school band and orchestra

DECEMBER 2011$5.00

Changing LivesThrough Music

Barry Manilow

Report: 50 Directors Who Make a Difference

Performance: Trumpet Basics

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SB&O School Band and Orchestra® (ISSN 1098-3694) Volume 14, Number 12, 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 offices. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Low-ell, 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 © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

4 Perspective

6 Headlines

67 New Products

69 Playing Tip

70 Classifieds

72 Ad Index

Columns

Features

Contents December 2011

10

64

18

10 FROM THE TRENCHES: DEAR SANTABob Morrison is back with his annual holiday wish list for influential figures in music education.

14 PERFORMANCE: TRUMPET BASICSPaul Copenhaver presents performance tips for young trumpet players.

18 UPCLOSE: BARRY MANILOW In an exclusive conversation with SBO, iconic entertainer Barry Manilow talks about how his foundation, the Manilow Music Project, aims to “help young people bring music into their lives,” while also detailing the formative role that a public school orchestra program played early on in his own career.

24 GUEST EDITORIAL: SOUND ADVICE FROM THE PITCHFrequent SBO contributor Kenneth Wayne Thompson of Bowling Green University examines the similarities between lessons youngsters learn in music ensembles and playing “the world’s sport,” soccer.

28 REPORT: 50 DIRECTORS WHO MAKE A DIFFERENCEIn this 14th annual report, SBO checks in with 50 outstanding music educators from an incredibly diverse array of geographic and demographic settings.

64 TECHNOLOGY: PLAY-ALONG SOFTWAREJohn Kuzmich looks at the latest accompaniment and play-along tools.

2 School Band and Orchestra, December 2011

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Perspective®

December 2011Volume 14, Number 12

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Member 2011

RPMDA


Stamp Out Hazing

Hazing has typically been associated with fraternities and sororities on college cam-puses around the country. Yet, according to StopHazing.org, it is well documented that it also occurs within sports teams, religious organizations, clubs, and other groups. Un-fortunately, hazing is also insidiously perva-

sive in school music programs. Recently, a drum major at the famed Florida A&M Marching 100 is presumed to have died as the result of a hazing episode. The band’s longtime director, Dr. Julian White, was fired and the band program was shut down due to ongoing investiga-tions of the incident. In White’s defense, he did alert his superiors and take action following an earlier hazing incident. Baynews9 recently reported, “In the weeks before the Florida Classic in Orlando, FAMU’s band director, Julian White, says he reported a case of hazing in his clarinet and trombone sections. In a letter released Friday, November 25, White says he forwarded the information to all of the superiors, and a FAMU police investigator. He also banned 26 people from

taking part in the Florida Classic for participating in hazing activities.” However, according to the Huffingtonpost.com on November 23, there has been a history of such cases at the school, including one in 2001 when, “former FAMU band member Marcus Parker… suffered kidney damage because of a beating with a paddle.”

Most often, hazing in school bands has been nothing more than harmless pranks set upon unsuspecting freshman or even simply through threats that are never actually carried out. On rare occasions, however, thoughtless students come up with

ways to physically or emotionally abuse another student to the point where serious injury (either physical or emotional) or even death occurs. Simply put, hazing at any level is unacceptable. The hazingprevention.org website points out that nobody really knows the entire background of each and every student, which could include incidences of physical or mental abuse, bullying, alcohol or other addiction, post-traumatic stress syndrome, or any other number of disorders or issues that could cause a student to become highly traumatized through hazing.

Hazing is now taken so seriously that 44 states have put laws in place banning such behavior. However, many of those narrowly define the act of hazing as involving post-secondary fraternal organizations, and most don’t include high schools in the descrip-tion. An even more disconcerting statistic is that “95 percent of respondents believe that most people do not report hazing incidents” (insidehazing.com). This frightening fact suggests that hazing may be going on right in our own community or school and that it won’t come to the forefront until a serious injury – or worse – occurs. There is a wealth of effective information available on the Internet, including sites like insidehazing.com, to help determine if hazing is occurring among students, and provide guidance for stu-dents, parents and educators on this topic. It is critical to do all that is possible to protect students from this destructive behavior as even a minor incident has the potential to lead to lifelong damage…

Rick [email protected]

“This frightening fact suggests that the hazing may be

going on right in our own community

or school.”

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August 31, 2010

Dear Sir or Madam:I just bought my son a Blessing trumpet for 6th grade band. Your prices appear to be very comparable with other brands.

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HeadLinesBroken Arrow Wins Bands of America Championships

Nearly a hundred of the best marching bands in the country performed in the November’s Bands of Amer-ica Grand National Championships at Indianapolis’s Lucas Oil Stadium, presented by Yamaha.

Oklahoma’s Broken Arrow High School came away with the event’s top honors, followed in ranking by Avon (Ind.,), Carmel (Ind.), and The Woodlands (Texas). The wide-ranging event saw 92 bands from Indiana, Ohio, Illinois, Kentucky, Michi-gan, Wisconsin, Missouri, Tennessee, Alabama, Louisi-ana, North Carolina, South Carolina, Texas, Oklahoma and Pennsylvania converge on Indianapolis for the championship.

Four college bands performed in exhibition as well: Marian University, the In-diana University Marching Hundred, the University of Massachusetts Minuteman Marching Band, and the Indiana State University Marching Sycamores.

To view complete results, visit www.musicforall.org.

NAfME and EAMA Form New Collaboration

T he National Association for Music Education (NAfME) recently announced an agreement with noted American composer Philip

Lasser and the European American Musical Alliance (EAMA) to boost the benefits of participants in next year’s Student Composers Compe-tition.

As a result of this agreement, all student compositions entered in the 2012 NAfME Student Composers Competition will receive an evaluation written by one of select composers from across the country. Lasser will lead a composition session for the competition winners and music educators who attend the NAfME Composition Academy, part of Music Education Week in Baltimore, Maryland in June, 2012.

Competition winners will receive a cash prize provided by the European American Musical Alliance, which is directed by Lasser. Winning compositions will be performed in a Millennium Stage Concert at the John F. Kennedy Center for the Performing Arts.

A distinguished member of the faculty at The Juilliard School since 1994, Phil-ip Lasser’s compositions have been performed by the Seattle Symphony, the New York Chamber Orchestra, Cho-Liang Lin, Simone Dinnerstein, Margo Garrett, and Zuill Bailey, among others. His works have been featured on New York’s WQXR, and have been broadcast on NBC-TV, National Public Radio, Britain’s XFM, and RTHK Radio Hong Kong.

The European American Musical Alliance (EAMA) is a not-for-profit organi-zation committed to fostering and promoting the classical arts. Each summer in Paris, France, the EAMA offers intensive music programs taught by professors from The Juilliard School, Indiana University, Mannes College of Music, West-minster Choir College, and other conservatories in the U.S. and abroad. The high school winner in the NAfME Student Composers Competition will be considered for acceptance into the EAMA Summer Music Program.

For more information, visit www.nafme.org.

Join SBO at NAMM for the

“Best Tools for Schools” presentation

In January of 2012, SBO will be presenting the third annual Best Tools for Schools at the Win-ter NAMM Show in Ana-heim, California as part of the NAMM Founda-tion’s Music Education Days. Music educators attending the show are invited to grab a ballot – provided by SBO and NAMM – and walk through the exhibit halls at North America’s largest music products convention looking for the best products and tools for classroom use. Ballots must be returned to the SBO booth on the afternoon of Satur-day, January 21. On Sunday, January 22, SBO and a panel of distinguished educators will then present the 2012 Best Tools for Schools at NAMM’s Idea Center.

If you are planning to attend the show and you’re interested in partici-pating, email editor Eliahu Sussman at [email protected] to learn more!

Drum Major Death Leads to Hazing Investigations

The college marching band world was rocked by the recent death of Flor-ida A&M drum major Robert Cham-pion and the subsequent dismissal of its longtime band director, Julian E. White in events surrounding controversial haz-ing incidents in the school’s program. According to Associated Press reports, Champion collapsed on a bus in Orlando after performing at a game against rival school Bethune-Cookman on Novem-ber 19. He died at a nearby hospital and, though no further details had been released at press time, it has been noted that his condition was a result of hazing.

Julian E. White had directed the FAMU’s famous “Marching 100” band since 1998 and led them through per-formances at the Super Bowl, the Ameri-can Music Awards, CBS News, and the Grammy Awards. He is currently ap-pealing his dismissal in order to keep his position as director of bands.

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School Band and Orchestra, December 2011 7

HeadLinesDCI Corps Now Holding Auditions for 2012 Season

Units that compete on the Drum Corps International summer tour are now hold-ing auditions through the end of December. Approximately 50 competitive DCI corps are located throughout North America, representing more than 20 states

and several Canadian provinces. DCI’s competitive rules allow performers to march until they reach age 22. To

march during the 2012 season, applicants must have been born on or after June 1, 1990. Marchers over the age limit can consider marching in an all-age corps affiliated with Drum Corps Associates.

There are several events already planned for the 2012 season, including West Coast tours from the Boston Crusaders and the Phantom Regiment. Phoenix’s marching corps, The Academy, is planning on performing at five more competitions this year than last year, and three groups – the Vanguard Cadets, the Revolution, and Forte – will be lead by new directors in the 2012 season.

For more information, including specific audition times and locations, visit www.dci.org.

Efforts Under Way for Another Boston-Area El Sistema Program

Boston school programs recently united for a joint concert to gain support for an after-school El Sistema music program in the Boston neighborhood of Somer-ville, Mass. The free concert took place at the Somerville Public High School

Auditorium and was organized by Arlington chart school the Conservatory Lab to bring an El Sistema-inspired núcleo to Somerville public schools. The proposed program would function as an everyday afterschool instrumental ‘during the day’ program.

The Conservatory Lab lead the local charge in the advocacy for the globally ac-claimed music education program. As the only elementary school in the US that fully implements the program of music education for all students – they’ve extended school hours to ensure that every student receives music instruction and education – the school says that its seen performance go up across the board, from musical skills to standard-ized test scores.

The push comes on the heels of last month’s announcement that neighboring Cam-bridge, Mass., will soon also host an El Sistema-inspired program entitled “Take a Stand” and run by the Longy School of Music in collaboration with New York’s Bard College and the Los Angeles Philharmonic.

For more information on the Conservatory Lab, visit www.conservatorylab.org.

Museum of Making Music Unveils ‘Roots of Reeds’ Exhibit

The Museum of Making Music in Carlsbad, Calif. has re-vealed details on its latest special exhibition, “Roots of Reeds.” The exhibit delves deeper into the global history

of reed instruments and their impact on contemporary music. The rich and varied history of reed instruments, whose modern day counterparts include clarinets, oboes, harmonicas and saxo-phones, dates back centuries and touches many countries and cultures. The Roots of Reeds exhibition presents an overview of reed instruments and explores their ancient roots in the Middle East, Persia and Asia, and the evolution of reeds into the instru-ments commonly played today.

The Roots of Reeds exhibition will be on display through March 2012 and is accom-panied by a series of special concerts by highly acclaimed musicians, including James Cotton, Howard Levy, Sounds of the Jungle Temple, and Dr. A. J. Racy.

Learn more at www.museumofmakingmusic.org.

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Hofstra’s Peter Boonshaft Wins 2011 George N. Parks Award

T he National Association for Music Education announced that Peter Boonshaft, Profes-

sor of Music and Director of Bands at Hofstra University in Hempstead, New York, is the recipient of the 2011George N. Parks Award for Lead-ership in Music Education. He was given the award at the Bands of Amer-ica Grand National Championships in Indianapolis in November.

Developed by NAfME and Music for All, the award is named for George N. Parks (1953–2010), director of the University of Massachusetts Minute-man Marching Band at the University of Massachusetts Amherst from 1977 until his death. Considered a national authority on drum majoring, he led the George N. Parks Drum Major Acade-my, a summer workshop program for high school drum majors.

For more information, visit www.nafme.org.

LudwigMasters Buys Brook Publishing

L udwigMasters Publications has recently purchased Brook Pub-lishing, a company known for

percussion books such as Here’s the Drum by Emil Sholle. All of the Brook Publishing books can now be found in the LudwigMasters catalog.

LudwigMasters is located at 6403 West Rogers Circle, Boca Raton, Florida and online at www.ludwigmasters.com.

If you come across headlines or breaking

news that you want to share,

e-mail editor Eliahu Sussman at

[email protected]!


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SBOFrom the Trenches

By BoB Morrison

It has been a really busy, harried, controversial, and chal-

lenging year for most of us. And if you are like me, you are

ready for a well-deserved break. But before mine starts, I

have one last task to complete: my annual Christmas Wish

List for Santa!

Dear Santa,

As I have for the past eight years, I would like to forgo any gifts for myself and instead recommend a list of gifts for others who could certainly benefit from some thoughtful presents. Yes, some have been naughty and some have been nice. But everyone deserves something, right? So without further adieu, please deliver the following gifts as soon as possible:

For Congress: A calendar and a watch. The Obama administration has done an end-run around congress by allow-

ing states to apply for waivers from the daunting No Child Left Behind legisla-tion. This has happened because Congress is not only late taking action on the law’s reauthorization, they are four years late. Come on, guys (and gals). What

The Annual Music Ed Wish List for Santa

Robert B. Morrison is the founder of Quadrant Arts Education Research, an arts education research and intelligence organization. In addition to other related pur-suits in the field of arts educa-tion advocacy, Mr. Morrison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Hol-land’s Opus Foundation.

He may be reached directly at [email protected].

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the heck are we paying you to do in Washington – go to dinner with lobby-ists? I can’t wait for the first state to be awarded waivers from NCLB (which would dub most schools in the US as failing by 2014 if nothing is done) since this would be followed by the requisite lawsuits! At this rate, the law will be reauthorized when my grand-child starts high school, and I don’t even have a child old enough to have provided me with a grandchild!

For the Presidential Candidates: Box set of the 2008 Presiden-tial Primary Debates or a new candidate.

Yes, I know I asked for this last year, but this request obviously went unfulfilled. 2008 was the first time in our history where we had a majority of the presidential candidates speaking eloquently about music and arts edu-cation and the need to help support the arts in schools. This is not the case with our current crop of candidates. Actually, they have all been scarily si-lent! In fact, these folks couldn’t spell “arts” if we spotted them an A-R-T and an S. 2008 was an informed dis-cussion about arts education. It is time to remind this years crop of candidates where we stand. Is it too late to draft Mike Huckabee?

For the Arts Education Commu-nity: A new narrative.

Yes I know we have lost some teachers and our programs are getting squeezed… but the reality is the vast majority of our schools offer music ed-ucation and nearly 100 percent of our high schools provide these programs. The rumors of our demise have been greatly exaggerated. We need to push back against this notion that music has disappeared from our schools and it is okay to cut arts programs because ev-eryone is doing it. Everyone else is not doing it, so it is not okay. Instead of bemoaning cuts, we need to showcase the prevalence of our programs so we show those who wish to cut programs exactly what they are: out of touch with the majority of schools in the country.

For All Teacher Evaluation Task Forces: A Research 101 course.

Using student performance scores to measure teacher effective-ness is an interesting sound bite and certainly has become all the rage for education reform. But as I researcher, I learned a long time ago not to use a measure designed for one thing (students skills and knowledge) for something not re-ally related (teacher effectiveness). If we want to measure the effective-ness of teachers, we need to develop the appropriate measures. The last thing we need to use to measure a music teacher’s effectiveness, which some states have proposed, is how a student performs… in math!

For School Administrators: A new way to evaluate students!

