March 2009 Archives - The Instrumentalist

Remembering Richard Hickox

theinstrumenta — Mon, 02 Mar 2009 19:06:38 +0000

    I was shocked and saddened to learn of conductor Richard Hickox’s unexpected death on November 23, 2008. He died in his Cardiff hotel room after a recording session of Holst’s Choral Symphony with the BBC National Chorus of Wales. Only 60 years old, which is still young for a conductor, Maestro Hickox was an extraordinarily gifted musician who worked tirelessly to champion instrumental and choral works of 20th-Century British composers. As one of Britain’s busiest and foremost conductors, he was renowned for his lyrical and insightful interpretations of Vaughan Williams and Elgar. His interpretations of Percy Grainger were also inspirational.
     I was fortunate to meet Hickox in 2003 on a mild and sunny day in London. Our interview that day was later published in the October 2003 issue of The Instrumentalist. Before the interview I watched Hickox rehearse with the Philharmonia Orchestra on Elgar’s 1st Symphony and Vaughn Williams’s Fantasia on a Theme of Thomas Tallis. His music-making with this great orchestra lasted three hours and was a thrilling memory I will always cherish.
     The rehearsal moved quickly as Maestro Hickox was consistently engaged with the orchestra. His enthusiasm and knowledge of the music were evident in every measure with sweeping movements of the baton that conveyed the musical line. Mostly he was interested in helping musicans understand the long singing line and therefore, his conducting technique was based on the rise and fall of the phrase and not the measures. This emphasis on phrases set the music free, making it spontaneous and lyrical.
     After the rehearsal Hickox was exhausted but had to go directly to another rehearsal with the London Symphony Orchestra on the other side of the city. He invited me to ride with him in his chauffered limousine for the interview. The colorful and busy streets of London made a kaleidoscopic background for the informative ride while he shared his ideas on conducting and interpretation.
     He emphasized that the key to understanding British music is to follow the rise and fall of the spoken English language. English music is also directly linked to the local countryside: the hillsides of Worcester in Elgar’s music, Cheltenham with Holst, and Gloucester with Vaughan Williams. Conducting technique will come if the musical ideas are there. It is very important for a conductor to convey clear musical ideas. The technique comes from the music instead of imposing technique on the music.
     Maestro Hickox acknowledged that an excellent interpretation is difficult to define but obvious when it is there. He encouraged young conductors to sing all parts, play as many instruments as possible, and be prepared to conduct anything at any time. He believed that a conductor will be successful if he is able to breathe with the ensemble.
     First and foremost for a good performance, a conductor must love and believe in the music. If the love of music is lost, even if the conducting and performance are technically perfect, the musical result is undermined and fails. As our conversation ended I noticed the exhaustion creeping back into his voice.
     He concluded, “Conducting is a bloody lonely profession. You have to sacrifice a lot for your art. I don’t like being away from my family for so long a time, and there are always the critical reviews to read. One critic will love a concert, and another will hate the same performance. What makes it all worthwhile is when it comes together and you capture the spirit of the composer. However good your geometry as a conductor, unless you have the spirit of the music inside you, it’s worth nothing.”
     Reproducing the spirit of the composer and giving it to the orchestra and to the audience are the marks of a great conductor. Throughout history, conductors come and go, the memories of some fading faster than an early morning fog. Time passes and death is inescapable. At best a conductor’s fame is transitory, but the interpretations by the great ones ennoble the spirit of mankind and leave an indelible mark in our hearts.
     In the history of British music-making I consider Richard Hickox, along with Barbirolli, Beecham, and Boult, to be among the great ones. With over 300 recordings on the Chandos label, Hickox’s fame and reputation are secure and will continue to inspire us. I find his recordings of Vaughan Williams, Britten, Elgar, Holst, and Delius to be especially evocative, lyrical, and hauntingly beautiful – a lasting tribute to his legacy and humanity.
     I will always remember his smiling boyish charm and good humor. Most of all, I will remember a London day bathed in sunlight when Maestro Hickox took time from his hectic schedule to share his passion for the conductor’s art. He will be deeply missed.

