December 2011 Archives - The Instrumentalist

Band Directors’ Letters to Santa

theinstrumenta — Thu, 05 Jul 2012 18:26:00 +0000

Dear Santa,
Would you mind if we skipped the Christmas parade this year?
Respectfully yours,
Leonard

Dear Santa,
Would you like to buy a bucket of cookie dough from my band? It makes a great gift. By the way, the cookies you devoured at my house last Christmas were made from band cookie dough.
Hope to hear from you soon.
Hal

Dear Santa,
When you give out instruments this year, please stick with known brands. I would be glad to send you a list of acceptable instruments for the students in my program. The woodwinds your elves make have holes that are a little too close together.
Sincerely,
Emerson

Dear Santa,
Would you be able to guest conduct my band on our next holiday concert? I thought you could conduct The 12 Days of Christmas or maybe Jingle Bell Rock if 12 Days is too exhausting.
Happy Holidays!
Richie

Dear Santa,
Do you have any openings in management? I need a summer job. I would be a good manager – I’m used to working with short people.
Yours,
Duane

Dear Santa,
We hope to see you at the Macy’s Thanksgiving Day Parade. We still have $5000 to go. Can you help?
Desperately yours,
Jon

Dear Santa,
Can you stop making drums for children? The world has enough already.
Very truly yours,
Buddy

Dear Santa,
Are you familiar with the song Carol of the Bells? Does hearing it over and over again give you a migraine like it does me?
Jingle all the way,
Amy

Dear Santa,
Did Rudolph the Red-Nosed Reindeer really guide your sleigh on a foggy Christmas eve? Does he even exist or is he the result of crass commercialism?
Later,
Ralph

Dear Santa,
Please put a lump of coal in the stocking of every student in my third period class.
Sincerely yours,
Margaret

Dear Santa,
Please send me a drummer who likes to practice keyboard percussion also.
Take care,
Howard

Dear Santa,
Did you know Frosty the Snowman has his own Myspace page? Don’t worry, he’ll never be as popular as you, Myspace or no Myspace.
Your fan,
Bill

Dear Santa,
Do you get any royalties from Christmas movies and songs? If not, I have a cousin Louie who is a lawyer.
Yo!
Antonio

Dear Santa,
I want another week of rehearsal time before contest.
Yours truly,
Frederick

Dear Santa,
No need to send me anything this year – I have a great group of band students, and that’s enough.
Merry Christmas!
John

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Winter in Chicago

theinstrumenta — Thu, 05 Jul 2012 18:23:00 +0000

   The Midwest Clinic passes quickly, with non-stop concerts, clinics, and reunions with old friends. Although the venue for the clinic has changed in recent years, the Midwest continues to foster an unbeatable camaraderie that other conventions just cannot match. For many attendees it is almost impossible to find a few minutes to venture out into the frozen Chicago tundra and explore the city. However, for those with a hearty soul and a heavy coat, here are some places that bring joy to residents and visitors alike.
   The Jazz Showcase – Over the decades this venerable jazz institution has moved several times. When the club lost its lease a few years ago, it looked like the end of the line. Finally after more than a year, the Jazz Showcase reemerged in perhaps its most attractive location yet. For the week of Midwest, the club hosts the Bad Plus, an adventurous group unlike any other on the current scene. (www.jazzshowcase.com)
   The Green Mill – The Mill takes you back to another time. You can feel the history in this legendary jazz club and imagine that former owner Al Capone might walk in at any moment. The club offers jazz most nights into the wee hours with a lineup of local favorites, some of whom have become national stars. Occasionally, they book outstanding national artists coming through town. During the week of Midwest, respected tenor saxophonist and composer Bob Mintzer will front his organ trio. Come early if you want a seat. ()
   The Girl and The Goat – Chef Stephanie Izard returned to Chicago a conquering hero after winning the popular cooking competition Top Chef. Televised cooking can be hard to evaluate as a home viewer, but Izard remained charming and unflappable during her season. When her West Loop restaurant opened in 2010, reservations became nearly impossible to get. I once described the ever-changing menu of small plates as “American tapas” and was told by someone that no such cuisine exists. Whatever the label, the food is remarkable. Although a table is frequently difficult to obtain, those willing to reserve one for very late at night sometimes find foodie bliss. (girlandthegoat.com)
   The CTA Holiday Train – Most of the time, riding public transportation in Chicago is slow and inefficient. The Holiday Train creates a momentary bit of fun with a six-car train elaborately decorated with thousands of twinkling lights and bows. Santa leads the train in an open-air flat car that carries his reindeer and holiday trees. I can’t tell you where to find the train while you are in town, but I can almost guarantee that it will run behind schedule.
   Weird Skating – Visitors from warmer climates are sometimes enchanted by the winter wonderland concept. The John Hancock building, a long-time fixture on the Chicago skyline, recently added a skating rink on the 94th floor. I cannot verify how fun skating in the sky might be, but when you fall on the ice as an adult, it hurts ten times more. You were warned. For those who want to slip closer to the ground, Wrigley Field offers a skating rink in the parking lot. This might be the most productive thing that has happened at the park all year.
   Of course, some of the old standbys in the city remain great: the Art Institute, the holiday exhibit at the Museum of Science and Industry, and concerts by the Chicago Symphony Orchestra. Blues legend Buddy Guy continues to run his popular club. The Chicago weather may be frightful, but the city remains delightful. See you soon.

James M. Rohner
Editor/Adv. Manager

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Start Strong in the New Year

theinstrumenta — Thu, 12 Jan 2012 00:25:43 +0000

We asked some expert teachers what they made a point of coming back to immediately after winter break. Here are their responses.

We always kick off the new year with chamber music. My students perform a solo and ensemble concert every February, and each student is required to play in a small ensemble and has the option to play a solo for this concert. The chamber music makes it impossible for weaker players to hide behind the stronger players. As each student gets stronger, the full band improves.

We are on a block schedule with 100-minute classes, so the first half of class is for chamber rehearsals, and we rehearse contest music during the second half. Because I cannot be everywhere at once, student leaders lead rehearsals, and I rotate between groups to ensure that the students stay on task. Students receive most of their contest music before winter break and must complete practice logs during vacation.

– Benjamin Helton, Bloom High School (Illinois)

I keep the movement between break and start of second semester as seamless as possible. A couple of days before the start of school, I email students a rehearsal schedule for the first week of the semester. My hope is that this is a friendly reminder of how much work there is to do the first week; we hit the ground running when we get back.

