sbo march 2008

MARCH 2008$5.00

Roundtable:Summer Camps

Commentary: Rehearsal Strategies

& the Young Women of his Virtuoso Program

GeorgeThomson

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Over the past twenty-five years, we have had the privilege of working with some of the most committed educators in the music field. The hard work, dedication and love of music we witness every year at our festivals is an inspiration to all. We look forward to providing another quality, year-end experience to our long- time participants and all the new music teachers and their students.

Festivals of Music and Yamaha honor Sachem High School, Lake Ronkonkoma, NY for 25 years of participation.

Every year since 1982, Festivals of Music has had the opportunity to host the Sachem High School Music Department at our events. Festivals of Music and the Yamaha Corporation presented a Yamaha grand piano to the school music department in recognition of their commitment to excellence.

Our entire brochure is on the web. www.festivalsofmusic.comphone: 800-305-7565 e-mail: [email protected]

Premium Adjudication Festivals for Instrumental and Vocal Ensembles

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The Proud Recipients, from left to right: Dorie Downs, Orchestra Director; Joseph Cavalea, Retired Orchestra Director; Justin Comito, D.M.A., Chairperson, Secondary Music; Patricia Andriaccio, Chorus Director; Richard Cruz, Band Director; John Aleksak, Principal; Charles Murphy, Superintendent of Schools; Bradley Johnson, Administrative Assistant for Music and the Fine Arts.

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SB&O School Band and Orchestra® (ISSN 1098-3694) is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offi ces. Ride-along mail enclosed. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2008 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

Cover photo by Michael Amsler Photography, Sebastopol, Calif.

4 Perspective

6 Headlines

57 New Products

60 Playing Tip

61 Classifi eds

63 Calendar

64 Ad Index

Columns

2 School Band and Orchestra, March 2008

Features14 FROM THE TRENCHES: MARK WILLIAMS – A TRIBUTE

Bob Morrison pays tribute to Mark Williams, one of Alfred Publishing’s most successful composers and arrangers of school band music, who passed away in January.

18 UPCLOSE: GEORGE THOMSON & THE YOUNG WOMEN OF HIS VIRTUOSO PROGRAM

SBO recently caught up with Mr. George Thomson, music direc-tor for San Domenico’s acclaimed Virtuoso Program, to discuss the fi ner points of this unique all-girl string ensemble and the circumstances that brought him to lead it.

30 COMMENTARY: REHEARSAL STRATEGIESSBO contributor Benjamin Lorenzo breaks down the compo-nents of successful and effective band and orchestra rehearsals.

36 ROUNDTABLE: SUMMER CAMPSIn order to provide a better idea of what to look for in a sum-mer camp or workshop, what to be wary of, and a few of the major selling points, SBO turned to a few of these programs’ directors and administrators, who offered their thoughts on summer camp fundamentals.

46 TECHNOLOGY: POWER-USER APPLICATIONS, PART 1Dr. Kuzmich highlights the capabilities and potential of power-user applications in the fi rst installment of this two-part series.

Contents March 2008

1830

36

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Perspective®

March 2008Volume 11, Number 3

GROUP PUBLISHER Sidney L. [email protected]

PUBLISHER Richard E. [email protected]

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Building BridgesI

t seems that musicians have a unique knack for building diplomatic bridges where politicians often fall short. Perhaps it is the collaborative spirit of music making, the universality of mu-sic, or a particular characteristic of people who become musicians that cultivates this distinctive

ability. In any case, the New York Philharmonic’s re-cent trip to the communist dictatorship of North Korea graphically showed how musicians could fi nd common ground for collaboration and diplomacy.

One of the compelling aspects of the historic concert in North Korea, according to an Associated Press report on Feb. 27, was the pure synergy that developed among four Philhar-monic musicians and four North Korean players who performed Mendelssohn’s Octet for Strings, virtually without mistakes and without prior rehearsal. The fact that people from vastly disparate nations, backgrounds, cultures, and education

could sit down and perform a diffi cult piece of music without any prior rehearsal was a wonderful represen-tation of how people, specifi cally musicians, can play a role in creating a better world.

The Philharmonic also made an especially touching gesture when they performed folk themes from the Ko-rean tune, “Arirang.” Many of us would quickly recog-nize this tune as it is represented in the concert band ar-rangement “Variations on a Korean Folk Song” by John Barnes Chance. This piece stirred the emotions of the performers and the audience and resulted in a standing ovation.

Certainly there certainly is a dark side to this endeav-or in that North Korea has one of the worst records of

human rights abuses of any country on the planet as well as a frightening military stance toward its neighbors in Asia and beyond. This led some musicians and oth-ers to protest this concert, yet the alternative of not performing would only serve to dim the outlook for future cooperation.

One concert is certainly not going to bring two vastly different governments together, but the visit’s media coverage, goodwill, and demonstration of common ground defi nitely lighted the way to the possibility of greater collaboration in the future. The only shame would be if we didn’t pursue the next step in this process by having a North Korean musical ensemble come and perform in the United States. Beyond that gesture, if each head of state mandated a Minister of the Arts as a diplomatic position, it could go a long way in building better relationships around the world.

“The New York Phil-harmonic’s recent

trip to the commu-nist dictatorship of

North Korea graphi-cally showed how

musicians could fi nd common ground for

collaboration and diplomacy.”

Rick [email protected]

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HeadLines


A lfred Publishing joins the music community in celebrating the life and works of Mark Williams. Mark was a talented musician and one of our most prolifi c composers of school band and orchestra music, with

his works and method books used worldwide. His undeniable talent and infectious love of music have made a lasting impact on the music educa-tion world.

In honor of Mark’s lasting contributions to music education, Alfred has set up the Mark Wil-liams Memorial Fund for Educators, which will award scholarships to music educators to attend the annual Music for All Summer Symposium for professional development held at the Illinois State University.

Mark was one of the premier composers for school bands and orchestras. Co-author of the Ac-cent on Achievement Band Method, he had more

than 200 published works to his credit and traveled worldwide as a clinician and conductor.

Please visit musicforall.org for more information on how you can make a contribution or apply for the scholarship.

In other Alfred news, the publisher has joined with Piano for a Richer Life in sponsoring Piano Celebration 2008 to benefi t the Ronald McDonald House of Iowa City.

Piano for a Richer Life is an organization designed to increase awareness, recognition, and support for the study of piano for people of all walks of life. On April 19-20, 2008, the organization will give local pianists a forum to showcase their talents and raise money for the Iowa City Ronald McDonald House through a program called Piano Celebration 2008. The showcase will take place at the Northpark Mall in Davenport and will bring together a com-munity of families, teachers, community leaders, and professionals dedicated to music. It is through this kind of outreach that the devoted organization can raise awareness to the benefi ts of piano study as well as raise money for the Iowa City Ronald McDonald House.

For more information, or to make your contribution, contact Lynn Kroeger at [email protected] or visit www.alfred.com.

Alfred Honors Mark Williams, Sponsors Piano Celebration

Henry Rodriguez Honored By RGBD Hall of Fame Enrique (Henry) Rodriguez, a band director and Conn-

Selmer district manager since 1992, retired this year and has been inducted into the Rio Grande Band Directors Hall Of Fame. His induction into the Rio Grande Band Direc-tors Hall of Fame is a result of the high respect by educa-tors in the music departments of universities and public schools for his love of music and his dedication to music education.

In the 8th grade, Henry was fi rst introduced to music by being offered the opportunity to participate in an after-school band program provided by the Weslaco School District for students in parochial schools. One of his fondest

(Continued on page 8)

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HeadLines Online Survey Results

Visit www.sbomagazine.com and let your voice be heard in the

current online poll – results to be published in the next issue of SBO.

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Have you attended concerts by professional ensembles for your own enjoyment this academic year?

memories of this time was walking to the band hall and playing the trom-bone, his instrument of choice.

Henry attended Weslaco High School, earned recognition for his playing abil-ity and was selected to the All-Valley Band trombone section several years run-ning. As a high school senior he was selected to the Texas All-State Band. His band director, Mr. Busby, played a key role in infl uencing Henry’s decision to pursue a musical career. In 1965, after graduating with a degree in music from Pan American College in Edinburg, Texas, Henry was hired by Weslaco High School. As director of the Mary Hoge Jr. High Band, his band received numerous 1st Division Ratings, including honors in the Texas Honor Band competition. After leaving Weslaco, Henry went on to serve as the director of the High School Band in Rio Grande City, Texas. Under his direction this band also received several 1st Division Ratings in Marching and Concert competitions. After three fruitful years, Henry made the tough decision to move his family to McAllen, Texas. In 1972 Henry received and accepted a job with the McAllen Independent School District. From 1972-1976, he directed the Lamar Junior High Band, Lincoln Junior High Band, and Brown 9th Grade Band, respectively. Henry then joined the staff at Melhart Music Center in the summer of 1976 and worked as manager of the Band Department. During this time, Henry continued to enjoy his love of music by performing with and directing the McAllen Town Band.

Since 1992, he has been a key member of Conn-Selmer, promoting the im-portance of quality musical instruments and music education. During the past year, Henry has provided invaluable guidance through the transition of his responsibilities to industry veteran “Corkey” Trevino. Henry will continue to provide his expertise and assistance to Conn-Selmer for special projects.

For more information, please visit www.conn-selmer.com.

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HeadLines

IU-Bloomington to Premiere “Finding the GrooveT”

In September and October 2008, the world premiere of the Finding The GrooveT concert series will be hosted by the Indiana University Jacobs School of Music, the In-

dianapolis Symphony Orchestra, and Music for All. Finding The GrooveT, which celebrates kids and their love of music, is a new series featuring live multimedia concerts and on-line social networking from the executive producer of the Peabody Award-winning HBOR documentary series The Music In Me.

Finding The GrooveT is a virtual world where kids aged seven to twelve, from diverse cultural and regional back-grounds, and who are instrumental musicians, composers, singer songwriters and vocalists of all styles or genres, will be able to come and share their musical stories by uploading and sharing videos on a safe network designed for them. A handful of those kids who submitted the most exciting videos online will be chosen to be part of the Finding The GrooveT concert series. This will feature the musical performances and stories of these young musicians who are making connec-tions between their music and the world around them. These multi-media events will be presented in conjunction with ma-jor symphony orchestras, symphony halls, and university and community arts organizations from around the country.

Please visit www.fi ndingthegroove.com for more details.

NY Philharmonic Plays PyongyangAmid the continuing see-saw of nuclear talks and political

posturing between North Korea and the U.S., the New York Philharmonic may have played a role in softening relations be-tween the two countries.