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Musical World Records

theinstrumenta — Mon, 02 Mar 2009 19:01:32 +0000

    I have always wanted to set a world record and find something that I do better than anybody else in the world. Apparently I am not alone because the Guinness Book of World Records has long chronicled the numerous attempts at immortality, however brief. Because music is likely my best chance to enter the record books, I began to search for a record to supplant.
    Here are some of the more interesting musical records in the Guinness online edition and the 2007 print edition, along with my thoughts on each one:
    The largest playable accordion was completed in 2001 in Ancora, Italy (99.6×77.8×33.4 inches – a 5:1 ratio). Why anyone would want to play a regular accordion, much less a super-sized one is beyond me. It’s like making a larger atomic bomb.
    The largest autographed drumstick collection is owned by Peter Lavinger, who had over 1,300 autographed drumsticks by 1999. I have a similar number on the floor of a practice room at school. These are not autographed by anyone famous.
    The fastest rapper is MC Rebel XD (aka Scandale Price), who rapped 852 syllables in 42 seconds in 2007. I have a student who broke this record unofficially after getting his hand stuck in a band equipment truck door.
    Katie Melua and her band performed the deepest concert ever when they played 994 feet below sea level at the Troll Offshore Gas Platform off Norway in the North Sea. The audience consisted of 20 oil rig workers, and I believe Melua played selections from Grease.
    The record for the youngest composer of a musical goes to Adam Lorincz of Hungary who was 14 years, 76 days old when he wrote the 92-minute musical Star of the King. There was no word on whether the musical was any good.
    According to the Guinness book, the American Music Conference announced in September 1997 that the horn and oboe were the most difficult instruments to play. I suggest that the hardest instrument to play is the one held by the player sitting next to a struggling, untalented horn or oboe player.
    The fastest bassoon player on record is Carmello Crucitti (Italy) who played “The Flight of the Bumble-Bee” in 33.8 seconds in 2003. I have no chance at this record – it takes me 33.8 seconds to play “Hot Cross Buns” on bassoon.
    The longest sustained note on a tenorhorn was 49.2 seconds in 2005 in Germany. The record holder wore a nose plug to prevent circular breathing. I once had a trombonist break the record when I ran to my band office for a minute while my beginning band was playing. I forgot that the last note of the exercise had a fermata. His friends say the student passed out after 58 seconds.
    The record for longest performance on violin is 32 hours, set in 2003. I may be mistaken, but I think I attended that recital. It may not have been 32 hours, but it seemed like it.
    Wagner still holds the record for longest performance of a musical work with his Die Meistersinger von Nurnburg topping out at 5 hours and 15 minutes. I think the record-holding violin player mentioned above may have played this work six times to set his record.
    The largest musical ensemble ever assembled included 674 bugles, 134 tubas, 289 trombones, 556 flutes, 900 saxophones, and 4,000 violins. If I’m not mistaken that is also the instrumentation for the Allen High School marching band in Texas.
    The record for the performance at the highest altitude goes to a pianist and flutist who performed at 16,568 ft. above sea level in Mt. Everest’s Khumba Valley, Nepal. This record might be my best chance.
    Not to be outdone, many of my current and former students have also set unofficial records worthy of inclusion by the Guinness people in the next edition of their book.
    Longest use of one reed by a family: three generations. Clive Bartee III, clarinet player, used a clarinet and reed played on by his father, Clive, Jr., who obtained the clarinet and reed from his father.
    The shortest time before fainting at attention after joining a marching band: Scott Pace, Class of 1994, 5 seconds.
    Most calls to the band room from a parent in a given year: Alberta Johnson, 51 times.
    Most tardies to performances in a four-year span: Jimbo D. Lay, 48 times.
    Most grandmothers to die on the day of a band performance over a two-year period: Mort Muerte with five such tragedies.
    Malicia Steptoe was out-of-step for five consecutive halftime shows.
    The record for most guitarists blasting away in a small practice room at one time: nine (including amplifiers).
    There are probably some records that the Guinness folks have never even considered. Here are some possibilities to increase your band’s chances for a world record: world’s tallest band tower, longest speech by a director in rehearsal, most time over the halftime limit, most fundraising money collected in one day, and the world’s largest backdrop.
    After reflecting on all of the possible records to break, I’ve made my decision. Does anybody have a cheap airplane ticket to Nepal, a pair of hiking boots, and an oxygen tank I can borrow?

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Balance Goals with Experience