Before leaving school in December, I set up the rehearsal space so it is ready to go when we get back. The emphasis for the first day of rehearsal is heavy on breathing exercises, tuning, establishing a good ensemble sound. I spend at least double the time I would normally spend in the rehearsal to reestablish good habits, technique, and tone. On the personal side, when the semester is done, I can relax at home, building a fire and sitting in my recliner, and I do not have to worry about anything until school starts.

–Wally Parks, Metamora (Illinois) High School

After coming back from winter break my top priority is reestablishing the sound of the ensembles. After two and a half weeks of vacation, there are interesting sounds coming out of students’ instruments. Some of the more disciplined students will work diligently throughout out the holiday break, but many will not practice at all.

I have found a few exercises to be extremely beneficial when working on sound. I ask students to put their mouthpiece on or in their mouths, loosen the corners, and breathe in. They should feel a cold spot in the back of their throats if they are taking a deep, relaxed breath. After this, we breathe in again and play a concert F, listening to each other and trying to create a steady sound. I like to draw a brick on the board and ask the students to think of it as they try to blend their sound. If a particular section is sticking out I’ll draw a jagged edge and label it with the name of the section that sticks out. Students usually think this is funny but understand the concept a bit better at that point.

I also like to do an around-the-room exercise. I have one student play concert F and then we snake around the room with each subsequent student playing concert F while trying to match the tone quality and pitch accuracy. This is a great exercise because students who normally can hide at the end of the section have to play out. Everyone can tell when someone does not blend, and the peer pressure alone causes these students to play with a fuller sound. Once we play around the room, I ask the band which section played with the most consistent sound and which still needs to improve. The section that is deemed to need the most improvement then does the exercise by themselves. This additional isolated exercise helps students to hone in on their sound, and because the spotlight is still on them, they work extra hard to play with a good sound.

– Stephanie Silosky, Oswego (Illinois) High School

If you have a question you would like answered, email editor@theinstrumentalist.com

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Tools for a Great Start

theinstrumenta — Wed, 11 Jan 2012 22:44:02 +0000

Starting a beginning violin or viola player can be a daunting task. The mechanics of holding the violin and bow are tricky, especially for younger students. Experienced string teachers have developed a variety of techniques using inexpensive tools that set up the instrument in ways that make this difficult process easier and more fun for students.

Setting up the bow and right hand

On violin and viola it is generally easier to start with a beginner bow hold. Students should place the thumb on its tip under the frog instead of on the stick, so the hand will form in a more open shape and not collapse and grab the bow.

Many teachers use a story to teach this bow hold. An easy one to remember is based on a family of bunnies who live on the edge of a lake. The bow is the dock with the bent thumb a shark sitting in a chair waiting to tickle the feet of the twin bunnies (middle two fingers) that hang their feet in the water as they gently tickle the frog that lives on the dock. The daddy bunny (pointer finger) hugs the dock, and the baby bunny (pinky) stands in his playpen watching. Mommy bunny is in the bunny cave (open curved hand) making peanut butter sandwiches.

Because students often have difficulty keeping the thumb curved while they play, place a corn pad on the bottom surface of the frog. This gives them a secure place to put the tip of the thumb.

To assist a young player with the pinky finger on top of the stick, cut approximately 1⁄3 off the end of a gel pencil grip and then cut a small rectangle from one end of the larger section. Slide the end with the slit over the stick as shown left.

A frog sticker placed on the side of the frog where the fingers hang over will help the beginner remember to gently tickle the frog rather than squeeze it.

Once students can keep the thumb bent under the frog, they can switch to the regular bow hold. Here the thumb is placed between the frog and the winding. To help students make this change, place a small piece of moleskin at the thumb position. As students become more comfortable with the bow hold, you should also replace the gel grip with another small piece of moleskin placed approximately over the middle of the frog.
Students should practice bow exercises at home to strengthen the bow hold. One exercise is the “Up Like a Rocket” song, which is often sung to the melody of Twinkle.

Up Like a Rocket

Up like a rocket, down like the rain

Back and forth like a choo-choo train.

‘Round and ‘round like the great big sun

Up on your head with a smiling thumb

Check your pinky, check your thumb,

Playing strings is so much fun!

Students can also write their names on the floor or spell words using the screw part of the bow. While they pretend to write with the end of the bow, they should focus on a correct bow hand position and hold the bow vertically to avoid undue pressure on the pinky.

Posture

Before students learn to hold an instrument, they should practice the proper standing position. (This step is particularly helpful for younger students who have trouble staying still for extended periods.) A foot chart made from a legal size manila folder can be used to help the violins and violas.

Another rhyme sung to the tune of Lightly Row, can help the students remember the steps to stand properly and then bring the instrument to the shoulder when they practice at home.

Rest position, monster fingers

Feet together, standing tall

Make a V, then left foot front

Balanced body so we don’t fall!

Left arm out – stop sign – go

Violin headstand – straight as can be

Up on my shoulder, holding strong

Look ma, no hands! – Yeah for me!

The following photos refer to the lyrics of the set-up song. Students start in rest position with violin tucked under the arm. Then the left hand holds the violin with the fingers curved on top of the instrument and the thumb curved and under the instrument. The left hand wrist should be straight (rest position, monster fingers).

Then while still holding the instrument with the left hand, the student extends the arm straight out so that it is parallel to the floor directly over “left foot front” (approximately half way between straight out in front and straight out to the side).

The next step is to rotate the instrument upside down (violin headstand – straight as can be) while swooping the instrument inwards toward the student’s body and up on the shoulder. The head will tip slightly so the left side of the jaw rests on the chin rest or chin pad.

The final step is to drop the left hand and demonstrate the proper positioning of the instrument. If it is held properly, students should be able to hold the violin without holding it with their hands (look ma, no hands).

Chin and Shoulder Rests

Students and instruments come in a variety of shapes and sizes, and a fair amount of adjustment is necessary so students can hold the instrument comfortably and play the instrument properly. If a student cannot hold the violin securely, it may sag as he plays. This leads to poor placement of the left hand fingers and the as a result intonation problems, and difficulty bowing correctly.

All violin and viola students should have a shoulder rest of some kind. For beginners a commercially-made combination chin pad and shoulder rest often works well. These are available from most online string supply places or can be made inexpensively by the teacher. The advantage of a combination chin and shoulder pad is that additional padding can be slipped in between the pad and the shoulder, at the end of the violin, or by the chin rest. Some students find that a center chin rest is a better position. One option is to remove the regular side chin rest and add a small piece of ½" or 1" foam on the top of the violin to serve as a center rest. The following picture shows a student with a chin pad that serves as a center chin rest on the top of the instrument and a commercial shoulder rest under the violin.