Conductor Lorin Maazel led a historic concert Feb. 26th in Pyongyang, as the New York Philharmonic became the fi rst major American orchestra to perform in the insulated com-munist country. North Korean offi cials broadcast the concert nationwide and internationally.

Along with recently stalled nuclear talks, there’s the last-ing stigma of the Korean War (1950-53). Technically, North Korea and South Korea remain at war, as the confl ict ended in an armed truce that never developed into a formal peace agreement.

Perhaps a little Gershwin and Dvorak has placated the Pyongyang government. Maazel and the New York musi-cians came to the North Korean capital armed with the “New World” Symphony No. 9 by Antonin Dvorak and the rollick-ing “An American in Paris” by George Gershwin.

The event, initiated by North Korea and coordinated with help from the State Department, has been hailed as both a great success of artistic diplomacy and a failed play into the hands of an evil regime.

Christopher R. Hill, the Bush administration’s diplomat in negotiations with North Korea, suggested in a New York Times story that “It would signal that North Korea is beginning to come out of its shell, which everyone understands is a long-term process.”

After the concert, which included an encore of “Arirang,” North Korea’s most famous traditional folk song, conductor Lorin Maazel said he was surprised at the overwhelming re-sponse.

“When we received this very warm, enthusiastic reception, we felt that indeed there may be a mission accomplished here. We may have been instrumental in opening a little door, and we certainly hope that if that is true, in the long run it will be seen as a watershed.”

Maazel wasn’t the only New Yorker moved by the event. The Philharmonic’s principal bassist, John Deak, said when the musicians started leaving the stage, the North Koreans started waving at them.

“Half of the orchestra burst into tears, including myself and we started waving back at them and suddenly there was this kind of artistic bond that is just a miracle. I’m not going to make any statements about what’s going to change or every-thing. Things happen slowly. But I do know that the most pro-found connection was made with the Korean people tonight.”

The New York Philharmonic is not the fi rst American or-chestra to participate in what some might call symphonic di-plomacy. In September 1956, the Boston Symphony was the fi rst major U.S. orchestra to visit the Soviet Union during the Cold War, and in the fall of 1973, the Philadelphia Orchestra made an unprecedented trip to China.

(Source: NPR.com)

Music for All receives Lilly Endowment grant

Students who participate in school bands, orchestras and choirs get more than an appreciation for music out of those programs. Research compiled by Indianapolis-

based Music for All suggests that those young musicians also get a leg up on their peers for years to come.

Now, thanks to a $495,000 grant from Lilly Endowment, Music for All can better equip itself to ensure that more Ameri-can students get the advantages that come with music educa-tion. According to the Music for All data, student musicians typically have higher SAT scores, higher graduation rates and a greater chance of future success than their counterparts who don’t participate in music programs.

Now Music for All is being helped in its work by its fi rst grant from Lilly Endowment. Given to support the implemen-tation of a mature fundraising program, the grant will better position Music for All to ensure that it can continue its work well into the future.

Music for All’s programs under the names Bands of America and Orchestra America have 33 years of producing educational events and programs – including the Bands of America Grand Nationals marching band championship that attracts more than 60,000 people to the RCA Dome each November, the Music for All National Festival, the Music for All Summer Symposium and more than 20 regional marching band championships – and generated approximately 90 percent of its budget through par-ticipant and admission fees. That’s now changing.

For more information, please visit www.musicforall.org.

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Jazz at Lincoln CenterEssentially Ellington High School Jazz Band Competition & FestivalMay 15 – May 17, 2008Frederick P. Rose Hall, New York City33 West 60th Street, 11th FloorNew York, NY 10023(212) 258-9800FAX: (212) 258-9900 Web site: www.EssentiallyEllington.org, www.jalc.org/BDA

The annual Essentially Ellington High School Jazz Band Competition & Festival is one of the most innovative jazz education events in the world. Each year, high school musicians from across North America travel to New York City to spend three days im-mersed in workshops, jam sessions, rehearsals and performances at the “House of Swing,” Jazz at Lincoln Center’s home, Frederick P. Rose Hall. Fifteen high school bands are se-lected as fi nalists to attend the competition and festival, and the festival concludes with an evening concert at Lincoln Center’s Avery Fisher Hall that features the three top-placing bands, joining Wynton Marsalis and the Jazz at Lincoln Center Orchestra.

The Band Director Academy, a compan-ion program to Essentially Ellington, is an intensive three-day professional enrichment session in July that gives music educators the tools to teach jazz more effectively. Led by some of the foremost jazz educators in the country, BDA emphasizes hands-on learning, concepts and teaching techniques that can be implemented in the classroom.

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SBOFrom the Trenches


A Tribute: Mark Williams

Since March is ‘Music in our Schools’ month, it is only fi tting to pay tribute to the life of someone who actually was responsible for bringing music into our schools.

Mark was one of the premier com-posers for school bands and orchestras. Co-author of the Accent on Achieve-ment Band Method, he had over 200 published works to his credit. As a clini-cian and guest conductor, he traveled to 34 states, fi ve Canadian provinces, and Australia.

Mark was born in Chicago and grew up in Spokane, Washington. He held Bachelor of Arts in Education and Mas-ter of Education degrees from Eastern

Washington University. He taught mu-sic in the state of Washington for many years, specializing in elementary band. Renowned for his compositions for band and orchestra, Mr. Williams earned numerous awards including the West-ern International Band Clinic’s Gralia Competition and several ASCAP Special Awards. In addition to his writing and travel schedule, Mark performed regu-larly on all woodwinds and served as Conductor and Artistic Director for the Spokane British Brass Band.

I do not profess to have known Mark personally. He and I met a few times over the years at conferences. I do, how-ever, know of his work and impact on

beginning instrumental music because of my wife, Nora, who teaches begin-ning instrumental music at an elemen-tary school in Watchung, N.J.

When Nora and I would head off to a music education conference, Nora would make a beeline to the Alfred booth to learn about the latest Mark Williams compositions. Rarely a concert would occur where there wasn’t a Mark Williams orchestration on the program. She raved about his work. She was one voice in a chorus of thousands!

Mark Williams has had an immea-surable impact on beginning music pro-grams across the nation. I suspect there isn’t an instrumental music educator

President Clinton once said to a class of beginning instrumental students in Milwaukee, “You

gotta sound bad before you can sound good.” Mark Williams undoubtedly would have dis-

agreed. One of Alfred Publishing’s most successful composers and arrangers and a self pro-

claimed “band geek” at heart who had a passion for empowering teachers to give beginning

music students the best chance for success, Mark Williams passed away tragically on January 3, 2008.

He was 52 years old.

SBO_14 14 3/6/08 10:10:06 AM

School Band and Orchestra, March 2008 15

You have to understand that Mark was fi rst and foremost… a band di-rector. He spent 15 years as an El-ementary Band director in Spokane, Washington.

Both he and his wife, Connie, were clarinet players… they met in band… they got married… both be-came directors.

Because of his background in the trenches - Mark understood and was passionate about starting beginners and he married this passion with his ability to play all of the instruments. As a member of the Air Force reserve band he played bassoon, oboe, sax, fl ute, and clarinet. He was a very good doubler (and needed to be) be-cause the band was small.

He was also fascinated by, and wanted to learn, brass. So he joined a local brass band where he started out on Eb Horn and worked his way up to solo cornet. When the founder of the band left, Mark became the conductor.

His knowledge of teaching be-ginners combined with his ability to play all of the instruments gave him a unique perspective which he used in his compositions. In Mark’s mind though… he was never really sure if his pieces were good enough to be published.

In 1986 he completed a new composition titled “Greenwillow Portrait.” Feeling that it wasn’t good enough, Mark threw the handwrit-ten manuscript into the trash. Con-nie pulled the manuscript out of the trash and insisted that he send it to a publisher.

In 1986 I was the concert band editor for Alfred. Each year I received

hundreds of unsolicited manuscripts from composers all over the world. Very few of these pieces were actually accepted for publication. At the time we were primarily publishing John Kinyon, Frank Erickson, Sandy Feld-stein, and my own music. One day I received a manuscript from Mark. It was hand written and he also includ-ed a very mediocre recording made by a local junior high band.

I listened to the composition several times before deciding that it was a really good piece that de-served to be published. I had the great pleasure of calling Mark on the phone to tell him we wanted to publish his music. Connie just

recently told me that Mark almost hyperventilated when he received the call and at fi rst thought it was a friend playing a practical joke on him. “Greenwillow Portrait” went on to be the most successful piece we published that year and it was the beginning of Mark’s fabulous career.

The next year he wrote a few more pieces for Alfred including “Jackson Lake Overture,” which won the Western International Band Clinic’s Gralia Competition for new compositions for school band.

He soon made the decision to stop teaching so he could focus on his composing full time. Mark be-

came a stay-at-home dad while Con-nie went back to work. This opened the door for Mark’s great success as composer.

Ten years later when Alfred de-cided to develop a new band meth-od, I asked Mark to join me as co-author. Mark was by then one of the top composers of young band mu-sic in the world and I was thrilled when he accepted my invitation. The book we wrote was Accent on Achievement and Mark brought all his creative gifts to the project. He believed that one of the weaknesses with other methods was their fail-ure to properly reinforce musical concepts. Mark created elaborate fl ow charts to track what had been taught and then track where it was reinforced throughout the book. This careful review cycle was built into the method and it is one of the concepts that helped make Accent on Achievement so successful.

One of the special gifts Mark had was his ability to make even the most immature bands sound great. He would play through each of the student’s parts to make sure everything was playable and in-teresting. At some point in every Mark Williams piece everyone gets to play the melody. His reputa-tion in the fi eld had grown to the point where a teacher who bought a grade 1 Mark Williams composi-tion knew it would play well and sound great.

Mark was an editors dream. He needed very little editing and was a very humble guy… always hoping that his compositions and arrange-ments would be okay.

“Mark Williams has had an immeasurable impact on beginning music pro-grams across the nation.”

who hasn’t performed one of his works. Millions of students have learned how to fi nger a scale, play a crescendo, or understand a rhythm through the re-nowned method book he co-authored

with John O’Reilly for Alfred Publish-ing: Accent on Achievement.

Knowing the infl uence Mark has had in our own community and across the nation I decided to call John O’Reilly,

his editor and writing partner of more than 20 years to help me understand the man behind the masthead.

What comes next is from John O’Reilly:

SBO_15 15 3/6/08 10:10:09 AM


Clearly… they were.

So if I may take exception to our former president… you do not need to sound bad before you sound good… you just need to have your students playing Mark Wil-liams music!

Mark never forgot where he came from. He was always that elementary band director and “band geek” at heart. This was clear in his work.

