooks, iPads, or another type net/OnlineModules. There are tutorials, of device) or Bring Your Own Device walkthroughs, and just great information (BYOD) and all counties in the state are to keep in mind as you navigate your starting the Analysis of Student Work way through the process this year. (ASW) initiative this year. ONLINE TUTORIALS Consequently, technology is AMY Any time you have a question becoming more and more important KOO about technology it can be a quick for music educators to understand and easy fix to consult a search engine and manipulate. While it can be for tutorials. The best thing about this an overwhelming idea for many, technique is you can find something technology doesn’t have to be that works best for the way you learn. intimidating. Consider the following Some people find videos work best resources when you are planning They can generally quickly how to help for them (when you can pause at will), technology for your classes: you out or point you in the right direction while others find that written tutorials MEDIA AND TECHNOLOGY for finding out yourself. As long as you can be easiest for them. COORDINATORS AT YOUR SCHOOL are respectful of their time, they will find Either way, I often suggest trying While these are often the busiest a way to help you. Also, don’t discount this early in your problem, as you people in the building, it can be helpful other teachers. There are usually three or can find tutorials for almost anything to make friends and ask them for help. four teachers that are really comfortable online, where someone else has solved the problem already (as opposed to you spending an hour or more trying to figure it out yourself). Many times whatever software or hardware you are using will have its own library of Earn a Master’s Degree in tutorials to help you out. While some of us are just trying to survive as far as technology is concerned, many music educators out Music Education Online there are quite the technology gurus! I Making Music in the Mountains have often found that music educators Develop your full potential and jump-start The MM in music education, pedagogical studies, tend to be very good with technology. your career by obtaining your online master of offered entirely online, allows you the opportunity If you are one of those people who are music degree in music education in a nurturing Music at Brevard: great with technology, we would love to to align our program specifically to your professional have you contribute to our blog. Please atmosphere with other gifted and talented students. goals through an interdepartmental approach. Bachelor of Arts in Music contact me at technology_chair@ a ncmea.net if you would like to contribute. If you are interested in following the blog Master of music distance education classes are taught by the same excellent East Carolina University Bachelor of Music in Performance as it grows, check it out at www.ncmea. School of Music faculty that teach campus-based students. a net/tech-blog. We’re planning some great Bachelor of Arts in Music Education technology sessions at conference next year! I hope to meet and see you (K-12 licensure) all there!

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USING TECHNOLOGY FOR your class lists you can quickly give assessments without worrying about ASSESSMENTS ON THE GO recording the scores. The best part is By AMY KOO that these assessments don’t always have to be planned ahead. You can verbally ask questions (as you think of When people ask me what the to me. It doesn’t hurt if these resources them) and have students answer. As you most challenging part of my job is, I can get kids excited about what we’re ask the questions you enter the correct always respond with “assessments.” learning as well. answers and the program does the Performances are a piece of cake, and Some of my favorite resources rest. the kids get excited about them making are old stand-bys: Google Drive, for If you’re really adventurous, you it even easier. Even communicating example. I love that I can use Google can try out my new favorite webapp: with parents has gotten easier for me Forms to collect data, and it is easily IfTTT (If This, Then That, https://ifttt. over the years (especially with all the organized into Google Sheets which com/). It allows you to play around with great apps available now). I think I’ve I can access from any computer or programming in a simple way. You can always assessed very informally, and device. I will often put a mini assessment program the app to send you a text when mostly in my head. I know which child up on my website (via Google Forms) you get an email from a specific person, understands the concepts and which and have kids rotate through the email you when you have something doesn’t, but it rarely makes it on paper. computers at center time. I also like to scheduled on your calendar, or notify With over 500 students it can be difficult use the PowerSchools app to assess you when it is going to rain within the to keep all those assessments organized quickly. I usually set my assignments next 24 hours. For the classroom you and ready! up the night before and plug grades in could have IfTTT automatically save Over the past couple of years, it as I hear them. This eliminates the work attachments sent to your email account has become more and more important of recording grades then moving those (homework, maybe?) into your dropbox. to keep lots of assessment data readily grades to PowerSchools. You could also have tweets with a available for parents and administrators. Websites and apps like Socrative defined hashtag saved into a Google And with the Analysis of Student Work (www.socrative.com/), Plickers (www. Sheet (think ‘ticket out of the door’). The protocol in motion this year, it’s become plickers.com/), Kahoot (https://getkahoot. possibilities are endless! even more important to stay on top of it com/), as well as the CPS (or e-instruction) Although I don’t use technology all. When I look to technology to assist remotes are also great because they are for every assessment in my classroom, me in this, I mostly rely on things that can like games to my students. These games I know I am more likely to accurately do double-duty: apps and websites that are all great for quick assessments, record them when technology is not only assess, but also score those too, because if you put the time in at included. Apps and webpages like those assessments and send the numbers the beginning of the year to upload above are really helping me stay on top of assessments in a way I don’t find entirely cumbersome, and for that, I am thankful. My assessments are still very informal – I don’t know that anything will ever change that – but at least they are making it into the gradebook now! Resources mentioned in this article: https://getkahoot.com/; https:// www.google.com/drive/; https://ifttt. of Opportunity com/; https://www.plickers.com/; www. pearsonschoolsystems.com/; products/ powerschool/; www.socrative.com/

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16 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 17 U N C G SCHEDULE & FEES for 2015 SUMMER MUSIC CAMP www.smcamp.org

Camp Schedule for 2015 Fees America’s Most Popular Music Camp! www.smcamp.org 1st Week Plan 1 - Complete Package $460 July 12 (Sunday) - July 17 (Friday) 6 days, 5 nights, 16 meals, air conditioned dormitory room, Attracting over 1,830 students, with a lengthy waiting list, the UNCG Summer Music instruction, health care, and recreation. Camp ranks as the largest and most popular university music camp in the United States. Senior High Band Grades 9 through 12 Music camp students are under the leadership and guidance of the artist faculty of the or $480 with a half-hour private lesson included UNCG School of Music, Theatre, and Dance long recognized as a national leader in Junior High Band Grades 6 through 8 and have played at least two years excellence. In addition, distinguished music teachers, performers and conductors from or $500 with a one-hour private lesson included the state and nation will join the staff of the UNCG Summer Music Camp to ensure that Beginner Band Played one year only each student receives the highest quality instruction available. Each summer, more than Grades 5 through 9 150 professional teachers and musicians are employed as teachers and counselors at Plan 2 - Day Camp plus Meals $370 the UNCG Summer Music Camp. Junior Orchestra Grades 6 through 8 and have for Local Residents played at least two years t Violin, viola, cello, bass Includes instruction, 16 meals, health care and recreation. BAND Reporting time 8:30 a.m. (earlier if you wish to have Senior Orchestra Grades 9 through 12 breakfast) until 9:15 p.m. t CHORUS Violin, viola, cello, bass, winds & percussion t ORCHESTRA or $390 with a half-hour private lesson included Junior Mixed Chorus Grades 6 through 8 t PIANO or $410 with a one-hour private lesson included Piano Grades 6 through 12 and have played at least two years t This is America’s largest and most popular university music camp. PIANO CAMP includes one hour of private lessons. 2nd Week Plan 1 = $500 Plan 2 = $410 t In 2014, 1,830 students attended the camp and were taught by a professional July 19 (Sunday) - July 24 (Friday) staff of over 150 musicians. Senior High Band Grades 9 through 12 Payment of Fees t Over the past 32 years, over 54,000 students have attended music camp from nearly every state and from numerous foreign countries including Canada, Junior High Band Grades 6 through 8 and have 1. Enclose a check for $50.00 (non-refundable deposit) England, Belgium, Germany, Turkey, Taiwan, France, Italy, Austria, Japan, & China. played at least two years with your application and pay the balance of the fee on or before June 1, 2015. Beginner Band Played one year only t Urge your students to apply early. We accepted 1,830 students into music camp Grades 5 through 9 or last year, but many others had to be turned away. APPLY in FEBRUARY! Junior Orchestra Grades 6 through 8 and have 2. Enclose a check for the full amount with application. played at least two years t Complete package including instruction, all meals, air-conditioned dorm room, ★ Violin, viola, cello, bass We also accept Visa & MasterCard. recreation and health plan is only $460. Private lesson is optional. Senior Orchestra Grades 9 through 12 t In 2015, the UNCG Summer Music Camp will host 15 Concert Bands, 4 Orchestras, Violin, viola, cello, bass, winds 4 Mixed Choruses and 160 Pianists. & percussion Senior Mixed Chorus Grades 9 through 12 t Download a brochure at www.smcamp.org available on February 1st. Piano Grades 6 through 12 and have Visit our Web Site! played at least two years

