EISENHOWER HIGH SCHOOL ADMINISTRATION

Mrs. Nanette Chesney, Principal Mr. Robert Enne, Assistant Principal Mr. Ken Marnon, Assistant Principal Mr. Scott May, Assistant Principal

INSTRUMENTAL MUSIC BOOSTER EXECUTIVE BOARD

Flory Morisette, President Jennifer Sachs, Vice President

Kathy Lang, Treasurer Sue Swartz, , Secretary Liz Stark, Fundraising

Lawanda Parker, Instrumental Music Director Christopher M. Traskal, Instrumental Music Director

UPCOMING INSTRUMENTAL MUSIC EVENTS

5/28/15 — Spring Instrumental Music Banquet (6:30PM) 06/02/15 — Instrumental Booster Meeting (7:00PM, ECC) 6/6/15 — Eisenhower Graduation (10:00AM The Palace)

6/12/15 — New Marcher Orientation (11:30AM Band Room) 6/15/15 — MB Home Camp (9:00AM Band Room)

6/16/15 — MB Home Camp/March-a-thon (9:00AM Band Room) 8/9-8/15/15 — Marching Band Camp (Camp Walden)

8/15/15 — MB Home Show (Est. 4PM Ike Field) 8/19/15 — MB Rehearsal (6:00PM Band Room) 8/25/15 — MB Rehearsal (6:00PM Band Room)

8/27/15 — MB Home Football (7:00PM Swinehart) 9/1/15 — MB Rehearsal (6:00PM Band Room)

9/3/15 — MB Home Football (7:00PM Swinehart)

WWW.IKEBANDS.COM

The Eisenhower High School

Instrumental Music Program

proudly presents the

Concert Band

Symphonic band

Wind Ensemble

and the

Jazz Ensemble

SPRING CONCERT

7:00 P.M.

Thursday, May 14, 2015

Eisenhower Performing Arts Center

Lawanda Parker, Assistant Director

Christopher M. Traskal, Director

CONCERT ETIQUETTE

A performer's intense concentration can be interrupted by little things that may seem trivial to audience members. The following suggestions will help audience members show respect to the performers on stage as well as other members of the audience. This will help the performers to do their best. When To Applaud - Performers always appreciate applause, but there are appropriate moments to applaud. In a multi-movement work, applaud after all movements are completed. This allows the continuity of the piece to flow from one movement to the next. “Hooting and hollering” is not appropriate in the concert setting. Arrival Time - Leave early and allow enough time for parking and traffic. If you do arrive late, wait by the doors until the first piece (not just a movement) is finished, then discreetly take the nearest seat available. Entering and Exiting the Auditorium - Never enter or exit the auditorium during a performance. If you must enter or exit, please wait until the performance on stage has been completed. The most appropriate times to move about are during audience applause or set changes. Talking - Talking should not be tolerated. It is not only distracting to the performer, but to every person in the audience. It is just plain rude to talk (even whispering can be heard) during a musical performance. If someone around you is talking, ask them nicely to please stop. Other Noises - Avoid rustling your program, tapping your foot, bouncing your legs, etc. Pagers and cell phones should be turned off. Watches set to beep on the hour should also be turned off. These high-pitched beeps are distracting to the performers and audience members. Coughing - It is hard to avoid a spontaneous cough. Be prepared with some type of cough drops or candies. Avoid cellophane wrappers. Many come with a soft wax-paper wrapping that will be much less noisy. Taking Pictures - Refrain from taking any photographs during a performance. The click of a camera and especially the flash are very distracting. Pictures should be taken after the performance. Children - Children need exposure to good music and live performances. If your young child begins to get restless in the middle of a performance, it may be best that you exit the auditorium until calmer times prevail. By following basic edicts of respect and consideration, performers and the audience will have a more pleasurable and meaningful experience as they perform and attend live concerts. Because they have worked so hard for their performance, the students on stage deserve to be treated with respect.

8/27/15 Home Football Game v. Plymouth 9/3/15 Home Football Game v. Stevenson

9/25/15 Home Football Game v. Dakota (Homecoming) 10/4/15 Band-a-Rama

10/13 or 10/14/15 MSBOA Marching Band Festival 10/16/15 Home Football Game v. Warren Mott (Junior High Night)

10/23/15 Home Football Game v. Romeo (Senior Night) 12/3/15 Winter Band Concert

Winter Jazz Concert: TBD 1/30/16 MSBOA District 16 HS Solo/Ensemble Festival

2/2/16 Elementary Cluster Concert 2/8/16 Pre-Festival Concert

3/10-3/12/16 MSBOA District 16 HS Band Festival 3/19/16 MSBOA State Solo/Ensemble Festival

3/21/16 Junior High Band Clinic Concert 3/28-4/15/16 MSBOA State Band Festival

5/12/16 Spring Band Concert

IKE BANDS PERFORMANCE DATES 2015-16

MUSIC IS...a potential in every individual that, like all potential, should be developed to its fullest.