It is Mark’s passion and commit-ment to strengthening the founda-tion from which all music education is build, our beginning programs, that serves as an inspiration to us all. I hear about it from my wife. I hear about it from others like her who are responsible for the heavi-est lifting for our field. Because it is in those small classrooms in schools across the nation that the joy, won-derment, mystery and excitement

that is embodied in this gift we call music where the seeds are planted for a love of music that will last a lifetime.

Mark knew this better than most. And we are all the better because of him.

In honor of Mark’s lasting contribu-tions as a teacher and composer, Alfred Publishing has set up the Mark Williams Memorial Fund for Educators in collabo-ration with Music for All. The fund will award annual scholarships to music edu-cators to attend the Music for All Summer Symposium for professional development held at the Illinois State University each summer. Donations to the Mark Williams Memorial Scholarship Fund for Educators will be placed in an endowment. Only the income generated by the endowment will be expendable.

Please visit musicforall.org for more information on how you can make a contribution.

BY BOB MORRISON

Bob Morrison is the Executive Vice President and Chairman Emeritus of Music for All Inc. He can be reached via email at [email protected]

¨For additional music education articles, please visit the School Band and

Orchestra archives at: www.sbomagazine.com

SBO_16 16 3/6/08 10:10:13 AM

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UpClose

& the Young Women of his Virtuoso Program

GeorgeThomson

SBO_18 18 3/6/08 12:11:05 PM


San Anselmo’s San Domenico Upper School is a private, all-girl catholic high school set in a pastoral wooded campus just outside San Francisco. Although it is among the oldest independent schools in the state of California, over the past few years San Domenico has been gaining notoriety in the music world for a relatively recent development at the school — its Virtuoso Program, a rigorous course of study for ambitious and talented young string players.

B Y E L I A H U S U S S M A N

SBO_19 19 3/6/08 12:11:16 PM


The 24 girls in this 30-year-old program face an intense academic curriculum, in addition to countless hours practicing their instruments and rehearsing in string quartets and with the string orchestra, so it’s no won-der that administrators at the school haven’t traditionally seen the need to burden their students with addition-al music festivals and competitions. Yet in 2005, led by musical director George Thomson, the Virtuoso Pro-gram’s Orchestra de Camera entered the ASTA’s National Orchestra Festival and, unsurprisingly, was bequeathed the Grand Champion award for most outstanding high school orchestra na-tionwide.

SBO recently caught up with Mr. Thomson, a veteran of several profes-sional symphonies as both a conductor and player, to discuss the fi ner points of this unique program and the cir-cumstances that led him there.

School Band and Orchestra: Would you tell me a little bit about your own musical background?

George Thomson: I grew up out here in the San Francisco Bay area. I basically got all of my exposure to mu-sic in the public schools. I started on the violin in the third grade because that was the standard practice in that district. My parents didn’t play and I didn’t have a piano in the house. Re-gardless, I pursued music with great interest through elementary school, junior high, and high school. My fa-ther would always say with mock frus-tration, “You pay for all those music lessons, and what do you get? A mu-sician!” But my parents never put a damper on my musical enthusiasm and

when I decided in high school to take choir instead of a second year of calcu-lus, they were fi ne with that.

I went on to the University of Cali-fornia, Berkeley, and my primary in-terest was really scholarship — music history — but I started doing a lot of conducting at that time, and I was playing a lot. I continued on to do some graduate work there in music history, and I was getting more and more drawn into the history of con-ducting.

SBO: Going back to your high school days, was there a particular moment when you decided that music was something you would pursue at the next level?

GT: I can’t say that I had a “break-through moment” so to speak. It was more like, at a certain time, I realized that I’d always been playing music and it just seemed very natural that I would continue pursuing it. The idea that it could be more than a pursuit, that eventually I’d have to make a liv-ing… well, I was always very fortunate as I got older that I had opportunities to do musical things for which people would pay me a little. So I just sort of slid right into a musical career. I cer-tainly didn’t bank on going into teach-ing, especially at the secondary school level.

As far as being a musician and pur-suing music, I was a pretty hopeless case…

SBO: Hopeless in the sense that you knew you’d always be doing it?

GT: Right. I couldn’t imagine not playing music. But the idea of go-ing to a conservatory — I never even imagined it. Really, the idea that you

could just play the instrument all the time for a living? That was not what I was thinking. It was so fun that I never thought I would be able to do it as a job. I always assumed that mu-sic would be my enjoyable pursuit and that at some point I’d have to do something else “legitimate.”

But after a while, I realized that I was supporting my education by play-ing music. So I thought, “Wait a min-ute, I am making a living — now!”

SBO: What types of jobs were you being offered?

GT: Further along when I was at college, I met a lot of great compos-ers and played new music. I got in on the period instrument/early music scene as it was just getting going in the early ‘80s. I became involved with the Philharmonia Baroque Orchestra play-ing the Baroque violin. I did that for many seasons. I was also involved with new music ensembles and, from there, my conducting career started mov-ing along. I ended up working for the Berkeley Symphony for several years as a conductor under Kent Nagano, the music director. I did a lot of programs there, including school programs and new music concert readings.

I really only got into teaching and working with young people through a youth orchestra job I ended up with. It was while I was with this youth or-chestra that I discovered that I actually enjoyed working with children and had a knack for it. Various musicians I knew sort of nudged me towards teaching. A woman named Anne Crowden, who started the Crowden School in Berkeley — which is still thriving — hired me to teach theory at her school. The Crowden School is grades four through eight and basi-cally has music as its focus; they have a full academic curriculum, but it is just music for the fi rst two hours of every day, and then the rest of the subjects — which I think is a marvelous way of putting your priorities!

SBO: I agree!

GT: From there I got a call from Ms. Faith France, who at the time was running the Virtuoso Program at San Domenico School, where I now work. This school has been in existence in

San Domenico School at a Glance

Location: 1500 Butterfi eld Road, San Anselmo, Calif.On the Web: www.sandomenico.orgFounded: 1850

Primary School: co-ed, grades pre-K-5, 250 studentsMiddle School: co-ed, grades 6-8, 150 studentsUpper School: all-female, grades 9-12, 160 studentsVirtuoso Program: 24 students from the Upper School

SBO_20 20 3/6/08 10:18:26 AM


one place or another since 1850. It’s a Dominican Catholic school, but this string program that I run now was started in the late ‘70s as a response to what was happening in the public schools. Proposition 13 had just passed and all of a sudden music had become one of those “extra” things which was being trimmed. And, unfortunately, once it was branded an “extra,” even subsequently when funding got better, music is still regarded as an “extra” in many places, and therefore competes in the educational consciousness with sports, clubs, and those sorts of things. Those are the battles we all struggle with today.

So Ms. France came up with the idea that at this small private school she could start a program for string players that basically would have chamber music as its focus — you’d get a few kids and have a string quartet of students who attended the school. What began as one string quartet be-came four string quartets. And soon there were enough people to have a string orchestra. So over the years, it evolved into what it is now, where stu-

dents who enter the program play in a string quartet or a chamber group, and then they all play together in an orchestra.

SBO: How did that momentum build from just one quartet to a full string orchestra?

GT: It started out with four stu-dents, and the idea was to use that ensemble to raise money to provide scholarships for students to come to this private school, which is a pret-ty expensive place to attend. Ms. France started raising money and she found some people around here who thought that what she was doing was great, and they were willing to donate money to see that it continued. Now we do a lot of fundraising to keep this up — we have to raise in excess of $400,000 a year to pay for scholar-ships for students in our program to attend the school. The school, by the way, is pre-K-12 and co-ed through the eighth grade, but girls-only in the high school, and it has day and board-ing students.

SBO: Is that all in one building?

GT: It’s an enclosed campus with basically three schools, a primary, a middle, and a high school, which all have separate buildings on this bucolic woodland setting in Marin County. It’s really a lovely spot.

I work mostly with the students in the high school. Of the 160 students in the high school, 24 of them are in this Virtuoso Music program. They have to audition to be a part of it, as well as apply to the school. Basically, my stu-dents do everything else that the oth-er students do — they do the whole school day — and then after school, they come down and hang out with me. Each student in our music pro-gram is in her own string quartet that meets a couple times a week. The kids get some coaching in that, but they re-hearse on their own. And we have the string orchestra, which rehearses twice a week and has a separate, additional hour for each sectional. On top of that, they all take private lessons and work on their solo repertoire. We also have ensemble performance classes where our students have a lot of opportu-nities to play for each other, and we

“[Playing music] was so fun that I never thought I would be able to do it as a job.”

SBO_21 21 3/6/08 10:18:30 AM


have recitals and concerts all through-out the year. It’s pretty intensive, but they have a lot of fun doing it.

It’s not like an art school high school curriculum where there are several pe-riods a day devoted to a specialty sub-ject. These girls have a full academic day and then they do the music.

SBO: So the music is extracurricular?

GT: Well, we hate that word, be-cause the music is why these kids are here. We compromise by calling it co-curricular, but the students in this pro-gram know that this is the curriculum. It’s like, “Oh, and we also do regular schooling.”

That dread phrase, “extracurricu-lar.” We all struggle with it because that word “extra” makes people think it’s not essential, which is just wrong.

SBO: I’ve spoken with a lot of edu-cators fi ghting that battle, trying to have an ensemble class meet during the school day, and not, say, at seven o’clock at night.

GT: That’s right. All I can say to the people around here who want mu-sic to be extra and optional and ev-erything else is, basically, well, when I was in school, somebody made me play basketball. I would’ve liked to have just taken Basketball Apprecia-tion, where I’d sit and write papers on the evolution of the point guard or something like that, but no, even though it was not my passion, it was just one of those things that society thought I had to do; there was a time when music and art were thought of the same way.

I have the privilege of working with very talented students who are extremely motivated and we are able to do a whole lot, but I could actually succeed with quite a range of students, as long as they were willing to put in the time.

SBO: You mentioned it vaguely earlier, but what exactly is that time com-mitment? What’s your rehearsal schedule?

GT: We have two two-hour rehearsals a week, plus an

hour of sectionals, and we give three major concerts each year. I assign ma-terial for sectionals, on which I quiz and grade the students every week.

There are also a couple hours of chamber music every week, which re-ally informs their orchestra playing. It gets them used to working in a small group and dealing with each other so-cially, as well as musically. We like to think of the chamber music as the core learning aspect of the program because it demonstrates what the young women do on their own, when there’s no coach pres-ent. Maybe, the fi rst violin doesn’t like viola, or they just had an argument, or maybe the other three don’t like how the cello is doing something and they have to fi gure out how to tell her that… there’s a lot of drama around it, but that’s really a skill that kids must learn in any group project. One positive aspect is that it’s not like the group science project where one per-son does all the work and the other members of the group sit around and get equal credit.