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18 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 U N C G SCHEDULE & FEES for 2015 SUMMER MUSIC CAMP www.smcamp.org

UNCG Summer Music Camp t PO Box 26170 t Greensboro, NC t 27402 t 1-800-999-2869 UNCG Summer Music Camp t PO Box 26170 t Greensboro, NC t 27402 t 1-800-999-2869

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 19 JAZZ SECTION

TIPS FOR THE NEW JAZZ with the best high chops is first trumpet. Second trumpet is the main ENSEMBLE DIRECTOR solo chair of the trumpet section. If By DAVID WILKEN you use five trumpets, assign your headache for the director with too few assistant lead player to the fifth part, – or too many – students to put together as this is often the «screech» chair with a balanced instrumentation. five part charts. When you’re playing While most traditional instrumental The traditional instrumentation charts that have only four trumpet music education programs require of a big band is five saxophones (two parts, you can have this player help coursework in conducting and altos, two tenors, one baritone), four cover lead parts to rest your first player pedagogy for the concert band, a trumpets, four trombones, piano, bass or have him double the lead part down lot of future music educators don’t (preferably someone who can play an octave, where appropriate. graduate with a background in jazz both upright and electric), guitar, and The trombone section is similar pedagogy. Furthermore, many get drum set. An auxiliary percussionist to the trumpet section, except that little to no experience performing in can also sometimes be added who improvised solos seem to get placed a jazz ensemble and may feel a bit can play Latin percussion instruments in the first and second trombone overwhelmed at taking on a student and/or vibraphone. Substituting other parts almost equally. The fourth part jazz ensemble. This article offers some instruments (such as baritone horn for is typically a bass trombone part and practical advice for music educators a trombone or clarinet for a saxophone) should be played on that, if possible. new to directing a jazz ensemble. can work, but isn’t recommended if you’re You might be able to get away with INSTRUMENTATION using standard big band charts. If you a student playing this part on a large Just as the concert band is the have an interested student who doesn’t bore tenor with an F attachment, but core group of your instrumental music play one of those instruments and you it’s not preferable. The first and second program, the core group of any jazz have access to instruments to rent out, trombone players should try to play on program is usually the big band. Big start them doubling. They might really smaller bore trombones, if possible. band instrumentation is different from a enjoy learning a secondary instrument Your third trombonist can play on either concert band, however. Even though we and sometimes even switch their primary a small bore trombone or a large bore tend to think of it as a large ensemble, instrument after learning a new one. trombone and the F attachment can it’s really a chamber ensemble in that Adding extra instruments to help that player both negotiate the lower there is really only one player per part. your band is a possibility, in certain register and bridge the sound of the This makes it a rewarding challenge circumstances. You can easily add a fifth small bore tenors above with the bass for the students, and sometimes a real trumpet and fifth trombone to your brass trombone below. If five players are used sections and many charts exist that often times the fourth and fifth parts already have that instrumentation, not are both bass trombone parts. When to mention that it will help you spell your playing charts with only four parts, it’s ABOUT THE AUTHOR players with demanding parts. It can also usually safest to have the extra player help strengthen your sax section to add double the third trombone part, taking Dr. David Wilken earned a BM an extra alto and/or extra tenor. Adding care to blend and not unbalance the rest in composition from Illinois Wesleyan non-traditional big band instruments can of the section. University, an MM in jazz studies from be challenging, but there are many big SETUP DePaul University and a DA in trombone band arrangements at the middle and There are many variations to the performance from Ball State University. young high school level that include big band setup, but the most common He has served on the music faculty at parts for these extra instruments. one and the one I prefer is the one seen Indiana Wesleyan University, Adams Auditioning students for particular here. It places your lead players in each State College, the University of North chairs in a big band is a little different of the horn sections in the middle of the Carolina at Asheville, and Western from concert band or wind ensemble section and your main soloists closest Carolina University. He now teaches at instrumentation. In the sax section, your to the rhythm section. The lowest MusicWorks! Asheville, an el Sistema lead voice will be the first alto. You want horns, bass trombone and bari sax, are inspired program sponsored by the your most consistent and confident on the opposite side of the bass, which Asheville Symphony Orchestra. Many player on this part, if you can. Your helps to level out the low end listening of Dr. Wilken’s jazz compositions are bari sax also should be a strong player. out front. The bassist gets placed in available at www.pdfjazzmusic.com. Probably the main solo chair in the entire between the drummer and pianist, He serves as the music director and band is the first tenor sax part, so you’ll allowing him or her to really lock into lead trombonist for the Asheville Jazz want to try to put your best improviser the drummer’s time and the pianist’s Orchestra and conducts both the in that spot. The second tenor part is comping. I know some directors and Land of the Sky Symphonic Band and generally pretty challenging, so you’ll players who prefer to put the bass on the Smoky Mountain Brass Band. His want to help this player out as much the other side of the drums, so I usually music blog can be found at www. as possible. You might be able to best leave this option open if the students wilktone.com and he can be reached get away with assigning your weakest prefer it. The micing I’ve placed on there at [email protected]. saxophone student to the second alto. are strictly for solo reinforcements, and Your strongest trumpet student should be modified according to who

20 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 JAZZ SECTION

own unique role to play, which can be a mystery to a new band director. It’s a lifetime worth of work just to figure out one of those instruments, let alone all Drums four, but here is some basic advice for Tpt 2 Tpt 1 Tpt 3 Tpt 4 working with your rhythm sections. Bass The drummer’s primary focus mic mic should be on playing the time. In almost all cases, less is more. Younger Tbn 2 Tbn 1 Tbn 3 Tbn 4 players, especially those who have Piano Gtr some chops, will tend to overplay and mic mic try to do too much. Get them to back off and play “four to the floor” whenever appropriate. Have your drummer Tnr 1 Alt 2 Alt 1 Tnr 2 Bari practice keeping time with only the high hat and ride cymbal. Teach him or her how to “feather” the bass drum so it mic mic mic only subtly reinforces the bassist. Insist that your drummer blend and balance his or her dynamics with the rest of the band. Drummers have perhaps the widest dynamic range available of all the instruments in the jazz ensemble, in your band solos on any given concert. THE RHYTHM SECTION but inexperienced drummers tend to You’ll probably also want to put some The rhythm section is one of the only make use of the loud end. mics on your piano, if you’re using an most challenging sections to teach. The bassist’s primary role is also to acoustic piano (always preferable). Each instrument in the section has its keep the time. Many charts for young

