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Spring Concert ANCHOR BAY BAND BOOSTER EXECUTIVE BOARD The Anchor Bay High School Instrumental Music Department Tom Stanton, President Chris Worton, Vice President - Fundraising proudly presents the Kathy Simpson, Vice President - Bingo Holly Bennett, Treasurer Dean Larson, Financial Secretary SYMPHONIC BAND Lynnette O’Brien, Secretary SYMPHONIC BAND P. David Visnaw II, Instrumental Music Director WIND ENSEMBLE ANCHOR BAY HIGH SCHOOL ADMINISTRATION and the Ms. Judy Stefanac, Principal Mr. Hank Anderson, Assistant Principal JAZZ ENSEENSEMBLEMBLE Mr. Vic Balaj, Assistant Principal Mrs. Sherry Kenwood, Assistant Principal ininin a TQSJOH DPODFSU WWW.ANCHORBAYBANDS.ORG UPCOMING INSTRUMENTAL MUSIC EVENTS 5/18/05 - 5/21/05 — Florida Trip! 5/26/05 — New Marcher Orientation 5/30/05 — New Baltimore Memorial Day Parade Thursday, May 5, 2005 5/31/05 — Instrumental Music Banquet (Salt River) 7:30 P.M. 6/5/05 — Graduation (McMorran Auditorium, Port Huron) Anchor Bay High School Auditorium 6/13/05-6/15/05 — Pre-Marching Band Camp (‘05 - ‘06 MB) 6/26/05 — Bay Rama Parade (‘05 - ‘06 MB) 8/1/05-8/6/05 — Marching Band Camp (CMU) Michael R. SauerSauer,, Instrumental Music Director P. David Visnaw II, Instrumental Music Director PROGRAM SYMPHONIC BAND PICCOLO BASS CLARINET FRENCH HORN 2nd HOUR SYMPHONIC BAND Apryl O'Leary Vida Austin Kristina Croes Jenna Hill Michael Johnson II Amanda Davidson + Shenandoah..…………......……….…..……………………Ticheli Amanda Shirey Elise Holderbaum Jennifer Wilssens * Jeff Payne * FLUTE Karen Rosenbusch Amanda April Tim Steffens 3rd HOUR SYMPHONIC BAND Nicole Becker BASSOON Kristen Vennettilli Jessica Briarton * Laura Chirio Paul Williams * Lindsay Hornibrook Trail of Tears.......….………..….…………...………....J. Barnes Jessica Krol Elizabeth Litchfield ALTO SAXOPHONE TROMBONE Carolyn Murray Amy Bowron Paul Barnett Nicole Saghy *+ Erica DeForest * Sandra Hromek COMBINED SYMPHONIC BAND Amanda Schwager Jackie Heide Jeremy Rhodes Amanda Trembley Jackie Piper Meghan Root * Nicole Vanderhoff Sarah Rudnick * Jessica Sims FIRST Suite in EE----Flat........….…...….…….......………..G.Flat........….…...….…….......………..G. Holst Stephanie White Lauren Saad Jarett Smith * Matt Wagner I. Chaconne OBOE TENOR SAXOPHONE IIIIIII.II I. March Jenna Hill Amanda Borden EUPHONIUM Rachel Olivares * Jonathon Holderbaum * Maxwell Price * Jessica Keller CLARINET Lisa Roland * WIND ENSEMBLE Shaina Barry Joey Spezia Emily Bergmann BARITONE SAXOPHONE Cloudburst.......………………………..…….…........E. Whitacre Jacqueline Calvin Ashana McPherson Amy Demick Kevin Keck * TUBA Krystyna Dzierzanowski Dennis Simpson Jonathan Bryson Paige Laemmerman Josh Stros * Candice Forrest * Ride………………………………………………………..….S. Hazo Catherine Mavis Sterling Hamilton Emma Orczykowski Scott Kociemba * Sarah Plebanski * TRUMPET Aaron Qualls Mike Abele Lauren Russell Brian Colbert PERCUSSION Jessica White Ken Debus * Sean Demers * JAZZ EENSEMBLENSEMBLE Lauren White * Casey Fraley Brian Duncan Elizabeth Wirick Andrew Karasinski Scott Larson * Nicole Zvara Thaddeus Kulczycki Mark Nagel La FiestaFiesta.......……..…………………………………....…C........……..…………………………………....…C. Corea Chris Roehr Darcy O’Hearn Anthony Sabella * Nick Semaan ALTO CLARINET Tyler Slasinski Kevin Therrian Gabrielle Duda Jeff Williams Mariel VanOverbeke Blues for Miles…………………………………………….C. Corea Alaena Parsons Immediately following tonight’s concert, please join us in * Denotes Section Leader + the cafeteria for an afterglow and a performance by the Denotes District XVI Honors Band # Denotes Michigan Youth Band and/or Orchestra ABHS Jazz EnsEnsemble.emble. Denotes MSBOA All-State Band PPPROGRAMPROGRAM NOTES WHAT IS MUSIC? SHENANDOAH Music is a SCIENCE In his setting of Shenandoah, Frank Ticheli was inspired by the freedom and It is exact, specific; and it demands exact acoustics. A conductor’s beauty of the folk melody and by the natural images evoked by the words, es- full score is a chart, a graph which indicates frequencies, intensi- pecially the image of a river. He was less concerned with the sound of a rolling ties, volume changes, melody, and harmony all at once and with river than with its life-affirming energy – its timelessness alongside it. The the most exact control of time. work’s mood ranges from quiet reflection, through growing optimism, to pro- found exaltation. The Shenandoah Valley and the Shenandoah River are located in Virginia. Music is MATHEMATICAL There is disagreement among historians concerning the origins of their names. It is rhythmically based on the subdivisions of time into fractions Some claim that the river and valley were named in the 1750’s by the Cherokee which must be done, not worked out on paper. as a friendly tribute to a visiting Iroquois Chief named Shenandoah. Others suggest that the region was