SBO: Sure, in a string quartet, everyone’s accountable.

GT: Right, and that model carries through to the spirit of the whole pro-gram, in which everyone has to keep everyone else up; you succeed as a group.

SBO: But at the same time, do you fi nd that the elevated talent level and expectations increase the pressures around maintaining such high standards?

2006-2007 Virtuoso Program Seniors

SBO_22 22 3/6/08 10:18:35 AM


GT: I fi nd that students are acutely aware of what the standards are, and they keep each other on track. They’re high school students, so lots of things are always going on, but when it comes time for a concert, boy, everything gets very serious and everyone is focused. Usually you’ll see students spontane-ously practicing in groups — for ex-ample one person in each section in the orchestra having a little rehearsal to make sure that everyone is together and on the same page — and they do that on their own. Sure, I give them plenty of hoops to jump through to make sure that level of musicianship is maintained — to make sure they’re practicing — but if somebody isn’t do-ing their part, everyone knows it; so when it’s time to play the concert, ev-eryone prepares. The high standards are really the students’ doing; I just have to give them an idea of what’s possible.

So that’s why when students are interested in coming here, we have them visit, come to a concert, and sit

in on a rehearsal to see what it’s like. Because we include this in the appli-cation process, kids tend to come into the program really buying into the idea of how much work is involved, and they want to be part of a high-lev-el ensemble. Not all the girls are the most technically advanced players — I tend to favor students who are keen and who are willing to put in the work and be fl exible, kids who aren’t too rigid — but if a student is slightly behind the others technically, she usually catches up very quickly. It’s telling that each of these young women wants to be in that quartet with the three other people who are a little bit better than she is — which, of course, is mathematically impossible — but that’s the kind of attitude that exists here. They want to be in an en-vironment that is going to raise their own game.

SBO: So how competitive is it, then?

GT: Well, there’s no way that it’s not going to be competitive to some degree, but that’s kind of the nature of orchestral music. We understand that it will be a part of the life. We have auditions often: if you want to play solo with the orchestra, you have to audition; at the beginning of the year there’s a placement audition with ex-

cerpts; and some-times we’ll have those throughout the year.

However, we try to set it up so that the kids aren’t compet-

ing with each other for chairs; I rotate the seating fairly rigorously. The way I see it, most anyone in the orchestra could sit just about anywhere. I don’t rotate completely arbitrarily, but I like to give people the experience of play-ing at different positions in the or-chestra. That said, I do try to reward

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exceptional effort and avoid situations where one student might profi t from someone else’s weakness, so that stu-dents don’t try to sabotage each other. I try to set it up in such a way that the result makes everyone better.

We have blind auditions and I have in other educators and musicians who don’t know the students come in and work with them. It’s kind of nice to not have it all on me.

SBO: Sure, you have to maintain the sense of trust with the stu-dents, but also stay objective to some degree. In 2005, The Virtuo-so Program played at the National Orchestra Festival. How did that come about?

GT: I know there are a lot of pro-grams that perform frequently at fes-tivals and state Music Educators Asso-ciation meetings, but we really don’t

do that. There are lots of performance opportunities we haven’t traditionally taken advantage of.

Because this festival was new and it was nearby — so it was practical to get to — my boss at the time thought, “Why not? Let’s just try it and see how we do.” As it happened, we did really well, and that sort of gave everyone a taste for it. The experience was great for camaraderie and ensemble build-

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ing, so we decided that the next time the NOF came towards the west coast, we would try to do it again.

We tend to focus our efforts on the concerts we prepare here on campus, although every year we do try to engage in at least one off-campus performance. We were on NPR’s “From the Top” a year or two ago. Occasionally we’ll collaborate with artists from San Fran-cisco. A few years ago, we did some-thing with the S.F. Jazz Festival where we were playing behind Charlie Haden and Michael Brecker, which was great. We also did a few shows with guitarist Sharon Isbin a year and a half ago.

When those sorts of opportunities come along, we consider them, but our students are really busy. We’re well aware that we’re already using a lot of their time, so we tend to think care-fully about the outside activities that we pursue.

SBO: You’ve worked with several different types of symphonies rep-resenting different demographics. What are some of the challenges

of working with an all-girl high school orchestra?

GT: Well, it’s a really interesting en-vironment. I know there are a lot of different views about single-sex educa-tion. Of course, here at San Domeni-co, perspectives are skewed because the students have all consciously made the choice to receive this kind of edu-cation.

Most of my students also play in youth orchestras around here, so they’re out there playing in co-ed en-sembles regularly — they’re not exact-ly cloistered here — but I think they’d all agree that there’s a different inter-personal dynamic. It’s basically the standard mantra that people say about single-sex education: it frees people to act and interact in ways that they might feel constrained from doing if there were members of the opposite sex around. The girls themselves are very honest about that.

SBO: What about musically? What’s unique about an all-girl orchestral ensemble?

GT: I don’t know. What does it mean to play like a girl? If you look at the string section of any youth or-chestra, the gender demographic is defi nitely skewing. I can’t imagine in terms of the expressive range and the energy and the passion that they bring to it… I don’t think that having boys around would necessarily increase that range. These girls can play anything I throw at them and with gusto. I can’t really ascribe a gendered quality. They play with passion, and it is a passion for the music.

For “From the Top,” we sent in a tape of us playing a fi nale of this string quartet, a fugue, which is very fast and very energetic. The produc-er’s comment was that these girls were playing as if their very lives de-pended on it. When they get going, that’s the kind of spirit they have. I don’t think that’s particularly attrib-utable to the fact that it’s girls only. If this school were co-ed, we could probably do a program like this and it would probably be successful, but

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as it is now, it’s just that there is something special about it.

I also wouldn’t say that this is nec-essarily a better way; it just so happens that it was at an all-girls school that this program was founded. From a recruiting standpoint, there are a lot of kids out there that I’d love to have join us and who would be interested in joining us, but for the fact that they’re male.

SBO: How does it compare to other orchestras you’ve worked with?

GT: I also conduct the Marin Sympho-ny Youth Orchestra, which is co-ed, and there’s defi nitely a different social as-pect to it, but I wouldn’t say that that shows in the music making experi-

ence, necessarily. Of course, to high school students, any sort of ensemble experience is only partially about the music making. The social component of any group activity is huge for kids this age.

SBO: Sure, as kids learn how to relate to each other and be so-cial. What about for you person-ally? What drives you? What do you fi nd rewarding about your experience working with these kids?

GT: I always like to tell people, and this is a little fl ippant, that I love work-ing with the kids during a performance because it’s usually two uninterrupted hours when nobody can talk back to me! [laughs]

When we’re in that moment, per-forming, and everyone is giving their maximum concentration, we’ve prepared pretty meticulously and there’s a lot of focus. We’ve devel-oped such a close relationship that I can do things in a performance that are flexible and I’m confident that my student-musicians will come with me. I also have the luxury of time here that I don’t have when I work with professionals. Even though the girls’ technical ability is not nearly as advanced as, say, the folks at the Marin Symphony — which I also conduct — we can achieve results that are pretty close thanks to the time we have to work with. In the performance, watching them give their absolute best and then seeing them be proud of it afterwards is re-ally rewarding.

SBO: Hard work pays off.

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You’re one of a kind.You’re one of a kind.

So is the copyrighted music you rely on.

Keep it legal. You want your students to value music. When you observe the copyright law you show them the way. The future of musicis in your hands.

Here’s how to keep it legal: 1. Know what you can do2. Know what you can’t do legally 3. Get permission to use other’s property

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©Keep It Legal.Copyrighted music is a piece of property, and if you want to use it, you must ask the owner for permission.You may or may not receive permission, but when you use someone else’s property, you must have their per-mission. This is true for musical works as much as for anything else you own. The music you use is createdby composers, arrangers and publishers, and, to ensure future music is available, they must be compensatedfor it. The future of music is very much in your hands.

Music Copyright Law Guide*:

What You Can Do:1. You may make emergency photocopies to replace missing

parts for an imminent performance, provided you replace all copieswith purchased music in due course.

2. You may edit or simplify music as long as the fundamental character of the work is not distorted. Note: You may not alter or add lyrics.

3. Teachers may make 1 copy per student of excerpts of musicalworks for academic purposes. Note: The excerpts can not be usedfor performance. The excerpt can not comprise more than 10% ofthe complete work or comprise a performable unit.

4. Teachers may make a single copy of a student performance tobe used for evaluation or rehearsal purposes.

5. Teachers may make a single copy of a recording owned by theinstitution or teacher for creating aural exercises or examinations.Note: This pertains only to the copyright of the music itself and notto any copyright which may exist in the sound recording.

What You Can’t Do:1. Do not copy or download music to avoid purchase.2. Do not keep photocopies in your library. Destroy any

unauthorized photocopies immediately and replace them with legal editions.

3. Do not copy out-of-print works without permission of the publisher. Note: If it is vital you obtain music that is out-of-print,contact the publisher directly. They can confirm if the work is out of print and can sometimes arrange for you to obtain a legal copy.

4. Do not make arrangements of works without permission of thecopyright owner.

5. Do not copy music for use in performance unless you replace itwith a legal edition in due course.

6. Do not copy without including copyright notice.7. Do not copy to create anthologies or compilations.8. Do not reproduce material designed to be consumable,

such as workbooks, standardized tests and answer sheets. 9. You can not use the excuse of not knowing the copyright

owner for not following copyright law. Resources are readily available to help you do so.

Getting Permission:The Music Publishers Association of the United States helps you find in-formation on our website mpa.org so you can obtain permission fromcopyright owners.* 1. If you have a copy of the music, look for the copyright holder or

publisher's name, and use the “Copyright Search” link on mpa.org to access the Music Publisher Directory and index of Publishers’ Imprints to find the publisher’s contact information.

2. If you do not know or can’t locate the publisher of the music, research further by accessing one of the three U.S. performing rightsorganization websites. Links to each are provided on mpa.org in the“Copyright Search” section. • ascap.com/ace ACE is the searchable database of the American

Society of Composers, Authors and Publishers • bmi.com Search by song name to access publisher information

on songs licensed by BMI. Some additional non-BMI publishers willalso be listed.

• sesac.com Access the “repertory” link to search titles for theSESAC. While the organization is called the Society of EuropeanStage Authors & Composers, the organization now spans internationally and in all genres.