MUSIC PROVIDES…an outlet for creativity, self-expression, and individual uniqueness. It enables us to express our noblest thoughts and feelings.

MUSIC TEACHES…students about unique aspects of their relationships with other human beings and with the world around them, in their own and other cultures.

MUSIC IS...one of the most important manifestations of our cultural heritage. Children need to know about Beethoven, Louis Armstrong, and the Beatles as well as about Newton and Einstein.

MUSIC OPENS...avenues of success for students who may have problems in other areas of the curriculum and opens approaches to learning that can be applied in other contexts.

MUSIC EXALTS...the human spirit.

MUSIC IS…worth knowing.

A Rationale for Music Education

Now you can follow the Ike Bands on Social Media!! Please use the following sites to get all the latest info on what is going on in the Eisenhower Instrumental Music Program!

TWITTER: @Ikebands

FACEBOOK: www.facebook.com/ikehsbands

PROGRAM NOTES closing. In subsequent adaptations, it has been staged as a musical, a light opera, and a comic opera, and even has been performed in concert, all to varying degrees of success. Bernstein himself had a hand in most of these reincarnations and freely made a variety of emendations, additions, deletions, and substitutions as the particular circumstances and situations warranted. All these only added to the confusion. If there is a definitive version of Candide, it is probably the one that Bernstein himself used when he recorded the work for Deutsche Grammophon in London less than a year before his death. Candide is based upon the wickedly joyful satire of the same name by Voltaire, the premise of which is that "all is for the best in this best of all possible worlds." It tells of a young man—the illegitimate cousin of a noble German family—and his efforts to survive according to this improbable philosophy. Happily racing along though a series of bizarre disasters, his adventures take him from Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, a jungle, the mythical Eldorado, an unidentified desert island, and Venice before finally returning him to Germany. Along the way, there are timeouts for, among other things, a war, an earthquake, an auto da fé, a shipwreck, and several homicides. In the end, Candide and his new bride agree to settle down and spend their remaining days peacefully and productively on a small farm—at which point, their cow suddenly drops dead. RAIDER’S MARCH Ever since its first appearance in Raiders of the Lost Ark, the Raiders March has been such a recognizable symbol of Indiana Jones that we associate it with the character as much as we do his trademark bullwhip and fedora. And like other John Williams themes, it’s not just that the theme represents the character, but that it does so in such an appropriate way that it would be hard to imagine something different working this well. In large part, this is because of Williams’ remarkable ability to coordinate many different parameters of the music with various facets of the thing it represents, in this case, Indy himself. The march is divided into a large three-part form, of which the first part is Indy’s theme, the second Marion’s theme, and the third an abbreviated return to Indy’s theme. Since we’re talking about Williams’ depiction of the Indy character here (and since the third part largely repeats the first), my film music analysis will focus mainly on the first part. This first section itself breaks down into a three-part ABA form, the A and B sections using different but related melodic ideas. Williams had initially composed the melodies of both as possibilities for the opening of Indy’s theme. When he approached Steven Spielberg (director of Raiders of the Lost Ark) with the themes, asking which one he would prefer, Spielberg loved them so much that he said “well, can’t you use both?” And so Williams did, one in the A section, the other in the B section (or “bridge”).

CONCERT BAND At Morning’s First Light ...…………..….…… David Gillingham Music from “Pocahontas” …………….. A. Menken/ arr. Moss

SYMPHONIC BAND Second Suite in F ……………….……….………… Gustav Holst 1. March 2. Song Without Words 3 Song of the Blacksmith 4. Fantasia on the Dargason Beauty and the Beast ………………….. A. Menken/ arr. Moss

WIND ENSEMBLE The Klaxon (March) ……………………….……..Henry Fillmore Overture to Candide …….…..L. Bernstein/ trans. Grundman Raider’s March ……...…..……… J. Williams/ trans. Lavender

Immediately following tonight’s concert, please join us in the PAC Lobby for an after-

glow featuring the music of the

Eisenhower Jazz Ensemble!

PROGRAM

Thanks for attending tonight's performance and supporting the Eisenhower Instrumental Music Program!!!