Tapes

While there are some teachers who dislike finger tapes, they are a helpful aid as students develop their listening skills and learn the many other aspects of playing a string instrument. Tape violin and viola fingerboards for all four fingers (using the major tetra-chord spacing – B, C#, D and E on the A string for example). A color code for the tapes will help teachers with large group classes as students can be told to make sure “first finger is on the red tape.”

Car striping tape works well for taping instruments as it is thin and comes in many colors. Color-coded tapes should not be used to teach note reading, however, as it is important for beginning students to learn the relationship between note names and finger placement on the strings.

A small piece of moleskin on the neck helps the student with thumb placement. The teacher can then simply tell the student to place the thumb on the “fuzzy tape” with it pointing up to the sky. This gives the student both a visual image (pointing up) and a tactile reference for accurate thumb placement.

Bow Tapes

To assist beginners with proper bow distribution and a good tone, put colored tapes on the bow to mark the sections of the bow that should be used. For example, put a green tape at the frog end and a red tape approximately 5" more toward the tip. The tapes can also serve as go (green at the frog) and stop (red nearer the tip.) The green tape should be placed at the point of the bow where the student’s arm makes a square with the violin which will generally be slightly below the balance point of the bow.

Once students are ready to use more bow length use a different color at the ends of the bow to mark the new length for longer notes, as shown with the yellow tapes in the previous picture.

Students often have trouble pulling a straight bow between the bridge and fingerboard. Teachers often tell students to keep the bow on the highway or railroad tracks to produce a better tone. A large rubber band can be tied around the violin to form a visual railroad track or a road to guide the beginner’s bow.

If a student still has trouble maintaining a straight bow, put a popsicle stick or pencil in the spot where the rubber band is tied together. This forms a barrier that the bow can move beside. (This can be seen in the picture under bow tapes.) The pencil is held in place by a smaller rubber band.

These simple yet effective set-up suggestions will help young violin and viola students overcome some of the common initial position and posture difficulties. This allows them to quickly focus on learning to play and create music.

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Great Books for Promising Trumpet Players

theinstrumenta — Thu, 08 Dec 2011 22:38:30 +0000

Advanced trumpet students need appropriate books and solo literature to continue progressing smoothly. Often, these students get lost practicing material they already sound good on, either because they do not have new music that is difficult enough or because they feel more comfortable on music that already sounds good.

Many of the following etude books are core materials that should be in every player’s library or available for checkout from the band teacher. Taken as a whole, the etudes are sufficient for a committed student to be successful through their professional career.

Many teachers know the beginner books to help get young trumpeters rolling. However, the list below is for those students who show incredible promise and want the technical and musical skills needed to soar through those finger-biting college auditions. Having these book readily available for private teachers and students studying on their own will give them a great place to reach for success.

J.B. Arban, Complete Conservatory Method: Considered the most comprehensive pedagogical trumpet book in print, the Arban book covers all areas of trumpet technique as well as duets and cornet solos. With 380-pages of non-stop trumpet technique, the book is a must for every trumpet student. (Colin, 1981)

M.P. Bordogni, Melodious Etudes: These etudes are arrangements of 120 vocalises, set for voice and piano by Marco Bordogni. The printed piano score and a CD of the piano accompaniment are also available. By playing with piano on CD, the trumpeter has a chance to be a true soloist, adding a dimension to the usual practice fare. (Leduc, 1948)

V. Brandt Thirty-Four Studies: Vassily Brandt (1869-1923) was German born, but emigrated to Russia. He is best known for teaching at the Moscow Conservatory 1900-1912, and the Saratov Conservatory from 1912-1923. He was the trumpeter for the Bolshoi Theater Orchestra nearly two decades. This book designed to develop an orchestral approach to sound, articulation, intonation, and style. Each etude includes a short orchestral trumpet quotation, which is incorporated into original writing in the same style.

The etudes themselves are not difficult, but performing them correctly requires both chop endurance and a clear grasp of the musical style. This book is best studied with a trumpet teacher with established orchestral experience. The etudes are commonly used to practice transposition once the fundamental skills have been mastered.

N. Bousquet Thirty-Six Celebrated Studies for Cornet: Considered a prequel to the Charlier book, this book features etudes that are difficult in both key and technique. The style is that of early 20th century cornet music. (Carl Fischer)

R. Caffarelli, One Hundred Studi Melodici: This book includes specific instruction on every aspect of clef and intervallic transposition. The preface features charts and descriptions of both. The studies are melodic and lyrical, lending to a song-like approach to transposition. (Ricordi, 1957)

Theo. Charlier Thirty Six Etudes Transcendantes: Considered one of the greatest etude books written for trumpet, this book’s publication set a new standard for trumpet playing. The studies are very advanced and include both lyrical and technical playing. Newer editions contain the original French text, so any questions of interpretation can be answered using the original source. A piano accompaniment by Jean-Marie Cottet is available for ten of the etudes. (Leduc, 1946)

H.L. Clarke, Technical Studies: Many educators believe that the Clarke book is designed for finger dexterity. While it is true that finger dexterity is a byproduct of the book’s design, its actual intent is to build breathing and aperture flexibility and embouchure strength. When combined with finger dexterity, the result is a student with increased endurance, range, breath control, flexibility, and finger speed in all keys. (Carl Fischer, 1934)

C. Colin Complete Advanced Lip Flexibilities: This book aids in building a trumpeter’s range, which is increased rapidly within the first seven exercises. Colin also discusses topics such as proper warm-up, intelligent practicing, the role of the tongue in lip slurring, lip flexibility, and lip trilling and stretching. A major challenge even to good trumpet players, adequate rest is crucial when working from this book to avoid fatigue and bruising. (Colin, revised and edited: 1980)

G. Concone, Lyrical Studies for Trumpet: The Concone book is considered the prequel to the Bordogni book and offers a good introduction to lyrical playing. The melodies are simple and easy to hear, while still challenging to play beautifully and musically. The book progresses from easy to moderately difficult in both technique and musicality. It also makes a great transposition tool. (The Brass Press, 1972)

Gaston Dufresne, Develop Sight Reading: The Dufresne book is designed to establishes and refines the performer’s musical reflexes through sightreading. The 54 etudes are up to two pages each. Etudes should simply be read, not practiced; several weeks should elapse before the student sees the same etude again. The daily practice of sightreading less difficult melodies helps the player begin to develop instincts in melodic phrasing and harmonic movement. (Colin, 1972)