3. How to secure permission for sound recordings? If you copy anddistribute recordings of songs which you did not write and are not inthe public domain. • harryfox.com Use the Songfile search and the License Music link to

obtain mechanical and other rights information.4. Permission forms are available on many publishers’ websites or

use the forms provided at mpa.org/copyright_resource_center/forms 5. How do I know if a work is still protected by copyright, or if it is

in the public domain?• Know the law: Works in the U.S. wth a copyright date of 1922

or earlier are in the public domain. Works created after January 1,1978 will be protected for the life of the composer (author) plus 70 years. Copyrights in effect on that date, if renewed, will continue for 75 years from the date copyright was originally secured. Those works in their initial 28-year period of copyright on January 1, 1978 can be renewed for an additional 47 years,while the copyright of works in their renewal term on that datewere automatically extended for an additional 19 years.

• Still not sure? Try the Library of Congress. Visit copyright.gov/records to search for copyrighted works.

[ YOU ARE GRANTED PERMISS ION TO MAKE COP IES OF TH IS PAGE TO SHARE WITH YOUR STAFF. ]

Music Publishers’ Association of the United States 243 5th Avenue, Suite 236, New York, NY 10016 • [email protected] • www.mpa.org

* This guide is based on the U.S. copyright law of 1976. The links to various sites are offered as a search tool. The MPA assumes no liability for any errors or omissions in the information found at these organizations' web sites. For more information, see The United States Copyright Law - A Practical Outline, available online at MENC.org

SBO_29 29 3/6/08 1:02:26 PM

www.mpa.org


When it comes to rehearsal techniques, there are as

many styles as there are teachers. Success in the

band room can be achieved in different ways,

and although there is no clear-cut formula, the

most effective rehearsals at all levels are comprised of three

components: preparation, pacing, and participation. A great

rehearsal is not a stroke of luck; it is the result of the skillful

orchestration of these elements by the director.

SBOCommentary: Rehearsal Strategies

PreparationGreat coaches possess a positive vision for their program, prepare for the

season, then each practice and game; likewise, band directors must do the same. Preparation begins outside of the classroom with goal setting. Goals

for More Productive RehearsalsSimple StrategiesBY BENJAMIN LORENZO

SBO_30 30 3/6/08 10:21:12 AM


should be long- and short-term, broad and specifi c. It is imperative to have an idea of what is to be accomplished over a year, from concert to concert, or even on a weekly and daily basis. Through this, one can ensure there is direction in the program and in daily teaching.

Once goals have been established, proceed to examining the physical con-dition of the band room. This is some-thing that may easily be overlooked, but can greatly impact the quality of rehearsals. Not only does it affect the students’ psyche, but also valuable time can be saved if the room is properly organized. Make sure there is a clear path from the doors to the instrument lockers or cubbies to avoid congestion. Check that all stands, chairs, and fold-ers are in place, and instruct students to leave cases outside of the ensemble set up. Give all percussionists desig-nated places to store instruments to avoid clutter in their section, which is often the messiest area in the band room. At the end of rehearsal, give your students a friendly reminder to leave the room in the same condition it was when they arrived, then dismiss them. A neat and structured room sends the message that the band hall is a place of business.

Another important step to follow in the preparatory process is writing the announcements, rehearsal sequence, and even short goals on the board. Instruct the students that it is their responsibility to have the appropriate music and materials in order. This is of special importance for percussion-ists, with all the shifting and changing of equipment required on their part. If playing a new piece of music, pass it out beforehand so it sits on their mu-sic stand as they arrive. Handing out music during class can easily derail the momentum of any rehearsal. Finally, leave a minute or two at the end to answer questions and briefl y cover the announcements posted.

Perhaps the most important piece in the process is that of score study. Have a working knowledge of the overall form, harmonic and phrase structure,

and even pitfalls for each instrument or the ensemble. Have an idea of what is to be accomplished in terms of musi-cal decisions before the rehearsal be-gins. We constantly tell our students that rehearsal is not for learning parts,

so why should the conductor be the exception? It is imperative to devote quality time to studying scores, no matter the diffi culty level.

PacingThe goal should be to make music

as soon a possible, for as long as pos-sible. Keep the rehearsals moving fast

“A great rehearsal is not a stroke of luck.”

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enough to attain optimal results in the time available, without overwhelming the students. Give them suffi cient time to apply the corrections, but do not err on the side of giving them too much. Also, be concise with your comments and do not keep them waiting for long periods of time. Keep them playing! Idle time can easily lead a student’s concentration astray. Put yourself in their place and remember how it felt to be in rehearsals under directors who talked too much.

Administrative duties of the class-room such as attendance can sometimes be a burden and disrupt the fl ow of rehearsal. In order to accomplish this without squandering valuable rehearsal time construct a seating chart for the ensemble. Scan the room as they are as-sembling their instruments and the pro-cess can usually be completed in no time at all. Photocopy the chart and reuse it.

A great way to transition from at-tendance to the warm-up is with a

simple breathing exercise. Rather than signaling frantically for their attention, simply give them a visual cue. Extend your arms as if you were conducting the ensemble and instruct the students that when you do this they are to be-

gin a steady sizzle sound. A wave of hissing will envelop the room as the students notice the cue, and once ev-eryone has joined, you can proceed. This also serves as a valuable tool in sensitizing the ensemble to non-verbal communication.

When class time is of the essence, focusing on one specifi c fundamental playing skill in addition to the warm-up each day can be very effective. For

example, one needs to cover scales, interval training, chorales, etudes, and sight-reading with the ensemble, but not all in one setting. Making each one the focus for the rehearsal allows that concept to be covered in depth and does not overload the students. A fun-damental calendar or schedule of sorts can help ensure that suffi cient time is allotted to each skill. A sample weekly schedule can cover interval training on Monday, chorales on Tuesday, scales on Wednesday, etudes on Thursday, and sight-reading on Friday.

Something that can help expedite the sight-reading process is creating specifi c music folders for that purpose. Select a handful of pieces that are of merit for sight-reading from your mu-sic library and make folders for all the parts in the ensemble. Set them on the stands and, when the time comes, an-nounce the piece and have the students retrieve it from the folder. This saves valuable time, and the folders can be

“We need our students to be active rather than passive participants in the rehearsal process.”

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used for weeks or even over entire grading periods. By making this task less time consuming, it becomes easier to incorporate into rehearsals.

ParticipationThe often-overlooked element of

a good rehearsal is student participa-tion. Band directors love to talk and sometimes forget to ask themselves one important question: Are the stu-dents paying attention? Silence is of-ten treated as comprehension, when in fact it is not. It is imperative that some form of feedback is constantly request-ed throughout the rehearsal.

One way in which this can be nur-tured is to keep the players involved in the musical aspect of the rehearsal. Ask them probing questions regard-ing their intonation, balance, rhyth-mic accuracy, and other musical com-ponents. Find ways in which they can apply their knowledge to help oth-ers. Often times, the same message may have more of an impact coming from one of their peers than from the teacher.

Furthermore, do not be afraid to be creative and break out of the norm. Keeping a certain element of spontaneity and excitement in the class will increase student participation. Students have a natural sense of curiosity and excitement towards the unknown. Unfortunately, too much routine and mind-numbing drill-ing can squash this. Once they become bored they will be “out to lunch,” and it will be an uphill battle from then on.

We need our students to be active rather than passive participants in the re-hearsal process. Once they gain a sense of purpose and ownership, the whole environment of the class will be altered in a positive way and music will begin to take shape. Make rehearsals an enjoyable experience for the students, and in turn, they will do the same.

Benjamin Lorenzo received his Bachelor’s of Music degree in Trom-bone Performance from Florida Inter-national University in Miami, Florida.

Currently, he serves as the Associ-ate Director of Bands at Desoto High School in Desoto, Texas. His responsi-bilities include directing the Symphon-ic Band, Concert Band, Jazz Band,

and assisting with the Eagle Marching Band. Ensembles under Mr. Lorenzo’s direction have consistently earned superior and sweepstakes ratings at district and state level contests, and have performed in festivals throughout the southeast.

ReferencesRush, Scott. Habits of a Successful Band Director: Pitfalls and Solutions.

Chicago: GIA Publications, 2006.

Garner, Gary. “The Rehearsal.” The Band Director’s Companion. San An-tonio: Southern Music Company, 1998. 105-141.

The collaborative ideas of the Desoto Independent School District Music Faculty, Desoto, TX.

©2008 Latin Percussion,A Division of KMC, Garfield, NJ

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SBORoundtable: Summer Music Camps

Summer Camp 101101A

s the days get longer and the mercury gradually climbs, thoughts of

summer and the opportunities time outside of the classroom affords

seep into the minds of teachers and students alike. The summer sea-

son presents many unique educational offerings for music students,

particularly in the forms of camps, clinics, and workshops. While these pro-

grams are nearly infi nite in their variety, many offer extraordinary musical

returns for the time and money spent.

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In order to provide a better idea of what to look for in a summer camp or workshop, what to be wary of, and a few of the major selling points, SBO turned to a few of these programs’ directors and administrators, who gra-ciously offered their thoughts on sum-mer camp fundamentals.

What basic elements should prospective attendees and their parents look for when selecting a summer music program?

Keisuke Hoashi: Students and parents should ask what would be right for the student. For example, does the student want a place to practice undisturbed for six hours a day, or do they want to perform in six different ensembles, playing six different types of music? Do they want an intensive conservatory-like atmosphere, or a casual tradi-tional summer camp environment? Prospective attendees and parents should look for a summer program that accurately refl ects the student’s capabilities and interests.

Jamey Aebersold: Attendees should look for good faculty and strong teaching in all classes and activities. Ability level instruction in the various classes: aim the musical information at the level of the attendees whether it be in combos, theory classes, or master classes. Musicians who can teach and play have a more realistic view of what it takes to learn to improvise. To hear words from a teacher and then actu-ally hear them play and demonstrate ideas is the best way to get informa-tion across.

Mark Walker: Parents and stu-dents should look for a camp that not only meets their needs, but is also a good “fi t.” Some students thrive in a large setting and some in smaller set-tings. They should look for a range of educational activities as well as leisure activities that are whole-some and well supervised. Finally, they should determine if the camp has some kind of fi nal performance or concert, what it is, and when it takes place. Some camps have this fi nal performance and some do not, depending on the camp’s focus.

Neely Vasher: Summer music programs should provide a variety of elements to the students that attend — students should have the opportu-nity to learn and grow as well as play and have fun.

Tami Drury-Smith: Attendees should consider the venue’s resources, access to professional musicians, and fun when choosing an educational workshop. Parents should consider the level of expertise of the clinicians and how students will benefi t from the teacher’s background.

Gary Smith: Security — this in-cludes the processes for handling emergencies, medical issues, 24-hour supervision of students, and security in the dorms and classes.