Our schools’ rabid obsession with testing is sapping all of the joy out of learning. A wise person once said, “You don’t fatten a pig by weighing it all the time.” And I might add: you do not impart knowledge to our students by testing them all the time. Enough already!

For the National Association for Music Education: A better acronym.

I’m sorry, but if you thought NAfME was a better acronym than MENC, I think you might be mis-taken. Just as the American Symphony Orchestra League (Acronym: ASOL – say it slowly as a word) switched to the League of American Orchestras

because of the teasing over those four awkwardly aligned letters, how do you think it will go over as people start saying the letters NAfME slowly and with a certain emphasis? A concerned member pointed this out to me! I am certain this is not what the organiza-tion had intended. The betting is now open on how long it will be until the “f” in NAfME disappears. Even my spell checker wants to remove the “f”.

For Ohio State University Marching Band: A new band director.

Jon Woods, the man who has led the “Best Damn Band in the Land,” will be retiring at the end of this school year. “For a quarter of a century, Jon Woods has always struck precisely the right note as director of The Ohio State University Marching Band,” said Ohio State president E. Gordon Gee. “Jon’s legacy, like Script Ohio itself, is simply incomparable. We are grateful for his unflagging leadership and countless contributions.” Which means…

For Jon Woods: Our thanks and gratitude!

For his years of contribution the University gave him the one of the greatest presents ever… he was select-ed to dot the “I” in the Script Ohio formation for the final home game – an appropriate tribute to a true leader in music education. Jon Woods has always conducted himself with utmost integrity and class as leader of the Buckeyes. Which is a fitting contrast to:

For the Columbia University Band: A day with Jon Woods.

It is certainly clear this group needs some adult supervision. After embar-rassing the football team’s players, coaches, alumni, and parents with their, ahem, different rendition of the schools fight song, “Roar, Lion, Roar,” at the conclusion of the football con-test against Cornell the Columbia University Marching Band was barred

from performing at the season’s final game of the season against Brown. In-stead of “Roar Lion Roar,” it became “We always lose lose lose; by a lot and sometimes by a little”… and contin-ues while getting increasingly juve-nile and tasteless. While it may have sounded good when you were doing pong shots, it was a very bad idea. A day with Jon may allow enough class to rub off on you to keep you from being, well, banned!

“You don’t fatten a pig by weighing it all the time.”



For Tulsa, Oklahoma: A bottling company!

I am not really sure what is in the water out there, but after having three Tulsa high school marching bands placing in the top seven bands at the Bands of America Grand Nationals (Broken Arrow, Union, and Owasso) it must be something really good. Could it be that the center of the Marching Band Universe is shifting west from Indianapolis to Tulsa? Only time will

tell! But in the mean time, I’ll take a truckload of whatever water they are drinking! And while I am at it a big shout out to Darrin Davis, James Ste-phens and the entire Broken Arrow High School Marching Band for their Grand Nationals Championship!

For Representative Gabby Gif-fords: The life-long gift of music!

Less than a month after she was shot in the head, Giffords met with

music therapist Maegan Morrow at the Rehabilitation Hospital in Houston. Giffords was unable to speak. Marrow felt she might have a way to cut through the trauma Giffords’ brain was dealing with by way of “a very familiar song”: “Happy birthday!” Morrow sang “Happy Birthday” to the mute con-gresswoman and “left the end of the phrase out and tried to get Gabby to sing along.” Giffords didn’t sing. Instead, she grabbed the hand of the therapist to physically but si-lently complete the missing word of the phrase “Happy Birthday to…” Thus began a several-month journey to restore Giffords speaking voice, highlighting once again the incred-ibly powerful impact music has on cognitive development. It rewired her brain so she could speak! Just think of the impact music must have on the developing brain of our students! This is a story worthy of sharing with all our school admin-istrators.

For Steve Jobs: Our undying thanks!

I know many of you, like me, have used or been influenced by Apple products and the design ge-nius that is the late Stave Jobs. From the original Macintosh computers, we all used to do the first computer-based scoring, arranging and drill design programs, to the iPod music player that changed how the world consumed and explored music, to the iOS devices (iPhone/iPad), all of which have altered the way we teach, communicate, and consume media. I am hard pressed to think of another company or visionary whose prod-ucts have contributed to not only our music but the quality of our lives. Thanks Steve!

And lastly, to all our readers, who bring the wonderful gift of music to students across this nation everyday: may you receive as much joy this holiday season as you give to your stu-dents and have a very happy, healthy, and prosperous new year!

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SBOPerformance: Trumpet


Performance Tips for Young Trumpet Players

Following are a few thoughts on various issues affecting

student trumpet players, including tuning, mouthpieces,

mutes, and performance opportunities.

By Paul CoPenhaver

TuningYes, D4 and C#4 are both sharp on trumpet. However, the student trumpet

player needs to realize there are a number of other inherent pitch problems that also need careful adjustment. Most of these pitch problems are caused by de-

sign considerations common to instru-ments of every quality.

Extending the third slide to varying lengths, of course, will help lower both D and C#. (How many times have you seen that written?) When playing a se-ries of these notes, it is acceptable to leave the third slide extended until a 2-3 valve combination is encountered.

Many beginning and intermediate trumpets now have a thumb saddle or some other device to extend the first slide, and, in many cases, it works eas-ier and more efficiently than extend-ing the third slide. Therefore, many trumpet players are able to correct Ds by extending the first valve slide, but that slide usually will not lower C# sufficiently.

D5, fourth space E♭5, and E5 are flat. Usually, notes of the inherently flat fifth harmonic can be “lipped up” by firming the embouchure slightly or increasing air compression in the oral cavity. Alternate fingerings often are used to aid with this adjustment, but these fingerings tend to change the tone quality and response of the instrument.

G5 and A5 are sharp on most in-struments, and both seem to possess a very bright, brilliant tone, making them sound even sharper. Lipping downward (the reverse of above) re-mains the best method to adjust these pitches. However, the A can easily be lowered to pitch by extending the first slide slightly, or by using the third valve.

Adjusting these problematic pitches not only aids intonation, but also helps the player play better “in tone,” thus

Performance.indd 14 12/1/11 2:21 PM


more closely matching the quality of other notes in the same range. This factor should help improve the play-er’s accuracy.

MouthpiecesMany beginners use a Bach 7C [or

its generic equivalent] or a Schilke 11. Both are solid, middle-of-the-road mouthpieces that have good dimen-sional characteristics and are fairly uniform in construction.

Which mouthpiece is the next logi-cal step after the 7C? Many trumpet teachers are now recommending mov-ing to the Schilke 14, which is very similar to the Bach 3C. The Schilke line has proven to be a moderately priced alternative, and the sizing on Schilke mouthpieces is quite consis-tent.

Most young trumpet players need to stay close to the above parameters. Unfortunately, the quest to play high often leads to excessively shallow cups, tight backbores, and small throats that tend to adversely affect pitch and tone quality while not really improving the player’s range. Conversely, excessively deep cups and oversized backbores may tend to adversely affect range and cause a number of pitch problems for the developing embouchure. Balanc-ing the mouthpiece width, rim, cup, backbore, and matching these factors to the instrument and player is an arduous process. Just as one pair of shoes will not fit everyone, neither will one particular mouthpiece.

Finally, if the young trumpeter doubles on flugelhorn, please be sure he or she is using a flugelhorn mouth-piece. Even though a trumpet or cor-net mouthpiece might seem to fit the receiver, use the proper mouthpiece. It is fairly easy to obtain a flugelhorn mouthpiece with the same rim as the trumpet mouthpiece, but with a cup configuration suitable to create a truly characteristic flugelhorn sound.

Also, the flugelhorn mouthpiece shank needs to match the receiver. Mouthpiece shanks most often are in three variations: Large Morse Taper, Small Morse [Bach] Taper, and Coue-son [French] Taper. There are a num-ber of informative websites that can

be very helpful in making the proper selection of flugelhorn mouthpieces.

MutesThe primary function of mutes is

to change the tone color of the instru-ment, not to soften the volume. Decid-edly, softening of volume does occur, but isn’t the primary reason for using mutes. Otherwise, why would there be so many different types of mutes?

The most commonly used mute for trumpet is the straight mute. Trumpet players would be wise to invest in a qual-ity metal straight mute. The Jo-Ral and the Tom Crown straight mute are excel-lent examples. The old “red and white” fiber and other cardboard mutes are less desirable alternatives. Both metal and fiber tend to raise the pitch slightly; so careful adjustment of the mute’s corks or tuning slide may be warranted.


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After the straight mute, the young trumpet player should purchase a cup mute, a wa-wa or Harmon mute, and a plunger. From this basic set the possibili-ties are almost endless.

Performance OpportunitiesIt has been said many times that the

best way to become an effective perform-er is to perform. That may sound simple, but finding those performance opportuni-ties often takes some doing. Finding and

working with an accompanist seems to be another ongoing problem. However, there is an increasing amount of trumpet music available with some form of electronic ac-companiment covering the gamut of styles from religious, big band, jazz, patriotic, and so on. These can make effective ma-terial for performances at senior centers, social gatherings, and other events that can help the young trumpeter gain those valuable performance experiences.

An effective way for a young trumpeter to perform in public is to play along with

congregational hymn singing at church. It may be an easy and effective way for student trumpet players to learn the “C trumpet” transposition while playing along with the melody. Or, any number of books are available that contain popular/familiar hymn tunes that, amazingly, are mostly transposed to coincide with the hymn book key, and have descant parts that are well within the ability levels of most young players. The three volumes of Douglas Smith’s 61 Trumpet Hymns and Descants [Hope Publishing Co.] are par-ticularly useful in regard to key signatures and quality of the descant writing.

Another excellent source for young trumpeters to find effective performance materials are the Canadian Brass Easy Trumpet Solos, Canadian Brass Interme-diate Trumpet Solos, and the Canadian Brass Christmas Trumpet Solos, also at the intermediate level. This series con-tains a wealth of excellent performance materials for various performance ven-ues, and each provides a solo part, piano accompaniment, and a CD with both full performances of each composition by trumpeters from the Canadian Brass, and an accompaniment track with piano only.

Final ThoughtsSome excellent sources of information

about playing the trumpet, equipment, performance, and many other areas may be found in a number of places. A few of my favorites are Roger Sherman’s The Trumpeter’s Handbook, Chase Sanborn’s Brass Tactics series, and David Hickman’s book, Trumpet Pedagogy A Compendium of Modern Teaching Techniques. Another interesting place for trumpet players to visit is the website, www.trumpetherald.com. All contain a wealth of information, interesting discussions, and ideas.

Paul Copenhaver is the band director at St. Pious X School in Moberly, Missouri, where he has taught since 2004. Mr. Copenhaver has taught music in Moberly schools for 38 years, serving as band director and Fine Arts/Practical Arts Department chair in the public school system until 2006. In addition to numerous other affiliations with professional associations, Mr. Copenhaver is currently serving as the president of the Missouri Music Educators Association. He is also the as-sistant conductor and principal trumpet player for the Columbia (Mo.) Community Band, as well as an active adjudicator, clinician, conductor.

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Through MusicB

arr

y M

anilow

UpClose

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By Eliahu SuSSman

Changing LivesThrough Music

After almost four decades in the spotlight, Barry Manilow has become a household name. His wildly successful career as a per-former, composer, and recording artist has spanned just about all facets of the music world. Even with over 75 million records sold, and boasting accomplishments ranging from chart-topping hits to renowned Vegas residencies to hundreds of TV appearances on ev-erything from The Family Guy to American Idol, the Grammy, Tony, and Emmy award-winning artist only recently started a new chapter in his illustrious career.

“Music class is not just playtime; it can change these kids’ lives. It changed mine.”



In 2008, when he learned about mas-sive cuts to music programs throughout the country, Barry Manilow decided that he had an obligation to help music education to continue to have a place in public schools. And so he started the Manilow Music Project, a program linked to his foundation, the Manilow Fund for Health and Hope, and later that year made his first donation, giving over $500,000 in musical equipment and instruments to the Coachella Val-ley School System, near Manilow’s own Southern California home. Since then, Manilow has gone on to coordinate the

donation of – and personally deliver – millions of dollars worth of music gear to school districts from coast to coast, most recently in October to Joplin, Mis-souri, a small town that drew national headlines over the summer for the mas-sive devastation caused by a tornado that leveled the area’s high school, along with much of the rest of the town.

In a recent conversation with SBO, the prolific entertainer spoke about his own formative experiences in a public school music program, as well as the re-markable gifts he has made over the past few years to, as he puts it, “help young people bring music into their lives.”

School Band & Orchestra: Thanks so much for taking a moment to chat! Let’s start with your own ca-reer – what were some of the early experiences that helped lead you into a life in music?

Barry Manilow: I was one of the young people who come from a poor area of Brooklyn, N.Y. My family had zilch money – nothing. There was a lot of love in the family, though, and love will get a kid through just about anything. My folks realized that I was a musical kid and they really didn’t know what to do with me. There was no money to buy me instruments.

However, eventually they were some-how able to rattle up enough to get me an accordion. You can’t do too much with an accordion – although I tried, and I was good at it. What I re-ally loved about that instrument was that it helped me learn to read music. Whenever I talk to young people, I always tell them to learn to read mu-sic, because you will always be able to work if you can learn to read music. If you’re serious about being a musi-cian, you need to be able to read mu-sic. Otherwise, you’re stuck with your talent, and who can count on that? So I learned to read music with the accor-dion and that was a real gift.

Later on, my parents saved enough money to get me a piano, and then I was able to use my right and my left hand, and I was good at that, too. But the thing that changed my life was

the orchestra class in my high school. I was a decent student, but I really didn’t enjoy school. As soon as I found the orchestra class, I felt like I was grounded. I knew my way around that world of other young musicians, and I just felt like I had found my home. It pointed me in the direction that I find myself in now.

When I speak to principals and school music directors, they always tell me the same thing: students who learn music learn to in-teract better with other students, their grades go up, and they become better people. Those were the same feelings that I had when I was a student. Music class is not just playtime; it can change these kids’ lives. It changed mine.

SBO: And you’ve gone from there into an incredibly diverse career in music. You have written jingles and hits, performed in Las Vegas and all over the world, been the music director for television shows and movies – did you ever anticipate such a wide range of accomplish-ments?

BM: I know, it sounds crazy, but it’s my life. I don’t know how to do any-thing else. I know my way around the world of music and I’ve always felt this way. My first album was a mishmash of styles that I’ve always loved. There was a Chopin prelude that I based “Could it Be Magic” on, followed by a jazz-scat piece called “Cloudburst,” followed by a country-ish song with nice guitar playing. No one knew where to put it in the record store, be-cause it was really all over the place. I attribute that to my stepfather, Will Murphy. When my mother remarried,

“I’m just one skinny singer doing what I can to help young people bring music into their lives.”



all I knew was the accordion, the pia-no, some Hebrew folk songs, and the pop music of the day, which I hated. And then Will Murphy came into my life, and he brought with him a stack of albums that might as well have been a stack of gold to me because it had every style of music that he loved. It was classical music, followed by scores from Broadway musicals, followed by jazz singers and arrangers, and it just went on and on. I memorized every single note on every one of those al-bums. I actually got Bill Evans’ “Lush Life” down and George Shearing’s “Lullaby of Birdland” down on the piano.

I wish every kid had a Willie Mur-phy in his or her life, because that’s when it’s most important for young people to have someone say, “Hey, lis-ten to this! You might like it.” If kids don’t have someone like that, I would hope that music directors and teachers in the schools could do that for them. That’s where it all started for me.

SBO: Do you think that all of the recent proliferation of music on the internet might help kids today and tomorrow discover some of the great music out there?