Everett Gates, Odd Meter Etudes: Filling a gap in the etude literature, this book introduces 7/8, 10/8, 5/4, 8/8, 9/8 , 5/8, and more. Each etude is annotated to give the player a better understanding of what the composer wants. The book produces clear improvement in students’ sightreading, as well as firm and immediate grasp of pulse and meter. (Sam Fox Publishing, 1962)

R. Getchell, Second Book of Practical Studies: The second of a two-book volume, Getchell explores the foundations of rhythm, as well as discussing how to formulate a warm-up routine. The book includes rapid dotted rhythms, triplets, syncopation, 3/8 and 6/8. The etudes should be practiced initially with minimal musicality, in order to emphasize exact rhythm and articulation. (Belwin, 1948)

E.F. Goldman Practical Studies for Trumpet: Each etude highlights one particular technical idea, primarily on articulation and rhythm. Studies include triple and double tonguing, running sixteenth notes, 38, 68, syncopation, grace notes, and rapid dotted rhythms. (Carl Fischer, 1921)

Hering, S. Etudes in All the Major and Minor Keys for Trumpet: A must-have for all trumpet students, this book outlines etudes in every major and minor key signature. The writing is similar in all keys, so that etudes in more difficult keys are considerably harder than those in easier keys. (Carl Fischer, 1975)

Irons, Earl. Twenty-Seven Groups of Exercises: Almost every trumpet player has worked through this book at some point in their career. Exercises are arranged in groups that lead students through an entire idea from beginning to end. Irons pays special attention to tongue position through the various ranges. Other topics include breath control, lip flexibility embouchure strength, and double and triple tonguing. (Southern Music Company, 1977)

Bai Lin, Lip Flexibilities: This book is distinctive in that exercises move at a slow pace in order to reach perfection at each stage, rather than increasing flexibility as quickly as possible. The book emphasizes relaxed throat and tongue throughout the exercises, as well as fluent and consistent air speed. (Bal-quhidder Music, 1996)

Robert Nagel, Trumpet Studies in Contemporary Music: A must for the advanced trumpeter, Nagel’s book “covers a wide variety of study material which reflects the most important styles and composition techniques used in the 20th century.” Topics include intervals, rapid staccato playing, dynamic contrasts, pentatonic mode, syncopation, impressionism, pointillism, and more. (Belwin Mills, 1975)

E. Paudert, Twenty-Four Modern Virtuoso Studies: Designed for the technically advanced symphonic player, the exercises feature flowing runs of sixteenth notes, triplets, and eighth notes with the typical rhythms and dynamic range of the symphonic style. This is excellent book to develop sound, style and articulation. (Carl Fischer, 1964)

E. Sachse, One Hundred Studies. International: The Sachse book was written mainly as a transposition study book for trumpet. However, it also features rhythm, unusual articulation patterns, intervals, varied time signatures, lyrical and technical skills. A single etude may have the student working on dynamics, turns, trills, lyrical playing, and both the low and higher range. The Sachse book is really a jack of all trades.

M. Schlossberg, Daily Drill and Technical Studies: Baron, 1941. A cornerstone in every trumpeter’s library, Schlossberg’s book is an essential introduction to breathing and articulation. Material includes long tones, intervals, octaves, lip flexibility, arpeggios, and scales. Twenty minutes daily of Schlossberg drills will give players a daily checkpoint for their fundamental technique, breathing, and chop response.

J.L. Small Twenty-Seven Melodious and Rhythmical Exercises: The Small book can serve as a prequel to the Wurm book. This book concentrates on phrasing, syncopation, lip flexibility and developing a strong embouchure through etude practice. The book is not sequenced in order of difficulty and includes etudes in virtually every major and minor key. (Carl Fischer, 1962).

J. Stamp, Warm-Ups & Studies: James Stamp developed these groups of exercises to remedy the weekly fatigue and injury his students were experiencing from heavy playing in the L.A. commercial, studio music scene. After much trial and error, Stamp developed a reliable, workable system to massage and repair damaged lips. A cornerstone in the etude literature, these studies are used daily by professionals around the world for warm-up and warm-down. (Editions BIM, 1978)

J. Thompson, The buzzing book (Complete Method): This method book is designed solely for buzzing a brass mouthpiece. The book takes the player through the ways of finding consistent mouthpiece placement as well as getting the player to create a greater and consistent airflow. Throughout the book there are wonderful illustrations and pictures depicting the embouchure. Two CDs accompany this book, either in C or Bb pitch for brass musicians to use to play along with the book. The buzzing exercises start simple and develop along with the player’s ability. (Editions BIM, 2001)

W. Wurm, Forty Studies: This is a collection of medium to difficult etudes for the advancing trumpeter. Many etudes for past Texas All-State auditions have come from this book. Each etude covers a specific topic, including intervals, articulation patterns, harmonic sequences, and specific rhythmic patterns. This book also makes a great transposition study. This book is a prequel to the Paudert studies book. (International, 1963)

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Take Recruiting on the Road

theinstrumenta — Thu, 08 Dec 2011 22:28:59 +0000

Many years ago the instrumental music teachers of the Bakersfield City School District joined together to present a short recruiting assembly at each elementary school in the district. The purpose was simple: show how the various band and orchestra instruments sound and encourage students to join the music program. Over the years this evolved into a traveling road show that has become one of the most popular assemblies at the district’s elementary schools. It is a whirlwind tour that visits 31 elementary schools over nine school days, all during the first two weeks of school. The program delays the start of the elementary instrumental music instructional program by two weeks, but the delay is worth it. When enrollment begins at the beginning of the third week of school, large numbers of students come to sign up.

At each school, classroom teachers in grades four to six look forward to bringing their classes to the annual assembly; some have told me this is their favorite assembly of the year. Students see how much fun the music teachers have performing together and want to try it too. Programs are held in the multipurpose rooms, so the fourth, fifth, and sixth graders can attend the assembly together. Third graders, who study general music for a minimum of 12 weeks each year, attend if space permits.