theinstrumenta — Sat, 28 Feb 2009 20:18:06 +0000

    The best advice I ever received came from the person who was my supervisor and mentor in college. Before my first teaching job, he warned me to be cautious and remember that veteran teachers had been working in the school for years and that I should lay low, remain quiet, and make a place for myself before trying to change things.
    These words of wisdom were difficult to hear because my head was filled with fresh, new ideas such as recreating the beautiful sound of my college Wind Ensemble in my first student concert band. Walking into that beginning job, I felt the harsh reality of hearing the unbalanced, unfocused sound of a young student ensemble in need of lots of work.
    I was lucky enough to have had someone standing next to me both at school and at home with a daily reminder to keep perspective. They would say, “It is your first job and your first year. You cannot change the world, and you certainly can’t make waves.”
    It was easy to keep perspective for those first few weeks, overwhelmed only by paperwork, a new classroom, and the names of a few hundred students. As days disappeared into weeks suddenly the students were no longer strangers, and I had rearranged the classroom and finished the paperwork. Now I began to remember the countless ideas I had started out with as a new college graduate. This is where I needed to keep perspective.
    Everything can’t change in one year, I told myself. Instead of trying to completely change the entire school (and believe me I tried), I learned to keep a list of things to do that included everything from my personal goals and goals for the ensembles I taught to titles of compositions to teach in the future. As time went on the lists began to fill a notebook.
    It is difficult for new teachers to remember that they have at least 30 years of teaching to perfect what they want to do. Nothing will be perfect at first, no matter how perfect the school or the school district. As a new teacher you have to deal with replacing the person who came before you as well as creating a job with your personal stamp. You will also be confronted with political situations that have nothing to do with music or education and seem like nonsense for the perfect job.
    As long as you keep perspective those first few years of teaching will be easier. Even with the great advice from my college mentor, it took three full years for me to realize this.
    Although it is hard to imagine what the school was like before you joined the faculty, it will help your perspective to find out. I didn’t want to listen to the stories about how the band room once had risers or that students would throw their instruments, whether in or out of cases, onto the shelves in the back of the room. I didn’t want to hear the stories about how there were no lockers or good instruments. I just knew the band room I inherited had plenty of chairs, plenty of stands, and lots of lockers.
    On one of my first days at the school, I walked into a closet and saw a bassoon rack holding four bassoons that hadn’t been taken apart since 1980. The first change I instituted was ripping down that bassoon rack and then finding and repairing the cases for those bassoons. In hindsight, I wish I had kept a piece of that rack to remember the perspective.
    Things in this band room already were different and they will continue to change. I will make my mark on this room and on the students, knowing it may not happen in the first year. Three years later I can happily say that the room still isn’t entirely mine, but it has changed into a band room that I’m proud of.
    When I started this job, I wish I could have had a better perspective. The previous teacher should have changed the world, I thought. Now I realize that he couldn’t; he was ready to pass the torch on to someone new. It was difficult to keep perspective the many times I wanted to clean out drawers and throw away the old parts he had kept to make room for bigger and better things.
    It was difficult to realize he had gone through times when there was no budget, when the music department had to scrape to fix instruments and did not have the luxury of sending them out for repair. Saving those extra parts was my predecessor’s way of dealing with how things had changed when he started teaching. Those spare parts were one of his accomplishments, much like the bassoon cases were mine.
    As I write this, the chairmen of the band, orchestra, and choral departments are in the middle of shuffling rooms, with everyone trying to share the same thing – the auditorium – equally during one period. Each person thinks that he is the most entitled to it. However, I need to remember to keep perspective. When approached with a new and wonderful opportunity, it is hard to remember what was in place before I got there. Things were different and everyone was not equal. As I take a stand for what I want, I have to remember that veteran teachers have seniority, and that when I am in the same position it will be difficult to deal with the new teachers trying to step on my toes. Remember that people came before you and people will come after you.
    The words keep perspective should be on a sign that goes on everyone’s desk. They are important words. We all majored in music to be able to pass on the legacy of Western culture to our students. There is plenty of time for those who are in new, young careers to have the dream band or the music department they want. Everything takes time, and everything takes work. Before changing the world, assess each situation and make only small changes – one at a time. Figure out the philosophies of the other teachers in music department and in the entire school. Remember that the band, chorus, orchestra, or even the English departments are not the only departments in the school.
    Tread lightly and cautiously. You will sense when the time is right to budget for that new method book or new sound system. You will know when it is right to expect students to practice two hours a week instead of one. Use judgment – good judgment. Keep a pen and paper handy and   write down every great, new idea you have and refer to it often. Every good idea (or great and elaborate one, for that matter) takes time to accomplish in the right place and at the right time.
    Keep perspective. Be cautious and feel out every situation before you try to change it.