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 21 JAZZ SECTION

bands have bass lines written out, but Orchestra, while your pianist plays more Makes better it’s a good idea to learn some of the sparsely and with more rhythmic variety. basics on how to construct a good These players can also take turns musicians. walking bass line and begin teaching backing up soloists while the other lays that to your bass students. If possible, out for a bit. most jazz charts are best played on an ARTICULATIONS acoustic bass with a pickup mic, but an While most rehearsal needs and electric bass can work pretty well if the techniques from the concert band also E.Q. levels are set appropriately. Start apply to the jazz ensemble (intonation, with all levels at mid range and then balance, etc.), jazz articulations need adjust according to the room from there. some mention here as they are a very Help your bassist avoid the temptation important part of the jazz language to crank up the low end, which sounds and are quite different from standard inappropriate for big band playing. articulations. In general, jazz players The guitarist can play a couple need to tongue harder and release of different roles with a big band. the notes much more abruptly than in Sometimes the guitarist will have a the concert band. There are several written out line, either with the horns or books and web sites that cover how to as part of the general rhythm section interpret the articulation markings in a groove. Help your guitarist learn to read jazz ensemble. music and don’t let him or her hide One trick I’ve found helpful is to whenever a written out line is called for. get your horn section to exaggerate When the guitarist is called to comp, every articulation more than they think he or she should learn jazz voicings they need to. I suggest that if I were and move away from the bar chords to individually mic each player and and open chords that tend to be more record everyone that I should be able familiar. Many swing charts, particularly to solo any individual player and the those with a Count Basie feel, call for the articulations would be too short and too guitarist to simply play chords on all four hard. However, when everyone plays beats and act more like the ride cymbal. like this as an ensemble the articulations BOOK 2 There are other times when the guitarist come out just right. LISTENING Available for concert band, can vary the rhythms more, but less is string orchestra, and guitar. usually more. Like with the bass, set I would argue the single most the E.Q. of the guitar and amp at pretty important thing you can do to help much mid range first and adjust slightly improve your jazz ensemble’s playing from there. Inexperienced jazz guitarists is to play jazz recordings for them. You will tend to overplay when comping and may be able to find recordings of the strum like a rock guitarist. I’ve found that exact same music you’re rehearsing with “I just transitioned one way to discourage this overplaying them, but recordings of similar styles to Sound Innovations. is to have your guitarist put down the can go a very long way in helping your This year’s kids are pick and comp with the fingers instead. students learn how to play stylistically. I advancing so much Like guitarists, pianists often get simply cannot emphasize this enough. more quickly!” called to play written lines, usually as Jazz, like all music, is an aural art form and in order to play it well you need to -Amy Best of the Southeastern solo melodies, but are also called to School District, Fawn Grove, PA comp. You’ll want to help your pianist understand what the tradition calls for it to learn how to voice out chords so sound like. You might feel that your time that they aren’t always played in root should be spent getting your students position. You might also help your to play, but I’ve found that five minutes pianist comp by writing down some of focused group listening followed by Request a free preview copy*: basic rhythm patterns that he or she a few minutes of discussion on what the recording can teach is often worth alfred.com/sisample can play for various grooves. Get your pianist to stay off the sustain pedal, with twenty rehearsal minutes. Encourage the possible exception of playing ballad your students to listen to jazz outside solos. There’s almost no need for the of rehearsals and your group will really sustain pedal in big band playing. take off. The guitarist and pianist need to Note: This is an edited version of a post learn to work together when comping. on www.wilktone.com called, “Tips For the New Jazz Ensemble Director.” For additional One easy and very stylistically information on improvisation, method books, appropriate way is the have your guitarist the jazz count off, and more, please see the *While supplies last play four quarter note chords per bar, as original article in its entirety at www.wilktone. Freddie Green did with the Count Basie com/?p=1374.

22 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 North Carolina’s coastal university UNC WILMINGTON DEPARTMENT OF MUSIC

UNDERGRADUATE STUDY Bachelor of Arts in Music Minors GENERAL CHORAL MUSIC PERFORMANCE GENERAL MUSIC JAZZ AND COMMERCIAL MUSIC JAZZ STUDIES MUSIC ENTREPRENEURSHIP Bachelor of Music in Music Education INSTRUMENTAL VOCAL GENERAL

ENSEMBLES Band: Wind Symphony, Chamber Winds, Pep Band Choral: Chamber Choir, Concert Choir, Opera Workshop Jazz: Big Band, Combos, Jazz Guitar, Vocal Jazz Strings: String Ensemble, Wilmington Symphony Orchestra Chamber Ensembles: Brass, Guitar, Percussion, Piano, Strings, Woodwinds

North Carolina All-State Guitar Festival • June 20- 21 For North Carolina guitar students ages 12-18 and observers Dr. Justin Hoke [email protected]

UNCW Summer Jazz Workshop • July 12-17 For rising eighth - twelfth grade students Dr. Frank Bongiorno [email protected]

For information, contact Dr. Frank Bongiorno, chair [email protected] www.uncw.edu/music

AN EEO/AA INSTITUTION 910.962.3415

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 23 HIGHER EDUCATION SECTION

PREPARING FUTURE MUSIC TEACHERS argue more important than, one’s musicianship for becoming an engaged, IN YOUR HIGH SCHOOL MUSIC PROGRAM effective music teacher. Effective By DAVID TEACHOUT teachers understand that teaching is a complex undertaking requiring incremental pedagogical processes Each year, a number of high school tempered by information gathered from musicians demonstrate the skill, and carefully crafted feedback mechanisms express the desire, to pursue music administered at well-placed points teaching as a career. Researchers have throughout the instructional process. So found that the start they get will have an how do high school students who want inordinately strong effect on the success to become effective music teachers get they achieve during their undergraduate started? There are four essential areas training and during the beginning of their DAVID of educatorship that can be initiated career. Music teachers play a critical TEACHOUT when prospective music majors are still role in giving them that start (Bergee, in high school. Coffman, Demorest, Humphreys, & COMPONENTS OF EFFECTIVE Thornton, 2001; Isbell, 2008). Students TEACHING who show strong potential for becoming students’ development as well- There is an ordered four-step music educators are typically assigned rounded musicians” (p. 499). process to designing effective tasks such as running sectional Conducting: Prospective music instruction (Fink, 2013), beginning with rehearsals, serving as drum major, or education majors benefit greatly identifying situational factors. How many occasionally conducting a piece in a from basic conducting instruction. students are in the class? What prior concert (Fredrickson & Burton, 2005). However, only after conducting an knowledge do students bring? Where Although experiences like these are ensemble do they begin to gain will the teaching/learning activities take valuable, they do not comprise a well- an awareness of the complexities place? What facilities or teaching tools conceived strategy upon which to build a associated with conducting and are needed? career in music teaching. What follows is rehearsing (Silvey & Major, 2014). Next, one must determine learning a set of developmental learning activities Providing opportunities to conduct goals. What should the students know that work together synergistically to small ensembles may provide the and be able to do as a result of their provide a foundation for professional needed experiences without usurping experiences in the class? Third, one development based in two areas: precious large ensemble time. should determine assessment and musicianship and educatorship. Piano: Most music degree programs feedback mechanisms that reflect the ESSENTIAL AREAS FOR include several semesters of piano specific situational factors and learning PROMOTING MUSICIANSHIP skill development. If foundational goals. What will the students have to do Possessing expertise in one’s skills can occur prior to college, to demonstrate that they have achieved content area is a must for any teacher. For students can apply what they learn the learning goals? music teachers, that content area involves to other areas such as music theory Finally, one should determine skills development as well as knowledge. and score study. teaching/learning activities based on Major instrument performance skill: Music theory and music history: learning goals and assessments. What Private instruction while in middle Sometimes an Advanced activities will students engage in to school and/or high school will help to Placement (AP) version of this help them do well on the assessment accelerate the technical and musical content is offered in high school or activities and successfully apply that development needed to express can be found in an online course. learning to future situations? musically sophisticated ideas. In most music schools and These four steps can be applied to Secondary instrument performance departments, courses and experiences any situation where you want significant skill: Instrumental majors must are provided to help students develop learning to take place, however they develop basic performance skill on in each of these areas. However, when must occur in the order presented all woodwind, brass, percussion, prospective students can get a head start to be most effective. You can initiate and string instruments. Starting on these skills and knowledge, they can future music majors’ development by within one’s home instrument take advantage of increased opportunities first having them recognize these four family may help one avoid feeling to apply and solidify this content during components in your planning process. inundated by the task. early field teaching experiences in their Ultimately, they should apply this model Vocal/choral experience: Every undergraduate training. to their own planning processes. musician can benefit by engaging ESSENTIAL AREAS FOR COMPONENTS OF in singing activities, a proposition PROMOTING EDUCATORSHIP EFFECTIVE DELIVERY that often receives resistance from Simply possessing musical Sometimes prospective teachers instrumental students. According knowledge and skill is no guarantee possess a great deal of enthusiasm for to Wallace (2014) however, one can teach that content to others. what they know and do, but need to “Participation in a choir can have Developing a sense of educatorship work on delivery skills to maximize their immense impact upon instrumental is as important as, and some would communication with students. The good