Getting Approval

Before starting an elementary school recruiting program, directors should solicit support from district and elementary school administrators. The district music supervisor or a volunteer from the music faculty should develop a written proposal for the superintendent outlining the aims of the assemblies. The proposal should clearly state all of the financial and logistical support needed for the recruiting program and include a budget that covers the costs of purchasing costumes, props, and other materials. Discuss with the superintendent that the elementary schools may need to reschedule recesses or lunches around the program, so that the music teachers can get from one school to the next on schedule. Plan for substitute teachers for music classes at the middle- and high-school levels so those teachers can participate in the assemblies. In my experience these details can be worked out without much cost or inconvenience.

Theme and Show Components

Planning begins in February or March of the previous school year when a group of teachers meet to determine the components of the 30-minute program. The program has evolved over the years and currently includes numerous short components, each between two and four minutes long. These segments of the program include music performed when students enter, a welcome by the music supervisor, a sing-along, a flutophone feature, a section for each musical instrument family, directions on how to join the music program, a guess-the-theme segment, a fun production number, and closing comments by the music supervisor.

A theme ties together all components of the show. It might be a popular movie, television show, musical, jazz, or cartoons. After the theme is selected the committee pulls together several potential musical selections for each part of the program. We usually visit several school music libraries to collect possible music. It is best to have three or four choices for each category. We have found that the show is better if the program is not set until the second day of rehearsal. Day one is usually just a read-through of the potential musical selections. By the end of the second rehearsal, the faculty usually reaches a consensus on the music. Sometimes, we vote to decide.

This year, our theme was All Things Disney. The production number, a very short musical number about how to choose which instrument to play, is usually determined from the overall program theme. The teachers decided that the production number would relate to The Little Mermaid movie. Teachers would dress up in costumes to resemble characters from the movie. One teacher dressed as Ariel and sang a song with lyrics, written by one of the teachers. It told the story of how all the sea creatures from the movie chose to play an instrument in the under-sea orchestra.

Rehearsal Details

The first rehearsal occurs a few days before school starts. Allow enough rehearsal time to resolve problems and add new ideas. One teacher might suggest how to add props to a certain component; another may have an idea for costumes to go with a certain instrument family. Twelve hours is usually enough time to prepare and rehearse the program.

After all program decisions are made teachers divide responsibility for rehearsing each part. Be sure to time the segments to ensure that the total assembly program length is 30 minutes, including transition times. At the last couple of run-throughs, the faculty should practice quick transitions between program components. This will keep the program on time, and the audience engaged. Teachers will have limited time to travel between schools, so each assembly should start on time.

The Day Before

The day before the first program is presented, assign responsibilities for the day-to-day operation of the program. We assign each teacher a collapsible pull-cart for transporting items needed for the assemblies. Two music teachers drive a district-owned station wagon to transport a portable sound system. (We request that custodians provide a sound system and two microphones at each school. However, because we have found that it sometimes does not work properly; our back-up is available.)

The day before an assembly, teachers travel to their assigned schools to make sure that everything will be ready for the next day. A string bass is placed on the stage so that the teacher who plays it does not have to worry about hauling it between schools. A set of orchestra bells from a bell-pad kit is placed on the corner of the stage for similar reasons. The piano keyboard is dusted, and the school’s sound system is checked.

I set the schedule of assemblies, with care to work around school start times, recesses, and lunches as much as possible. The schedule is then sent to each school site electronically, as are any updates.

The Show

We begin playing a few minutes before the actual start of the program. For the past several years, the faculty has played big band music as students enter. One of our faculty members, a percussionist, retired a few years ago, leaving us without a good drumset player. Fortunately, a local professional musician, stepped forward to volunteer as our set drum player.

After students have entered, I take a few minutes to welcome them and talk about why the district has a music program. Each summer, I look for new research about the benefits of playing a musical instrument. I send this information to a graphic artist who incorporates the ideas into artwork for two 7’x3′ roll-up signs that are positioned on each side of the stage. This year, the first sign said “Music Education Equals Success in School and Life.” At the bottom of the sign there were statistics demonstrating the growth in student participation seen in the district over the past several school years. The second sign listed statistics showing that playing an instrument improves the way the brain processes spoken language. The sign also listed the fact that nearly all the past winners of the Siemens Westinghouse Competition for Science, Mathematics, and Technology, play one or more musical instruments.

After opening remarks, the show begins with a sing-along. Some of the music teachers hold up posters with the words for students to follow while others accompany the singing on their instruments. Good sing-along repertoire includes folk songs, cartoon music, or patriotic music. Some years we teach a short song to students.

Because students begin instrumental music in fourth grade, the third grade flutophone program provides students with an opportunity to learn the basics of music reading, singing, and playing together before joining band or orchestra. During the assembly music teachers perform a short selection on flutophone. If there is room for third graders at the assembly, these students will get to hear the flutophone for the first time.

Showcasing Instruments

After the flutophone segment, we feature each instrument family. Beginners in our elementary instrumental music program are limited to violin, cello, string bass, flute, clarinet, saxophone, trumpet, trombone, and percussion. By starting large numbers of students on these basic instruments, we have a large pool of students who can switch to viola, oboe, bassoon, horn, euphonium, and tuba in middle school.

The presentation order varies depending on what we want to emphasize. One year we had a shortage of clarinet players entering middle school, so the entire faculty played clarinet for the woodwind feature. (Some might think that flute and saxophone should not be featured at all because so many students will want to play these instruments, but we found that instrumentation usually works out if students choose an instrument as they enter the program.) We do emphasize clarinet, trombone, cello, and bass both during the program, and later at the parent/teacher conferences where students sign up for music. Music teachers use instrumentation charts at these conferences to emphasize the benefits of playing lower-pitched musical instruments when parents are unsure of what instrument to pick.

Teachers sometimes wear costumes or masks and use props during the instrument family features. One year, the brass players played music from the movie Zorro and wore capes and black masks. Another year woodwind players wore masks to resemble characters from Star Wars, while they played the main theme from the movie. Students enjoy seeing teachers look silly. We sometimes include students in the percussion feature. Students are recruited from the audience to play rhythm instruments, while music teachers accompany them on other instruments. Sometimes we pick teachers from the audience to participate.

After each instrument family has been featured, the music teacher assigned to that school comes forward to let students know the procedure used to sign up for instrumental music classes. Classroom teachers distribute a letter for students to take to their parents that asks them to schedule a 15-minute appointment to meet the music teacher and select an instrument to play. At the conference, parents receive information on renting an instrument, purchasing a music book, and getting other accessories. Prior to each school’s assembly, the music teacher puts fliers in each classroom teacher’s mailbox, with a note asking that the letters go home with students that afternoon.