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Percussion Rolls

theinstrumenta — Sat, 28 Feb 2009 20:14:03 +0000

    Although wind players can sustain a pitch until they run out of air and string players can sustain indefinitely, the sound of percussion instruments begins to decay immediately after the attack. Some ring longer than others, but none can sustain. To create the illusion of sustain, percussionists play rolls.
    A roll should start with an attack – a note played slightly louder than the following notes. If there is no difference in volume between the first and subsequent notes in a roll, it will sound like a quick series of attacks rather than sustain. Rolls should also be played on the most resonant spot of the instrument and at a speed that keeps the feeling of sustain going without being so fast that they choke the sound of the instrument.
    In traditional rudimental style, which has its roots in the marching tradition, the double-stroke roll is used most often. The double-stroke roll can be played one of two ways: either by allowing the tip of the stick to bounce on the drumhead one time after the attack or by controlling each of the two hits of the double stroke. The sticking is the same, but there is no bouncing when each hit is controlled. This takes longer to master at a fast speed but creates an even-sounding roll. A double-stroke roll is based on an alternating 16th-note subdivision that creates 32nd notes when each hand’s stroke is doubled.
    The multiple-bounce roll is best suited for concert band or orchestra. It is played by letting the tip of the stick to bounce on the head at least three times. The best way to make a multiple-bounce roll sound good is to produce a uniform volume of bounces. This is best accomplished if players use the forearm more than the wrist to create the initial stick movement. This will lighten the initial impact of each stick on the head during the roll. The multiple-bounce roll does not have to be metered like the double-stroke roll but should simply fill in the sound evenly, regardless of the tempo. A greater intensity level can be produced by playing a faster subdivision, such as quintuplets, and a more relaxed feel comes from playing a slower subdivision, such as triplets. Students should be careful not to press the tip of the stick into the head too much while playing multiple-bounce rolls, or they may cut off as much sound as they create.
    Single stroke rolls consist of the stick of each hand hitting the head of the drum in a rapid alternating fashion. No bounces or double strokes are used; the player simply alternates strokes as fast as possible.
    Either the double-stroke or multiple-bounce rolls can be used for playing field drum and tenor drum. Because both these instruments come from a military tradition, it is more common to use a double-stroke roll.
    Any type of roll can be used on concert toms. Single-stroke rolls are used in most instances, especially with lower-pitched concert toms because the length of ring does not require as fast of a roll speed.
    Although the bass drum is usually hit just off the center of the head, the most resonant spot is approximately one third of the way from the edge to the center of the head, and this is where rolls should be played. Use two mallets – one at twelve o’clock and one at six o’clock. The roll should be an extremely slow single-stroke roll, begun with a slight accent. Some players prefer to use the traditional grip to play bass drum rolls.
    Timpani rolls are similar to bass drum rolls. A single-stroke roll is used, the speed of which wil be slower on the lower-pitched drums than the higher-pitched drums. The mallets should strike the drum approximately two to four inches from the edge. The smaller the drum, the closer to the edge one should strike, but the timpanist should always adjust the striking area to reflect the most resonant sound. The mallet heads should be three to six inches apart to achieve a full sound.
    Double- and single-stroke rolls are commonly played on timbales. The best sound can be produced by hitting approximately one third of the way from the edge to the center. Multiple-bounce rolls can be used to produce a different sound.
    Because congas are most commonly played with the hands, rolls are typically executed with all four fingers of each hand hitting the drumhead in a single-stroke style. The fingers should be held together, and the entire length of the fingers should strike the head. The fingers should strike the drumhead and come off immediately to create a ringing rather than muffled sound. Single-stroke rolls can also be played with mallets or sticks to add volume.
    Similar to the congas, bongos are traditionally played with the hands. The index and middle fingers are generally used to hit the head one or two inches from the edge closest to the player. If bongos are played with sticks, any type of roll can be used.
    Use single-stroke rolls on the marimba. Both mallets should strike as close to the center of the bar as possible, but if players have to move quickly between notes one mallet can hit in the center of the bar and the other can hit the edge of the bar. Because of the length of the ring of marimba bars, rolls can be a little slower than one might expect. Listen to and adjust the roll speed so that the bars maintain a ringing quality. Rolling too fast can result in the sound being cut off by a new attack. The lower-pitched bars require a slower roll speed than the bars in the upper range of the instrument.
    Rolling on the xylophone is similar to rolling on the marimba. However, because xylophone bars do not ring as long as those of the marimba, the speed of the roll must be faster.
    Because the vibraphone can sustain for so much longer than the marimba or xylophone, rolls on this instrument are rare. However, when rolls are called for, the same approach as with the marimba should be used. Because of the length of ring, one should be very careful not to roll too fast.
    Glockenspiel and crotales have a good sustaining quality, so rolls are rare. Because of the hardness of the mallets used to play these instruments, it will take a fairly fast roll speed.
When playing steel pans, single-stroke rolls are preferred, and the higher the note, the faster the roll will have to be. Because each set of steel pans is hand made, a note on one instrument might ring longer than the same note on another.
    To roll on a suspended cymbal, place the mallets at three and nine o’clock one to two inches from the edge of the cymbal and use a slow single-stroke roll. The speed of the hand-to-hand motion should be adjusted to get the most resonance and sustain.
    Most suspended cymbal rolls are written to crescendo to a climactic forte. Because the suspended cymbal has a bright, overbearing sound, a crescendo should be slight until the end of the roll. The increased roll speed and accompanying sudden volume increase at the end of the roll will produce an exciting effect while not interfering much with the notes the ensemble is playing.
    Tam tams are unusual because the sound swells dynamically after the attack. Rolls can be played with a pair of mallets by slowly alternating single strokes to keep the vibrations going. The mallets should be placed opposite each other at three and nine o’clock roughly halfway between the edge and center of the tam tam. It is also possible to produce a good tam tam roll with just one beater.
    Triangles are generally suspended from a clip with the closed corner of the triangle facing the player’s dominant hand. A triangle roll is created by a back-and-forth motion between the bottom bar and the one facing the dominant hand. Some triangle players will roll between the top two bars. Although this can work well, the hand holding the triangle clip may impede the motion of the beater. If the triangle is suspended from a music stand, rolls can be played as described above or as a single-stroke roll with a beater in each hand.
    The most common type of tambourine roll is called the shake roll. Although tambourines are normally played at an angle slightly less than 45°, during rolls the instrument should be held vertically so the jingles can ring freely. Almost every roll should start with an attack. Immediately after striking the tambourine, the player should shake the tambourine with a rotation of the wrist – similar to turning a doorknob – while keeping the tambourine vertical. The tambourine will ring more freely if the wrist is relaxed. The shake roll almost always concludes with a light tap from the fingers of the hand not holding the tambourine.
    Another tambourine roll is called the thumb roll, which can also be referred to as a friction roll. This roll is produced by rubbing the thumb or a finger on the head around the circumference of the tambourine. Many percussionists will apply a light film of tambourine wax approximately one inch wide around the top of the head; this helps the thumb gain traction on the head to produce the vibrating sound. To start the roll, give a slight attack with the thumb; the thumb roll should also end with a light tap. At the end of the roll most percussionists either bring their middle finger up to tap the head or hit it with the heel of the hand. Be careful not to let the roll die completely before the end tap. Players who use a finger to roll instead of the thumb can lift the finger from the head while it is still vibrating and reattack the head with the same finger.
    Rolls on the maracas can be produced either by shaking or swirling them. Shake rolls are best played by holding the maracas in a vertical position. To get a clear attack, start with the beads resting on the lower back side of the maraca, then start the roll with a forward motion.
    The swirl roll can be played holding the maraca upright or by holding it upside down, similar to the way a chef holds a whisk. The beads should swish in a circle around the wall of the instrument. An implied attack can be produced simply by starting the motion with added velocity.
    On machine castanets (two pairs of castanets mounted on a stand) it is best to simply alternate hands similar to a single-stroke roll. For handle castanets, hold one in each hand and play a single-stroke roll with the castanets hitting the leg or the knee. If the castanets are loose enough on the handle it is also possible to get a double-stroke sound with each hand. Rest the index finger lightly on the top of the upper spoon of each castanet. This will produce a rebound, but this only works if the tension of each handle castanet is just right.
    Usually such non-pitched instruments as woodblocks and temple blocks are rolled on with single strokes. If there is a good rebound off the instrument or it is played with sticks, double-stroke or multiple-bounce rolls can also be used.
    Rolls will sound best if percussionists know the correct rolling techniques for each instrument. Students should practice shaping rolls to sound like sustained notes, complete with an attack, sustain, and decay.