Quality of instruction — how quali-fi ed and reputable are the instructors? What is the student-teacher ratio? Have the instructors been trained to follow specifi ed goals and teach with a positive approach? Is there extra help for students who might be struggling? Are the instruc-tors approachable and helpful? Do they communicate effectively with the stu-dents and offer them encouragement?

Reputation of the company — how long have they been in business? Do they have positive endorsements from previous participants? Are the admin-istrators reliable and known for their integrity? Do they have experience in music and education?

Price — is the price appropriate to the quality of the instruction, board and room and length of time?

Facilities — are the living quarters clean and secure? Is the food nutritious and plentiful? Are the class facilities appropriate for the activities? Is there a rain backup for outside classes?

Recreation — is there adequate free time with organized and supervised activities? Are there opportunities for the students to have some fun and so-cialize with each other?

Repeat business — top quality mu-sic camps usually have lot of return-ing students. Schools tend to support camps that turn out a good product which, in turn, benefi ts their schools.

Transportation — are there practi-cal methods of transportation to the

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camps? If students will travel great distances, is the camp spe-cial and worthy of the time and additional costs to get to? The camp organization needs to have a method to assist those students trans-port from airports, train and bus sta-tions, et cetera to the campgrounds.

What are some common pitfalls to avoid?

MW: We see a few students every year that have a diffi cult time at camp because they either had an incorrect conception of what the camp was about, or their expectations did not match what the camp provides. In that light, I would say that parents and stu-dents should do what they can to check out the program in advance in order to calibrate their expectations with the reality of what is being offered. In other words, the camper and par-ents should tailor their expectations to the camp. Also, don’t bring too much “stuff.” Each year, I see people bring televisions, refrigerators, video games,

groceries, et cetera. The campers are so busy with daytime and evening ac-tivities that they cannot use the items they brought, and it creates a problem with checking in and out.

GS: Watch out for camps that do not advertise all costs involved — the advertised price may not include some required additional expenses. Also, make sure the refund policy is fair. Avoid camps that will not refund de-posits, or even in some cases, the full fee. There is no need for this type of policy. Most cancellations are for very important reasons and prospective at-tendees should not be penalized.

KH: Avoid basing a decision on non-musical considerations alone. These in-clude price, location, facilities, and so on. Also, be careful not to allow “names”

or “prestige” or “glitz” to po-tentially blind you to what is actually being offered by any particular summer program, versus considering whether

that program actually contains what would be best for the student. Visit the program’s Web site, e-mail the directors, ask questions, and see what kind of re-sponse you get. Do you like what you hear? Do you like the tone of the person emailing or speaking to you?

NV: I am not sure I would consider them “pitfalls,” but there are summer music programs that have different variables to consider. Parents and stu-dents should be familiar with as many options as possible and consider cost, required skill level, and the general camp environment. Summer camps can be very costly, but there are camps available that offer scholarships for students. Camps that require travel or playing an instrument or ones that have a very disciplined focus may re-quire special consideration.

“Summer music camps give young musi-cians a place to completely call their own.”

– Keisuke Hoashi

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www.sonarewinds.com


Jamey Aebersold, in addition to being a prolifi c performer, educator, and author of the Play-A-Long series, is the founder and director of Jamey Aebersold’s Summer Jazz Workshops. These acclaimed weeklong programs are fi lled with classes, rehearsals, seminars, and concerts. Participants get master classes on their instruments, ear-training sessions, free concerts by the all-star faculty each night, jazz theory classes and more.

Tami Drury-Smith is manager of operations for Disney Performing Arts & Education Programs and over-sees the operation of Disney Magic Music Days, Disney Performing Arts Workshops, and the Disney Youth Education Series (YES) programs. Disney offers year-round music clinics through the Disney Performing Arts Workshops. These include Disney Featured Performer, Disney’s Performance Fundamentals, Jazz It Up!, and You’re Instrumental!

Keisuke Hoashi is New York Summer Music Festival’s co-founder and director of communications. Mr. Hoashi attended the Crane School of Music as a trumpeter and went on to earn an MS in Technical Communications from Rensselaer Polytechnic Institute before becoming a professional actor in Los Angeles, Calif. He currently has more than 60 TV commercials and over 100 more stage, screen, and TV credits on his resume. The NYSMF is a six-week summer music fes-tival that provides a uniquely challenging, supportive,

and fun environment for young musicians from ages 10 through 25.

Gary Smith is emeritus associate director of Bands and Marching Band director at the University of Illinois, Urbana-Champaign. He is also the president of the Smith Walbridge Camps, Inc., which offers summer camps/clin-ics and workshops for drum majors, marching band students, band directors, colorguard (fl ag and rifl e), winter guard, mace/signal baton, marching band student leadership, sponsors and marching percussion.

Dr. Mark Walker is associate director of bands and coordinator of Graduate Music Education at Troy University in Troy, Alabama. Ad-ditionally, he is the executive director of the “Sound of the South” Summer Music/Leadership Camp — a program designed to give students who are in grades 8-12 the opportunity to develop and hone skills in a variety of areas of importance to band programs, as well as to develop leadership qualities so essential to the effective band program — Directors’ Clinic, and the Southeastern United States Middle School Clinic and Honor Bands.

Neely Vasher is the Muzak Heart & Soul Foundation business manager. She received her masters in Education from Louisiana State University. The Muzak Heart & Soul Foundation is dedicated to supporting and redefi ning music education. They have several programs designed to empower students through music, one of which is Noise!, a two-week music business camp for teens interested in joining of the music industry.

Summer Camp Roundtable ParticipantsSummer Camp Roundtable Participants

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Does your organization group stu-dents by age or ability, and why?

GS: Our program offers four lev-els for all instruction. If you put stu-dents in a class where they are not challenged, they become bored, lose motivation, and develop a negative attitude. If you place them in a class where the material is too diffi cult, they become frustrated and discouraged. If

they are placed in the proper class level they will want to come back the next year for more advanced training.

KH: Every student at NYSMF does

a placement audition when they arrive, which determines which ensembles they will perform with and in what seating. However, we don’t split them like “Top eight trumpeters go into

‘Philharmonic Symphonic Sinfonia Wind Ensemble’ and bottom eight go into ‘Kindergarten Band.’” Depending on what our faculty members see in a student, an intermediate player may fi nd themselves sitting on the same stand as the top student performer, or playing alongside a professional-level faculty member.

NYSMF students are roughly grouped by ability. The top players, however, can easily be the youngest kids there. We had a 13-year-old fe-male trumpeter who holds her own with our best faculty players, and a 14-year-old violinist who seriously challenges the concert master to stay on his toes. So we never let a student’s age alone determine their seating.

MW: We do not group our students by age or ability, with the exception of the music theory courses. The in-structors are chosen with the expecta-tion that they can effectively teach to a wide variety of ages and abilities at once.

NV: The Muzak Heart & Soul Foundation Noise! camp is grouped by age. We focus on high school age students because so many existing mu-sic education programs reach elemen-tary and middle schools. At the high school level, performance studies like orchestra, band, and choral groups are the focus in most schools. We en-hance these efforts by emphasizing the importance of the transition into the working world — by immersing teens into the music business.

Where do you draw the line balanc-ing “fun” and “learning” for attend-ees?

GS: At Smith Walbridge, we train our instructors to make hard work lots of fun. It is unbelievable how hard stu-dents will work when they are having fun and learning. The result is a camp bonding experience that perpetuates an incredible work ethic. The evenings in-clude free time for the students to swim, play tennis or basketball, participate in a skit / talent night, attend an optional mixer with a D.J. or travel to a recre-ational park. All of this is supervised. The work time per day is about 8 hours and the play time is about 3 hours.

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MW: We try to intertwine “fun” and “learning” into all the activities avail-able for the students. At our camp, a student signs up for a specifi c class, say Colorguard, or Concert Band/Music Theory, and they stay with that group during the entire camp. The whole day and early evening is taken up by the courses. Each section is divided into fundamentals, group work, individual work, and rehearsal for the perfor-mance. Our instructors are good at making the “learning” fun for the stu-dents. The extra-curricular activities are offered in the evening after the last class session of the day, and all camp-ers take part in the activity.

JA: We don’t draw a line. Every-thing we offer is educational and fun, though we don’t have outside activi-ties like swimming, et cetera. With so much to learn and only so many hours in the week, we decided long ago to keep the emphasis on learning to play music for the entire week the students are with us. They can do other ac-tivities during the 51 weeks left in the

year. We feel our workshops are special and we like to keep the fl ame burning high from the fi rst day to the fi nal stu-dent concert at the end of the week. This seems to work as we get many returning stu-dents each year.

Does your camp have direct affi liations with local schools? Do you recruit local music teachers? How do you select staff?

GS: We run many differ-ent clinics. Each one has a dif-ferent set of instructors who specialize and have a national reputation in one area. Many of them come from drum corps, college programs, high school programs, or dance schools. We look for clinicians who have not only achieved success in the area in which we want for instruction, but love working with young people in a positive way. Our administrators evaluate the instructors during the clinics. In addition we do follow up

surveys with the students and directors to help us decide which instructors will stay on for future clinics. There is not a lot of turnover in our staff since they have been carefully selected and tend to have longevity in their loyalty to our clinics.

KH: NYSMF does not have any

formal affi liation with any school. However, our faculty, staff, and stu-dents include many top arts and mu-sic schools, including the Manhattan School of Music and LaGuardia, and they of course provide a wonderful connection to these schools.

Because NYSMF is a worldwide summer program, we search all around the planet for our staff. Many of our counseling staff comes from our past student body — campers who apply for positions as they qualify in age and ex-perience. Our administration reviews each candidate’s qualifi cations carefully, including listening to their audition CD and requiring several short personal es-says, before deciding on which to invite to join us. Other sources of staff include

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faculty recommendations and out-of-the-blue applications from interested young college musicians.

MW: We do not have direct affi lia-tion with local secondary schools. We select staff who we are personally fa-miliar with, usually Troy University alumni (but not always) and ask them directly. We have no application pro-cess for staff.

NV: The Muzak Heart & Soul Foundation and Noise! are not di-rectly affi liated with any local schools, however, we engage band and choir directors and music teachers from all over the country when promoting our camp to students.

In addition, we recruit qualifi ed staff to help with the camp, includ-ing teachers. At Noise! we like to have counselors that are experienced in the music industry and/or music educa-tion. Local music teachers are perfect candidates for Noise! counselors.

JA: We don’t have direct affi liations with any school. Many of our nearly 70 teachers have been with us for 10 to 30 years. We select staff by their teaching and playing credentials.

What part does exposure to pro-fessional musicians play in your summer curriculum?

GS: Since our clinics are mostly orientated to marching band-related activities, our instructors our usually free lancers, drum corps participants, high school or college band directors, college band drum majors or music majors, or specialized clinicians. Our head clinicians tend to be nationally recognized.