Memorable Ending

One of the final components is “Guess The Theme.” We play three short excerpts from movies students might have seen, and I ask students to raise their hands if they think they know the answer. Students get quite excited about this portion of the show. The final production number reviews how students can participate in the music program, choose an instrument, and sign up. The teachers wear costumes, sing, have spoken lines, and often use props to get the point across. A few years ago, the teachers dressed as characters from Toy Story and showed how the character Woody chose which instrument he would play.

Some of the teachers accompany the production number on their instruments, while others act or sing. The production number is often the most memorable part of the entire program. Later in the year, students often ask their music teacher if they can play some of the music that they heard during the assembly.

The assembly closes with a few remarks. I always ask students to raise their hands if they want to participate in instrumental music. Invariably, most hands go up. Not all students sign up for music, but a large percentage will. Since 2004, we have seen an increase of more than 30% in the number of students playing musical instruments at the district’s schools. The Music in Our Schools Week Program is a big part of that increased participation. The enthusiasm that comes from the recruiting assembly is infectious.

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Common Elements of Successful Concert Programs

theinstrumenta — Thu, 08 Dec 2011 21:34:41 +0000

Selecting performance repertoire is one of the most important tasks conductors face. Many principles of great programming are the same regardless of the age or ability level of the musicians.

Mind the Mission

When selecting music, directors should keep in mind the mission of the ensemble. The performance goals of the United States Air Force Band differ from those of a sixth-grade elementary band, but the aim of each group should be to play with the best possible musical and artistic judgment.

An elementary school director wants to promote interest in the music as well as creative development in the players. This requires a certain amount of skill development, and for a younger band, that is a key part of the mission. When programming concerts at my university, I think about the many music education majors who will eventually go out and teach. Much college-level music is too difficult to teach to school bands, but there are many suitable works that offer good examples of styles or composers that they should understand to teach well later.

Building Excitement

There is a point in instrumental training when students and parents ought to feel excited about music and motivated to continue. An elementary band concert should balance important teaching elements with music that will get an enthusiastic response from students and audiences. I rarely use gimmicks, but some may help hook students on music until their skills improve. As a junior high player, I was fascinated by the sound of the band, but many students lack that same interest.

It is sometimes more difficult to get students excited about slower music. They do not always appreciate the great beauty and expression in slow music at first. Help younger players learn to appreciate slower music with the many well-scored slow pieces for young band that are colorful, captivating, and harmonically engaging. Seek these pieces out and make it a goal to get students enamored with the sound of a band playing something that is neither fast nor rhythmic.

Musical contrasts engage people. No matter the level of the group, concerts should have a pleasant mix of tempo, key and texture. Of course, such characteristics as historical eras, length of works, composers, transcriptions and original works should also receive consideration.

Attracting an Audience

The audience is a key element of programming. Recently my school hosted a performance consisting entirely of new music to an audience made up of composers and fans of avant garde works. Although this program thrilled the specialized audience, I usually might program only one such modern piece. I would balance that with works of different styles and eras in order to attract a more varied audience.

How much to program for the audience sparks strong debate. Some directors care most about the artistic value for the students and do not worry about concerts played to just a few patrons. Other directors cheat students by programming a steady repertoire of fluff in an attempt to build an audience. William Revelli once said: “You cannot educate an empty seat.” If there is no one present to hear a concert, the experience is lacking. Students want to be heard and appreciated. If the music is such that no one wants to hear it, then the performances loses some of the zest and excitement for the students.

Directors ought to keep the tenet of building an audience in mind, but it is more difficult today. It is no secret that audiences have generally declined. When Sousa’s band toured, there were no computers, no fast modes of transportation, and not nearly as many options for entertainment on a Saturday night. No doubt this has something to do with dwindling audiences, but directors can combat this with creative and interesting programs that do not sell the players short.

Featuring faculty or outside guest soloists, compositions by students, or a major new work are angles to attract a certain clientele. For university programming, contact high school directors and encourage them to send students with specific interests. High school directors who live close to universities should take advantage of such opportunities; surprisingly, this does not always happen.

More and more we see concerts that are developed with a title and theme. Community bands do this frequently, but public school and university groups have followed suit. A strong theme can work as an advertising tool to interest people. Then it becomes a matter of keeping people interested once they come through the door.

Student soloists provide another educational motivator. Hold a solo competition for high school players to play in front of their ensemble. This is a good way to challenge outstanding students or even an entire section. My first job was at York High School in Elmhurst, Illinois. As I studied the concert programs of one of my highly successful predecessors, I discovered that he frequently featured an entire section of the band to motivate each of them to learn something technically demanding. He knew it would also be good entertainment and please parents. I used to look back at some of those programs and say, “That’s kind of fluffy,” but gradually I understood his reasoning. He wanted great program variety and continued student progress. When I listened to those recordings, I could hear the development of the players.

Student compositions are also exciting for students and audiences. Modern keyboard technology allows high school students to experiment with composition, and they enjoy seeing fellow students perform the music. This happens frequently at colleges with composers eager to have their peers test drive new works. Last spring, I programmed a piece by a graduate composition student. It was a great experience for the composer as well as his peers.

Many public school directors commission new works, and the rise of social media gives students greater opportunities to interact with composers. Having a composer visit the school either to work with students on a piece or attend a premiere is more common these days, and in many instances within the financial reach of public school programs that team up to form commissions.

Programs that feature a visit from a famous composer or a premiere of a major new work by a local composer, draw audiences. It is a wonderful time for bands because so many composers want to write for them. I could spend two years programming only music that people have sent me to consider, and still have plenty left over. Composers and publishers have the means, through email and sound files, to easily send music out to directors.

Choosing Composers

All music students should have an opportunity to learn and study the works of composers that have merit. As with historical music of the ages, there are composers whose music remains as staples, even at the lower levels. Charles Carter, Frank Erickson, Francis McBeth and Clare Grundman, to name a few, wrote a wealth of music some might classify as educational and for school bands. These works are important because students cannot play difficult music without the solid educational training and foundation that is gained from this music. Fortunately, their works are today enhanced with the music of a new generation of gifted composers. Conversely, there are composers whose music does not last, and for good reason.

Many composers write cutting-edge music for upper-level collegiate and professional bands, and many of them have also provided works that would fit well on public school programs. Some works by Michael Daugherty, Samuel Adler, and Steven Bryant can likely be played only by collegiate level or professional ensembles, but each of these composers has written music designed for public school students. Of course, legendary composers such as Holst or Grainger can fit on both lists as well; Grainger in particular wrote music of serious artistic merit, but he also wrote beautiful music that can be played by younger bands.