24 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 HIGHER EDUCATION SECTION

news is these skills can be learned. concerns’ stage), where teachers focus REFERENCES Vocal expression involves variation in on mastering teaching techniques. These Bergee, M.J., Coffman, D. D., Demorest, vocal pitch, quality, volume, and rate, include concerns about developing S. M., Humphreys, J. T., & Thornton, L. P. (2001, while physical expression involves eye lesson plans, mastering content and Summer). Influences on collegiate students’ contact, facial expression, arm and necessary skills, and being able to decision to become a music educator. Report sponsored by MENC: The National Association hand gestures, and posture. Each of apply teaching strategies to instruction. for Music Education. these components can be practiced The most appropriate mentorship style Blumer, H. (1969). Symbolic interactionism: individually and in tandem to maximize to help those at this stage is to be Perspective and method. Englewood Cliffs, one’s delivery skills (for specific collaborative. Ask them what they think NJ: Prentice-Hall. delivery skill exercises, see Raiber and should be planned. Their egos are a Fink, L. D. (2013). Creating significant Teachout, 2014). When prospective bit more developed and they need the learning experiences. New York: John Wiley & music majors become familiar with opportunity to try their ideas, but they Sons. effective instructional design and aware also need to have you close when their Fredrickson, W. E., & Burton J. B. (2005). of their delivery skills, they are ready plans do not work. Where will the supply of new teachers come to plan and execute teaching episodes At the final stage (the ‘impact from, where shall we recruit, and who will teach these prospective teachers? Journal of Music where they can notice issues of pacing, concerns’ stage), teachers’ concerns Teacher Education 14(2), 30-36. doi:10.1177/1 delivery, assessment, and feedback. focus on the effect they can have on 0570837050140020105 THE POWER OF students. These concerns are about Fuller, F. F., & Bown, O. (1975). Becoming PEER TEACHING GROUPS student achievement (both short-term a teacher. In K.Ryan (Ed.), Teacher education: If you have several individuals in a and long-term), student motivation, and Seventy-fourth yearbook of the National Society cohort of prospective music teachers, students’ personal wellbeing. The most for the Study of Education. Chicago: University you can take advantage of the social appropriate mentoring style to help of Chicago Press. reference group effect (Blumer, 1969; those at the ‘impact concerns’ stage is Isbell, D. S. (2008). Musicians and teachers: The socialization and occupational Mead, 1934), a powerful interaction to be non-directive. Let them develop identity of preservice music teachers. Journal that occurs when people develop a and plan their lessons with you being of Research in Music Education, 56(2),162- social identity within a group that shares available to consult, but not direct. 178. doi:10.1177/0022429408322853 common understandings. In this case, Their egos are strong enough that they Mead, G. (1934). Mind, self and society. the feedback (and praises) given on can learn from their mistakes without Chicago: University of Chicago Press. such components as lesson planning, having their teacher identity suffer. Raiber, M. A., & Teachout, D. J. delivery skills, pacing, etc. helps each Appropriate mentorship at each stage (2014). The journey from music student to member of the group develop his or her helps prospective teachers accelerate teacher: A professional approach. New York: Routledge. individual teacher identity. through each developmental stage. Silvey, B. A., & Major, M. L. (2014). Think of the powerful effect of a peer Critical to developing a sense Undergraduate music education majors’ comment such as, “Hey, the closing of educatorship is the ability for a perceptions of their development as conductors: activity you did with the middle school prospective teacher to work with one Insights from a basic conducting course. clarinets yesterday was really cool… particular group over a period of time so Research Studies in Music Education, 36(1), great job!” High school musicians he or she can experience bringing that 75-89. doi:10.1177/1321103X14523532 often receive comments and praises group forward in their development. Wallace, K. (2014). When for their musical accomplishments. By promoting musicianship early, instrumentalists sing. International Journal of Music Education, 32(4), 499-513. Receiving similar comments about when prospective teachers are in high doi:10.1177/0255761413519052 their teaching accomplishments can school, we can accelerate their ability be equally powerful. to apply that musicianship in their THE POWER OF early field teaching experiences and 2015 NCMEA APPROPRIATE MENTORSHIP in their early years of induction into the Professional Development As prospective teachers develop, music education profession. Of equal Conference they work through three basic stages, (or greater) importance, however, are each characterized by the most pressing areas for promoting one’s sense of November 7-10, 2015 Winston-Salem, North Carolina psychological needs (concerns) educatorship. Together, the braiding perceived at any given point in time of one’s sense of musicianship with CEU Credits (Fuller & Bown, 1975). In the first stage, educatorship provides a solid foundation Pending approval from (the ‘self concerns’ stage) young teachers for pursuing a degree in music education. your school district or LEA, often focus on their personal adequacy Considering that some of your current attendance may be used as teachers. The most appropriate students could likely be your colleagues for CEU credit. mentorship style to help those at the in the not-so-distant future, you are in an 50 minute sessions = 1hr ‘self concerns’ stage is to be directive. ideal position to help them get the best 80 minute sessions = 1.5 hrs Give very specific instructions for what start possible. CEU credits for each session are you want them to do first, second, third, David J. Teachout is Professor and included on the Mobile App etc. Their egos are fragile and they just Head of the Music Education Department want to be told what to do. at the University of North Carolina at Attendees will be responsible As they gain confidence, they Greensboro. He can be reached via for keeping track of their move into the second stage (the ‘task email at [email protected]. session attendance.

