MONTHLY

VOL. 15 • NO. 2 • NOV 2017

MONTHLYMONTHLY

BEYOND DRUMS

EXPLORING THE PERCUSSION

UNIVERSE

IN THE MODE

7 WAYS OF LOOKING

AT A MAJOR SCALE

“SEE YOU AGAIN”

HOW TO PLAY THE KHALIFA/PUTH HIT

NEWNEWNEWNEWNEWNEWNEWDIRECTIONSThey used to be One Direction, but they’re solo artists now.

✦ Insights for Music Teachers—by Music Teachers✦ An Overview of This Month’s Lessons for Students✦ Assessment Materials and Lesson Plan Guidance✦ Website and Subscription Information ✦ The Student Edition of In Tune Monthly

THE YOUNG MUSICIAN’S TEXTBOOK

✦ T E AC H E R’ S E D I T I O N ✦

Every Music Student Needs to Get In Tune! To get subscriptionsfor your class, see the back cover

From left: Liam Payne, Louis Tomlinson, Harry Styles, Niall Horan, Zayn Malik

N O V E M B E R 2 0 1 7 ○ V O L . 1 5 , N O . 2

Student subscriptions available at InTuneMonthly.com

 EVERY SCHOOL IS DIFFERENT, but we think it’s safe to say that

reading assignments aren’t generally given in gym class. Neither do

“tech ed” (née shop) nor “home science” (formerly known as home

economics) depend on the study of hefty tomes. They’re more

about doing. They’re interactive, with emphasis on the “active”—

like most music classes.

That’s why we created In Tune 15 years ago. We wanted to

support general music classes, and supplement music lessons, with

reading materials. The idea was to provide context for musical learning and

reveal a broader array of options for study than were being offered in grade

school. Why assign readings alongside the learning of choral repertoire and

technique, the playing of instruments, and critical listening? Because

music’s diversity and its opportunities for participation are, and have always

been, greater in scope than can fi t into any one curricular track.

How can educators even begin to corral music in its entirety for

students? It’s not required. We could just “stick to our knitting,” teach what

we’ve been asked to teach, and the natural selection that results in some of

our kids becoming songwriters or guitar technicians or concert promoters

will always occur. But what if we supply students with content they can

read on their own, content that explores those many other options? Our

hypothesis is that assigned readings about music’s many permutations and

linkages can inspire and guide the process of discovery.

The time with your students is brief indeed. But if you send them off with a

good read that shines a light on some as yet unexplored musical pursuit, you

might connect a student to a better future. Consider getting each of your

students a copy of In Tune, so that they can take the magazine home and

read about the ever-expanding musical universe that’s open to all of them.

The Good ReadTeachers ordering six or more sets of

In Tune student subscriptions can go to intunemonthly.com/lessonplansfor full lesson plans and videos.

This month, lesson plans are avail-able for the following stories:

TEACHER’SEDITION

Techniques Students will listen to and play music examples

featuring the modes of the major scale.

Modern BandFind a variety of song accompaniment charts for Wiz Khalifa and Charlie Puth’s “See You Again.”

Icon—Run-D.M.C.Resources include video and audio playlists as

well as discussion questions.

The Hits Keep Coming More information about percussion beyond

drums and cymbals, plus a quiz.

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the major scale. As always, the notated examples are further elu-cidated by audio samples on our website. Some students may need extra guidance on this tricky topic, but we hope they’ll all gain a clearer understanding of how music works.

THE HITS KEEP COMINGOne thing we love to do is introduce readers to the variety of musical instruments around the globe. This month, we devote a feature to instruments that nearly everybody loves: the kind you hit. We go beyond basic drums to examine gongs, chimes, woodblocks, cowbells, and more exotic items like the txalaparta (say that three times fast).

ONE BECOMES FIVEWe never put One Direction on our cover in their early-2010s heyday. Yes, they were hugely popular, but they were also a prefabricated made-for-TV boy band. Things are dif-

ferent now, though: The band appears to be history, and all � ve members are establishing commercially and artistically promising solo careers. We � gured it was time to check their progress.

MODERN BAND“See You Again” is called a hip-hop song because rapper Wiz Khalifa gets top billing. But we suspect what really made that tune such an enormous hit in 2015 was Charlie Puth’s soulful vocal melody. It’s a song your students are sure to recognize, and one that we’re happy to cover in our customary Modern Band way, with fast facts and chord charts galore.