The publications of James Curnow, Bob Sheldon, Jan Van der Roost and many others continue to provide important vehicles for the education of music students. Without such works, there would not be players in the upper level ensembles to perform the major works. I have tremendous respect for composers who write educational music for students. I remind music education majors that they should be well-versed in all areas and levels of music and composer selection.

There are many source materials for finding appropriate music. Audio and PDFs of scores are easily available. There are also great studies on band curriculum by Acton Ostling, Jr, and Jay Gilbert. Best Music for Young Band (Thomas Dvorak) and the Teaching Music through Performance in Band series are excellent resources sources as are the National Band Association Selective Music Lists. There is no excuse for failing to take advantage of the wealth of information on band music.

Know Your Ensemble

Know your ensemble well enough to listen to a recording or open a score and know right away if it fits the group at the time. A good conductor should be able to flip through a score and evaluate its merit by viewing keys, ranges, technique, compositional form and craft. An effective teacher working with students individually or in small groups will notice exactly where students reside on technique and range. Young teachers will do well to remember the instrument pedagogy classes they took in college. These classes give music education majors some experience with other instruments. I had a difficult time with flute in college, and remembering my struggles made it easier to help students with the same difficulties.

One of the tougher problems in programming is to find music that stretches the skills of top players without leaving less advanced players behind. Nobody wants students to feel that they have failed, but finding this balance is a skill that takes most young teachers some time to learn. New teachers remember the great music they played in college, and want to share it with students. It is common to overshoot the appropriate difficulty level for younger groups. For a small percentage of students, it might be within their reach after weeks of practice, but the remainder may feel that the music is way beyond them and wonder why so much time is spent on it.

Often directors save more demanding works for later in the year. Students will be more advanced technically in the spring and may have more time to learn demanding music when they are not in the midst of fall activities.

Directors should select music to stretch students’ technical skills. In the seventh grade, most students in a given program will fit in to a certain grade level of music. The key is to push that grade level through the high school years to a much higher level. A good program will include music that improves students playing and also captures their interest and sparks creativity and love of music.

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90th Birthday Celebration for Robert Willoughby

theinstrumenta — Thu, 08 Dec 2011 21:30:20 +0000

Former students of Robert Willoughby, who taught at the Oberlin Conservatory of Music for thirty-seven years, traveled from far and wide to present a concert honoring his ninetieth birthday on Saturday, October 15 in Warner Concert Hall at Oberlin. This remarkable man, who has received The National Flute Association’s Lifetime Achievement Award and who the British Flute Society’s journal calls the “American grandmaster of the flute,” has cast an indelible imprint on the flute world through his performing and teaching.

Willoughby represents the best tradition of American flute playing, having studied with Joseph Mariano at Eastman, Georges Laurent at the New England Conservatory, and William Kincaid in summers. He was assistant principal flute in the Cleveland Orchestra from 1946 to 1955 and principal flute of the Cincinnati Symphony for the 1959-1960 season. He was a founding member of the Oberlin Baroque Ensemble and teacher at Oberlin’s Baroque Performance Institute. One of the first Americans to pick up the Baroque flute in the early 1970s, he built a world-class collection of early flutes, including some that have served as models for present-day makers.

In addition to his long career at Oberlin, Willoughby taught at the Peabody Institute in Baltimore and at the Longy School of Music in Boston. His students play in nearly every major orchestra in the United States and teach at universities throughout the world. They all remember his high standards and fast pace, sense of humor, love of life, good taste, and insistence that musicianship trumps technical display.

The key to his teaching success is that he encourages students to think as he asks probing questions. The result is that his students achieve independence. There is no single Willoughby style or tone.

A lesson with Willoughby is never a dry rendition of technical exercises; instead, every moment is infused with musicianship. He approaches etudes as music, discussing phrasing, style, and expression. He upholds high standards of repertoire and enjoys a wide range of music, above all, Bach, Handel, French Baroque pieces, Gaubert, and contemporary music. He has no use for pieces without substance and is often impatient with contemporary works that go on too long.

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Midwest Preview Roundup of Clinics

theinstrumenta — Thu, 08 Dec 2011 21:22:56 +0000

Get ‘Em Moving: Shifting in the Beginning Strings Classroom

Sarah Maurice and Adam Davis

Wednesday, 10:20

It is difficult to decide when to introduce shifting to young string students. If you wait until it is required by the music, it can be as late as grade 4 compositions. A good solution is to carve out a few minutes every day and introduce the basic elements of shifting to beginning students. This will lay the groundwork for advanced techniques and save a lot of extra work and heartache in the long run. Exercises such as polishing the neck of the instruments, waving goodbye, ski jumps, and more build the foundation students need to perform advanced techniques.

Teaching Music with Purpose:

25 Things You Can Do Tomorrow To Improve Your Ensemble

Peter Loel Boonshaft

Wednesday, 11:40

This clinic offers simple techniques that will improve the quality of an ensemble, make rehearsals more productive and energize your teaching. Boon-shaft offers different techniques to teach characteristic tone, breathing, air management, tonguing, balance, rhythmic subdivision, intonation and posture while keeping students focused with signals, hand signs, humming, singing, buzzing, changes in set up and silent rehearsals. He will also discuss how to inspire students and instill confidence and conviction.

I Must Have Missed This Class

Frank Tracz

Wednesday, 11:40

There are many things taught in college to prepare for a teaching career, but there are many more that are not in the curriculum. Experience can have a sobering effect on a young teacher’s confidence and sanity. Simply stated, success demands much from us. This clinic offer suggestions, tips, ideas on what you should know, what to do with what you know, and how to find out what you don’t know that will help you create a great program that cultivates tremendous learning and music making for all.

Artistry for All: Techniques to Unlock the Creative Potential of Every Ensemble

Carolyn Barber

Wednesday, 1:00

Musicians learn to listen efficiently and deliberately from a young age, and to use what they hear creatively. Furthermore, artistry relies on divergent thinking and the deliberate exercise of all one’s faculties (intellect, emotion, intuition, technique) in a concerted effort to bring into being something new and valuable. Artistry in an ensemble setting also relies on convergent thinking, or the ability to merge with others into a single cohesive unit. The ability to do both at once – to be simultaneously divergent and convergent – is the focus of this clinic. The clinic offers practical ideas such as games to play with ensembles to aid in this process.