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 25 BAND SECTION

By ALICE ALDREDGE, Chair Association National Conference. Since 2004, she has been a member of the brass and conducting instructional staff I hope you had successful of the Drum Corps International World experiences at your respective district Champion Phantom Regiment Drum MPA events. Many thanks to the district and Bugle Corps of Rockford, Illinois, MPA Event Chairs and Clinic Hosts and was selected for the instructional for the work you do to organize these staff for the 2012 and 2013 Army All- events. MPA preparation is always a American Marching Band. highlight for my students. They enjoy While at UNCG, Brown was a preparing for evaluation and performing member of the AA Brass Quintet, which for other students. ALICE won the 2001 International Brass Quintet One special highlight is the Competition hosted by Fred Mills at the ALDREDGE opportunity to perform on a stage in University of Georgia. She performed a nice, professional venue. It makes as a guest artist at the 2010 Focus on this performance special and unique. Piano Literature at UNCG as well as Whatever your focus is for your program, with the horn sections of the Boston preparing for the standards of evaluation is a 2015 recipient of the Transforming Brass All Stars Big Band, North Carolina is always a positive way to help students Learning for Third Century Quick Wins/ Symphony, Winston-Salem Symphony, grow. If you do not actively participate in Discovery grant program for her research and the Brevard Music Center Orchestra. your district MPA, I encourage you to do in conducting pedagogy technology. She has studied brass performance and so next year. Previously Brown was the Director of pedagogy with Abigail Pack, J.D. Shaw, NORTH CAROLINA ALL STATE Orchestra and Assistant Director of Bands Jack Masarie, Freddy Martin, Dottie HONORS BAND CLINIC at the Georgia Institute of Technology in Bennett, Randy Kohlenberg, Richard The 2015 NC All State Honors Atlanta where she also lead research in Steffen, and Ed Bach. Band Clinic was held on May 1-3 conducting pedagogy technology and Originally from Milan, Tennessee, at the University of North Carolina was a member of the Oxford Program she is a graduate of Austin Peay State – Greensboro. We welcomed clinicians faculty. Brown completed a DMA in University. Brown earned her Master Dr. Andrea E. Brown for middle school, instrumental conducting at University of Music degree in horn performance Richard Saucedo for high school, and of North Carolina – Greensboro. She and a Master of Music Education Amanda Drinkwater for senior high was named 2010 Outstanding Teaching from the University of North Carolina school. They brought a wide range of Assistant at UNCG and was both guest – Greensboro. knowledge to share with our students. conductor and principal horn on the Richard Saucedo is the recently Dr. Andrea E. Brown is a member of UNCG Wind Ensemble’s fireworks! retired Director of Bands and Department the conducting faculty at the University and finish line! CDs. Chairman at the William H. Duke Center of Michigan, serving as Assistant Brown has also had six rehearsal for the Performing Arts at Carmel High Director of Bands. In this position, she guides published in the popular GIA School in Carmel, Indiana. Under is the conductor of the Campus Bands, Publications series, “Teaching Music his direction, Carmel bands received Associate Director of the Michigan Through Performance in Band,” and numerous state and national honors in Marching and Athletic Bands, Director was a presenter at the 2012 Midwest the areas of concert band, jazz band, of the Men’s Basketball Band, guest Clinic, the 2012 International Computer and marching band. conductor with the Symphony Band and Music Conference, and the 2013 The CHS Wind Symphony has Concert Band, teaches conducting, and College Band Directors National performed at the Bands of America National Concert Band Festival three times and was named the Indiana State Champion Concert Band in 1999. The Carmel Jazz Ensembles have won numerous awards at jazz festivals in Indiana and throughout the Midwest. The Carmel Marching Greyhounds have finished in the top ten at the Bands of America Grand National Championship for the past 15 years and were named BOA National Champions in the fall of 2005. The Indiana Bandmasters Association named Saucedo Indiana’s Bandmaster of the Year for 1998-99. The Indiana Music Educators Association named Thank you to Andrea Brown, Amanda Drinkwater and Richard Saucedo, him the 2010 Indiana Outstanding who served as clinicians for All-State this year. Music Educator.

26 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 BAND SECTION

He is a freelance arranger and Texas State UIL Marching Contest and the auditions site chairs David Deese composer, having released numerous have been consistent Bands of America and Christina Carter; the auditions marching band arrangements, concert finalists and recipients of various caption chairs Susan Fritts, Keith James, band works, and choral compositions. honors. The Marcus band program and Russell Knight; clinic chairs He is currently on the writing staff for the was awarded the John Philip Sousa Jamie Bream, Daved Roberts and Hal Leonard Publishing Corporation. Foundation Sudler Shield in 2008 and Allen Klaes; state webmaster Ruth His concert band works have been the Sudler Flag in 2014. Petersen for our online audition and performed all over the world by middle Drinkwater has been named five clinic registration and event information; and high school bands, as well as by times to “Who’s Who Among America’s President Elect, Rodney Workman college and university groups. He is Teachers”, and is a member of Texas for organizing the new music reading the author of two DVDs on the subject Music Educators Association, the Texas listening areas and NCBA Hall of Fame; of rehearsing the marching band wind Bandmasters Association, and the and our All-State Honors Band Clinic section: Dynamic Music. American Bandmasters Association. host Dr. John Locke at the University of Saucedo did his undergraduate She was selected as Marcus High North Carolina – Greensboro. Please be work at Indiana University in Bloomington School Teacher of the Year in 2007. sure to thank these directors for all the and finished his master’s degree at In 2009, she was the recipient of the work they do to serve the North Carolina Butler University in Indianapolis. Music Educators National Conference Bandmasters Association. Amanda Drinkwater is Director Excellence in Teaching Music Award, of Bands at Marcus High School. Her and in 2011 she was the recipient of the responsibilities include direction of prestigious Bayard H. Friedman Hero the Marcus Wind Symphony and the Award for her contributions to Music Marcus Marching Band. A pianist and Education in the state of Texas. brass specialist, she is a native of A special highlight of our weekend DON’T HAVE Thibodaux, Louisiana. was the NCBA Hall of Fame induction Drinkwater received her academic ceremony. The NCBA Hall of Fame YOUR training at Louisiana State University was started in 2002 as a way to honor and at the University of Kansas in Music some of our most outstanding band Education and Instrumental Conducting. directors. Since its inception, the NCBA NCMEA She is in her eighteenth year as a Texas has inducted sixty-five band directors. music educator, with previous teaching On May 3, we inducted Herbert “Herb” MEMBERSHIP opportunities served at Leander High L. Carter, Jr., Tommy Smith and Dr. School and The Colony High School. Paul Bryan to this esteemed group. NUMBER Her concert ensembles have These directors have made a significant received exclusively superior division contribution to the improvement of ratings at the University Interscholastic music education and betterment of the HANDY? League Concert & Sightreading profession. Applications for the 2016 contests, and have earned distinction NCBA Hall of Fame are due by July 1, as Best in Class at various regional 2015. Criteria and application can be concert festivals. In 2006, 2008, 2010, found on the NCBA website. Now you can and 2012, the Marcus Wind Symphony The entire North Carolina All-State was named a TMEA 5A Honor Band Honors Band clinic weekend would download the Finalist. Her marching ensembles have not be a success without the tireless earned nine consecutive trips to the 5A work of many dedicated professionals: NAfME Mobile App and you’ll have it with you all time.

Just go to the app store on your smart phone and search for

Our 2015 inductees to the NCBA Hall of Fame: NAfME. Paul Bryan, Herb Carter and Tommy Smith.