Thanks to all that have been using the Kroger Community Rewards Program to benefit the Eisenhower Instrumental Music Boosters. This program benefits the students of the Eisenhower HS Bands by allowing our organization to receive 5% of your total purchases at Kroger Stores. EVERYONE MUST RE-ENROLL EACH APRIL in order for our organization to keep receiving funds from Kroger.

Kroger has assigned the Eisenhower Instrumental Music Boosters a NPO number of 83249 (you will need this number to register your Kroger Plus Card). There are basically two steps to registering. Follow the directions below to get enrolled and start benefiting the Eisenhower Instrumental Music Boosters!!

STEP 1:

Have your Kroger Plus Card handy and register online at www.krogercommunityrewards.com.

If you do not yet have a Kroger Plus card, they are available at the customer service desk at any Kroger. You can get one there.

Click on Sign In/Register

Most participants are new online customers, so they must click on SIGN UP TODAY in the "New Customer?" box.

Sign up for a Kroger Rewards Account by entering zip code, clicking on your favorite store, entering your email address and creating a password, agreeing to the terms and conditions

You will then get a message to check your email inbox and click on the link within the body of the email.

STEP 2:

After clicking on the link in the email, click on My Account and use your email address and password to proceed to the next step.

Click on Edit Kroger Community Rewards Information (on the right of the page) and input your Kroger Plus Card number.

Update or confirm your information if needed.

Enter NPO number of 83249 (or name of organization) and select the Eisenhower Instrumental Music from list that pops up and click on confirm.

To verify you are enrolled correctly, you will see your organization's name on

SECOND SUITE IN F Born in Cheltenham, England, Gustav Holst served as a model in British composition during the first half of the twentieth century. He studied with Sir Charles Stanford at the Royal College of Music, where he met fellow composer Ralph Vaughan Williams who would become a life-long friend and partner in the collection of English folk songs. Though he composed a number of symphonies, ballets, chamber music, solo songs, and choral works, Holst is most appreciated by wind conductors for his contributions to the band repertoire. Holst’s works for band, most notably the Suites for Military Band and Hammersmith: Prelude and Scherzo provide the cornerstone for original band music. Though composed in 1911, the Second Suite in F did not receive its first public performance until 1922, when the band of the Royal Military School of Music played the work in Royal Albert Hall. Although the program notes for the premiere commented that this suite had been “put aside and forgotten,” manuscripts indicate that Holst had made a great number of revisions, including the substitution of folk tunes and slight alterations in instrumentation. Unlike the First Suite in E-flat (1909), Holst’s Second Suite in F is based entirely on material from folk songs and Morris dances. It consists of four movements, each possessing its own distinct character. The opening “March” includes a lively dance, lyrical song, and lilting tune, all set in the formal pattern A-B-C-A-B. The second movement is a slow and tender setting of “I’ll Love My Love,” a sad song with text depicting two lovers separated by parental disapproval. The “Song of the Blacksmith” is rhythmically complex and demonstrates Holst’s creative scoring, which includes the use of an anvil. The final movement is based upon an English country-dance and folk song (Dargason) dating from the sixteenth century. After stating the melody several times, it is then combined with the familiar “Greensleeves,” and finally the suite winds down with just the “Dargason” tune alone. THE KLAXON (MARCH) James Henry Fillmore, Jr., was the most flamboyant bandsman of his time, an era that stretched across 50 years. During those years he probably wrote, arranged, and edited more band music than any other composer/bandmaster in history. According to his biographer, Paul Bierly, Fillmore composed over 250 works and arranged over 750 others. To keep his name from flooding the market, he composed under a total of eight names: Harold Bennett for easy pieces; Al Hayes and Will Huff for moderately easy music; and Gus Beans, Ray Hall, Harry Hartley, Henrietta Moore, and his own name for the rest. By a strange coincidence the pseudonym Will Huff turned out to be the real name of a composer who lived near Chillicothe, Ohio, and whose works were published later by the Fillmore Brothers Co. Henry Fillmore’s background in his family’s publishing house in Cincinnati led him down a variety of productive paths as a composer of hymns, popular overtures, fox trots, waltzes, marches, and particularly lucrative specialty for his own instrument, the trombone smear.. OVERTURE TO CANDIDE Leonard Bernstein's Candide is a work that defies specific categorization. In its original form, it was described as a comic operetta when it opened in New York on December 1, 1956. A succès d’estime at best, it ran for only seventy-three performances before