BM: It’s better than nothing, but it’s not like what I’m talking about. The internet is impersonal; I’m talking about one human being to another. That will make a much bigger impact on a kid than the internet will, ever. It’s better than nothing to be able to go over to iTunes or Youtube and look up Chet Baker or whoever, but when Willie put the record on, there was no doubt that I was hearing something special.

What Willie – and the people like him that I’m hoping are out there – can do for kids is turn on their musical motor. I was able to take it from there. Then, I went off on my road to find out how I could use it on my own, what I could do with music. If kids don’t have a Willie Murphy, I hope they have a great schoolteacher. But what’s going

on now, where classes and programs are being cut, is just killing me. And that’s why we’re talking.

SBO: So let’s get into the Manilow Music Project. What was the cata-lyst for this coming together?

BM: Well, the “Manilow Music Project” may sound like some big of-ficial thing, but it’s really a simple grassroots organization made up of me and three or four of my friends who work with me. When I realized in 2008 that they were cutting music and arts and orchestra programs in schools all over the country because of budget problems, it was killing me. All I could think was, “How can I help?” Those are four great words! So I put my little team of people together to see what we could do to help out. People such as my music director, my stage man-ager, my business manager, and I order club sandwiches and sit around and talk about how we can help this situa-tion. That’s how it started, and it’s still that way. It is turning out to be very

Upclose.indd 21 12/2/11 8:39 AM

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successful, and I’m considering taking it to the next step and making it an even bigger project. Right now, though, it’s still a small organization; I’m just one skinny singer doing what I can to help young people bring music into their lives.

SBO: How did you decide on the best way to assist music programs?

BM: We raised money in various ways, and then we pick an area to focus on. The first time we did it was in an area where I live, down in Palm Springs. The Coachella Valley is an area that has a lot of schools – maybe 20 schools –

and I thought we’d start here because this area has been so good to me. I have a deal with Yamaha and Hal Leonard Publishing, and, through them, I raised the money myself. We picked these schools and sent them a letter saying, “We’d like to give you some brand new musical instruments because we hear you’re having some financial trouble. What do you need?” We included a long list of instruments that we knew we could get a hold of, and they could check off what they needed, up to 100 points. And we got everything they asked for – drums, pianos, synthe-sizers, horns, flutes, strings! We loaded the instru-ments into five huge trucks and on a brisk Thursday morning, in front of all of these young kids and their teachers and the school staff, we went out to all 15 or 20 schools to give these kids brand new musical instruments. I wish I could do that every morning!

SBO: I imagine a number of schools out there wish you could do that every morning, too! Have you stayed in contact with these schools that you’ve helped?

BM: Oh, yes. I get letters and cards – you can only imag-ine what it does to these young people. And I go to listen to them now and again and they’re just beautiful! Beauti-ful little orchestras or jazz bands doing the best they can. I am so glad I could help them out. That was the first one, and since then, we’ve gone to about 10 other areas where

Manilow poses with students from Palm Springs, Desert Sands, and Coachella Valley schools in 2008.

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we have done the same thing – in Las Vegas, Seattle, New York, L.A., the list goes on and on. Some of the donations are smaller than others, of course. The latest was in Joplin, Missouri, an area that was hit incredibly hard by a tor-nado that blew the school away. They lost everything – all the instruments, all the sheet music, everything. We put our brains together for the last couple of months, raised a lot of money, and were able to send a lot of musical in-struments to the kids in Joplin. Hope-fully that will help them bring music back into their lives.

SBO: What do you look for when selecting communities to assist?

BM: I look for some kind of per-sonal connection with me, whether it’s a place that’s near to where I live, where I work, where I am touring, or somewhere I’ve been – I need to know that I have some sort of connection with the area. If we get bigger than this, it’ll take on a whole other dimen-sion, but right now it’s a very personal selection.

SBO: And so what’s the future of the Manilow Music Project? What are some ideas for how to con-tinue to help out or possibly even expand your efforts?

BM: Maybe soliciting grants or do-nations from bigger organizations to make this into a bona fide organization – something it really isn’t yet, at this stage. We’re doing the best we can, and it’s very, very rewarding on a per-sonal level, but it seems to be working so well, that maybe it’s time to blow it up a bit and get more instruments in more schools on a much bigger level.

SBO: Would you talk about the im-pact that this has had on you, be-ing able to take a look at the faces of those kids as they receive shiny new instruments and all of this special attention?

BM: It’s overwhelming to see all these young people so excited about music. Some of them are finding their passion and others just becoming bet-ter students and better people through music. It’s very, very rewarding. I see it, I get the letters, I get the big thank you notes and videos, I watch the or-chestras playing, and it couldn’t be more gratifying.

SBO: How about to band and orchestra directors – do you have any particular message that you’d like to share with them?

BM: Oh, please! In my world, these men and women are heroes. They stay up into the middle of the night trying to fix broken down instruments, they buy kids instruments, they do so much

of it themselves – they’re really the he-roes to me. When I meet them, all I can do is shake their hands and thank them for all the wonderful things that they do.

SBO: And how about for music students, any particular messages that you’d like to pass along?

BM: Like I said before, learn to read music. That’s a really impor-tant message to get across – it’s just such an important skill. If you really are serious about making any kind of career in music, you need to learn the language, which means learning to read music. Then you can decide if you want to do it for real or not, but you will never know if you can’t

do that. People who can read music are always the ones who are much more in demand, even for singers. I spent so many days as a background singer and doing jingles and studio work. I wasn’t that great a singer, but I was able to read really well and I could sing in tune, and I made a lot of money that way. You can

make a great career out of that. You may not wind up being the latest Lady Gaga or something, but you can have a career. The way to start is by taking it seriously, giving it a couple of years, and learning how to read music.

Barry Manilow’s latest album, 15 Minutes, was released on June 14, 2011. Inspired by the Andy Warhol quote that “in the future, everybody will be world famous for fifteen minutes,” this “ener-getic, guitar-driven pop album” explores the “perils and pinnacles of fame’s dou-ble-edged sword.”

For more info on the Manilow Music Proj-ect, visit www.manilowmusicproject.com.

“It’s overwhelming to see all these young people so excited about music.”


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SBOGuest Editorial

Sound Advice from the PitchBy Kenneth Wayne thompson

If you follow soccer, or football as it’s known around the

world, the title of this article is not only a play on words,

but rather is intended as a serious commentary on what we

might learn about teaching music from a seemingly unlikely

source. Growing up as a trumpet player performing in bands

and orchestras, and later becoming a professional conductor, I

assumed my first child would study music without complaint.

Surely he would be a cellist, the instrument I would play if I

could do it all over again, or he would play the piano, or maybe

even the oboe.

As usual in situations like this, I was wrong. He doesn’t play the cello, piano, oboe, or even the banjo – my six-year-old son is a “footballer,” and he’s pretty good. He plays with a grace and agility that mirrors what I try to achieve on the podium. I played soc-cer as a child, but because of my son, after many years away from the game, I have begun to play again. Unfortu-nately, what I realize every time I walk onto the field is that my son is much better than I am at this game.

As much as I enjoy watching him play, I most enjoy watching his acad-emy training sessions. I am grateful to have rediscovered the game as an adult,

as the sound advice from the pitch has been quite a personal and professional revelation. I find the relationship be-tween soccer training and some inher-ent problems I find in instrumental music teaching in this country to be in-sightful. We are very fortunate to have brilliant soccer teachers in my son’s academy, and the academy philosophy

Young soccer players learn the importance of both individual technique...

GuestEdit.indd 24 12/1/11 2:27 PM


of “fall in love with the game” is evi-dent in every training session.

Numerous times, we hear there are relationships between music and athletics. I agree with this statement, primarily because we should first and foremost consider learning to play a musical instrument a physical en-deavor, not an artistic one. The de-velopment of technique, no matter if it involves learning F# or dribbling a ball, is training the body to physically replicate a specific act. Artistry is the application of technique – perhaps playing that F# with slightly more em-phasis because it is a suspension that will resolve, or dribbling a ball with the outside of the foot in order to set up a pass or shot. These are both ap-plications of physical skill for a specific purpose.

In American sports, there is an em-phasis on winning games. This can, and often does come at the expense of actually developing more proficient technical skill, and importantly, usu-ally comes at the expense of learning to appreciate and love the sport. The parallel to this is readily seen in many instrumental classrooms across the country. There is an emphasis on per-forming, which unfortunately comes at the expense of learning to develop better technique, and definitely at the expense of falling in love with music as an art. How many programs put away the beginning band methods and technical drills to prepare for the first holiday concert? It starts a vicious cycle, because when you might want to get back into the method books and technical development, it’s time to prep for the winter concert, and then the spring concert, and on and on… we continuously try and get our ensembles organized to present per-formances. In soccer we see the same thing as coaches get their teams or-ganized to win games. Organization without individual skill is useless.

The soccer equivalent to a concert preparation model is having kids play lots of games and practicing in a very tactical, or organizational manner – as a team – in order to win games. This happens in excess with young players and the outcome is that the tactical model does win games at early stag-

es of development, just as the young musicians likely have no trouble pull-ing together to play simple tunes in 3 or 4 parts. At some point, however, children must possess individual tech-nique, and it is at this point we really begin to see deviations between vari-ous instructional models. The empha-sis on winning, or concertizing, has catastrophic consequences for youth development. How many goals have U.S. strikers recently scored in inter-national matches? Not many, because the emphasis on winning at an early ages reduces an emphasis on technical development. When placed in difficult situations, technique matters above all else. Our bodies need to be able to re-act quickly and with purpose.

Without individual technique, ev-erything we know becomes specific to a situation. Ask a small child on the soccer field why they are standing in a certain spot and you might receive dif-ferent answers depending on how they were trained. The young tactical devel-opment approach will yield a response similar to “because my coach told me to.” In the ensemble, asking the stu-dent why they placed an emphasis on the middle of a particular phrase might result in “because my teacher told me to.” Is that really learning? Is the child really developing anything other than a reliance on someone else to tell her what to do? I think this is why if you see a youth soccer game, you will of-ten hear the coach screaming at the

players about where to go, what to do, and when to do it – and that sounds shockingly similar to some ensemble rehearsals we might have experienced. Neither seems like a method for talent development to me because there is no opportunity for transfer. The scream-ing coach/instructor is teaching chil-dren to react to instructions, not react to situations.

If we want to begin to develop great musicians, we need to cultivate great technique and allow students the freedom to apply the technique to all situations. This means they are going to make lots of musical mistakes, but they will be learning how to make in-dividual decisions independently. If I am thinking about my technique – for example, the fingering for F# – then I must be told by my teacher to em-phasize the note. If my technique al-lows F# to be an automatic reaction to seeing the printed note, I can actually listen to what is happening around me in the ensemble and hear that it is a suspension resolving, so I know, with-out help from my teacher, that the note needs emphasis. This may sound complex, but even young musicians can achieve this when the teaching intentionally leads students to these situations.

My son will run into open space during a game, and if I ask him why, his response will indicate he is react-ing to play as it unfolds. “The ball came from the left through the center

SBOGuest Editorial

...and teamwork.



so I needed to go out wide right” is a far cry different from a “because-my-coach-told-me-to-go-wide” scenario. There is no wasted energy thinking about technique, the energy is devoted to playing the game. In the ensemble, we need to cultivate tech-nique so there is no energy of thought devoted to technique, either. All of the thought needs to go toward play-ing in tune, playing a phrase, or any other musical element.

Soccer is a player’s sport, and the art of music is a player’s realization of sound. When trained with intention-ality, in a way that places an emphasis on player development for a higher purpose – one that is directly related to group effort while still founded in individual skill – we will have many more successful musicians in our schools. These musicians will have developed a thoughtful means to solve their own problems, and apply the solutions to creating great music. That recipe yields life-long learners that will have a greater chance of continuing with music beyond their school years, and truly develop a pas-sion for our art.

And we might even win a World Cup.

Dr. Ken Thompson serves on the faculty in the College of Musical Arts at Bowling Green State Univer-sity in Ohio. Additionally, he serves on the conducting staff of both the De-troit Symphony Orchestra, where he directs the Detroit Symphony Orchestra Civic Wind Symphony and Philharmonic Orchestra, and the Toledo Symphony Orchestra, where he serves as artistic director of the Toledo Symphony Youth Orchestras and conductor of the TYO Philharmonic.

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BO’s 14th annual “50 Director’s Who Make a Difference” report features an array of outstanding educa-tors whose incredible diversity in style, geography, and demographic setting mirrors the similarly wide range of thriving music programs throughout the country. From the founders of focused elementary string programs like Elva Jean Bolin in Aurora, Colorado to the directors of large-scale, perennial champion march-ing bands such as Barry Trobaugh of Tennessee’s Munford High School, this report aims to celebrate this diversity while also shedding light on some of the common values and philosophies held by a representative sampling of exceptional music educators.

Responding to questions about teaching philosophy, making a difference in students’ lives, and the most important lesson they’ve learned in their careers as educators, the directors, instructors, and teachers who make up the 2011 “50 Directors Who Make a Difference” present an uplifting mosaic of school music programs nationwide.

SBOReport

ALABAMASteve McLendonDothan High SchoolDothanYears at School: 25Total Years Teaching: 35Students in Music Program: 145

Teaching philosophy: I love music. My goal as a music educator is to share that passion and love for music. Through music I hope to help each student I

teach be a better musician, appreciate music more, improve their self disci-pline, and build on their self esteem.

Making A Difference In Students’ Lives:I hope I’ve instilled a level of discipline with the band that helps them make

better decisions and be better people throughout their lives. I hope I can lead them to be better friends, better spouses, and great citizens.Most Important Lesson Learned: Never say Never! You have to take one day at a time, be prepared, and make the most of the moment.

ALASKAStan HarrisPalmer High SchoolPalmerYears at School: 29Total Years Teaching: 36Students in Music Program: 120Teaching Philosophy: My philosophy is simply that all stu-dents need and deserve to have ex-perience in creating and performing music.

Music performance is the only activity that I know of that requires use of your intellect, physical coordination and stamina, and emo-tional involvement in

order to be successful. Add the ele-ment of teamwork and responsibility to each other that playing in a band or orchestra involves and you have the whole package. It is no wonder that people with instrumental music expe-rience are highly prized and usually successful in the fields they aspire to. I try to give my students a well-rounded quality experience where they can feel successful and proud of their accom-plishments.

Directors50 Who Make a Difference

S

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Making A Difference In Students’ Lives:I think my students come away from my program feeling like they have grown intellectually, artistically, and emotionally. The experiences in music and the broad range of performance opportunities we offer should give them a strong sense of self worth and the ability to work with others toward a goal. It is my hope that I have helped prepare them to be successful in life. I also hope that I have inspired a life-long love of the arts. I think my stu-dents generally leave our department with a more open mind about musi-cal styles and a broader sense of the world. Most Important Lesson Learned: The most important lesson I’ve learned is that the more my students learn, the more I learn. As my teach-ing skills have improved over the years it has made me a better musician and continually opened new doors for my own development. t was a joke when I was growing up that those who per-form, perform and those that can’t teach. Nothing could be farther from the truth. I have been a professional musician for longer than I have been a teacher and I can tell you that they complement each other perfectly. I have also found that I personally need both. While I love to perform, I love seeing the progress in my students just as much or more.