named not by the Cherokee but by the Senedo In- dians of the Virginia Valley. In the Senedo Tradition, Shenandoah means “Daughter of the Moon,” and bears no relation to the Iroquois Chief Shenan- Music is a FOREIGN LANGUAGE doah. Most of the terms are in Italian, German, or French; and the nota- tion is certainly not English—but a highly developed kind of short- The origins of the folksong are equally obscure, but all date to the 19 th century. It has been attributed variously to a coal miner in Pennsylvania, to a young pro- hand that uses symbols to represent ideas. The semantics of mu- tégé of Stephen Foster, and to a housewife in Lexington, Kentucky. Many vari- sic is the most complete and universal language. ants on the melody and text have been handed down through the years, the most popular telling the story of an early settler’s love for a Native American woman. Music is HISTORY Music usually reflects the environment and times of its creations, often even the country and/or racial feeling. SHENANDOAH Music is PHYSICAL EDUCATION Oh, Shenandoah, I long to hear you Seven years, I courted sally Way hey, you rolling river Way hey, you rolling river It requires fantastic coordination of fingers, hands, arms, lip, Shenandoah, I long to hear you Seven more, I longed to have her cheek, and facial muscles, in addition to extraordinary control of Away, we’re bound to ‘cross the wide Away, we’re bound away ‘cross the wide the diaphragmatic, back, stomach, and chest muscles, which re- Missouri. Missouri. spond instantly to the sound the ear hears and the mind interprets. Oh, Shenandoah, I love your daughter Farewell, my dear, I’m bound to leave you Way hey, you rolling river Way hey, you rolling river Music is all of these things, but most of all… Oh Shenandoah, I love your daughter Oh, Shenandoah, I’ll not deceive you Away, we’re bound away ‘cross the wide Away, we’re bound away ‘cross the wide Missouri. Missouri. Music is ART Missouri she’s a mighty river It allows a human being to take all these dry, technical (but diffi- Way hey, you rolling river. cult) techniques and use them to create emotion. That is one When she rolls down, he topsails shiver Away, we’re bound away ‘cross the wide thing science cannot duplicate—humanism, feeling, emotion, call it Missouri. what you will. JAZZ ENSEMBLE CCCONCERTCONCERT ETIQUITTE SAXOPHONES TRUMPETS RHYTHM SECTION A performer's intense concentration can be interrupted by little things that may seem Laura Beach Josh Burns Ben Bourlier, Piano trivial to audience members. The following suggestions will help audience members Brandon DeCaluwe Kelly Grossman Sean Demers, Drum Set show respect to the performers on stage as well as other members of the audience. Allison Drompp Brian Keck Steve Krycia, Guitar This will help the performers to do their best. Dylan Campbell Andrew Karasinski Josh Miller, Drum Set Darryl Hentrich Christie Piper Jason Saghy, Piano When To Applaud - Performers always appreciate applause, but there are appropriate Rachel Olivares William Stanton, Bass moments to applaud. In a multi-movement work, applaud after all movements are TROMBONES Josh Stros, Guitar completed. This allows the continuity of the piece to flow from one movement to the FLUTE Chelsea Hallendy + Bryn Watnoski, Bass next. “Hooting and hollering” is not appropriate in the concert setting. Dorian Michelson Meghan Root Taylor Stanton Arrival Time - Leave early and allow enough time for parking and traffic. If you do arrive Sarah Zelenak late, wait by the doors until the first piece (not just a movement) is finished, then discreetly take the nearest seat available. Entering and Exiting the Auditorium - Never enter or exit the auditorium during a per- formance. If you must enter or exit, please wait until the performance on stage has been completed. The most appropriate times to move about are during audience ap- plause or set changes. Talking - Talking should not be tolerated. It is not only distracting to the performer, but to every person in the audience. It is just plain rude to talk (even whispering can be heard) during a musical performance. If someone around you is talking, ask them nicely to please stop. WIND ENSEMBLE PICCOLO BASSOON TRUMPET Other Noises - Avoid rustling your program, tapping your foot, bouncing your legs, etc. Chelsea Hallendy + Ben Hanson + Josh Burns + Pagers and cell phones should be turned off. Watches set to beep on the hour should Kelly Grossman also be turned off. These high-pitched beeps are distracting to the performers and FLUTE ALTO SAXOPHONE Brian Keck* + audience members. Jacquie Blom Laura Beach Christie Piper Caroline Haas + Dylan Campbell + Samantha Strassburg Coughing - It is hard to avoid a spontaneous cough. Be prepared with some type of Antoinette Klempay Brandon
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