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 27 ELEMENTARY SECTION

string, recorder or chorus groups. There ELEMENTARY NEWS are even opportunities for classroom By JAZZMONE SUTTON, Chair demonstrations with clinicians. If you are interested in bringing a performance This time of year, many educators group, please let us know through our began to reflect on the wonderful things email address elementary_section@ accomplished and possible areas of ncmea.net. improvement from the current year. The With final performances, events practice of reflection is important to the and lessons happening all around, process of learning and improvement. please take time to celebrate the In January, the elementary board known and unknown successes of met to reflect on our 2014 Professional JAZZMONE your hard work as a music educator. Development conference. We were able SUTTON During the summer, embrace new to review comments and suggestions possibilities and ideas for your from surveys submitted by attendees classroom in the coming school year and presenters. From there, we through professional development and brainstormed sessions and events personal experiences. I hope you refresh for our 2015 conference. Our goal is The majority of Dilworth’s choral your mind and body for the coming year to provide engaging, highly diverse scores were commissioned by because what you do reaches to the sessions that can be easily applied community and professional ensembles. core of educating children. to classroom situations. We strive to Over 150 of his choral compositions and Thank you for all that you have done provide a reliable and effective resource arrangements have been published, this year. Happy Summer! for music educators throughout our and many are part of the Henry Leck state. We welcome suggestions and Creating Artistry Choral Series with the comments for our upcoming conference Hal Leonard Corporation. He is also at [email protected]. an established author and contributor One event that the board is looking for the Essential Elements for Choir and forward to is the Honors Chorus the Experiencing Choral Music textbook ensemble featuring Dr. Rollo Dilworth, series. He has authored 3 books of Professor of Choral Music Education, choral warm up exercises intended Temple University, as the 2015 Elementary for elementary and secondary choral Honors Chorus clinician. He has served ensembles: Choir Builders: Fundamental on the faculty since 2009. Prior to that, Vocal Techniques for General and he taught music education and was the Classroom Use; Choir Builders for Director of Choral Activities at North Park Growing Voices; and Choir Builders for NCMEA University in Chicago, where he prepared Growing Voices 2. and conducted numerous extended and The audition piece is The Wind Board Meeting choral-orchestral works. Before teaching by Wayne Bisbee, published by Santa at the college level, Dilworth also taught Barbara Publishing (catalog #589), choral and general music at the middle and can be ordered online from Santa Minutes school level in his hometown of St. Barbara Publishing or JW Pepper, Inc. Louis, MO. Dilworth holds his Bachelor Students are asked to sing measures 3 of Science in Music Education from Case – 12 of the selected piece. To find more Posted on the Western Reserve University, a Master’s of information on the audition process, I Education in Secondary Education and encourage you to visit the Honors Chorus NCMEA Music from the University of Missouri- webpage, located in the Elementary St. Louis, and a Doctor of Music degree Section of the NCMEA website. Please website in Conducting Performance from consider auditioning your students Northwestern University. for this remarkable experience. If you have questions, contact Frederick www.ncmea.net Angoco, II, Honors Chorus Chair, at [email protected]. Click on A blossoming occurrence at our conference is our student performance “About Us” ensemble sessions. Many attendees have commented on how inspiring it is to In the submenu, watch the clinicians work with students in real time. The board is searching click ROLLO for performance ensembles to present DILWORTH at upcoming conferences. These “Board Meeting Minutes” ensembles can be Orff, drumming,

28 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 ORCHESTRA SECTION

ORCHESTRA UPDATE Please remember that requests for By MARGOT HOLLOMAN, Chair additions/changes/deletions to the NC Orchestra MPA Repertoire List must be received by June 30, 2015. The forms I want to thank each of you for are posted on the website under the the endless hours you have invested MPA tab. Approved pieces will be added in your students. I hope you can take to the list and released to directors at the a moment and consider how far your general business meeting in November. students have progressed since that Contact me if you have questions about first day of rehearsal. Your dedication this process. and passion for teaching have improved Any requests for additions/ their musical understanding, creative MARGOT changes/deletions to the NC Orchestra imagination, discipline and cooperation, HOLLOMAN Section Constitution, By-Laws, or intellectual curiosity, and self-confidence. Policies and Procedures must be You are changing lives through music! submitted to me in writing (email or We have had several successful mail) no later than June 30, 2015. events so far this spring: These requests will be introduced and Eastern Regional Orchestra Orchestra Director, Enloe High School discussed at the Regional Meetings was held February 20 – 23, at the in Raleigh; Latoya Lanons, Orchestra in September, and will be voted on at North Carolina School of Science and Director, South County High School the Business Meeting during the 2015 Math. Thank you to Joli Brooks for in Lorton, VA; and Cynthia Wright, NCMEA Professional Development her outstanding leadership as chair. The Orchestra Director, Bearden High School Conference. Please continue to check String Orchestra was directed by Dr. in Knoxville, TN, served as adjudicators the NC Orchestra Section website, Greg Hurley, Director of Music Education, for the prepared performances. Dr. www.ncorchestra.org/wordpress for East Carolina University. The Symphony Mark Cole, Director of Music Education, the latest updates and information. Orchestra was directed by Dr. Kevin Gardner-Webb University, served as I wish you all the best as you work Geraldi, Director of Orchestras, University adjudicator for the sight-reading. Over towards the end of your school year. Please of North Carolina at Greensboro. sixty ensembles and directors presented feel free to contact me at mholloman@ Western Regional Orchestra strong performances across our state wcpss.net with any concerns, questions, was held February 27 – March 1, at this year. Congratulations! or suggestions for our organization. the University of North Carolina at Greensboro. Thank you to Sabrina Howard for her continued great leadership of this event. The Repertory Orchestra was directed by Kamine Haghighi, Orchestra Director, Walter Hines Page High School in Greensboro. The Symphony Orchestra was directed by Dr. Chung Park, Director of Orchestras, Appalachian State University. Congratulations to all of the students on their outstanding performances! Eastern Regional MPA was held March 10 – 12, at the University of North Carolina – Chapel Hill. Johanna Rogers chaired this event with great success. Dr. Jim Waddelow, Director of Instrumental Activities, Meredith College; Dr. Greg Hurley, Director of Music Education, East Carolina University; and Marta Partridge, Retired Orchestra Teacher, Wake County Public School System, served as adjudicators for the prepared performances. Karen Huey, Retired Orchestra Teacher, Lee County Schools, served as adjudicator for the sight-reading. Western Regional MPA was held March 18 – 20 at Shelby Middle School. Amanda Colson chaired this event and did a wonderful job. Beth McCollum,

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 29 MIDDLE SCHOOL CHORAL SECTION