…AND MOREWhat does “quiet storm” mean? Find out in the Subgenre section. Our Players column pro� les bassist Vashon Johnson and tells the intriguing story of how he almost passed on auditioning for Miley Cyrus. Songwriter Steve Dor� dis-cusses a career that’s taken him from country

hits to � lm and TV scoring in The Write Stu� . EveAnna Manley gives us the lowdown on running a pro audio company in What Do You Do. And you’ll � nd even more at intunemonthly.com.

The Tao of In Tune

FRONTRUNNERIn this section of In Tune, we do two things: 1) spotlight five up-and-coming artists that we think our readers should know about and 2) present our monthly Listening List of 10 new and noteworthy songs (you can hear them on our website). The November edition’s a bit unusual; we liked The National’s “The System Only Dreams in Total Darkness” so much that we included it in the Listening List and made them our top Frontrunner, an unprecedented endorsement for us.

ICONHip-hop is one of the most vital and successful styles in modern popular music, and yet we don’t cover it as much as we’d like to, for a simple reason: Much of it features lyrical content that would be deemed inappropriate in most class-rooms. Luckily, there are a few classic acts that

do pass muster with us, such as Run-D.M.C., whose pioneering work in the ’80s clearly makes them worthy of Icon status.

INFLUENCESAnother artist we’ve been wary of covering in the past is Kesha, again due to lyrical content. But she’s changed her style drastically on her latest album, which made us aware of a surprising connection between her and country legend Dolly Parton—one that we just had to tell our readers about.

TECHNIQUESModes are a subject we’ve returned to many times over the years, but we recently real-ized that we hadn’t done a Techniques feature speci� cally about them in more than a

decade. So we’re remedying that with a look at the seven modes of

COMINGCOMINGCOMINGHITSTHE

KEEPI

F YOU’VE EVER STRUCK a crash cymbal or snare drum, or had the chance to knock together a pair of claves, you know how much fun it can be to make music by hit-ting something. Drums and percus-sion, like all instruments, tend to respond and sound better when a player’s technique is advanced, but that doesn’t—and shouldn’t—stop anyone from feeling the special satisfaction that comes from simply

tapping, banging, or stomping out a part. And there’s no reason to stick (pardon the pun) with just drums and cymbals. Beyond the average drum set, there’s an entire world of percussion at your disposal. From the com-mon cowbell to the peculiar txalaparta, you’ll find that there are few limits to what you can hit—as long as you confine the hitting to instruments, of course! SIMPLE RHYTHMSThe most basic percussion instruments can be perfect choices for people with no musical experience—like young children—but more trained players can also use them to create uniquely voiced rhythms and sound effects.

Simple percussion instruments that you hit with a mallet include the triangle, cowbell, and wood block. Believe it or not, the triangle has a venerable place in classical music: The first piece to feature it prominently was Franz Liszt’s Piano Concerto No. 1, written in the mid-1800s, which has become known as the “triangle concerto” for its use of the instru-ment. The wood block is just what it sounds like—a small (and partially hollow) block of wood. Most are designed to be attached to a drum kit as an extra percussion instrument, and make either a hollow knocking sound when struck with a rounded mallet, or a harsher “crack” when hit with a drumstick. Wood blocks today are often made from synthetic materials and sometimes stylized, such as drum maker Pearl’s Anarchy Block—a rounded, black, and spiky object whose sound is meant, according to the manufac-

Drums and cymbals aren’t the only instruments you play with a stick, mallet, brush, or hands. 

Multi-instrumentalist Aidan Roberts wields

a Vic Firth chime hammer during a two-man performance of Mike Oldfield’s Tubular Bells

in Sydney, Australia.

By Kate Koenig

intunemonthly.com intunemonthly.com November 2017 • In Tune Monthly 32

P H O T O : T O R S T E N B L A C K W O O D / A F P / G E T T Y I M A G E S

In Tune Monthly • November 2017

Mode

Irish folk songs, like those played by Celtic Woman’s fiddler Máiréad

Nesbitt (below), frequently use the Dorian mode.