Tales from the Real World of Music Teaching, Midwest Clinic

Elizabeth Peterson

Wednesday, 1:00

Based on the true stories of over 30 first-year music teachers, this clinic will feature three young teachers from the book, The Music Teacher’s First Year: Tales of Challenge, Joy, and Triumph. This clinic is intended for young teachers, college music education majors, or college music education methods course instructors. It will provide practical ideas for first-year success and inspirational stories.

It Sounded Better at Home: Tips and Techniques to Manage Performance Anxiety

Linda Chatterton

Wednesday, 2:30

As a flutist who gives solo recitals around the world, I am often asked if I get nervous before I go on stage. The answer is: yes because I care about giving a good performance. One of the best tips I can offer is simple, yet many of us may fail to do when pressed for time, or because we don’t think it is really necessary. It is to know the music. What I mean is to prepare the music on different levels other than just being able to read what is on the printed page. This means that you should always memorize the music, even if you never perform it on stage from memory. If the thought of memorizing leaves you cold, think of it as playing by heart instead.

Rehearsal and Performance: Knowing the Difference Makes the Difference

Bobby Adams

Wednesday, 2:30

This clinic will help directors find consistency with their ensembles, in both rehearsal and performance. Directors often explain a disappointing rehearsal with comments such as, “it’s Monday” or “the last day before vacation.” The quality of rehearsals can vary somewhat but not by much, and certainly not from good to bad. If the conductor is not in control of this variable, who is? This clinic will provide instruction on how directors establish and maintain control of rehearsals that will result in consistency from one rehearsal to the next. Directors will also learn techniques to bring compositions to a high level of emotional involvement that anticipates but does not betray that special, unique fuel reserved only for performance.

Injury Prevention for Musicians

Paula Brusky

Wednesday, 4:00

Injuries among musicians are on the rise. Current data indicates some groups of instrumentalists have injury rates as high as 88%. No longer just a string or keyboard problem, all types of band and orchestra instrumentalists report injuries. The demographics believed to be at greatest risk are females and college age students. Many musicians are unaware how daily activities affect their bodies. Simple lifestyle changes can greatly decrease the likelihood of injury. For example, static stretching (a non-moving, held stretch) before a performance is no longer considered healthy as the muscles tighten and lose agility directly after the stretch. Dynamic stretching (a muscle is activated before and during the entire stretch) is believed to better prepare performers for the stage. This clinic will teach practical solutions, including beneficial stretches and self massage techniques, to decrease the likelihood of injury.

Making an Advocate of Your Principal; 10 Easy Things You Can Do in January

Marcia Neel

Thursday 10:20

Music educators are some of the most active faculty members in the building. They take part in school activities, help build school spirit, energize parents and involve them in the education process, and are great at motivating people. This presentation includes practical, easy-to-implement strategies that directors can use to help principals recognize the value of the music program. One idea to build staff morale and create good will for the music program is to have students create a clever version of a birthday song to serenade teachers, secretaries, custodians, and even the principals on their special day. Simply ask your students to burst into the teacher’s classroom, interrupt the lesson and perform “Happy Birthday!” Imagine the reactions of the staff as they are suddenly serenaded by a solo tuba or flute duet.

Good Music is Good Music: Identifying Quality Repertoire for Bands of All Levels

Brian Shelton, Richard LoPresto, and Matthew Moore

Thursday, 11:40

With the amount of time it takes for bands to learn a piece of music, it stands to reason that the time be spent on music of the highest quality. Good music can be found at all levels – from first-year beginners to college and beyond. This clinic will help both new and experienced teachers identify and select literature that includes the skills and concepts of good musicianship and is rewarding for the performers. A demonstration band will perform excerpts so attendees can hear examples of this kind of literature.

A Composer’s Secrets

Frank Ticheli

Thursday, 4:00

I will first share my thoughts on what it means to be a composer, how we do it, how we succeed, how we fail, how we grow, and how we strive to transform our feelings into notes on a page. Then I will discuss how a conductor goes about transforming those notes back into the personal feelings that inspired them. The Berkner High School Band of Richardson, Texas (Ticheli’s alma mater) will assist with the clinic.

Unhelpful Conducting Habits Learned from “Helping” Students

John Ginocchio

Friday, 9:00

Directors try to give students as much help as possible, but too often give them information that they don’t need or are not ready for. This session will highlight some of the conducting habits commonly seen in music educators at all levels and discuss the well-intentioned origins of these habits and as well as the communicative and educational difficulties they tend to cause. The clinic will also discuss alternative conducting gestures and rehearsal strategies and will end with basic suggestions for conductors to improve their conducting.

Teaching Both Hands: Skill-Based Strategies for Middle/High School Strings

Kirk Moss

Friday 11:40

To perform expressively, string players develop techniques for both the right and left hands. This session will address the proper use of the bow with the variables of tone, the next group of bowings needed for intermediate repertoire, and basic shifting and vibrato. Too often, fundamental skills, such as the finger flexibility necessary to make a smooth bow direction change, receive minimal attention as students work their way through playing the notes and rhythms accurately. As one example, while the collé bow stroke was a staple of the Galamian world, it is rarely practiced in middle or high school string classes. The clinic will include ideas to improve sound with bow lanes, bow weight, bow speed, attack strokes, shifting, and vibrato among other skills. A student orchestra will demonstrate the ideas.

Stopped and Muted Horn:

A Guide for Directors

James Boldin

Friday, 1:00

Stopped horn is an extremely effective but sometimes misunderstood technique. Passages for stopped horn occur in nearly every genre of music, from solos and chamber music to large ensembles such as orchestra and band. This clinic will present practical methods for helping horn players learn this technique.

Getting It Together: Style Tips for Your Jazz Ensemble

Jim Culbertson

Friday, 4:00

This clinic is a quick overview of what separates the best junior and senior high school jazz programs. Culbertson will elaborate on six crucial elements for success. These areas must be in place before rehearsal technique and jazz style can be addressed. The Lincoln Park High School Jazz Band, led by director Philip Castleberry will assist in the presentation of the clinic and demonstrate many of the ideas.

The Art of Conducting Based on Interviews with Pierre Boulez, Christoph von Dohnanyi, Kurt Masur, Herbert Blomstedt, and Richard Hickox

John Knight

Friday, 4:00

Great conductors do not disregard technique, but what they are seeking is an evaluation of technique based on the inner representation of the score. Simply stated, in order to free the interpretation conducting gestures should come from the music – the gestures do not make the music. The clinic will give practical tips gleaned from interviews with outstanding maestros.

(For more information go to )

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