OUT OF THE WOODS…? for future venues with our MS Board BY STEPHANIE PEO, Chair members, especially if new places are being constructed in your area. I would also like to thank Angel for collecting biographical information about this As of this moment, I have not seen year’s All-State clinicians. Into the Woods, so I will not quote every Clinicians for the 2015 All-State song from the movie. This time of the Chorus on April 24-25 in Greensboro year, though, we are all deep into the were Fred Meads, Director of Vocal woods – MPAs, festivals and All-State Studies at The American Boychoir are coming to an end. By the time you School in Princeton, NY (6th grade); receive this publication most of our Christy Elsner, Founder and Artistic school events will be at an end, and STEPHANIE Director of Allegro Choirs of Kansas our ASW documentation will be ready PEO City (Women’s Choir); and Dr. Michael for uploading. Murphy of the Lionel Hampton School of Hopefully the fruits of our labor will Music at the University of Idaho (SATB). be evident not only in our artifacts, but As Director of Vocal Studies, Fred also in our hearts and minds. Many of Meads trains choristers of The American you will have received superior ratings who have taken on the responsibility Boychoir School through private vocal for your MPA performances. Chairman’s of organizing these valuable choral instruction and classes in music theory. Choice invitations have been sent, experiences are some of the most He conducts the Training Choir daily and and Eileen Kress, Conference Choirs dedicated and organized professionals prepares its members for the musical Chair, is eagerly awaiting your audition that I know. The more involved I become and social demands of the advanced materials. Please be sure to visit the NC with NCMEA, the more I appreciate Concert Choir. Previously, he served Middle Choral section website to find the many moving parts involved in as Artistic Director of the Fort Wayne updated instructions and forms. preparing for –and cleaning up – these Children’s Choir from 1999-2009. We continue to strive to present the opportunities. Fortunately for those of Meads has directed honor choirs in highest quality performance choirs our you who will become future leaders of several states and presented workshops state has to offer at conference each the MS Choral section, many time-saving for the Indiana Music Educators year. Don’t be too modest to audition documents already exist for your use. Association, American Choral Directors your superior performance choirs. Feel Just as Robert Waller does an Association and Organization of free to contact Eileen, me, or other outstanding job as Honors Chorus American Kodály Educators National board members if you have questions or Coordinator, Angel Rudd has Conference in Dallas. Last spring, he concerns about the process or logistics been stellar as our current All-State presented workshop sessions for public involved with participating as an NCMEA Coordinator. With the Greensboro school teachers and the YIP Children’s Professional Development Conference Coliseum renovations, she was Choir in Hong Kong. He served on Choir. All recordings and forms are due challenged to secure a suitable, the board of Indiana Choral Directors to Eileen no later than June 15. affordable site for our 600 students to Association and currently is the boy choir I would like to recognize our MPA rehearse in, as well as a performance representative for New Jersey-ACDA. and All-State Chairs, and share some venue large enough to seat them, their He also serves as the Children’s Choir information about our 2015 All-State parents, and others eager to enjoy our Director at Marble Collegiate Church in Chorus clinicians. The board members choirs. Please feel free to share ideas New York City and accompanist for the Princeton Girl Choir. Meads received the Bachelor of Music degree in Music Education from Ithaca College, NY and the Master of Music degree in Choral Conducting from the University of North Carolina at Greensboro. He was selected as a participant in the Chorus America Master Class in San Francisco and the International Choral Conductor’s Symposium in Toronto. He completed his Kodály training at Capital University in Columbus, OH. A native Kansan, Christy Elsner is the founder and Artistic Director of the Allegro Choirs of Kansas City. Under Eileen Kress, Conference Choirs Chair; Angel Rudd, All-State Coordinator, her direction since 2000, Allegro has and Susan Townsend, MPA Chair; all work hard to ensure grown from one choir of 38 to six our events go off without a hitch! choirs with over 275 singers. Heralded

30 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 MIDDLE SCHOOL CHORAL SECTION

NCME FEATURE ARTICLE ROTATION SCHEDULE

Summer /Fall

Christy Elsner, All-State Women’s Choir clinician; Michael Murphy, SATB clinician; Deadline, May 1 and Fred Meads, 6th Grade Treble Choir clinician. (Arrives in August) Elementary Orchestra as “the voice of angels” by the Kansas Idaho Bach Festival. In 2007, he made Advocacy City Star, Allegro inspires thousands of his international conducting debut in audience members each year with its China. The same year, he conducted varied repertoire, technical excellence, Florida State University Singers at the Conference and heartfelt singing. She is an active American Choral Directors Association clinician for children’s, youth, and (ACDA) National Convention in Miami, Deadline, August 10 treble. Her first book, Gadgets for Florida for the Exhibitors Concert. (Arrives in October) Great Singing, was published in 2013 Prior to his move to the University of Items Pertaining to Conference by Hal Leonard. Idaho, Murphy taught many levels from Elsner has conducted honor choirs elementary to university students. His in Washington, Wyoming, Kansas, choirs consistently were recognized with Winter Deadline Arkansas, Missouri, Louisiana, Ohio, distinction, earning all superior ratings Georgia, and North Carolina. She at choral festivals. As an active member, December 1 is the 2010 recipient of the Kindest- he has held several state leadership (Arrives in March) Kansas Citian and the 2008 recipient positions in the American Choral Research of the MENC Outstanding Middle Level Directors Association (ACDA) and the Choral (HS and MS) Educator. She recently completed six Music Educators National Conference years as the SWACDA Children’s and (MENC). Currently he is President- Band Community Youth R&S Chair. She is a Elect for the Idaho state chapter of the past recipient of the KCDA Outstanding American Choral Director Association. Young Conductor Award. She received Thanks to everyone for your Spring Deadline her music education degree from the participation in the NCMEA middle school February 15 University of Kansas and received the choral section! In closing, I did find (Arrives in May) Marcus E. Hahn Award for Outstanding some Into the Woods lyrics to share... Senior in Music Education. Children may not obey, Technology Dr. Michael Murphy is the Director of but children will listen. Jazz Choral Activities and Assistant Professor Children will look to you for which way Higher Education of Conducting at the University of Idaho to turn to learn what to be. School of Music, where he conducts Careful before you say “Listen to me” Interested in submitting the Vandaleer Concert Choir, University Children will listen Chorus and teaches graduate and Careful the wish you make a Feature Article? undergraduate courses in conducting Wishes are children Contact the appropriate and choral methods. He also serves as Careful the path they take Section Chair. the Artistic and Music Director for the Wishes come true, not free Contact information is on the Palouse Choral Society and Palouse Careful the spell you cast Board list found in every issue Festival Orchestra. Not just on children A native of Wilmington, North Sometimes a spell may last past what of the NC Music Educator. Carolina, Murphy received his degrees you can see… in Conducting and Choral Music …Children will listen… See www.ncmea.net Education from Florida State University For detailed information about for additional and East Carolina University. He is the NCMEA Middle School Choral events, Journal information Founder and Artistic Director of the visit ncmiddlechoral.webs.com.

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 31 HIGH SCHOOL CHORAL SECTION