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Video Recording in the Music Room

theinstrumenta — Sat, 28 Feb 2009 20:08:29 +0000

    Video recording technology has been readily available to the general public since the 1980s, when Americans became fans of taping weddings, birthdays, holidays, pets, children, and vacation trips to view on their home VCRs. This technology has evolved since then as cameras became smaller, lighter, and cheaper. Video cameras now record pristine digital video and audio that can easily be imported, edited on personal computers with inexpensive software, and saved on DVDs or posted on the internet.
    People have found there is no need to pay professional studios to edit or add music and captions to their amateur videos because they can do it all themselves. This convenience has led to a virtual explosion of amateur-produced videos posted on websites like youtube, personal websites, and video blogs.
    Video technology is a powerful marketing and teaching tool for music teachers. Increasing numbers of educators are investing in camcorders and editing software for the studio because their ease of use and availability makes video and DVD production affordable and fairly straightforward.

Choosing a Camcorder
With so many options and features and the rapid growth of camcorder technology, selecting the right camcorder can be confusing. For helpful advice, some of the best people to consult are store employees at large electronics stores because they receive training on how to use all the products displayed on the sales floor. Other good sources of information are consumer guides such as the Camcorder Buying Guide published on , a website that features comprehensive reviews of tech products. A good-quality, reliable camcorder that records performances and lessons, which can be edited with a computer, can cost anywhere between $250 and $800 depending on its features. Stores sell only digital camcorders these days; the old, bulky VHS recorders are gone for the most part.

Camcorder Features
When buying a camcorder be sure it has at least 680 Kilopixels (Kpix) of CCD video resolution. The higher this number, the crisper the image. (1 Megapixel = 1000 Kpix). The camcorder should also have a Firewire connector – IEEE 1394 or i.LINK in some camera brands – to move video to a computer for editing without losing quality. The computer will need a Firewire connector as well, and you may have to buy an inexpensive Firewire cable.
A USB 2.0 connector allows some cameras to share video with a computer through a USB port, instead of the less common Firewire port. It is important to check the camera to be sure it can send video through the USB connector because some cameras send only still images through this connector. A microphone terminal will allow you to connect an external microphone to the camcorder. Although it is not essential, in some instances an external microphone will reproduce better sound quality than the built-in stereo microphones of the camcorder. Finally, look for an A/V terminal to connect the camcorder to a television or video tape recorder for dubbing through a cable that is usually bundled with the camera. Virtually all cameras include an A/V terminal.

Making a Video Recording
The process of producing a video recording begins by recording the material using one or more video cameras. Several cameras will provide a variety of angles to choose from if you edit the video, but it makes the editing process more complex and time consuming. I suggest you mount the camcorder on a tripod for steady shots that give professional results.
If your goal is to record a single lesson to give to a student, then your job is complete. If you wish to edit the material, however, you have to upload or import the recorded material onto the computer’s hard drive.
Editing recorded material can involve a number of steps, from selecting good takes and trimming unwanted material to adding captions, effects, titles, and transitions. You may want to modify the volume of the takes, mix video from more than one camera, mix external audio, and more. While some camera models let you to do simple editing without a computer, editing with a computer gives you a chance to make sophisticated changes and additions to the recorded material with equipment that is powerful and flexible. The inexpensive software now available makes this step easier than ever. Once you edit the final version of your recording, then it can be saved into a compressed file to post on the web or onto a DVD or VHS tape for viewing.