ARIZONAMelanie BrittonSandra Day O’Connor High SchoolPhoenixYears at School: 10Total Years Teaching: 21Students in Music Program: 242

Teaching Philosophy: My philosophy on teaching is “do what you love – love what you do!” I am blessed with the best job a per-son could have because

I truly love music and I truly enjoy the teenagers I work with. Encouraging

teamwork, demanding excellence, and developing leadership skills among my students and showing them how disci-pline and hard work truly do pay off in life are the best lessons I can relay. What I teach my students goes far be-yond the skills of musicianship, which is an expectation. I want them to have the skills necessary for life, and the best part of this is that they are hav-ing fun while doing it. I want them to care deeply about each other and that in life it really isn’t just about the in-dividual, it is about the relationships we build with one another. I teach life skills through music and make it a point to give each student a positive experience, so that in the end they will seek a work environment where they are able to “do what they love – and love what they do”!Making A Difference In Students’ Lives:I positively impact my students’ lives by giving them an environment in which they will flourish. It doesn’t matter if they are not the most popu-lar student in school or not seen as an athlete, because everyone in my class knows and feels they are part of a team that is recognized as out-standing throughout the state and nation. We have a blast together be-cause I am a part of the team as well, not just someone who stands on the sidelines. We all integrate together to reach our goals and we know we need each other to be success-ful. My students know I care deeply for them and show genuine concern and compassion for what they are going through in life. I appreciate their hard work and dedication and consider it an honor to be with my students while we experience life to-gether each and every day.

My students participate in numer-ous activities that teach about the di-versity of each person’s personality and characteristics of how they handle themselves in different scenarios. They learn to appreciate and accept that not everyone will act the same and how to have patience with one another when

under stress. This is also important because they learn how to trust one another, and trust is hard to come by. Once they learn this they appreciate each other so much more, and can express themselves so much deeper, not only as musicians, but especially as people.

I encourage my students to strive for excellence in all they do. Average is ordinary, but going above and beyond your comfort zone is extraordinary. It is important that each student wonder, “What will my legacy be?” I guess the reality is that my students are really the one’s that make a difference in my life and I feel responsible for making sure they have the best high school experience possible so I fully embrace my position as a leader in their life.Most Important Lesson Learned: Every child matters! We all experience those students who in the first week we feel will be our problem child, but as we watch the magic of what band does to children we see their lives change. Being blessed to have most of my students for four years I have been blown away by the growth these kids go through – from awkward to extraordinary. And all it takes is pa-tience, respect, patience, humor, pa-tience and great student leadership to help these kids exceed potentials that they may never have even dreamed of.

The reality is you have to have passion for teaching. I never under-estimate the difference I make in my students’ lives by saying hello, smil-ing, and wishing them a good day, or congratulating them on their accom-plishments. I know so many of these kids wouldn’t even come to school if it weren’t for band. Most students and their parents may never know the hours spent preparing meaning-ful lesson plans, the energy it takes to present these lessons, write and design marching band shows, grading and the “oh so dreaded paperwork” in our profession – so we can’t dwell on that. If I were to give any advice it would be: Give your full energy to positively

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50Who Make a Difference


influence your students’ lives each and every day. Care about what they are going through in life, connect with them through humor and stories, and make their time in school uplifting. Then, when you go home exhausted, you know you did your best. You were a positive force in a child’s life. I know I am and I am honored to be a teacher!

ARKANSASKaren DismukeNorth Pulaski High SchoolJacksonvilleYears at School: 23Total Years Teaching: 30Students in Music Program: 90

I believe that every student can learn something. I believe in teaching my students life lessons using music as a vehicle. Not all of my students will be-

come professional musicians or teach-ers, but they will become adults. I want them to become good citizens. I feel that it is a big part of my job to teach them teamwork, character, con-fidence, humility, responsibility, to show respect and to be respectable.Making A Difference In Students’ Lives:I believe in my students. I push them past their limits to higher goals. I operate my classroom on the three Ds (discipline, dedication, and deter-mination) with physically, mentally, and musically demanding instruc-tion. The success of our program has taught them to have pride in all they do. Whether they become doctors, lawyers, teachers, nurses or stay-at-home moms or dads, they have learned character skills to help them realize their potential and to become responsible, successful and caring adults.Most Important Lesson Learned: I have learned that sometimes I am the only adult who cares about some of the students that I teach. What I do or say and how I do it or say it affects some kids to their core. I am respon-

sible for making them feel good about what they are doing and proud of who they are. I am responsible for making them strive to do their best and to be their best. My words may be the ones that save them or condemn them.

CALIFORNIAAmi GarvinSuzanne Middle SchoolWalnutYears at School: 10Total Years Teaching: 14Students in Music Program: 490

Teaching Philosophy:I strive to nurture in my students an excite-ment for learning in conjunction with the State and National Standards for Visual &

Performing Arts and to provide a posi-tive atmosphere that fosters creativity and musical excellence. My ultimate goal is that students exit their middle school experience with a greater ap-preciation of music and art, a desire to continue participation in music, and the ability to interact with a changing world. Making A Difference In Students’ Lives:I’m committed to delivering more than just music education. I want my students to use music as a way to get to know themselves and develop team-building and leadership skills, as well as an understanding of social dynam-ics and empathy. I accomplish this through “Edutainment”– teaching and motivating students using analogies and stories. Most Important Lesson Learned: When students know you believe in them and their potential for greatness, they will move worlds to create amaz-ing results.

COLORADOElva Jean BolinPeoria Elementary SchoolAuroraYears at School: 14Total Years Teaching: 42

Students in Music Program: 73 Teaching Philosophy:Education is about teaching kids, not pre-senting curriculum or lesson plans. Teaching is about the student, not about the teacher.

Learning is a process, not a product. Every child can learn, but not all learn at the same rate and in the same man-ner. Often the kid who struggles the most in the process has the concept learned more completely at the end than the one to whom it comes in-stantly. The teacher needs to use dif-ferent ways to present a concept to the students because some students are visual learners, some aural learn-ers, some kinesthetic learners. We, as teachers, need to break out of our own comfort zone to address different learning styles. Students who are suc-cessful have a lot that they can share about the process of their own learn-ing. Teachers need to remember that we preparing students for their future and not for our own past.Making A Difference In Students’ Lives:The Peoria Violin Program began in 2000 with a grant from TEXACO for $10,000 and a donation of eight violins from the Colorado Youth In-strumental Program. In 2001, when I received the Channel 7 Everyday Hero Award For the Violin Program, Berger Fund donated money for 12 more vio-lins. Several individuals also donated violins. The Peoria PTO and two area music stores have helped us purchase more violins. Today we have 70 violins in six different sizes. We have 73 stu-dents enrolled and 25 on a waiting list.The program is designed to provide a violin and free violin lessons for each interested student in our low-income neighborhood school. Students may continue violin until they complete twelfth grade. Several advanced violin students currently assist me in teach-ing the beginners. This is how I began to teach. And I always remember that if I had not had a free violin and free

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lessons at my elementary school, I would not be a violinist today. Most Important Lesson Learned:Whatever you do, do it with enthusi-asm!

CONNECTICUTCarmalyn Buleje CookJohn C. Daniels SchoolNew HavenYears at School: 21Total Years Teaching: 21Students in Music Program: 475

Teaching Philosophy: All children can thrive and feel proud of their accomplishments in the music classroom. It is my job to know my students and offer a varied cur-

riculum so each child can feel successful.

Making A Difference In Students’ Lives:By taking advantage of what is avail-able to these children, I have opened them up to many new experiences. Ev-ery year we put on a musical, perform in our community, attend concerts at Yale University and go to Carnegie Hall for the LINK UP program.

Most Important Lesson Learned:I have learned so much about the varied backgrounds and cultures of my students and their families. It has enriched my life and expanded my world.

DELAWAREJames F. TharpCab Calloway School of the ArtsWilmingtonYears at School: 21

Total Years Teaching: 25Students in Music Program: 150

Teaching Philosophy:All of my students have something to contrib-ute to the ensemble and all of my students need to have a creative and performing outlet.

Not only does participation in music engage vast amounts of brain power, it also satisfies the emotional connection the students need to make with each other as both performers and coopera-tive learners.Making A Difference In Students’ Lives:I hope to make a difference basically by giving them a place to belong, where they are important and their contributions are important. A place that is safe yet challenging. And by

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constantly asking them to give more in the way of performance they learn that they can achieve any goal they choose to pursue.Most Important Lesson Learned:Students really do want the challenge and the discipline that it takes to per-form at a high level, and even though the journey is not as always comfort-able or fun, the results are clearly worth the effort. My students always seem to rise to the occasion.

FLORIDARobert SchaerLakewood Ranch High SchoolLakewoodYears at School: 14Total Years Teaching: 35Students in Music Program: 260

Teaching Philosophy: I have always tried to engage, inspire and en-courage growth through music performance. It is my desire to instill in my students a love for mu-

sic and performing music. Through all this I have also tried to work, teach, and exemplify the many life skills needed to succeed in today’s society.Making A Difference In Students’ Lives:I think that music performance has made a difference in my students lives. In this era of instant gratifica-tion through a click of the mouse, many students have lost contact with the ability to work hard to achieve and attain high goals. We always set the bar high in our per-forming ensembles and I think our kids understand that working hard is what is going to make them suc-cessful as they move on with their lives.Most Important Lesson Learned:My most important lesson has been, without a doubt, patience. It seems I never give up on a child.

GEORGIAPeter LemondsDuluth High SchoolDuluthYears at School: 11Total Years Teaching: 28Students in Orchestra: 280

Teaching Philosophy:I believe the music classes we teach would be better described in the course catalogue as The Study of Excellence 101. Music is simply the

medium we use to teach not only music skills but the intangible tools that will make students successful in their life in whatever obstacles they may face. Teach-ing students to express themselves is a far more valuable life skill than anything we can teach them about music. Making A Difference In Students’ Lives:Students often come back from college or their professional life and comment how deeply they felt the common bond of being a part of something larger than themselves as a member of our orchestra program. Shared sacrifice, work ethic, commitment, and pride in their accomplishments (mu-sic or otherwise) and all the memories of those wonderful moments make students look back fondly on their years in orches-tra and lays a foundation of excellence in all parts of their lives. Most Important Lesson Learned:What matters most to students is that their teacher cares about them. To students, those small gestures make a big difference asking, “How are you?” or “What’s going on?” Over my career, more times than I care to remember, I have not seen the for-est of my students’ for the trees of their technique. In other words, I was so con-cerned with teaching the music I often ne-glected to understand how students were responding to me and the music, missing those opportunities to build trust and to enlist their support and partnership in learning. It’s funny, I’m a much happier teacher now – and I get better results with my students – than I ever did with focus-ing only on music instruction.

HAWAIISarah TochikiChiefess Kamakahelei Middle SchoolLihueYears at School: 4Total Years Teaching: 4Students in Music Program: 200

Teaching Philosophy: All students are capa-ble of becoming good musicians and music participation can be a powerful event in their lives. Students who do

poorly or well in other subjects can ex-cel in music. The experience provided in a music ensemble is unique and im-portant. Making A Difference In Students’ Lives:As the band director at Chiefess Ka-makahelei Middle School, I have the privilege of teaching instrumen-tal musicians for their entire middle school careers. I watch and help them grow and mature. This is how I be-lieve I truly make a difference. I have the potential to impact their lives for a fourth of the time they have been alive. It is my responsibility to pro-vide them with the best possible expe-rience and to everything I can for my program so my students can shine. I must provide them with chances to hear and perform all types of mu-sic and create unique experiences for them like marching in the local Holiday “Lights on Rice” Parade or off-island travel. I want my students to look back on their middle school band experience fondly remembering all the wonderful things they were taught, the awesome concerts they performed in, and experiences that they may not have had if they had not been a member of the band.Most Important Lesson Learned:I have learned two important things since becoming a music educator. First, in order to have efficient re-hearsals, it is vitally important to teach the students how to read music. The more preparatory work you can do to teach them to read what is on the page

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At Berklee, we appreciate who you are. And where you want to be. You’ll collaborate with students and faculty as you develop your original style. A lot will be expected of you. But you’ll get as much in return. You’ll become a better musician and problem solver in the ever-changing music world. So you can succeed in your career. Wherever it takes you. Learn more at berklee.edu/sbo

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in front of them, the more you can accomplish. Second, to be the band director is to be the CEO of the band. This is something they do not stress enough while getting your undergraduate degree, yet it is one of the most im-portant things for a successful band program. You have much more to manage than just planning for individual rehearsals. It is all the other things, paperwork, fundrais-ing, instrument inventory management and repairs, pur-chase orders, uniforms, recruitment, traveling, the music library, managing volunteers – the list goes on and on. These are critical to the quality of a band program. It is a tough yet rewarding job and I am honored to do it.

IDAHOTim SandfordLake City High School Coeur d’AleneYears at School: 16Total Years Teaching: 26Students in Music Program: 160

Teaching Philosophy: I believe in giving students the opportu-nity to excel and be successful. Much of my teaching centers on students’ skills for success in life. Students need to learn to think creatively, problem solve, and act responsibly within whatever commu-

nity they are involved. We work in my classroom on be-ing prepared, following through on commitments, lead-ership skills, and how to be a part of a cohesive team. Students are given the opportunity to lead, to follow, to involve themselves in multiple activities and to take risks. I teach to four principles: 1) “Strive for Excellence” – Students are held accountable and encouraged to do their best at all times. 2) “Never Settle for 2nd” – I chal-lenge them to never give a second-rate effort and hold them accountable to being their best. 3) “Dream Big” – My students are asked and encouraged to take risks. We believe that the only true failure is to not try. 4) “Arete” – This is a Greek word that implies becoming a person of impact. Students are always asked to consider how the example of their conduct, preparation, and attitude effects and inspires those around them.Making A Difference In Students’ Lives:All I can say is that I hope I have made a difference. I know that students of mine come back and thank me for the lessons learned, the fun we had, the opportunities they were given, and the experiences they enjoyed. I have students who have gone on to be professional musicians and music teachers. I have far more who enjoy participating in music groups for after their high school career is finished. Others, although not actively participating, enjoy music in a deeper way than if they had not been in music and appreciate the hidden lessons

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of leadership, teamwork, and commit-ment. It is an honor to be able to influ-ence and shape a life for the better and I am blessed to be in a position to do that.Most Important Lesson Learned:Laugh. Try to enjoy the moment and celebrate the positive.

ILLINOISMark MikulaySesser-Valier High SchoolSesserYears at School: 10Total Years Teaching: 24Students in Music Program: 125

Teaching Philosophy:Never forget band isn’t a required sub-ject. Every student who walks through the band room door is there to discover his

or her own potential. Create an envi-ronment where the expectations for behavior, mental focus and practice commitment are high, but the rewards for hard work are tangible every day. Keep it challenging, and keep it fun. Making A Difference In Students’ Lives:I’m not sure it could ever be deter-mined. However, they do change my life every day. When one of my trum-pet players finally masters a tough phrase and grins or an ensemble starts to gel on a particularly hard piece and I read the excitement on my students’ facial expressions, it is pretty great to be there. Most Important Lesson Learned:Engage. Engage. Engage. I wouldn’t go so far to agree that today’s students are so media and technology-saturated they need to be entertained every mo-ment, but you’ll lose them fast if you

waste their time. Truth be told, the same was true when I was in school band and, I imagine, long before I was around.

In some ways, a successful band room really is like a video game, where students are transported every day to a different world, one where continuous concentration and effort pay off, even if just a little at a time.