HIGH SCHOOL CHORAL UPDATE She made each event a meaningful By ED YASICK, Chair experience for everyone involved. At the spring high school choral “Music isn’t just learning notes and singing them. You learn notes to sing to the business meeting, Eddie Adams, HS music of your soul.” – Katie Greenwood (adapted) Choral Section Chair-Elect, presented a ballot of volunteers willing to serve as members-at-large. At fall conference, This quote has hung on my chorus members will select five nominees to room wall for about 8 years. My student serve as members-at-large on the choral choral secretary at the time – now a board. They will serve from November high school choral director – posted our 2015 - November 2017. If you would like chorus rules and included this quote to run, please contact Eddie Adams at at the end of them. Although I often [email protected]. reference it with my students, I hadn’t Our 2015 NCMEA High School really thought about where she got it ED Choral Section Hall of Fame inductees until I wanted to include it in this journal YASICK will be recognized at the All-State article. It’s from Katie Greenwood, Chorus Concert. Please consider “Music isn’t just learning notes and nominating someone for the 2016 Hall playing them. You learn notes to play to of Fame by emailing Carol Earnhardt the music of your soul.” at [email protected]. It is Although my former student Dr. Marc Foster, High Point University, a wonderful opportunity to recognize changed playing to singing, the directing the 9-10 SATB choir; and John those directors who impacted the lives underlying meaning is the same. I’ve Byun, Riverside City College, directing of their students, who were dedicated to always told my students music is so much the 11-12 SATB choir. A commissioned the choral art, and who demonstrated more than learning notes and rhythms. work, Music, I Yield to Thee, by Richard leadership in NCMEA and in choral It becomes an emotional experience for Waters, will be premiered at All-State by music in North Carolina. both performers and the audience. That the 9-10 SATB Choir. As we quickly come to the end of is part of the joy of live performances and Our first Young Composer another school year, let me remind you no two performances are ever exactly Showcase winners, Jack Davis and of upcoming events for the fall: the same. This combination of working Christopher Short, premiered their - Dr. Eric Nelson from Emory together as a team and communicating compositions at conference. Special University will conduct our to the audience makes music come alive thanks to the committee members for N.C. Honors Chorus Clinic on for everyone involved. choosing our winners this year: Gwen November 7 - 8. Please encourage As I write this article, MPAs are fast Hall, Dr. Kenney Potter, J. Jerome your students to audition for the approaching. Thank you so much to Williams, and James Gossler. The 2015 choir. Deadline for submission of Chris Hansen, Michelle Sullivan, and Student Composition application is now audition fees is September 10. all the site chairs for making sure all our on the website. Please encourage high The most up-to-date information MPAs run smoothly. New to MPA sight school composers to submit their choral can be found at ncmea.net. reading this year, directors will choose pieces for consideration. - Please send your nominations from four levels of difficulty. Each level As I think about our upcoming for Teacher of the Year to Cynthia will present two rhythmic exercises and fall conference, I want to again thank Benton at Cynthia.benton@ melodic/harmonic exercises, which Carol Riggs for all of her years of bcsemail.org. include rhythmic elements, composed service to NCMEA and in serving - Please consider having in multiple voicings. As in the past, as the longest Honor’s Chorus your ensembles perform at students will perform one rhythmic Coordinator. Beginning in 2001, she Conference. Please submit exercise and one melodic/harmonic began her tenure in the role and made applications to me at hschoral_ exercise in the adjudication. A special 14 NC Honor Choruses run flawlessly. thank you to Gwen Hall for composing [email protected]. our new sight reading for MPAs. I wish all of you the best in your end By the time you read this article, of the year concerts and other musical we will have finished our 2015 All-State activities. Take time to enjoy the music you and your students make together Chorus Clinic. I am looking forward to Carol Riggs has as you look forward to a much deserved hearing the four choirs in our new venue. served as Honors summer break. Special thanks to Jeremy Truhel who Chorus Chair for put in many hours to make sure All-State 14 years, and is a success. Clinicians included Laura received a token Sam, Meredith College/NC Governor’s of appreciation at School East, directing the 9-12 SSAA the fall business choir; Chris Peterson, California State meeting. Fullerton, directing the 9-12 TTBB choir;

32 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 YOUNG PROFESSIONALS SYMPOSIUM

THE YOUNG PROFESSIONALS’ What Students are Saying Who Attended in the Past SYMPOSIUM FOR “The Symposium is one of my fondest memories from High School. I SECONDARY STUDENTS loved all the workshops. When I was choosing my major, it was always Our Students are North Carolina’s between performance and education. Future Music Educators The Symposium helped me solidify my By LISA QUALLS decision.” Muffy Underwood, 2010

The Young Professionals’ Symposium “I participated in the Young for Secondary Students is an NCMEA Professionals Symposium in 2009. program for high school juniors and It was the greatest experience I had seniors interested in a music education in High School. After attending the career. Taking place during the NCMEA symposium, I was reassured that music Conference, the symposium runs education was what I wanted to do.” Sunday afternoon – Tuesday morning. Joseph Girgenti, 2009 Students are paired with collegiate LISA For more information, contact Lisa Qualls, mentors and attend sessions designed QUALLS [email protected]. especially for them. Opportunities to visit exhibits, speak with college representatives, and attend additional sessions of interest are provided. SESSIONS PROVIDED FOR How To Apply STUDENTS The application is posted on the NCMEA website. A letter of Introduction to Choral Conducting recommendation, application fee of Introduction to Instrumental $25.00, and an essay entitled, “My Conducting Musical Aspirations” must accompany Preparing for College Auditions the application. and Interviews The application deadline is Teaching Elementary General Music September 20. Instructions for mailing Sunday Evening Dinner and Round are listed on the application. Students Table Discussion accepted into the program will be notified no later than October 5. The chaperone present at Conference. Conference registration fee for students Housing and meals are determined by is $35.00. Students must have an adult their director.

2014 YOUTH SYMPOSIUM COLLEGIATE MENTORS HIGH SCHOOL STUDENT PARTICIPANTS

NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 33 NCMEA Young Professionals’ Symposium Application Application Fee: $25.00 Application Deadline: September 20th

(Please Print)

Name ______Age ______First Middle Last

Address ______City Zip

Phone Number ______Cell Phone ______Email______

Parent Name ______Home Phone______

School Name ______

School Address ______City Zip

Band/Chorus/Orchestra Director’s Name ______

Director’s Phone ______/______/______School Home Cell Director’s Email ______MENC I.D.Number ______

Choral Music Band Orchestra Elementary General Music

The following should accompany this application: 1) Application Fee of $25.00 (checks payable to NCMEA) 2) Letter of Recommendation from High School Director 3) Typed essay of 300 words entitled, “My Musical Aspirations” 4) Musical resume detailing musical accomplishments and experiences

Applications missing items will not be processed. *** No more than three students from each school will be selected to participate in the program. Students accepted into the program will be notified no later than October 5th. Though NCMEA sponsors this program, NCMEA does not assume responsibility for chaperoning students. While at the Conference, students must be chaperoned by their directors, parents, or a designated adult over 21 years of age.

Mail Completed Applications and fees to Lisa A. Qualls, 933 Tamworth Road, Asheboro, NC 27203

Make history with the new UNC Charlotte Marching Band. Coming Fall 2015. music.uncc.edu 34 NORTH CAROLINA MUSIC EDUCATOR/WINTER 2015 Make history with the new UNC Charlotte Marching Band. Coming Fall 2015. music.uncc.edu North Carolina Music Educators Association NON PROFIT ORG. 883 - C Washington Street U.S. POSTAGE PAID Raleigh, NC 27605 TAMPA FL PERMIT NO. 3749

Here are some simple, time-effective ways principals can assist their school’s music educators:

Create and Foster an Environment of Support • Study the ways that music education develops creativity, enhances cooperative learning, instills disciplined work habits, and correlates with gains in standardized test scores. • Provide adequate funding for instruments and music education materials. • Make certain that your school has a fully staffed faculty of certified music teachers.

Communicate Constructively Tips to Share with • Make statistical studies and research supporting the value of music education available to other administrators and school boards. • Encourage music teachers to support their cause by Your Principal writing articles in local newspapers, professional journals, or by blogging online about the value of music education. Principals and school boards have the ability to • Share your students’ successes with district colleagues. substantially aid music educators in their quest Include articles in school and district newsletters to communicate the value of music in a student’s to enrich children’s minds through music. Fos- education. tering a strong music program will help them achieve their goals as a leader in the education Visit www.nafme.org for community, and, most of all, will aid the growth more Principal Resources. and development of children in their school.