Create a VHS Video
Dubbing a digital recording from a camcorder to the old VHS tape format is fairly easy. Because many households still have VHS video players, this format is a convenient way to create an unedited final product that students can take home and watch right away.
The first step is to connect the camcorder to the VHS recorder/ player using a A/V cable. Look for the “In” terminals in the back of the VHS recorder/player. For most VHS players simply turn the channel of the VHS player to “Line 1” or “Line in.” Rewind, press Play in the digital camcorder, and press Record in the VHS player. You can watch the recorded digital material on the TV screen as it transfers to the VHS tape. The dubbing process takes as long as the recorded material. If you are recording a 45-minute rehearsal, it will take 45 minutes to transfer the recording from the camcorder to the VHS tape.

Video in the Music Room
Teachers can use video to record rehearsals or lessons, which students can review at home during practice. Many camera models record directly to a DVD that students can watch on a DVD player at home. Usually there is no need to edit these recordings. Other cameras record either to a digital tape or a hard drive, which can be transferred to a computer or burned to a DVD.
Teachers can also record concerts or student recitals and use these videos to recruit beginners. You can edit the video to include captions, titles or introductory clips, making it more attractive. DVDs of concerts make great fundraisers or gifts, and the files can be posted on the web for students to view. In addition, teachers can create videos of teaching material for students to take home or access online when practicing.

Types of Digital Media
Current digital camcorders record video onto four different types of digital media: miniDV tapes, mini DVD discs, hard disk drives, and memory cards. There are advantages and disadvantages to each medium and choosing which to use will depend on how you plan to use the camcorder.

Memory cards
Camcorders that record directly to a memory card such as a SD card are small, light pieces of equipment, but there are many disadvantages to using them. The video is highly compressed and loses quality, making it difficult to import and edit on a computer. The recording times are usually short for higher-quality video and audio. In general, it is best to avoid camcorders that use memory cards exclusively; some are able to use both memory card and mini DVD or miniDV.

Mini DVD Discs
For teachers who want to record short lessons to give to students after a lesson without any editing, camcorders with mini DVD discs are the most convenient format. These small DVDs are compatible with most DVD players.
The only drawback of mini DVDs is the short recording time: most have a maximum of 60 minutes in compressed format, which is difficult to edit in a computer, and 30 minutes in high-resolution format. Only rewriteable (RW) DVDs can be reused. Further, a single bad bit can render an entire disc unreadable.

Mini DV Tapes
If you plan to use a computer to edit, add titles and captions to the recorded material, and then store the final product on a regular DVD or to a website, then a miniDV recorder is the best choice. MiniDV tapes (DV=Digital Video) are compact tapes that last 60 to 90 minutes and store video in an uncompressed format that is easier to import and edit. These tapes can be used multiple times. I use a miniDV camcorder and dub the tape into an old VHS tape for my students when no editing is needed. If I want to edit the material, I save the final product to a DVD, VHS tape, or electronic file.
The disadvantage is that miniDV tapes can only be played back with a miniDV camcorder. To watch recordings on a television, the camcorder has to be connected to the television with the A/V cable that is provided with the camera. This makes it difficult to lend tapes to students because they have to borrow the camcorder or you will need to dub the tape to a DVD or VHS for him.

Hard Disk Drives
    Recent camcorders have built-in hard disk drives (HDD) of up to 60 gigabytes that allow for up to 14 hours of high-quality video. These cameras usually include sophisticated menus that make recording easy and allow editing within the camera. An obvious advantage is the length of quality recording: if you plan to record a concert that extends beyond 60 minutes, this camera will record it and you won’t have to switch mini DVDs or tapes.
    A disadvantage is that teachers cannot give recordings to their students right away, unless they are dubbed onto a VHS tape or imported onto a computer and burned to a DVD. Once the hard drive is full, it has to be emptied before you continue to tape because you can’t insert a blank hard drive into the camera.
    MiniDV tapes and mini DVDs tend to be the most practical in this area because they can record numerous lessons onto tapes that teachers can archive for viewing or editing later; once a hard drive has reached its maximum capacity after 7 or 14 hours, its contents need to be moved to another medium and erased. Another disadvantage is that hard drives can fail.
    In general, if you want to record pullout lessons and give the DVDs to the students for viewing without editing, a camera that records mini DVDs is useful. If teachers plan on editing the recorded material and burning the final product onto a regular DVD or web file, a camera that records miniDVs is the best choice. I personally use miniDVs and dub the tape into an old VHS tape for students when no editing is needed.

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Amazing Music at Roxbury High, An Interview with Todd Nichols

theinstrumenta — Sat, 28 Feb 2009 20:00:13 +0000

Todd Nichols and the Roxbury High School wind ensemble made history in December after becoming the first New Jersey band ever invited to the Midwest Clinic. Nichols sees the prestigious invitation as an honor not just for the school but for the entire community of Roxbury, which was named one of the 100 best for music education. In a time when powerhouse programs from the South and Midwest earn a large share of national invitations, a school from New Jersey earned the invitation of a lifetime.