INDIANAJason WitzigreuterNorthrop High SchoolFort WayneYears at School: 5 Total Years Teaching: 14Students in Music Program: 175Teaching Philosophy:I have a basic philosophy of teaching: My students always come first. As their teacher, I will do anything for them

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that will help them succeed in life. As a music teacher, I have an incred-ibly unique opportunity to work with kids outside of the “normal” confines of the standard school day. I have an opportunity to positively impact their lives and it is a blessing to be in such a position. If I have positively impacted just one life through a quality music education, I feel that I have been suc-cessful. As a high school band director, especially during marching and jazz band seasons, I tend to see my students more than they see their own families. My crucial role is to serve as a positive mentor, a leader, and as someone they can always trust to do what is right.

Making A Difference In Students’ Lives:My students know that I am always there for them. I have stu-dents come back year after year and share

their life successes. They tell me that my guidance while they were students of mine helped them in college and life. They thank me often and I feel their respect through our conversa-tions. It is hard for me to acknowledge this because I never seek their praise. I truly have wonderful students and I am blessed to be their teacher.Most Important Lesson Learned:Do everything for kids. When I started teaching 14 years ago, I was mostly concerned with how I came across in the classroom. I always wondered if I looked the part of a band director. I was always concerned that I wasn’t saying the right things. Later I real-ized that what really mattered was my students. Today I concentrate the ma-jority of my energy as a teacher mak-ing sure that I am serving as a positive resource for my students. I care much less about what I think a band director should do, and concentrate my energy on providing my students with a qual-ity music education. I do this through the personal experiences I have gained through my career. When I am at

school I strive to give my students 100 percent of my energy and do every-thing I can for them. Little of my day is about me.

IOWAMyron MikitaDon Bosco High SchoolGilbertvilleYears at School: 21Total Years Teaching: 29 Students in Music Program: 55

Teaching Philosophy: My teaching philoso-phy is to help the stu-dents in my program have as much fun in learning about the dif-ferent aspects of music

as possible, but at the same time show them the discipline and respect needed to have an outstanding small school music program.Making A Difference In Students’ Lives:I feel that I have made a difference by helping my students not only in the band room, but outside the band room as well. Being a good teacher not only means being able to teach your students their music and having a good program, but being a good lis-tener and friend when the kids need it; before school, during school and after school.Most Important Lesson Learned:I have actually learned two impor-tant lessons during my career: First off, that students come from so many different home environments that you have to be flexible when work-ing with them. You cannot teach everyone in your program the same way if you are going to have an over-all successful program; and secondly, enjoyment comes before competi-tion. In a world where everyone is “competitive oriented,” I have learned that it’s all about your stu-dents coming out of a performance and saying “I thought we did really well and boy did we have fun,” no matter the outcome of the contest.

KANSASAvian BearBlue Valley High SchoolStilwellYears at School: 7 Total Years Teaching: 37 Students in Music Program: 101

Teaching Philosophy:I believe in maintain-ing a program whose primary goal is to help every student become the best learner, the best leader, the best

musician, and the best person that he or she can become. There is a place for everyone who wants to be a part of this band program and every ability level is welcomed and showcased.Making A Difference In Students’ Lives:Students leave this program with a love for music, an appreciation for what it takes to become good per-formers, and ample opportunities to develop leadership skills. Providing a special place in students’ hearts with fond memories of their own music experience is the best gift we can give them, whether they go on to be mu-sic consumers, parents of future band students, or performers in their own right.Most Important Lesson Learned:It’s all about the students.

KENTUCKYChris VanceGarrard County High SchoolLancaster Years at School: 17Total Years Teaching: 17Students in Music Program: 110

Teaching Philosophy:Any kid, any time. Any kid that has a de-sire to learn to play music or a passion to play music better is what I feel all of

our philosophies as music educators should be. We are only here because of the students and no matter what a

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kid grows up to be, somebody, some-where taught them. When I was hired I was going to be the sixth band di-rector in 10 years and the first thing I decided was to give the school and band program a few years to provide some stability. I kept thinking about how every kid deserved a chance to be in a program that they were proud to be in, even though I was told by directors in other parts of the state that there was no way a band program could be built in Garrard County. I’m one of those people that excel when I’m doubted. That was enough to get me started and after that I just stayed. I’m in year 17 now and I and the band program are still doing alright. In fact, we just com-peted in State Finals again. Making A Difference In Students’ Lives:I hope to teach worldly lessons through music. Hoping that even if the last time they twirl a flag or play scale is the last day of high school, they are able to relate what they’ve learned to the rest of their lives and world. We’re not just teaching musi-cians and performers, but human be-ings. There’s a whole lot more to my job than just band. Most Important Lesson Learned:I hate to use a typical cliché, but it has to be that I learn something new ev-ery single day. Maybe a kid teaches me something about how I teach, or how they learn. Maybe it’s in a journal arti-cle, or maybe it’s from my colleagues.

LOUISIANAMack GoldenJennings High SchoolJenningsYears at School: 16Total Years Teaching: 21Students in Music Program: 184

Teaching Philosophy:My teaching philoso-phy is based on the idea that music plays a very important role in everyone’s life. It is my responsibil-

ity to provide quality instruction and experiences that help each stu-dent realize their own potential and abilities while striving to work as a team. I believe that every student can benefit from a music education. The processes learned in a music program can be carried on throughout their entire life. Music is a unique disci-pline that integrates all other subjects and provides students with a more well rounded and holistic education. Many “real world” lessons can be taught and fostered through music instruction: teamwork, cooperation, tolerance, respect, and the building of independent and critical thinking skills, just to name a few. Music and the arts are necessary to develop great thinkers and achievers. Through my love of music and experiences, I try to inspire others to realize their po-tential.Making A Difference In Students’ Lives:I believe that I help students develop their self worth in life. They find a purpose. Many students come into my programs without a voice or self confidence. I see them grow through the years to be independent thinkers and strong individuals that care about others.Most Important Lesson Learned: The most important lesson I have learned is patience. Patience is a virtue that we all need to have. It may not happen today, but it will happen if you keep pushing. MAINEJeff PriestOld Town High SchoolOld TownYears at School: 23Total Years Teaching: 27Students in Music Program: 205

Teaching Philosophy:I want to provide students with out-standing performing arts opportunities, to embrace their creativ-ity and allow them to

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achieve at their highest potential. I want each student to appreciate the arts and all of the possibilities that it can provide to them and their fami-lies. Making A Difference In Students’ Lives:The Old Town Music Program has provided outstanding opportunities for students to become excellent mu-sicians and people. They have expe-rienced great joy in performing mu-sic. These experiences are and will continue to be building blocks for them to become outstanding people in their communities.Most Important Lesson Learned: Never ever give up! No matter how hard and difficult a situation looks, there is always hope for success.

MARYLANDRandi LevyRoberto Clemente Middle SchoolGermantownYears at School: 7Total Years Teaching: 10Students in Music Program: 185

Teaching Philosophy:Music education can be innovative and pro-gressive by including rock and roll as part of the curriculum so that every child has

a chance to succeed on every type of instrument, free of charge. Rock and roll education is flourishing every-where except in the public school mu-sic classroom. School music programs may be suffering across the nation, yet private music schools and rock camps

are exploding everywhere. The busi-ness community has caught on to a huge demand for a progressive and relevant music education. Unfortu-nately, if you want to play, you have to pay. In a world where access to contemporary instruments is no lon-ger equitable and limited to only those who can afford private lessons, public music education has an incredible op-portunity! We can engage students in a complete music education through both classical and rock & roll instruc-tion free of charge, so that every child on every instrument has a chance to succeed! Making A Difference In Students’ Lives:I have tried to model an infectious love for music to my students. I also place value on learning life skills through collaboration as part of a team. Mu-

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sic is the one team sport that can be played every day in school, for we are all in this music-making business together. Additionally, I give students permission to take risks. My motto is: “If you’re going to make a mistake, make it a big one. Go for it!” I have tried to create an environment where students develop a life-long love of music, learn to work together, and feel comfortable giving music-making their all.Most Important Lesson Learned:I am in the people-building business. I am the deciding factor in the class-room, for I create the climate for learning. It is my responses to students that decide whether a child is valued or devalued. Every day I have an op-portunity to make a difference (or not) that can ultimately result in a trans-formed life.

MASSACHUSETTSAl DentinoConcord-Carlisle Regional High SchoolConcordYears at School: 20 Total Years Teaching: 36Students in Music Program: 200

Teaching Philosophy:Over two-and-a-half-thousand years ago, Aristotle taught us that in order to be a complete human be-ing, one needed to be

well versed, and equally balanced in the academics, athletics, and the arts. Children today, especially in this ever increasingly technological world in which we live, must be encouraged greater than ever before to explore that which defines us essentially hu-man, active participation in the arts. As much as we teachers love our great sound systems, our ActivBoards, our computer assisted instruction, and our mini tuners, when students sit in our band rehearsals, they still learn in the same way we did fifty years ago: from a talented, devoted, and exciting band

director delivering the curriculum to talented, devoted, and exciting kids.By thinking out of the box, never ac-cepting merely good, and aiming for the stars and occasionally reaching the moon; while at the same time keeping a finger on the pulse of, or balancing high expectations with, what’s realistic and enjoyable.Most Important Lesson Learned:As hard as I try, I can never be all things to all people; but the minute I stop try-ing, I’m lost. It took me a long time to learn this. But once I did, I became more comfortable with the challenges I face in the rehearsal room every day.

MICHIGANJanis Shier PetersonMarquette Public SchoolsMarquetteYears at School: 34Total Years Teaching: 36Students in Music Program: 200

Teaching Philosophy:All children can learn and all children are intelligent in their own way. It is my re-sponsibility to provide a quality education

for every student in my class using a variety of teaching methods and ap-proaches. I must never, ever give up on a student who is struggling. Making A Difference In Students’ Lives:It’s music that makes a huge difference in the lives of the students. Playing an instrument teaches employability skills like dependability, accountability, teamwork, critical thinking and a posi-tive work ethic. Music students learn a skill that gives them an opportunity for life-long learning and means of ex-pression. They engage in an activity that keeps them busy doing something positive with a positive support group. Most Important Lesson Learned:If I’m inspired, my students will be in-spired, too. When an activity loses its thrill, it’s time to find a new one. I’m never too old to learn new ways of do-ing things better.

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MINNESOTABrad MariskaPine City High SchoolPine CityYears at School: 7Total Years Teaching: 7Students in Music Program: 191

Teaching Philosophy:Music has to be fun for students. However, the greatest reward or enjoyment in music is performing to your greatest potential and

constantly achieving higher levels of musicianship – that’s when the fun re-ally begins. I also believe strongly that a variety of musical forms and styles enrich students equally. While our concert band is the nucleus of our pro-gram, we also put great value in our pep band, jazz ensembles, and musical theatre program. Both students and audiences appreciate this diversity – and it’s also very educational.Making A Difference In Students’ Lives:At the very least, I hope I’ve demon-strated to my students that, with hard work, you can achieve greatness, and you reap the rewards in all aspects of your life. Students have a lot of pride in the music they perform, but it gives them a confidence not just in a con-cert or classroom setting. The skills we teach in band rehearsals or mu-sic theory courses are life skills: work hard, have pride, and never give up. Our school has been recognized by the NAMM Foundation as one the Best Communities for Music Education in America for the past two years and stu-dents understand that that is a result of a collaborative effort by many people who all subscribe to this philosophy.Most Important Lesson Learned:I’ve learned that even the best train-ing cannot prepare you for teaching. But this can also be exciting. Every student learns differently and to be a great teacher and motivator, you have to adapt daily. I’ve also learned that while fifth graders and high school se-niors are completely different, many

of the same teaching techniques apply to all levels of music instruction. Ul-timately, though, the most refreshing lesson I’ve learned is that every day I learn as much from the students as they learn from me. How cool is that?

MISSISSIPPIAnna SchwartzBiloxi Junior High SchoolBiloxiYears at School: 1Total Years Teaching: 13Students in Music Program: 200

What Is Your Teaching Philosophy?I have taught at three different schools, each with different student populations. My first school was

inner city where 98 percent of the students were on free or reduced lunch. My previous school was the exact opposite where the students came from affluent families and the

parents were very supportive. Cur-rently, I teach at a school where the student population is right in the middle of the two previous ones. My teaching philosophy is that most students are basically the same no matter what the socioeconomic situation from which they come or where they attend school. If they are treated with respect, given high quality instruction in a sequenced, organized and consistent fashion, and if they are held to the high-est standards in the classroom they will have the opportunity to be suc-cessful.Making A Difference In Students’ Lives:Hopefully, I have taught my students to love music and to love the mu-sic making process. My goal for my students is not for them to become professional musicians, but rather for them to be lifelong consumers of music. I hope that when my students reflect on their middle and high school years, some of their greatest

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memories will be of their experienc-es in band. Also I hope that in giving them the opportunity to be success-ful they have achieved a higher level of self confidence, an attribute that is so important to physical, mental, and emotional health. Most Important Lesson Learned:The most important lesson I have learned as an educator is the im-portance of seeking as much help as possible from others who have been successful in teaching band. I was very fortunate when I first started teaching to have several re-tired directors who visited my band room to observe and offer sugges-tions. This helped me to become a better teacher. They also taught me the importance of having a mentor teacher who is not afraid to hurt your feelings and who will tell you when you are doing foolish things. I see many young directors who think they are supposed to know every-thing and are therefore reticent to ask for help. It is just impossible to know everything, especially when one is just beginning to teach. Ask for help! Bring in people who have been successful and incorporate

their suggestions and advice. It will make you a better teacher and your ensemble a better band!

MISSOURIRocky LongWest Plains R-VII SchoolsWest PlainsYears at School: 8Total Years Teaching: 12Students in Music Program: 253

Teaching Philosophy:One aspect of my philosophy is to cre-ate a safe environ-ment where students feel welcome. I really work hard to make

the band room the place to be, and a place where they can learn. We have to remove all the obstacles from learning, and allow students to take risks and learn from their mis-takes. When you can get students to a place where they are not afraid to make mistakes, then you can really make a difference.Making A Difference In Students’ Lives:I believe consistency is a key com-ponent in making a difference in the lives of my students. Society today

presents students with many chal-lenges that are well beyond their control. My students need a stable environment in their daily routine, and band is that place where they can succeed. Most Important Lesson Learned:The most important lesson I have learned is that you have to make a personal connection with your students. In the age of technology, students can find the answers any-where. They are looking for a teach-er who will take an interest in their lives. It is more than just the trans-mission of knowledge. They want to know you care, and that they are more than just a number.

MONTANAMark McCradyWhitefish School DistrictWhitefishYears at School: 6Total Years Teaching: 14Students in Music Program: 180

Teaching Philosophy:I believe that music is for everyone, from the serious student to the everyday kid. My job is to challenge students at each level, with the

expectation that all of us (myself in-cluded) need to grow and improve. I want to help them become skilled, lit-erate and confident musicians. While success on stage is vital, the process is more important than the product. The experience should be enriching, re-warding and fun. People first – music second.Making A Difference In Students’ Lives:It is humbling when I hear about a student whose main reason for staying in school is our music pro-gram. If young people leave my classes with an increased sense of self-worth, meaning or belonging, then music has made a positive dif-ference. I give God the credit for that.

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Most Important Lesson Learned: A successful band program is not a one man show. Administrators, col-leagues, mentors, volunteers, guest instructors, clinicians, parents and student leaders all play a role in a program’s success. Students benefit most when music education is a team effort.

I’ve also learned that I still have a lot to learn! Education is a lifelong pursuit – we must never stop learning.

NEBRASKAEvan LeeNorris High SchoolFirthYears at School: 11Total Years Teaching: 20Students in Music Program: 110

Teaching Philosophy:My teaching phi-losophy is that our program serves as a gateway to building relationships and life skills for our students.