KH: Exposure to professionals is an

essential part of NYSMF’s program. We have at least a dozen professional

visiting artists every summer, all of whom are successful pro musicians performing in major orchestras, as top sidemen, or running their own festivals.

They give free master classes and ex-clusive recitals for our students, show-ing them just how good a musician can be, and hopefully inspire our young charges to even greater efforts and achievements.

Every single member of our faculty is as qualifi ed as our visiting artists. Many are real live examples of former music campers that have “made it,” and we make sure our students understand that every one of NYSMF’s faculty could be off somewhere making tons of money during the summer, but instead they have made the conscious decision to come to NYSMF and work with these kids. The chance to see such masters every day is genuinely helpful to young players.

MW: Students have the opportu-nity for limited one-on-one and group study with professional performing

“The camper and parents should tailor their expectations to the camp.”

– Mark Walker

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musicians and University faculty dur-ing the camp. However, it’s not a ma-jor focus for most of the campers with the exception of those enrolled in the Concert Band/Music Theory classes.

NV: At Noise!, students are exposed a wide variety of professionals. We bring in music industry professionals such as record label executives, record-ing studio producers, entertainment lawyers, radio station DJs and more. The students also hear from business professionals about the importance of networking, how to put together a resume, key skills to a great inter-view and diversity within the business world. The students aren’t necessarily exposed to professional musicians, but they are given the knowledge and skills to become professionals themselves.

TDS: Each of the workshops at Dis-ney helps students learn about careers in music from a professional musician, and this interaction is the foundation of the workshop experience. Music direc-tors have told us they love the interac-tion with a professional musician in the workshops. By learning the professional mindset and priorities of a working mu-sician, students can take a new approach to their daily rehearsals. It also provides fi rst hand insight of the demands of pur-suing a career in performing.

What aspect of summer music programs do you fi nd to be most benefi cial to students? Why?

GS: In all of our programs, the fo-cus is to develop skills and knowledge related to the particular clinic the stu-dents are attending. We do not profess any philosophies or push any one style of performance because we want the students to be able to go back to their band programs and assist their direc-tors effectively without any confl icts of style or approach. We heavily stress fundamentals at all levels and teach them in a manner so the students can take what they learn and adapt it to the various styles they use back home.

KH: What we fi nd most benefi cial to our students is the environment we create here; it’s a chance to be among so many other people who truly un-derstand them, student peers and fac-

ulty coaches alike. High school musi-cians are sometimes derided by their peers as “band geeks,” “orch dorks,” et cetera. At a summer music program like NYSMF, everyone is a band geek, so they are free to be simply talented young musicians and to throw them-selves completely into the music. Plus, our attendees are in an environment where their skills are recognized, ap-preciated, and even rewarded.

Summer music camps give young musicians a place to completely call their own. To a teenager, that’s a uniquely wonderful thing to share.

MW: We give the students a chance to continue to work on and improve whatever their major focus happens to be, whether it is colorguard, drum major, concert band, or any of sev-eral other subjects. Also, the students have an opportunity to get away from home for a week, interact with other students from around the region, and develop skills that they will take back to their home band programs.

NV: The most benefi cial aspect of sum-mer music programs is the real-world ap-plications the students gain from spend-ing time with experienced professionals and from being completely surrounded by peers who share their passion.

TDS: For students who plan on a ca-reer in music, our workshops provide the foundation for the skills they will need to be successful in the industry. For all students, the workshops pro-vide skills to improve how they work together as a performing ensemble. All groups leave the workshops with a new respect for rehearsing, building their skills, and listening to each other to create a memorable performance.

Any workshop that offers experi-ential learning to engage the student’s participation is always more successful than one directional instruction.

JA: Our camp providse opportu-nities to play jazz and be coached in combos, theory, and master classes. Our evening faculty concerts alone are worth the price of admission. Plus there is a student concert at the end of each weeklong session.

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SBOTechnology: Power-User Applications

Power-user software applications are designed to

create music projects that are too complex for any

single application. The secret to the power-user

concept is fi le conversions that can be used to trans-

fer data across different software. For the past 20 years,

Standard MIDI fi le format was the primary tool to exchange

data from one music software application to another, much

like saving word processing documents in RTF fi le format

for use in other proprietary applications. Standard MIDI

fi les can be freely interchanged with all power-user software

applications, such as notation, sequencing, and automatic

accompaniment generating programs. These powerful pro-

grams can convert PDF musical score fi les into musical data

or audio fi les and hand-written manuscript to a music data

or audio fi le, create rhythm section parts in an automatic

generating application, and import into a sequencer and/or

notation application.

BY JOHN KUZMICH, JR.

Dr. Kuzmich is a nationally-known music educator with more than 30 years of teaching experience. He has certifi cation from TI:ME (Technology Institute for Music Educators) to serve as a training instructor throughout the country. His academic background also includes a Ph.D. in comprehen-sive musicianship.

As a freelance author, he has more than 250 articles and fi ve textbooks published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S. and several for-eign countries. For more information, visit his Web site: www.kuzmich.com.

MIDI fi les don’t retain all of the fi le parameter properties of the original document. For example, Standard MIDI fi les will not retain text, articula-tions, dynamics, title, or phrasing marks; they’ll only retain notes, rhythms, ties, key signatures, and time signatures. In order to compensate for the diminished data, users have to take the time and energy to reenter all the

Music Tech Integration with Power-User ApplicationsPart 1 of 2

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missing information in the new fi le for-mat.

Fortunately, there is a new fi le for-mat for PC called MusicXML by Re-cordare Music [www.recordare.com/xml.html] that allows users to retain just about all of the original fi le pa-rameters. The MusicXML format was originally designed as an interchange format between different music nota-tion applications running on Windows, Macintosh, and Linux systems. It is a utility program that can be used to open data fi les in different software applications even if the original data fi le is in a proprietary fi le format. This means data fi les can be moved between notation, sequencing, and scanning programs without losing the data that would normally disappear a Standard MIDI fi le format. Presently, there are over 85 applications supported by the MusicXML format, including: notation programs such as Finale, Sibelius, and Capella; scanning programs such as four of the SmartScore scanning applications, PhotoScore Ultimate 5, SharpEye Music Reader and Capella-Scan; PDF and MIDI music acquisition programs such as PDF-

toMusic Pro and Notation Composer; and electronic mu-sic stands for organ and piano such as OrganMuse and MuseBook Score. This combined support makes Mu-sicXML far and away the most widely adopted music no-tation format since MIDI.

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One downside of MusicXML fi les is that they have historically been very large. However, version 2.0 adds a compressed format that reduces their fi le size by about 20 times, making them similar in size to corresponding MIDI fi les. The compressed format also allows multimedia content to be distributed with digital sheet music. There are 95 new features in version 2.0 including enhancements to capture the full appearance of a musical score. For example, both Recordare’s Dolet

version 4 plug-in for Finale and Sibel-ius’ newly released version 5.1 support the new MusicXML 2.0 format.

To better understand the power and convenience of MusicXML, there is an online video that shows how to use Dolet 3 for Sibelius to transfer fi les from Sibelius to Finale, and contrasts this new fi le format with MIDI. The high-resolution tutorial can be found at: www.recordare.com/sibelius/video/dolet3sib.html.

Music Suite SuperiorityAnother avenue to explore with

power-user fi le interchanging is the music suite concept pioneered by Aus-tralian company Datasonics [www.da-tasonics.com.au] for the past 15 years. Their applications are now exclusively distributed in the USA, Canada, and Mexico by Alfred Publishing, and they also come with North American technical support. Datasonics’ Master-ing Music is the most comprehensive integrated single product notation/se-quencer application on the market, with six different sequencing editors to fi ne tune a notation composition, more than 400 lessons mapped to all aspects of the music curriculum, and 75 how-to video tutorials. What makes these lessons and tutorials so powerful is that they are all built inside one ap-plication. Users work on a composi-tion seamlessly between notation and sequencing scores while implementing

“This combined support makes MusicXML far and away the most widely adopted music notation format since MIDI.”

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the tutorial instead of just passively observing the techniques.

Consider the following advantages of a Mastering Music score over a tra-ditional MIDI/digital audio sequencer or notation application. It allows users to edit a notation fi le in detail with six different sequencing editors including global, drum, keyboard, mix-down, tempo, and event editors. It is also pos-sible with these six editors to enhance a standard MIDI fi le with far more performance parameters. The notation is automatically displayed, in addition to automated vertical placement of tracks in a conductor score. Unlimited audio tracks can be recorded in total synchronization with the unlimited MIDI tracks. MIDI tracks can be con-verted into audio tracks then exported as a stereo audio wave fi le, which can then be burned to a CD. Film clips can be synced to music and edited in both real and step time.

In addition, Mastering Music opens up Standard MIDI fi les with more clarity and parameters than most nota-tion software applications, so the fi les won’t require as much editing. It can also open Band-In-A-Box fi les with good rhythm section parts and the drums parts displayed in either con-cert pitch (for editing) or in standard percussion notation with the correct notes and head types for percussionists and drummers. Perhaps the best part for music educators is that Mastering Music has only one interface to har-ness the power of both notation and sequencing applications. Plus, Master-ing Music has the capability to create original lessons because it is really six applications in one: notation, MIDI sequencing, digital audio sequencing, fi lm scoring, music theory, and ear training. Mastering Music is a true power-user application.

Another Standard MIDI File Alternative

Looking for another Standard MIDI fi le alternative? Consider Notation Composer by Notation Software, Inc. (www.notation.com), which has excel-lent MIDI-to-notation capabilities. It imports MIDI fi les in both format 0 and 1 equally well, and has very good

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interpretation of the MIDI events into notation, especially in terms of note lengths and positions, and the split point for keyboards. It also has very good interpretation of real-time per-formance, which minimizes post-edit-ing for printing. Notation Composer’s editing tools fall into two categories — notation editing and MIDI editing — and the tools overlap. This over-

lapping of notation editing and MIDI editing is central to Notation Compos-er’s overall strength.

On the notation side, the notation editing tools are uniformly presented in the user interface. Most are also accessible via palette buttons, menus, and keyboard shortcuts. It’s relative-ly easy to navigate through a visual, three-level hierarchy of tabs and pal-ettes to fi nd the type of object to add. Then users can just point and click in Add Mode.

On the MIDI side, Notation Com-poser highly integrates MIDI with notation by graphically displaying the MIDI data on top of the notation. The best example is with piano rolls. Three years ago, Notation Composer was the fi rst program to display pia-no notation on top of notes, and is still one of few programs that does

this. It’s visually delightful to see and quite informative. When you hear some extra swing added to notes, you can clearly see it in the piano roll rectangles. Notation Composer displays individual note velocity vec-tors drawn out of each note head. If the melody is in the top notes of the right-hand piano staff, longer veloc-ity vectors are drawn for those notes.