PROGRAM NOTES

http://www.kroger.com/mykroger/Pages/community_rewards.aspx

AT MORNINGS FIRST LIGHT David Gillingham’s At Morning’s First Light is a programmatic work that captures the serenity and beauty of daybreak. From the opening thin layers of sound, a broad, sweeping feel emerges, sprinkled with active lines depicting nature awakening. David R. Gillingham (b. 1947) earned Bachelor and Master Degrees in Instrumental Music Education from the University of Wisconsin-Oshkosh and the PhD in Music Theory/Composition from Michigan State University. Dr. Gillingham has an international reputation for the works he has written for band and percussion. Dr. Gillingham is a Professor of Music at Central Michigan University and the recipient of and Excellence in Teaching Award (1990), a Summer Fellowship (1991 and a Research Professorship (1995). He is a member of ASCAP and has been receiving the ASCAP Standard Award for Composers of Concert Music since 1996. MUSIC FROM POCAHONTAS/BEAUTY AND THE BEAST Alan Irwin Menken (born July 22, 1949) is an American musical theatre and film composer and pianist. Menken is best known for his scores for films produced by Walt Disney Animation Studios. His scores for The Little Mermaid, Beauty and the Beast, Aladdin, and Pocahontas have each won him two Academy Awards. He also composed the scores for Little Shop of Horrors, The Hunchback of Notre Dame, Hercules, Newsies, Home on the Range, Enchanted, Tangled, The Shaggy Dog, and Mirror Mirror. Menken has collaborated on several occasions with lyricists including Howard Ashman, Tim Rice, Glenn Slater, Stephen Schwartz, and David Zippel. With eight Academy Award wins (four each for Best Original Score and Best Original Song), Menken is the second most prolific Oscar winner in a music category after Alfred Newman, who has nine Oscars. John Moss was active nationwide as a composer, arranger, and orchestrator in a wide variety of musical styles and formats. As an arranger, he provided music for many live large-scale musical revues and production shows. John's educational background included undergraduate study in instrumental music at Central Michigan University and graduate work in theory and composition at Michigan State University. He taught at both public school (band and choir) and university (theory) levels in Michigan. He also served as arranger for the Disney educational project "Magic Music Days," where young performing musicians are introduced to the film scoring/recording process. In 2004, John and three fellow orchestrators transcribed approximately 90 minutes of orchestral music by film composer John Williams for a Kennedy Center concert featuring the United States Marine Band, with Mr. Williams conducting.

PROGRAM NOTES

DID YOU KNOW… High school music students score higher on SATs in both verbal and math than their peers. In 2001, SAT takers with coursework/experience in music performance scored 57 points higher on the verbal portion of the test and 41 points higher on the math portion than students with no coursework/experience in the arts. Source: Profile of SAT and Achievement Test Takers, The College Board, com-piled by Music Educators National Conference, 2001.

Music is a SCIENCE It is exact, specific; and it demands exact acoustics. A conductor’s full score is a chart, a graph which indicates frequencies, intensities, volume changes, melody, and harmony all at once and with the most exact control of time.

Music is MATHEMATICAL It is rhythmically based on the subdivisions of time into fractions which must be done, not worked out on paper.

Music is a FOREIGN LANGUAGE Most of the terms are in Italian, German, or French; and the notation is certainly not English—but a highly developed kind of shorthand that uses symbols to represent ideas. The semantics of music is the most complete and universal language.

Music is HISTORY Music usually reflects the environment and times of its creations, often even the country and/or racial feeling.

Music is PHYSICAL EDUCATION It requires fantastic coordination of fingers, hands, arms, lip, cheek, and facial muscles, in addition to extraordinary control of the diaphragm, back, stomach, and chest muscles, which respond instantly to the sound the ear hears and the mind interprets. Music is all of these things, but most of all…

Music is ART It allows a human being to take all these dry, technical (but difficult) techniques and use them to create emotion. That is one thing science cannot duplicate—humanism, feeling, emotion, call it what you will.

OUR BAND BOOSTER PARENTS for organizing the afterglow at the Spring Concert!

FLORY MORISETTE and the entire INSTRUMENTAL MUSIC BOOSTER EXECUTIVE BOARD for the time they have spent and all the support they have provided this year! Your dedication is greatly appreciated!

CYNDI FARAJI AND THE ENTIRE UNIFORM COMMITTEE for coordinating and distributing the concert uniforms.

WHAT IS MUSIC?