We help students learn how to work together for a common goal, develop good time management skills, and constantly strive for excellence.Making A Difference In Students’ Lives:I feel like I have made a difference in my students’ lives simply by be-ing there and supporting them in their efforts, both in band and in their other activities. The students know that I am behind them 100 percent. Most Important Lesson Learned: Students are a direct reflection of their teacher/director. Motivation to succeed, striving for excellence, love of music, passion for the art – it all comes from what students see in front of them every day.

NEVADADanielle McKracken Coronado High SchoolHenderson Years at School: 11Total Years Teaching: 17

Students in Music Program: 160Teaching Philosophy:We teach kids first, fo-cusing on the individ-ual student and how they contribute to the whole group. We have consistently high ex-

pectations of all of our students, never accepting less than their very best each day. Having a strong band program is a great byproduct of this approach.Making A Difference In Students’ Lives:We care about every student who has ever been a part of our program. Whether they are all-state musicians, or ones who struggled through middle school, every person has a place in my program. Our students know what it means to be a part of something big-ger than themselves. They learn team-work, responsibility, accountability, and that hard work in conjunction with talent will produce amazing re-sults. Our goal is to produce life-long lovers of music, and I think we have done that consistently over the years.Most Important Lesson Learned: As educators, we are constantly learn-ing. We have to be just as thirsty for ways in order to improve ourselves as musicians, conductors, and teachers. I have been so fortunate to teach in the Clark County School District, where our colleagues are always willing to share ideas, offer suggestions, and truly help each other. I feel very luck to have spent nearly my entire career here.

NEW HAMPSHIREJodi LalosWest Running Brook Middle SchoolDerryYears at School: 11Total Years Teaching: 11Students in Music Program: 120

Teaching Philosophy:As a music teacher, I set reachable goals at a high standard and prove to each student that their musical part is important, no matter

how complex. I believe that successful concert band rehearsals are a good bal-ance of keeping the students engaged, setting a structured yet flexible envi-ronment and allowing kids to really take ownership of their performance.Making A Difference In Students’ Lives:When former students take time from their busy lives to come back to their middle school to tell me about their recent endeavors as drum major, be-coming a music major or even starting their first job as a music teacher, I know I have made a difference in their lives.

I also have the privilege to work with students who may have never performed on an instrument or believe that they could ever perform in front of their peers, through my drum class. Af-ter teaching basic rudiments and skills, we (the students and I) compose a piece using classroom chairs and perform for the entire student body. The anxiety level is extreme prior the performance. Once their performance is over and the roar of the crowd hits them, it is amaz-ing to see kids that may not have had confidence turn into rock stars. Mo-ments like these validate everything I do.Most Important Lesson Learned: One of the many lessons I have learned during this eleven-year adventure is that it is extremely important to get your students performing. When students are performing in parades, concerts, town concerts or statewide festivals, it makes rehearsals purposeful along with highlighting an amazing group of kids.

NEW JERSEYCarol SackLittleton SchoolMorris PlainsYears at School: 25Total Years Teaching: 27Students in Music Program: 120

Teaching Philosophy:When one is called to teach, the cen-tral force behind ev-ery interaction with children must be a caring heart. Chil-

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1-800-265-1042 Go to www.grandmesamusic.com to listen to full length recordings and view scores of all of our band and orchestra music.

New Concert Band Music for 2011

1. Steel, Randall Standridge, Grade 3 2. Still, Still, Still, arr. by Randall Standridge,

Grade 23. The Magician, David Bobrowitz, Grade 2+ 4. Mystery Ride, Terry White, Grade 1+ 5. Siegfried’s Super Sensational Circus

March, David A. Myers, Grade 1+ 6. Zooveniers, Randall Standridge, Grade 2 7. March of the Chinchillas, R. Kevin Paul,

Grade 28. Sands of Egypt, Steven O. Scott, Grade 2+9. Ballad for Band, Greg Danner, Grade 2+

10. Irish Minstrel Song, arr. by Michael Vertoske, Grade 2+

11. Her Majesty’s Brigade, Randall Standridge, Grade 2+

12. Old Dan Tucker Fantasy, Gregory B. Rudgers, Grade 2+

13. Guardians of the Seas, David Reed, Grade 3+

14. Celebration Triablesque, Randall Standridge, Grade 3+

15. The Lark in the Clear Air, Clifton Taylor, Grade 3+

16. Kingsfold March, Victor Flowers, Grade 3 17. Chopsticks?, arr. by David Bobrowitz,

Grade 3. 18. Heist, Matthew Schoendorff, Grade 3+19. A Time with Nicolas, Jared Spears, Grade 3+ 20. Wild Dance, Douglas Akey, Grade 4 21. Anthem, Patrick Burns, Grade 4

White Noise, Ralph Hultgen, Grade 5+Concerto for Winds, Francis Poulenc, transcribed by Kenneth Singleton, Grade 5

We invite you to experience it

2011 Midwest Clinic GMM Performances

BANDSteel, Grade 3, by Randall StandridgeCross Timbers (TX) Middle School Honors Band

March of the Chinchillas, Grade 2, by R. Kevin PaulFarmington (UT) Jr. High School Symphonic Band

Still, Still, Still, Grade 2, arr. Randall StandridgeCobb Wind Symphony, Marietta, GA

The Lark in the Clear Air, Grade 3+, by Clifton TaylorDouglas Anderson School of the Arts (FL) Wind Symphony

Irish Minstrel Song, Grade 2+, Arr. Michael VertoskeBallad for Band, Grade 2+, by Greg DannerAir National Guard Band of the Midwest

STRING ORCHESTRAA Little Quiet Music, Grade 3, by Pierre LaPlanteViBravo String Ensemble (MO)

Up, Up, and Away, Grade 1, by Michael HopkinsWater Reflections, Grade 3, by Walter CummingsBothell (WA) High School Chamber Orchestra

SAXOPHONE QUARTETIn Dulci Jubilo, Grade 2, by J.S. Bach, Arr. R. M. Bearden, Jr.Cedar Park (TX) Middle School Saxophone Ensemble

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dren should know that both praise and discipline come because “I care enough to notice” (my most often used phrase). When this drives one’s program, children will want to par-ticipate. Mere participation will soon become a drive to excel, once they know that they can trust that your caring will never falter. The re-sults are almost limitless.Making A Difference In Students’ Lives:As an elementary instrumental mu-sic teacher, I see students once per week for lessons and once per week for band rehearsals. People out-side the field might wonder how I could possibly learn their names, let alone get to really know them. The truth is that as we share in the musical experience over a number of years, we get to know aspects

of our students that other teach-ers rarely get to witness. As mem-bers of a performing group, chil-dren come to realize that they are necessary pieces to a puzzle that, without them, would be lacking in some way. This helps to build self worth, confidence, and a sense of who they are. These skills perme-ate into every aspect of their lives, both in and out of school. Fostering this type of growth through musi-cal avenues is fulfilling for me and for the students in my program.Most Important Lesson Learned: Under normal circumstances, stu-dents will work to meet our expec-tations . They will work up to – or down to – our belief in their abil-ity. Never be afraid to set the bar high! If our expectations are low,

student achievement will be such as well. During my 25 years teaching elementary band students, I have never overestimated the abilities of my players. They have always met my expectations. They trust that what is being taught is simply the next step in the progression of their musical growth and knowledge. As a result, I still feel excitement over the accomplishments of my bands. This keeps me enthusiastic, and that enthusiasm carries over to the stu-dents as well.

NEW MEXICOShawn SilvaOnate High SchoolLas CrucesYears at School: 9Total Years Teaching: 13

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Students in Music Program: 120Teaching Philosophy:Teaching music is an opportunity for chil-dren to create an iden-tity for themselves; teaching band is an op-portunity for children

to create experiences and memories that will last forever. Making A Difference In Students’ Lives:I hope that my students witness the love I have for my family, the passion I have for teaching band and how much I care for them as people. I am hope-ful that somehow in their own lives they are able to find that same love and passion for something they truly care about. I am hopeful that in some way, making music remains a part of their life. Most Important Lesson Learned: It wasn’t until my own two daugh-ters were born that I realized that the children I work with everyday are someone else’s miracle. Before, my ap-proach was strictly the idea of what is best for the band, but now I find my-self thinking about the bigger picture and what is best for each child that is part our band.

NEW YORKAllison ScillaHarborfields High SchoolGreenlawnYears at School: 12Total Years Teaching: 13Students in Music Program: 300

Teaching Philosophy:I believe that it is my responsibility to provide the most comprehensive music education possible to my students and to

help each student reach their fullest potential as a musician. The skills they learn as musicians translate not only to other core subject areas, but to real life, such as persistence, discipline, teamwork, and coopera-tion. Through my passion for music,

I hope to inspire my students to be the best musicians and people they can be.Making A Difference In Students’ Lives:I have tried to give my students many positive musical experiences during their time in high school and have helped them make memories that will last a lifetime. The marching band has traveled to Disney World, Hershey Park, and Busch Gardens to perform. The concert bands partici-pate in music festivals at Six Flags Great Adventure, we take them to New York City to see Broadway mu-sicals and Jazz performances. They have wonderful memories of the time spent performing and experi-encing musical performances with each other. Most of my students will not be music majors, I don’t ex-pect them to be, but because of their positive musical experiences in high school, many have gone on to join their college marching band, con-cert band, pit orchestra, or take pri-

vate lessons. I think that is a direct reflection of the bonds they formed with their friends and teachers as a high school music student. They know the power that music has to build camaraderie and lasting rela-tionships, and I am proud of the fact that I have such a wonderful rela-tionship with my students and with many of my alumni.Most Important Lesson Learned: I have learned many lessons over the past 13 years and it is impossi-ble to narrow it down to one “most important.” One of the most im-portant things that I have learned is that there is so much to still learn! As an educator, I am also an eter-nal student and I learn every day. I have learned so much from my col-leagues, our Director of Music, our High School Principal, but especial-ly from my students!

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NORTH CAROLINADavid RobinsonPanther Creek High SchoolCary Years at School: 5Total Years Teaching: 26Students in Music Program: 215

Teaching Philosophy:I spend the majority of my energy teaching my students to engage in their education. I look for ways that stu-dents can step up and

become leaders. I teach my students that leadership involves giving. The success in my classroom comes from the idea that we all have to succeed for the group to succeed. We are only as strong as our weakest link. All stu-dents in the ensemble learn to care for everyone’s progress. I see my students as potential teacher/leaders. I ask them to teach each other in section rehears-als and to look for ways to elevate all of the musicians in their sections. When students think that “we-us” is more important than “I-me,” we will have students that go into the commu-nity looking to serve not be served.Making A Difference In Students’ Lives:If we are fortunate, we will have three or four great teachers in our lives; teachers who were able to touch some-thing down deep inside us and who really determined our thinking about everything. Perhaps they confirmed a certain belief pattern, or influenced the way we handled problems, or simply gave us the encouragement we needed to succeed. I was lucky to have two outstanding teachers help mentor me in my early years, Jesse Holton (band director) and Lisa McIver (choral di-rector). I wanted to follow in their footsteps and use them as models in developing my own style of teaching. Most Important Lesson Learned:My final thought would be that in both teaching and learning, you must remain persistent. Dr. Tim Lautzen-heiser said it best: Engagement in one’s education and then sharing it with

others offers an instruction manual of success. It must be constantly studied and practiced. One year in my class is certainly not going to transform any-one’s life-ingrained habits, nor should it. It is merely a taste of what is pos-sible by shifting to a we/us community and striving for excellence.

NORTH DAKOTAKim CournoyerStanding Rock High SchoolFort YatesYears at School: 12Total Years Teaching: 17Students in Music Program: 50

Teaching Philosophy:I think music should be shared by every-one. Anyone who has a desire to make music should have the op-portunity to do it. I

truly believe music education – play-ing a clarinet or a bass guitar, singing a solo or playing in the band-enhances the overall education experience on an everyday basis. When it is enjoyable, it becomes a retention factor as well as a motivator to see that any goal or dream is attainable.Making A Difference In Students’ Lives:My mother, who was raised on the Res-ervation, told that me if I made a differ-ence in even one student’s life, teaching music would be worth the sacrifice of time and energy. Because I am Native American and my students are too, they see me as an example of what a Native person can achieve. I think that is the difference. My mother was right.Most Important Lesson Learned: Since becoming an educator I’ve learned that teachable moments come when you least expect them. That stu-dents surprise you with the effort you inspire in them. That music is some-times difficult but very enjoyable – especially when a solo becomes real, when a concert piece is appreciated by the players, and when they really thought it was too hard… and they still made it happen.

OHIODan KelleyOhio State School for the BlindColumbusYears at School: 7Total Years Teaching: 17Students in Music Program: 25

Teaching Philosophy:All students have po-tential. Music is a universal language that can reach all stu-dents and is a vehicle for them to learn not

only music related skills and concepts, but other things like body kinesthet-ics, speacial awareness, growing as an individual, seeing how their individual strengths can collectively add to the strength of a team.Making A Difference In Students’ Lives:I model what I teach; I have high ex-pectations of my students. I believe if we do not have high expectations of our kids, it is more difficult for them to learn to have high expectations of themselves.Most Important Lesson Learned: It is important not to judge a book by its apparent cover. Teaching is just as much of a learning process for the teacher as the student.

OKLAHOMAJames MorrisonBerryhill SchoolsTulsaYears at School: 11Total Years Teaching: 19Students in Music Program: 200

Teaching Philosophy:My hope is to equip every student that comes through the program with the abil-ity to adapt to real life after high school. The

lessons learned in the teamwork struc-ture of band, orchestra or choir will help students look beyond themselves. They should learn the art of selfless-ness and find enjoyment in their own sense of accomplishment.

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Making A Difference In Students’ Lives:By demanding so much from them at school, my hope is that they will be better people when they graduate. I think the discipline they gain from being in the program prepares them to adapt to any social or profession-al situation they encounter. As they move on and have families of their own, I hope they will encourage their kids to be part of an arts based pro-gram that will help teach them those same skill sets. Most Important Lesson Learned: Very few situations are black and white. Family problems, social pres-sures and income difficulties can con-stantly challenge even the very bright-est students. You have to go beyond the surface to reach some kids. This is the most important and rewarding part of being an educator.

OREGONDaryl SilbermanWest Salem High School OrchestrasSalemYears at School: 5Total Years Teaching: 22Students in Music Program: 85

Teaching Philosophy:I have a sign in my room that says “I don’t expect you to be the best in orchestra, I expect you to become the best musician you

can be” and this is part of my philoso-phy of teaching. Students can be in-spired and motivated to become live-long musicians, as both performers and appreciators. There are so many reasons a student should be involved with music, and many ways that they will benefit – I constantly try to con-nect music to student’s broader life. I teach tomorrow’s musicians, concert goers, and adults who will be mem-bers of our society, and I’m conscious of that every day.Making A Difference In Students’ Lives:I feel that I constantly share my pas-sion for music by encouraging stu-

dents to love playing, to make beau-tiful music with one another, and to enjoy the process. At a bare minimum, I expect students be the best people they can be while in my class, and if they are also on their way to becoming excellent musicians by the time they’re out of my program, then I know I’ve made a difference. I offer my students a glimpse into a cultured life – I bring musicians in to them, take them to concerts, and find as many ways as I can to have music be a part of their lives. Most Important Lesson Learned: I’ve learned that one can never really know what another person is capable of. Assumptions should never become commonplace. I have seen some stu-dents who came to me with little tal-ent, little interest and minimal experi-ence become my most favorite people and students, not to mention great musicians.