Notation Composer also overlays MIDI graphs for track volume level, tempo, pitch bend, and controls. MIDI graphs can easily be

edited with line drawing tools or key-board shortcuts. Notation Composer also exports Music XML, making it compatible with well-known notation programs, and comes with a 635-page manual for whose who want to learn every last nuance of the program.

More Power-User Appli-cation Options

Band-In-A-Box [www.pgmusic.com] is an automatic accompaniment genera-tor for PC and Mac. It is an excellent bridge between notation and se-quencer applications capable of pro-ducing authentic sounding rhythm section parts. And it’s perhaps the most fun, intuitive, creative software you will ever use. Band -In-A-Box’s strongest power-user feature is that it can create authentic rhythm sec-

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tion parts for both notation and sequencing software applications so you don’t have to be a rhythm section specialist to add professional rhythm section parts to your music scores. In addition, data can be exported via Standard MIDI files into notation or sequencing applica-tions. Band-In-A-Box offers a smooth transition to Web pages with audio and/or MIDI file playback and practice accompaniments. It burns copyright-free CDs, creates improvised solos, harmonized melodies and automatic rhythm section accompaniments for compositions.

S m a r t -Music is an interact ive, i n t e l l i g e n t accompani-ment and performance a s s e s s m e n t system by MakeMusic, the creators of Finale. Converting Finale no-tation fi les to SmartMusic practice accompaniments is a great example of using two or more applications to pro-duce a superior product customized for a specifi c need. Inputting the score into Finale has never been easier now that music scanning has matured to a level of extreme ac-curacy and convenience.

For those not yet into scanning, MakeMusic provides over 1,000 large ensemble charts to assist teaching, practic-ing, assessing, and recording individual parts at any tempo and key. Finale and SmartMusic are powerful power-user applications that can be used to provide enticing exercises for creative, structured practice with looping, recording and assessment.

Have you heard the story of the band director in Kentucky who used SmartMusic accompaniments? He entered his marching band charts into Finale and saved them as SmartMusic accompaniments, and then opened them in SmartMusic. Because every student in his band had a SmartMusic subscription, they could all practice at home with the full marching band. This process helped boost them to the state marching championship. Smart-Music was the only addition to their curriculum, and there were no other changes from the previous year’s state contest. An interesting side note is that this band out-performed the incumbent band that had won the Kentucky State Marching Band Championship for 13 consecutive years.

Closing CommentsMusic technology will never be the same with the arrival

of power-user applications. More outstanding power-user applications will be covered in part 2.

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NewProductsInstrument & Vocal Recording

With this second book in Hal Leonard’s Recording Method series, author Bill Gibson shifts his focus to recording vocals and in-struments for audio productions. Including detailed illustrations, photographs, and doz-ens of video and audio examples, Instrument & Vocal Recording is a comprehensive vol-ume including everything needed to know about capturing the best vocal and instru-ment tracks possible, no matter what kind of studio or equipment is being used.www.halleonard.com

NS Design CR4 Bass Cello

Joining the NS Design family of bass instruments and launched at Winter NAMM, the four-string CR4 Bass Cello offers authentic upright bass tone with a 34-inch bass guitar scale and standard bass tuning.

The NS Bass Cello is supplied with a deluxe padded gig bag and the patented Boomerang Strap System. Interchangeable tripod and endpin stand options are also available.www.nedsteinberger.com

Canadian Band MusicCanadian Band Music: a Qualitative Guide

to Canadian Composers and Their Works for Band, by Michael Burch-Pesses is a one-of-a-kind volume for those who have never pro-grammed a Canadian band piece or simply want to expand their knowledge of Canada’s many offerings for wind band. With up-to-date biographies of 63 Canadian composers and more than 200 of their works in grades 1 through 6, this book’s listing of each work includes program notes, description of the piece, grade level, duration and publisher. Also included are four-year performance se-quences for each grade level.www.meredithmusic.com

RS Berkeley Regina Carter ViolinsRS Berkeley has announced the ad-

dition of the Regina Carter Violin Col-lection, which will be premiering soon. In December 2001, MacArther Fellow Regina Carter became the fi rst jazz mu-sician to play on the legendary Joseph Guarnari Del Gesu violin owned by classical violinist Nicolo Paganini. The collection will include violins modeled after the famous maker Guarneri, along with models of Antonio Stradivari.

Regina Carter will be working close-ly with luthier AJ Pantalone to ensure the highest quality in both workman-ship and sound production. Only the fi nest woods and materials will be uti-lized during the construction and setup of these instruments. Each model will be personally inspected by Regina Cart-er herself.www.rsberkeley.com

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NewProducts

Leblanc Cadenza, Avanti FlutesThe Cadenza Bb clarinet (LB130) shares similar acoustical de-

signs with the more advanced Legacy and Symphonie models, offering incredible value and performance. This grenadilla instru-ment features two Backun Ringless barrels in cocobolo and grena-dilla. The balanced key work offers fewer adjustment points, while the custom tapered pivot screws provide excellent stability to the mechanism. The outfi t includes a compact backpack case and a Leblanc Cadenza hard rubber mouthpiece with a Bonade inverted silver ligature and cap.

Conn-Selmer, Inc. has also introduced a new line of Avanti step-up fl utes, designed by Bickford Brannen, founder of the Brannen Bros. Flutemakers.

Two models of Avanti fl utes are available, each with a number of options. Both models feature a Sterling silver Avanti-Brannen headjoint. Designed by Bickford Brannen, the Avanti-Brannen headjoint makes the characteristic Brannen sound more accessible to the developing fl utist. Hand-cut by highly skilled craftsmen, each headjoint is crafted in a “sound-driven” process and is approved by Mr. Brannen.

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Guitar Player Repair GuideDan Erlwine and Backbeat books

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MSC Releases The Dynamic Marching BandMarching Show Con-

cepts has announced the release of The Dy-namic Marching Band by Wayne Markworth, published by Accent Publications, Inc. This book is designed to provide information, stimulate thought, and promote further study on the exciting world of the contemporary high school marching band. The text includes down-loadable supplementary

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NewProductseMedia’s Guitar Method 4.0

eMedia has released version 4.0 of their Guitar Method learning software, which includes over 160 comprehen-sive lessons covering everything from the basics through chord strumming, rock styles, playing melodies, and fi nger-picking. This version includes over 70 songs, among them hits from artists such as Bob Dylan and Steve

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MCT-8L Clip-On Tuner from MeiselCompact and convenient, the MCT-

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Double Shelf KB95E Encore Music Stand Utilizing the same double shelf desk as

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SERVICES

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AprilPassoverApril 20

Massachusetts:Retail Print Music Dealers Associa-tion (RPMDA) Convention, BostonApril 23 – 26

New Hampshire:New Hampshire Music Educators Association All-State FestivalApril 3 – 5

New York:30th Annual Association of Concert Bands ConventionApril 2 – 6

Pennsylvania:Pennsylvania Music Educators As-sociation ConferenceApril 16 – 19

Tennessee:Tennessee Music Educators Asso-ciation ConferenceApril 16 – 19

Every attempt has been made to provide accurate data, though readers should note that all event dates and in-formation listed are subject to change.

If you have information on any relevant future events that you’d like to see included in next month’s calendar, please e-mail SBO editor, Christian Wissmuller: [email protected]

EventsCalendar

If you are interested in submitting an article to School Band and

Orchestra, please visit www.sbomagazine.com

and click on Submissions Info.

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MOVING? Let us know 6-8 weeks before your move so we can continue to send your

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AdIndexCOMPANY NAME E-MAIL/WEB ADDRESS PAGE NO.

All American Music Festival www.allamericanmusicfest.org 54All American Music Festival www.allamericanmusicfest.org 58Antigua Winds www.antiguawinds.com 12J.J. Babbitt Co. Inc. www.jjbabbitt.com 26Band Shoppe www.bandshoppe.com 9Bari Woodwinds www.bariwoodwinds.com 23Barrington Music www.bw.com 52Bob Rogers Travel www.bobrogerstravel.com 6Conn-Selmer www.conn-selmer.com 13Dan Ryder Field Drills www.danryderfi elddrills.com 34-35 Disney Magic Music Days www.magicmusicdays.com 7EPN Travel Services www.epntravel.com cov 3 Festivals of Music www.educationalprograms.com 1Festivals of Music www.educationalprograms.com cov 2 Gordon College www.gordon.edu 49Gary P. Gilroy Publications www.gpgmusic.com 42Grover www.grotro.com 56Hawaii Musi Festivals www.himusicfest.com 59Jazz at Lincoln Center www.jazzatlincolncenter.org 8Jupiter Band Instruments www.jupitermusic.com 24,25 Jupiter Band Instruments www.jupitermusic.com 11Jupiter Band Instruments www.jupitermusic.com 5Kaman Music Corp. www.kamanmusic.com 45Kosa Percussion www.kosamusic.com 50LP Music Group www.lpmusic.com 33Marching Show Concepts www.msconcepts.com cov 4 Meisel Stringed Instruments www.meiselmusic.com 43Music Publishers Association www.mpa.org 28-29 Muzak Heart & Soul Foundation www.heart.muzak.com 48New York Summer Music Festival (NYSMF) www.nysmf.org 40North Carolina School of the A www.ncarts.edu 57Northeastern Music Publication www.nemusicpub.com 56NS Design www.NedSteinberger.com 31Pearl Corp. www.pearldrum.com 3Percussion Source/West Music www.percussionsource.com 54Peterson Strobe Tuners www.petersontuners.com 32Pro-Mark Corp. www.promark.com 52Roper Music Co. Inc./Wemsco www.ropermusic.com 40Sibelius Software Inc. www.g7info.com 47SKB Corp. www.skbcases.com 16Sonaré Winds www.sonarewinds.com 38Summit Tour & Travel www.summittourtravel.com 44Superscope Technologies www.superscopetechnologies.com 59Super-Sensitive Musical String Co. www.cavanaughcompany.com 17The Field Studies Center of New York www.fscnewyork.com 51The Tuba Exchange www.tubaexchange.com 53Vic Firth, Inc. www.VicFirth.com 39Vic Firth, Inc. www.VicFirth.com 37Vic Firth, Inc. www.VicFirth.com 41Avedis Zildjian Co. www.zildjian.com 27

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From half-time performing bands to the most competitive band programs, our shows offer the tools and expertise to ensure a dynamic show at

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sbo march 2008

Documents

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