Your program has a team of five music teachers who teach at both the middle school and high school. How does this system operate?
    There are five ensembles from 7th grade through high school, and each of the five teachers travels between the middle school and high school during the day. One day a week, the entire group goes to the elementary school to give 6th grade lessons.
    We are fortunate that our school is on a traditional nine-period day with 42-minute class periods. The middle school and high school are located on the same piece of property. We teach freshman band and music theory in the morning, middle school band in the middle of the day and return to the high school for the wind ensemble and concert band, which meet simultaneously. Someday we would love to add recording technology and music appreciation classes, but the schedule is already so busy.
    We do not pull students out of academic classes for any sectionals or teaching, but periodically we will ask that students be excused for a special event. Many students stay after school to practice or seek help on their music.

What are the benefits of having a team of teachers working in rehearsals instead of a single director?
One benefit is that students work with a specialist in the instrument family they play on from 7th grade through high school. For example, percussionists work with the instructor who specializes in percussion. This allows our players to progress more quickly because they get more detailed instruction than they would from someone who doesn’t play that instrument.
We are working to increase the number of students who take private lessons. Currently, about 25% receive private instruction. That number has improved in recent years but it is not nearly what we would like it to be. However, even if students do not take lessons, directors know that bad habits can be corrected in class by a specialist on that instrument.

What are the greatest difficulties to overcome with a team-teaching approach?
    It takes a tremendous amount of communication between all of the instructors. The complex scheduling required to have teachers working with five different ensembles in two schools means that everyone has to be flexible. Sometimes one director will need the entire team to spend additional time working with one ensemble. During preparations for the Midwest, I needed the entire team to work with the wind ensemble for many weeks straight. That required some compromises, but the end result was worth it.

One unusual fact about the Roxbury program is that you are always recording rehearsals, sectionals, and lessons. What are the advantages of frequent recording for the program?
    We have many hand-held digital recorders and the teachers decide what to record. The large rehearsal rooms are also set up with recording equipment. If we are just starting on a piece, we might not record those first rehearsals.
    Later it is easy to transfer these recordings to CD or the computer. We have a listening lab where students can come to review thousands of songs. The music library has a variety of recordings, including soloists, bands, and marching bands, and this allows students to hear music that they probably wouldn’t go out and buy for themselves.
    Attendance at the listening lab is voluntary, but there is steady traffic throughout the week and at times we will have 10 or 12 students in there at a time. The computers are loaded with several of the popular music software programs, and we are constantly adding more music that students would enjoy. All of our instructors place a great emphasis on producing a great sound and that comes from emulating the best sounds you can find. A friend once advised me, “Always listen to great quality recordings because your ear will be trained to hear great sound, and that is what the brain will aspire to produce.”

How has the proximity to New York City helped the Roxbury program?
    Many of our teachers, including me, play in various professional jobs. This helps us develop strong contacts with studio teachers, top professional players, and teachers at local colleges. We try to bring as many people as possible out to give masterclasses for our students. The more conductors, soloists, and orchestra members who can work with students, the better.
    Professional musicians can be particularly helpful in giving students a strong sense of excellent sound. I know my ear for music has developed even more in the last five years after having the opportunity to work as an assistant producer on recordings with such artists as the Keystone, Rutgers University, and Messiah College Wind Ensembles. That time in booth has really improved my listening skills. Our students enter the program with a wide range of ability levels, but our goal is to have every player produce the best sound possible. We focus quite a bit on the role of each player in the large ensemble sound.
    We devote 12 to 20 minutes a day to an extensive warm-up before starting on band music. Our teachers have devised warm-ups for each instrument and also exercises for the full ensemble. Our approach to music is very slow and methodical. We do a good job of trying to maintain the composer’s intent by carefully studying how the harmony and melody fit together. Most technical problems with notes, rhythms, and tuning are addressed through sectionals held each week. This is one advantage of having five teachers available for each class. This allows us to be more deliberate in working on the music.

How important is the marching band to your program?
Marching band is completely voluntary but remains an integral part of our efforts. We consider participation in the marching band, which meets after school, to be a privilege. There are no auditions or cuts for this group. Anyone who wants to play may do so, with the understanding that we maintain a high standard of performance and work hard. The marching band plays for all home games and several competitions each year.
The marching band is also a great recruiting tool. One game each year we invite all 8th grade band students to perform with the high school group. This gives the younger students an opportunity to learn exactly what we do in marching band and feel less scared about the move to high school. The high school students act as mentors for the new crop of students.

Having made the trip to the Midwest in December, what future goals have you set for the program?
After we came back from Chicago, we started planning our goals for the next five years. Although our bands do enter competitions, we do not spend much time talking about winning trophies. We focus on such projects as recording a CD, commissioning a new work, or attending a prestigious convention. These efforts give us a barometer to measure the program.
The thing that is special about our music program Roxbury is the strong sense of history and community support. So many community members, past directors, and alumni have really cared about this place. The previous generation built the music program up to a high level, and now the next generation is working to take the program to even greater heights. New Jersey doesn’t have the huge multi-district high schools that are common in Texas and the Midwest. Roxbury is a small place where big things happen.