PENNSYLVANIADoug RainesPenn-Delco School DistrictAstonYears at School: 9Total Years Teaching: 9Students in Music Program: 150

Teaching Philosophy:As John F. Kennedy said, “All of us do not have equal talent, but all of us should have an equal opportunity to develop our talent.”

Students are all different, but they learn best through doing, hearing, seeing, feeling, and verbalizing. Au-thentic learning is engrained in music. My goal as a teacher is to model and mentor these processes and to provide the motivation for cognitive interac-tion. I inventory student interests, and make connections to what skills and understandings are to be taught. Lesson planning is a flexible endeav-

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or promoting goals and outcomes to capitalize on any teachable moment. Therefore, education is the art of flex-ibility to merge what is in a student’s best interest “in the moment” with a “picture in picture” view of your end goal in mind.

Music is for every child and simply “cool!” Do not accept any other view-point. Children should be encouraged to participate in music programs and also be provided the opportunity. As a teacher, be willing to collaborate with the community, parents, colleagues, and administrators, while remaining steadfast in your beliefs. Demand rig-or and provide challenges. Scaffold to show the simplicity of all concepts and model how analysis and application will provide success.

Have a vision and be willing to

refine and adapt it frequently. Think outside of the box. All traditions are created by someone from the past and can be changed if planned and imple-mented properly. Music is sound in time with varied styles and expression, so elitism in music is invalid. As edu-cators, it is our responsibility to reach out to the unknown within music and to continue to grow as a musician. Technology is one of the best educa-tional vehicles to prepare our 21st-century learners; however it will never supersede traditional hard work and quality music creation. Making A Difference In Students’ Lives:Every student is unique and I strive to instill passion, perseverance, pro-cess, performance, and peace within each child through the art of music making. I experience much satisfac-

tion when students “get it,” but the greater impact occurs later when they understand the bigger picture. “The best teacher I will ever have in my life is myself.” When students understand this element of self-discovery, they have attained the pinnacle. Most Important Lesson Learned:As firm as you are in your professional beliefs and philosophies, these ideals will continue to change, adapt and be refined throughout your career.

RHODE ISLANDTed RauschPortsmouth High SchoolPortsmouthYears at school: 14Total Years Teaching: 17Students in program: 215

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Teaching Philosophy:If a student wants to participate in band at the high school level, then he or she should have the opportunity to participate. I have students from all dif-

ferent playing abilities. I try to encour-age student leadership by having up-perclassmen work with underclassmen in developing their musical skills to help them achieve things they did not think possible. I want my students to develop life skills and be able to re-spect one another. I always try to pro-vide opportunities for them to grow as individuals by having them perform at different venues. Whether our stu-dents are marching in the night parade in Disney, performing on a cruise ship, or performing for an elementary school, I am always trying to provide unique experiences that make a lasting impression.Making A Difference In Students’ Lives:I feel I make a difference when I truly see the satisfaction in my stu-dents’ faces after a great perfor-mance or rehearsal. I tell the kids, “You never know who you are going to affect or make an impression on when you perform.” Each year, the entire band looks forward to our el-ementary tour performances, when I have the marching band perform at our elementary schools. I invite the third and fourth grades up to march with us during our performance. It is a rewarding experience seeing my band kids work with the elementary kids. When those elementary kids, five years later, come into our music program, they always recall when the marching band came to play for them. Many of those students are in band today because of those perfor-mances. Each year my students look forward to these performances be-cause they truly feel they make the difference as a group. Most Important Lesson Learned:I have learned that there are times

when I have to become the student and let my students be the teach-ers. Several years ago, I formed a Band Council consisting of student leaders who help with the organiza-tion and provide feedback on the “pulse” of the band. We try to meet once a month and I always ask my Band Council members if there is anything that they think I need to address or to try differently for the benefit of the ensemble.

SOUTH CAROLINAPhil McIntyreJames Byrnes High SchoolDuncanYears at School: 29 Total Years Teaching: 35Students in Music Program: 443

Teaching Philosophy:Give every child you teach your best every day. Treat every child as if they were your own, with dignity and respect, and expect

greatness from all of them.Making A Difference In Students’ Lives:I have always striven to be an example for the standards and expectations I sought from them. I have 21 former students that teach music. Most Important Lesson Learned:Given the opportunity, students will outperform your expectations and rise to the occasion.

SOUTH DAKOTAJulie BergerHuron School DistrictHuronYears at School: 7Total Years Teaching: 9Students in Music Program: 118Teaching Philosophy:

My Teaching Philoso-phy is simple: My stu-dents are first. Their instrumental lessons, classroom instruc-tion, and even the lit-tle stories they need

to share, are all first. When you care

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about them, they will care about what you have to teach them. Everything else is second; I have a messy office and a pile of unfinished, overdue paperwork to prove it!Making A Difference In Students’ Lives:How I have made a difference in the lives of my students: a smile, a laugh and a sense of pride from my students are all small accomplishments that cannot be assessed in the classroom. There is no standardized test to prove I’ve made a difference in my students’ lives. However, I hope, someday, they are proficient in life because of the lessons they’ve learned in Band.Most Important Lesson Learned: The most important lesson I have learned is: to have pa-tience and a sense of humor. Without them, Middle School Band would be very frustrating.

TENNESSEEBarry TrobaughMunford High School BandMunfordYears at School: 18Total Years Teaching: 31Students in Music Program: 479Teaching Philosophy:

Young-adults deserve to be given every opportunity to learn and mature. Their lives require molding based on proper education and social development. I feel strongly that musical engagements are a unique means to not only bolster cross-curriculum learning, but also a key com-

ponent to instilling intrinsic responsibility necessary for a vibrant and involved adult. I want to offer every stu-dent musical opportunities, regardless of skill level, that encourage exploration and mastery through hard work dedication and responsibility. Music is what feelings sound like, and I want every student to communicate this both as performers and as a casual listeners. My job is simple; utilize the musical arts as an outreach and de-velopmental tool for the youth of our community, and to provide meaningful musical experiences enjoyed by our audiences and our members.Making A Difference In Students’ Lives:We have built the Munford Band program on team-building “student-based” responsibility. We engage students not only as musical performers, but also peer leaders with many levels of modeling and coaching. As a result, these students are well prepared for inclusion into college music departments as well as other profes-sions outside of music. Our base of alumni continues to be active in our program, constantly reminding me that their years with the MHS Band provided them with the ability to take on challenges and complete them with superior results. Though many of these graduates have become teaching or performing musicians, most have chosen other professions from the medical field to ca-reers in the military. Each of them shares a similar story of gratitude for the experiences provided to them while a part of our program. Their continued approval and influence on our current students stands as testimony that their pride runs deeply in their experiences and memories.Most Important Lesson Learned: With my career now spanning 31 years in length, the one overriding purpose in my daily routine is to do what is right. I strive to teach not only the music as printed, but also to en-courage further exploration of musical nuances inside and outside the classroom. Where some teach “to the concert,” I believe in developing the whole-learner so that they can, in

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many ways, teach themselves through previous and future experiences. I also feel strongly that modeling and exhib-iting what is morally correct is para-mount in our challenge as a total-ed-ucator in today’s world. Though not always popular or easy, we must hold each young-adult to standards that in result posture them in positions to be well engaged in society and a positive impact on whatever profession they choose. Music is the best way to reach the youth of America, and through music, it is the best way to help them develop into adults that appreciate the arts as well as the lives of others within today’s society.

TEXASJustin LewisWichita Falls High SchoolWichita FallsYears at School: 6Total Years Teaching: 18Students in Music Program: 130

Teaching Philosophy:I believe that our job as music educators is to help prepare the students not only mu-sically, but give them the tools to succeed

in their future endeavors. I try to in-still a sense of pride in my students in everything that they do. My motto is “pride makes the difference.” Making A Difference In Students’ Lives:My aim is to make students depend-able responsible adults. The respon-sibilities involved in being a student musician are excellent training for entering adulthood. Most Important Lesson Learned: The most important lesson I have learned is that everyone is different and it takes constant adaptation to reach students. They all have dif-ferent backgrounds and attitudes which makes teaching so challeng-ing, as well as rewarding.

UTAHEric PerkinsOquirrh Hills Middle SchoolRivertonYears at School: 8Total Years Teaching: 11Students in Music Program: 270Teaching Philosophy:I believe that everyone should have the opportunity to learn to play an instru-ment or sing, and be able to develop that talent freely.Making A Difference In Students’ Lives:

I love hearing about and from students when they hit their se-nior year, or are in col-lege, and tell me that they are still playing or singing. I get to know

that I helped with that. I had a small part in that student’s life.Most Important Lesson Learned: Patience. Lost folders almost always turn up again (sometimes it takes a couple years, but that lost part usually finds it’s way back home). Learning patience has helped me to decide what battles to fight when, it has helped me at home raising small children, it has certainly helped me diagnose problems students have in class beyond embouchure or hand position issues. I am still learning this lesson ev-ery day, but it has helped me keep a cool head in (most of my) stressful times, and most importantly it has helped me to bond with my students.

VERMONTPeter MillerRutland Public SchoolsRutlandYears at School: 14Total Years Teaching: 34Students in Music Program: 500

Teaching Philosophy: My personal teach-ing philosophy is to strive for excellence while being inclu-sive of every stu-

dent. That can mean two different levels: obviously striving for excel-lence through the honor ensembles and the higher level music and arts classes, but also striving for the ex-cellence that is possible for every student and every class in every en-semble. Making A Difference In Students’ Lives:There are several different ways that happens. The most important way is the terrifically important difference that music and the arts make in the lives of every individual. It awakens us to a much deeper level of appre-ciation and understanding of life in all of its multifaceted aspects. The other part is that music helps to cre-ate a certain meaning for life. It can help express that which is almost inexpressible. Words can do it, but it’s most effective when done in an art form, like literature, theatre, or music.

In very practical terms, and I don’t want to overemphasize this, but we are probably one of the best ways to get students to focus and to prepare them to succeed in anything and ev-erything in life.Most Important Lesson Learned: Hold high standards, and yet at the same time, realize context that you’re in. I work in a city that is “blue col-lar,” yet we have an excellent music program and an excellent overall arts program. To say, “Okay, how can we reach everybody where they’re at, realistically?” Yet, still holding for the highest standards. We’ve all seen these groups from the inner cit-ies that produce amazing results. We simply can’t say, “My kids can’t do it.” It’s also important to realize the social context you’re in – with the community, the school district, and so on – and work within that to real-istically and incrementally encourage change.

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VIRGINIAKevin LewisMartinsville High SchoolMartinsvilleYears at School: 7Total Years Teaching: 31Students in Music Program: 479Teaching Philosophy:

It is my hope that my students come away from the program with a love for mak-ing music that lasts beyond the doors of high school. In

my particular school, that means reaching the kids in ways that are not found in some instrumental programs. I make every effort to bridge the gap between the quality music that surrounds them in their own lives to the music that I know is of lasting value. Student motiva-tion, which is the key to education in general, is easiest when activities, trips, concerts and musical selec-tions are deemed to be relevant by the student. At Martinsville High, we even allow the seniors to select, design and teach the last marching band show of the year.Making A Difference In Students’ Lives:I’ve thoroughly enjoyed seeing stu-dents experience life in ways that they otherwise would have missed. Whether seeing a professional or-chestra or the ocean for the first time, the various band trips have made a lasting impression on my students. Although I have many stu-dents who are now involved in mu-sic as a profession, it’s great getting an email or Facebook message from a former student that shows they still find the joy of listening to and making music. I also know that it’s impossible for students to come out of the band program without a deep understanding of community and the role that music has within it. As part of a marching band that chang-

es shows for most home games, we were able to perform a special breast cancer awareness show in October. I was floored when the students raised close to $1,400 during their third quarter break for a local women’s health initiative. Most Important Lesson Learned: My thoughts have evolved in how students are selected to participate in the various ensembles. Students, who I may have turned away as not being prepared a decade ago, now turn out to be some of our best leaders when given the opportunity. Having faith that these and other students can handle the responsibil-ity to make decisions is scary but has opened the door for our band and various ensembles within it to even perform successfully on national television numerous times. Those kinds of things are only possible when the students take ownership of the group.

WASHINGTONMark WilbertSammamish High SchoolBellevueYears at School: 4Total Years Teaching: 15Students in Music Program: 288Teaching Philosophy:

At the core of teaching is the unique relation-ship between the stu-dent and the teacher. I try to come to work every day prepared and enthusiastic, as

well as ready to be pleasantly surprised by what the students bring to the table. A good lesson is like good jazz impro-visation: lots of preparation, a little spontaneity, and a lot of communica-tion.Making A Difference In Students’ Lives:Creative thinking and working col-laboratively are two of the most im-portant skills in the 21st century, so I hope I’ve fostered these skills in my students. I also hope I’ve challenged

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my students to redefine their pre-conceptions of what they are capable of accomplishing. I believe through studying music my students are more aware of the beauty surrounding them in the world.

Most Important Lesson Learned: Never stop learning! Teaching is as complex as any science and requires as much creativity as any art form. I try to take advantage of any resource I can, but nothing compares to what I’ve learned from my trusted col-leagues. Teaching is too hard to try to figure out by yourself. Difficult prob-lems are best solved by collaborating with colleagues.

WEST VIRGINIAWilliam R. JenksCapital High SchoolCharlestonYears at School: 7Total Years Teaching: 31Students in Music Program: 479

Teaching Philosophy:I want every student to enjoy making music. I want them to broaden their knowledge and be able to share with others their love for

music. I want music to be a positive impact on the student’s lives.Making A Difference In Students’ Lives:

I feel that I have made a difference in students by them not only learn-ing about music, but about necessary things to survive in life. Responsibil-ity, organizational skills, cooperation are important things that I feel I have passed to the students that will help them later in life.Most Important Lesson Learned: Don’t ever give up! Sometimes teach-ing can get frustrating. Remember in the end, it is rewarding!

WISCONSINRoxanne CarloniMukwonago High SchoolMukwonagoYears at School: 32Total Years Teaching: 32Students in Music Program: 275

Teaching Philosophy:I believe all students have the ability to make music. It is my job to show them the way, help them when they get stuck,

and give them the independence to go out and play without me stand-ing there. I think students need to know that I see them as individuals and not just the second violin in row three seat twelve.Making A Difference In Students’ Lives:My students play music in a variety of styles including classical, Broad-

way, pop and alternative styles. I hope that playing in orchestra makes them more open to differ-ent kinds of music in their lives whether it is in a movie, on televi-sion or something they choose to download. I get the biggest kick of students coming in saying that they want to see a movie, and they heard something from Beethoven’s Sev-enth or a fiddle tune that they have performed in the past.Most Important Lesson Learned: The most important lesson I think I’ve learned as a teacher is to be flexible. You need a plan B and a plan C. If you are rigid in your approach. whether it be how you run your rehearsal or the music you choose to play, it becomes harder to draw and keep students in-volved.

WYOMINGShawn WeisNatrona High SchoolCasperYears at School: 8Total Years Teaching: 11Students in Music Program: 330

Teaching Philosophy:I have always felt that music can change stu-dents lives when it is taught to them prop-erly. It is my goal to create students who

have a deep understanding and appre-ciation for music that they will last the rest of their lives.Making A Difference In Students’ Lives:I have seen many students discover a true love for music in my classroom. I know that many students have found something they can enjoy for the rest of their lives.Most Important Lesson Learned: To inspire students to achieve what they may feel impossible at first. It is always amazing what students can achieve when they really try!

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SBOTechnology: Play-Along Software

By John Kuzmich, Jr.