SYMPHONIC BAND

FLUTE

Emily Davies Katie Felker

Emma Rawsky Amy Rozwadowski

Teresa Slanda Karoline Tangen

OBOE

Abbey Lovins

CLARINET Kelly Palmer

Courtney Sikora Tiffany Watson

BASS CLARINET

Joshua Stroven

ALTO SAXOPHONE Joel Avery Jamie Beck Austin Davis

George Feliciano Collin Kasper

TROMBONE

Russell Cucchiara-Besser

Joseph Elliott Kellen Fields Nicholas Hale Sydney Labon

John Medovarsky

EUPHONIUM Alex Grabowski Paul Mattingly

TUBA

Jack Harris Josh Hetak

Austin Mason Luise Svinte

Scott Wellman

STRING BASS Leah Young

TENOR SAXOPHONE

Matthew Holland Brandon Klee

BARITONE SAXOPHONE

Ryan Harrower Jacob Masiarczyk

Colin Zaccheo

TRUMPET Stephen DeLadurantaye

Jack Maniaci Shanley Ryan

William Tschirhart Julianne Wilson

FRENCH HORN

James Lang *Claire Lovins

PERCUSSION Matthew Krim Marisa Pelchat Joseph Satow

CONCERT BAND

PICCOLO

Sara Polanco Amy Salter

FLUTE

Paige Boor Sam Jorgens Sara Polanco Amy Salter

Nicole Yakimovich

OBOE + Emily Wagner

CLARINET

Jenna Harris + Natori Houston Zachary Komondy

Sarah Minca Emma Morisette

FRENCH HORN

Claire Lovins Amelia Viar

TROMBONE

Christina Hayward ^ Stephen Ogden

Gerard Roose Gabriel Williams

EUPHONIUM Kyle Driscoll

TUBA

Montrache’ Young

PERCUSSION Magnus Block Amy Galbreath

Justin Gura Rachel Ruble

BASS CLARINET

Robert Rider

ALTO SAXOPHONE Austin Kulik John Oben Kyle O’Neil

+ Antonio Segura

TENOR SAXOPHONE Lucas Atallah

BARITONE SAXOPHONE

John Novak

TRUMPET Silvia Aluia

Harrison Elie Robert Huck

Daniel Schroeder William Shinsky

^ Denotes Oakland Youth Symphony Member + Denotes MSBOA District 16 Honors Bands

* Denotes Assisting Musician

WIND ENSEMBLE

^ Denotes Oakland Youth Symphony Member + Denotes MSBOA District 16 Honors Bands

# Denotes Michigan Youth Arts Festival (MYAF) Ensemble Member

SAXOPHONES

Taylor Maley, Alto

Scott Pywell, Alto

Kendra Sachs, Tenor

Sarah Tokarz, Tenor

Alec Pabarue, Bari

TROMBONES

# ++ Paul Mattingly

Megan Stark

Jessica Swartz

*T.J. Nosal (Bass)

TRUMPETS

Sophia Khan

Scott O’Neil

# Angel Phillips

* Daniel Schroeder

Brandon Vagi

RHYTHM SECTION

# Megan Stark, Bass

Leah Young, Bass

Mackenzie Gurne, Piano

# Caitlyn Maniaci, Piano

Brennan Brown, Percussion

Nicholas Krett, Percussion

Brandon Barnett, Guitar

Robert Huck, Guitar

* Denotes Assisting Musicians ++ Denotes MYAF Honorable Mention

# Denotes MSBOA District 16 Jazz All-Star

JAZZ ENSEMBLE

FLUTE/PICCOLO

Kayla Bareis # + Maddi Fugate

Jacob Saia Amy Salter

^Bronte Spondike

OBOE Kellie Hurst

BASSOON

+ Connor Cummins Catherine Galambush

CLARINET

Adriana Delisi Devon DeWilde Mia Paliewicz

+ Kendra Sachs Sarah Tokarz

BASS CLARINET

Taylor Maley Keith Moore

ALTO SAXOPHONE

Gina Dlugosielski Justin Kur

MacKenzie Olbrys

TENOR SAXOPHONE Genna LaRocca

BARITONE SAXOPHONE

Alec Pabarue

TRUMPET Nick Gjelaj

Connor Masini Scott O’Neil

Angelica Phillips Daniel Schroeder

FRENCH HORN

Aidan Faraji Sophia Khan

Sabrina Pacitto Brandon Vagi

TROMBONE Paul Mattingly

K.C. Rinke

BASS TROMBONE T.J. Nosal

EUPHONIUM Rachel Hinde Liam Ferrand

TUBA

Caitlyn Maniaci + Steven Taormina

STRING BASS + Megan Stark

PERCUSSION

Samantha Brown Michael Evans Matthew Ferrari *Claire Lovins

Ian Uzelac