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Overconducting, Getting in the Way of the Music

theinstrumenta — Sat, 28 Feb 2009 19:50:31 +0000

Because most college conducting classes offer such a limited amount of time on the podium for each student, the result is that many new teachers do not have an opportunity to develop good conducting skills. Novice conductors generally fall into the trap of overconducting, almost as if more gestures will reduce the problems.

Conducting Every Beat
    In my first teaching job, the band booster president was at the school so frequently that people sometimes thought he was the band director, especially because I looked so young. One day he came into class and motioned to me. I started the band on some music we had been preparing for a festival and stepped into the hallway. We could hear the band playing and the booster president commented, “They sound better without you.”
    This was a huge compliment and an indicator of how far the band had progressed since the start of the year. They stayed together because there was a strong internal sense of pulse. This unexpected insight forced me to take off the training wheels earlier than expected. I concluded that in some way I was hindering further growth by conducting too much.
    The most common mistake conductors make is trying to conduct every beat and nuance. As the tempo of a piece increases, the conducting clutter tends to multiply, and the conducting motion becomes a whirlwind. In the late 1990s I attended a conducting clinic given by Robert Reynolds. We worked on Shostakovich’s Festive Overture, which has a 32 fanfare near the end and a final bit at quarter = 180-200 in 4/4. When I conducted it in four, Reynolds didn’t like what I was doing and stopped me. I tried it in cut time, and he stopped me again and said, “I still don’t think you’re quite getting this. Try it in one.” The ensemble responded well but it felt awkward because I was in the habit of giving every beat to my high school band. I never gave students a chance to keep the pulse internally. A colleague once advised me, “If you conduct everything all the time, the ensemble will ignore you most of the time.”
    Over time I came to realize that a conductor should take the approach of conducting less and talking only when something has to be said. I have also learned that when answering a question, it helps to give a clear, direct answer. The person who asked the question will be more engaged in what I say. The same is true with conducting. Students will watch more if I only conduct what is important.
    In my concert ensemble at Kansas State a majority of the students are not music majors, so many of the techniques used with a high school group still apply. We recently worked on a piece by Charles Fernandez, who writes music for animated films and other studio settings. He adapted his 40-minute ballet into an 8-minute suite. The piece is extremely lyrical and I conduct most of it in two because the last thing the music needs is someone flailing away on the podium. With a younger group I might start in 4/4 and then shift to cut time once the pulse is established. To make the music sound as lyrical as possible, I try to imagine how the music would look with good choreography, as if a small group of people were dancing to the music in a small room.

Cueing Too Much
Another common conducting mistake is giving cues too often. Cueing should be a gentle reminder. My mother is an old-fashioned Bayou type girl – she tells you something once and that’s it. If I delegate a task to a student or parent and they don’t complete it, I ask someone else the next time. I give reminders and check up on people, but it is a waste of time to do it daily. People benefit from having more responsibility, and this is especially true in rehearsals.
I think of cueing as a parental suggestion from the podium, a way to help students learn what is expected. Eventually players have to help themselves. There-fore, I do not always cue. If a director cues every entrance, the ensemble members rely on the cue and quit thinking for themselves. This year I assisted a grad student in conducting Incan-tation and Dance. At one point I advised her to look at the cymbal player for a cue. If the player missed the cue, the conductor was advised not to cue or even to look in the direction of the cymbal player the next time. The cymbal player missed it two times out of five but eventually learned that he had to master the part without repeated help from the podium.

Meaningless Gestures
    The size of each gesture should fit the music without being overly showy or getting in the way. When you put in over and above what the music is asking for it starts to cloud up the interpretation and hinder the music rather than help it. Gestures for each piece will by necessity be different based on style and dynamics; the beginning of Incantation and Dance should not look like the end of Pines of Rome. It is also important to consider the rise and fall of the piece. If a work is consistently loud, then the gestures need not all match but should rise and fall based on phrasing.
    Many conductors give so many gestures from the podium that important messages are buried. Although anything from a change in style or mood to the entrance of a new melody can be signaled, a conductor should give only those signals that are most beneficial to the ensemble, a section, or an individual player. Younger students require more help, even on such simple concepts as shaping eight-bar phrases, and high school groups need far less help. Teaching musical independence should be a goal, however, I will shape phrases with young students until I know they can handle it on their own.
    The music of Percy Grainger commonly features interesting dynamic shifts such as the horns becoming more prominent while the rest of the band gets quieter. In this instance the horns become the focus and I look right at them, demonstrating that the cue is just for them. As students mature they become attuned to this type of cue for only one section.
    Conducting too much may be a good form of exercise, but it hinders students’ growth. Our job as conductors is to teach students to make music. It is important that conductors not get in the way of students’ music-making. Students may sometimes make poor choices when left on their own, but the musical lessons learned this way will be particularly meaningful as students take ownership of the ensemble.

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