Creative Practicing and Play-Along Solutions

Play-along recordings have been motivating student prac-

tice since the 1950s with everything from simple piano

accompaniments to full orchestras. In their originally

produced analog format, students could only rigidly fol-

low along, much like practicing with a metronome. Thanks to

new technology, those days are long gone.

How would you like to be able to customize the tempo? Create practice loops of specific measures? Change the key? Or best of all, have a completely interactive accompaniment? All this is now available to students, teach-ers and professional performers alike with the latest digital play-along tech-nology. Sherie Aguirre, principal obo-ist with the Virginia Symphony, used this software to prepare for a perfor-mance of the Strauss Oboe Concerto. She relates, “I was thrilled to be able to ‘rehearse’ with the virtual orchestra accompaniment. Its unique ability to follow me I while I play along is par-ticularly important with the Strauss piece. The accompaniment software works beautifully.” Mimi Zweig of the Jacobs School of Music agrees that this is a great learning tool and preparation for playing with a “real” orchestra. “It is the next best thing to the real thing making practice more productive!” she says.

Today, there are a number of inter-active play-along software applications that are raising the bar and adding excitement to student rehearsals and performances. Creative music teach-ers can now blend this new technology for more productive student develop-ment without time-consuming teacher effort.

BAMtracks/Aebersold BAMtracks is a brand new inter-

active play-along software company from Australia that incorporates the

“The player simply clicks the mouse and starts jamming along with world-class jazz musicians.”

Technology.indd 64 12/1/11 2:37 PM


entire 132-album Jamey Aebersold library with tempo controls, key choices, looping, and interactive ac-companiments, making the complete Aebersold library fully digital. It con-verts the Aebersold CDs and lead sheet books to a single downloadable digital song file that comes with synchronized sheet music display. Once converted into a BAMtracks file, a great number of valuable options become available. Some of those include a bouncing bar shadow, “one more time” switch, tem-po control, one-click looping, dynam-ic chord info with guitar shapes, MIDI and audio recording, and real time transposition with synchronized dis-played sheet music charts. BAMtracks also includes a Parts Reveal where B♭ and E♭ instruments parts are displayed in different colors from the concert-pi-ano parts. BAMtracks is a perfect tool for vocalists as well as instrumental-ists, as it has provisions available to in-clude lyrics when they are unavailable by default. BAMtracks has other magic tools worth investigating designed for easy jamming and learning.

BAMtracks files can be viewed and played using the free BAMtracks Play application, which will soon be down-loadable from BAMTracks.com, along with the also free BAMtracks demon-stration jingle. For a sample embed-ded Aebersold play-along rack, go to www.bamtracks.com and register to receive the free demo of the BAM-tracks jingle, which highlights all of the incorporated features that the product offers. The publisher will only send users a demo because BAM-tracks isn’t going to be fully released until March 2012. Once downloaded, the player simply clicks the mouse and starts jamming along with world-class jazz musicians. Live players may mute their respective parts to join in as the missing instrument or vocalist. To view the depth of repertory in the Ae-bersold library, go to: www.kuzmich.com/Aebersold.pdf.

SmartMusicSmartMusic was the first software

application to provide musical interac-tion between a soloist and an accom-paniment, along with the added ability to record for assessment. This started

a new era of play-along recordings. With SmartMusic, users can change the tempo without changing the key, loop a section, and record while play-ing along with the music. Students can get instant feedback as they see which notes they played right or wrong and hear recordings of their performance. Instead of practicing alone, students can practice with background accom-paniment and hear how their part fits within the whole. An educator subscription to SmartMusic allows teachers to individualize instruction and document the progress for every student. A new feature allows any onscreen notation to be made into a timed sight reading exercise.

There are five categories of Smart-Music repertoire and the library is updated regularly as part of a $36 SmartMusic student subscription. SmartMusic features over 40 method books for band, strings, and vocalists – include sight-singing – as well as over 1,900 concert band titles, 700 string titles and 200 jazz titles. It also offers over 50,000 combinations of exercises including scales, technical exercises, play-by-ear, vocals, and rhythm. In ad-dition, there are over 7,000 solo ac-companiments on all levels for voice and instruments. Some solos have on-screen notation. Music from popular titles like Harry Potter, Star Wars, and Broadway musicals are also available.

SmartMusic has several books that focus on improvisation, and you can

adjust tempo and keys without distort-ing the sound. Transcriptions of the pi-ano, bass, and drums can be selected. You’ll be able to display note patterns that fit into the chord structure. The rhythm section parts can be isolated.

SmartMusic accompaniments can be adjusted from strict metronome for jazz or Baroque work clear over to rich rubato in Romantic and modern music. SmartMusic also allows perfor-mance assessment with e-mail connec-tivity to the teacher for comments and evaluation. Its open-end architecture means that any MP3 audio file can be imported into SmartMusic; plus any Finale file can be imported as a SmartMusic file. Any imported Finale score has the same functionality as any music in the SmartMusic library. This comprehensive library and open-ended architecture ensures incredible possibilities for everyone from begin-ners through college and professional level users.

Music + OneAnother great interactive play-

along newcomer is Music + One. This company debuted in 2011 and is aligning with the Music Minus One (MMO) repertory, a formidable play-along library. They presently have 34 master works for flute, oboe, bassoon, clarinet, horn and trumpet, violin and cello, and are in the process of expanding that number to 59. What

A screenshot from Music + One.



makes Music + One so unique is its special speech-recognition component that seamlessly follows the soloist – even if the student jumps a beat or two – without hesitation or time-delay. Try that with a symphony orchestra and conductor! Jacobs School of Music

instructor Mimi Zweig says, “With its ability to follow the nuances of the performer, Music + One is a great learning tool and preparation for play-ing with a real orchestra.”

This software application is a mas-terpiece because the accompaniment can be customized and the accompa-niment is incredibly interactive. For a good introduction to the product, go to tinyurl.com/dyp4mzd. Another good link with examples of Music + One in action is: tinyurl.com/d8l55ue.

ElevationElevation by Superscope Technolo-

gies is a particularly user-friendly piece of music practice and recording soft-ware. While it doesn’t offer a library of play-along tracks, it does offer

many desirable features to customize any and all play-along recordings. Just insert a CD into the computer and immediately start modify-ing the playback to fit your needs. It can play a file in

a different key while preserving the original tempo, or slow-down/speed-up the music without affecting the key or pitch, loop any section of audio, save loops and key-tempo settings as a “snapshot,” and export files or create an audio CD. Recording capabilities of Elevation are equally impressive for concerts, rehearsals or song ideas at 16 or 24 bit audio resolution. You can use any USB microphone or USB interface to record. Elevation’s ability to save audio recordings in WAV, AIFF, MP3, WMA, and CD Audio file formats is particularly useful for sharing record-ings to smartphones, MP3 players and other portable devices.

Play-Alongs Save the DayLast spring, a private student of

mine, Josh, was learning the “Concer-tino for Clarinet” by Karl Maria von Weber for a school concert. He prac-ticed with three different play-along applications. It was a challenge cus-tomizing the play-along recording of this concerto because it has so many different tempos. Nevertheless with this new technology, I was able to pre-pare a practice recording with every tempo change exactly like the Stanley Drucker recording with the New York Philharmonic. The master recording was exported from a Music Minus One recording into separate snapshots in Elevation, and each variation was extracted into a single audio file. In only one or two steps, I adjusted the play-along as Josh got his chops up to tempo over time. Individual varia-tions were electronically copied into a single master file to customize the entire work to his preferred tempos. This practice recording was perfect for

both Josh and his accompanist so they could separately prepare for his con-cert performance.

Josh has recently begun experi-menting with piano accompaniments in SmartMusic and Music + One us-ing his clarinet concerto and the origi-nal MMO recording. Recordings of Josh’s experiences can be found at www.kuzmich.com/SBO122011.html.

Closing CommentsToday’s play-along products are

revolutionary in helping students practice with real-time self-assessment and musical enjoyment. Jazz students will certainly appreciate that the entire Jamey Aebersold library is now digi-tally available from BAMtracks, along with a host of customizing features.

The progress that my student, Josh, made in just seven short months by us-ing the three applications cited in this article was nothing short of amazing. And these tools have made his practice more fun and productive. Surprisingly, the $20 microphone from SmartMusic proved to be impressively accurate for student recordings. The cost of the soft-ware is modest considering the sophisti-cation of the technology. Join the ranks and incorporate play-along recordings in your practice curriculum.

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music tech-nologist with more than 41 years of public school teaching experience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehen-sive musicianship. As a freelance author, Dr. Kuzmich has more than 400 articles and five text-books published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America.

For more information, visit www.kuzmich.com.


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The Great American Symphony Orchestra from Meredith Music

Author Anthony J. Cirone intro-duces his new book, The Great Ameri-can Symphony Orchestra: A Behind the Scenes Look at its Artistry, Pas-sion and Heartache. The book offers a portrait of the orchestra as a working family with its own sense of discipline, artistry, and devotion. It provides glimpses into the often overwhelm-ing audition process and the love-hate relationships between musicians and conductors (as Cirone shares personal experiences performing under famed conductors like Seiji Ozawa, Edo de Waart, Igor Stravinsky, and Aaron

Copland. Cirone examines commen-tary from Bernstein and Toscanini that bring a unique awareness to avant-garde music, and he works to analyze the differences between conducting talent and composing talent and why it’s so rare to possess both.www.meredithmusic.com

Dakota XG Series Alto and Tenor Saxophones

The new DAKOTA XG TYPE Alto & Tenor saxophones are available in two custom metallics – Hand Rubber Antique Bronze throughout or Matte Black Body with Silver Plate Bell/Bow/Neck contrasted with 18K Gold keys/key cups/key guards and trim.

Both models reflect the original innovative design and specifications for all Dako-ta Saxophones and are built with over-sized, graduated bells (5.32” for the alto, 6.26” for the tenor). Double key arms are used where needed, and both models include a 77% copper content brass alloy, fast taper neck designs, solid stainless steel key rods, low pro-file key cups and pads, and tempered black oxide springs.Personalized Mother of Pearl key tips blend into the luxurious hand rubbed key cups/trim, along with understated craftsmanship

of artistic hand engraving.www.saxdakota.com

Playing with the Classics from Alfred Music

Playing with the Classics is a class-room-tested music masterworks Book and CD with musical activities for pre-school children, by author and music education professor Peggy D. Bennett.Fully reproducible and with easy-to-follow instructions, the playful lessons in Playing with the Classics give chil-dren a chance to sing, move, and act while they learn about the music of the great composers. Author Peggy D. Bennett presents her ideas for move-ment, stories, and listening activities designed to delight children with se-lections from Gershwin’s An Ameri-

CRYSTAL ® RECORDS CDs $16.95 ea. + $2/order (any size) US shipping. 28818 NE Hancock, Camas, WA 98607 phone 360-834-7022, fax 360-834-9680; [email protected]

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CD430: CHRISTMAS with Chicago Chamber Brass & Glen Ellyn Children’s Chorus. 25 traditional Christmas favorites, in-cluding Silent Night, Jingle Bells, Deck the Halls, First Noel, We Three Kings, etc.

CD420: TUBADOURS. Dis-neyland’s favorite tuba quartet. 18 Classical favor-ites & 17 Christmas tradi-tionals: Nutcracker, Mouret Rondo, Eine Kleine Nacht-musik, First Noel, God Rest Ye, O Tannenbaum, etc.

CD432: MAKE BELIEVE BRASS. 18 Wild, Wacky, & Winsome Works for Brass Quintet. Willy Tell Overture, 1812 Opener, Comedian’s Ga-lop, Sabre Dance, Over the Waves, Surprise Symphony, Granada, Stars & Stripes, etc.

CD873: BASSOON BROTH-ERS. “Just plain hilarious” (Seattle Times). Funeral March of a Marionette, Hall of the Mountain King, Bizet Dragoons (Carmen), Bu-gler’s Holiday, Pizzicati, Last Tango in Bayreuth, etc.

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can in Paris, Beethoven’s Symphony No. 5, Bizet’s Carmen, Tchaikovsky’s Nutcracker Suite, Haydn’s Surprise Symphony, and many more. Detailed biographies of each composer and de-scriptions of their music are paired to each track on the CD.

Playing with the Classics was de-veloped to make great music mas-terworks a part of students’ beloved repertoire of music, capturing their interest in orchestral music for a life-time. An overview of the book, teach-ing tips, and FAQs are included as a resource to make lesson-planning ef-fortless.As part of Alfred’s ongoing commitment to improving the envi-ronment, the songbook is printed on 100% recycled paper.www.alfred.com/classroom

Integrated Practice: Coordina-tion, Rhythm & Sound from Oxford University Press

This book promises to give readers the tools to combine what it calls “to-tal-body awareness with a deep and practice understanding of the rhyth-

mic structure of musical language.” The aim is to discover ways to estab-lish a dialogue between structures of music and individual personalities of singers, instrumentalists and conduc-tors. The book includes more than a hundred and fifty exercises demon-strated by video and audio clips on an extensive companion website designed to inform readers’ daily practice, im-provising, rehearsing and performing.www.oup.com

Phaeton PHT FX-1100 TrumpetThe FX-1100 Trumpet offers a

number of outstanding exclusive in-

novations, including three sets of in-terchangeable bracing machined from Bronze, Stainless Steel and annealed

Brass. Players now have the option for fine tuning his or her instrument to suit individual taste and performing requirements.

The new beefed-up solid brass stock one piece heavy mouthpiece receiver adds a new dimension of control at the point of critical tone production. Rifle drilled openings in both horizontal Phaeton style braces reduces weight while adding essential response in every register.

A faster large bore tapered lead pipe adds more dynamics when need-ed. That, coupled with the trumpet’s larger bell, makes it virtually impos-sible to over-blow this horn. Reversed

tuning slides and lead pipe provide for the smooth, uninterrupted air flow. The trumpet also features a short piston stroke design for high speed and a signature Brush Brass finish and Solid Brass hex shaped weighted top/bottom caps &

finger buttons.An all-wood, oversized Vintage

Tan Tweed carrying case is included, with leather trim and brass hardware and a burgundy velvet plush interior throughout.www.phaetontrumpet.com

Anthem Bass ClarinetBoston-based Anthem Musical In-

struments recently introduced their new A-5000 Bass Clarinet, with a range down to a low E-flat. The in-strument is built with a detachable one piece matte finish ABS body de-sign. It includes in-line trill/jump keys with contoured spatulas and Blued Needle Springs, high-grade white leather pads, and nickel-plated keys, bell and neck. Its heavy-duty floor peg features a large rubber “foot,” and its neck strap loops are heavy duty. The clarinet comes with a wood shell black leather-covered case. Its plastic mouthpiece, ligature and cap made in USA by American Plating Co. www.anthemmusicalinstruments.com

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LOUISVILLE, KYTHE 3RD ANNUALSAVE THE DATE

JEN CONFERENCEJanuary 4-7, 2012

Developing Tomorrow’s Jazz Audiences Today!

The Jazz Education Networkis dedicated to building the jazz arts community by advancing

education, promoting performance, and developing new audiences.For complete membership information/benefits please visit us at: www.JazzEdNet.org

Call it what you want, but by chance, through karma, ser-endipity, destiny, fate, providence, or luck…we are proud to announce the Third Annual JEN Conference in yet another city with LOUIS in the title... LOUISville, Kentucky… We think Three’s a CHARM! Come experience all Louisville has to offer, as we will be collectively Developing Tomorrow’s Jazz Audiences Today!

In the immortal words of one of jazz’ most notable innovators, LOUIS Satchmo Armstrong…

To Jazz or not to Jazz… There is no question!

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