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November 2017 • In Tune Monthly 2524 In Tune Monthly • November 2017

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Ionian

Dorian

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Mixolydian

Aeolian

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THE BASICSHere’s how to find the modes of the major scale.1

THE NOTATION HERE DEPICTS the C major scale, in two octaves, and the modes it contains: C Ionian (from C to C), D Dorian (D to D), E Phrygian (E to E), F Lydian (F to F), G Mixolydian (G to G), A Aeolian (A to A), and B Locrian (B to B). If C Ionian and A Aeolian look

familiar, that’s because they’re also known as C major and A natural minor.

Play through the modes on your instrument and listen for the moods that they evoke. What’s interesting is that, although all of these modes contain the same notes, each one has a distinct sound.

á laá laá laá laá laá laMusic

See, hear, and download each month’s music examples, powered by the Notion Music app, at InTuneMonthly.com/categories/techniques.

BY ADAM PERLMUTTERTECHNIQUES ✦ MODESP H O T O : A N D R E W H . W A L K E R / G E T T Y I M A G E S

MMMMusicMusic

There’s more to a scale than first meets the ear—each one of its notes is a potential open door into a new, modal style of playing.

IF YOU’VE SPENT EVEN a little time learning an instrument, then you probably know all about the major scale. What you might not know is that every major scale

contains a bunch of other scales: seven, to be exact, one for each of the original scale’s notes. These additional scales are known as modes, and each one offers a variety of sounds to discover.

Modes go back a long way; their unusual names (which you’ll see in a moment) refer to regions and peoples in ancient Greece and nearby Asia Minor. The modal system as we know it today comes from ninth-century European church music. In more recent centuries, modes have been heard in everything from folk music to modern classical to jazz. In this lesson, you’ll learn different ways of constructing the modes of the major scale—and examples of what to do with them.

frontrunner[ ]New Music and Rising Artists By Paul Irwin and Alex Gallinari

Music for Musicians

intunemonthly.com intunemonthly.comIn Tune Monthly • November 20171 November 2017 • In Tune Monthly 2

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THE LISTENING LIST is a collection of new

and noteworthy songs we think musicians

should check out. Each song can be streamed

in its entirety at InTuneMonthly.com.

1 London’s Sam Smith was one of the biggest

success stories of the early 2010s. Returning

now with a new single, Too Good at Goodbyes,

the 25-year-old gives us everything we loved

when we fi rst discovered him. The song’s fi t with

a gospel choir, fi nger snaps, strings, and Smith’s

powerfully emotive lead vocal …

2 The National (see right) has released Sleep

Well Beast, an album that could fi nally take

them from perennial underground status into the

limelight. Our preferred cut is The System Only

Dreams in Total Darkness. Listen as Matt

Berninger’s Bowie-inspired vocal navigates an

arching melody around haunting keys, an

infectious beat, and a razor-sharp guitar lick …

3 Houston native Lecrae is the leading voice

of gospel rap, and he’s had great success

pairing his missionary message with hard hitting,

trap-style beats. A standout on his new album All

Things Work Together is I’ll Find You, featuring

songstress Tori Kelly. Its mix of spoken word and

melodic breaks are fi t for the Top 40, which, for

Lecrae, would be unexplored territory …

4 Canadian R&B/rocker Daniel Caesar has

amassed his following independent of

major-label support via a few EPs and the

noteworthy single “Get You.” He continues an

upward swing with his debut LP Freudian, a

gospel-driven testimonial to the trials and

tribulations of love. We like Best Part, a beautiful

duet with fellow R&B up-and-comer H.E.R. …

5 We agree with more than a few

critics that The Man is the killer

single on Wonderful Wonderful, the

new album from the Killers. Their special

brand of synth-pop, Brandon Flowers’ lead vocal,

and a whimsical lyric are all featured on this

Talking-Heads-meets-Saturday-Night-Fever

winner, and show why this alt-rock outfi t has

stood the test of time …

6 Speaking of whimsy, country crooner, The

Voice judge, and regular resident of

Billboard’s Hot Country Songs chart Blake Shelton

has released a teaser for his upcoming 11th

studio album Texoma Shore called I’ll Name the

Dogs. It’s a beaut by many measures, featuring

expert production and a fun lyric that commands

the listener’s ear throughout …

7Since breaking out in 2002, Canada’s

foremost four-man rock group, Theory of a

Deadman, has released an album every three

years, each one charting in the Top 10 in their

home country. 2017 is no different as they

released Wake Up Call this October. The song

Echoes shows the infl uence of the band’s

countrymen Nickelback, shaded with a country

tint …

8 Danny Ocean fl ed his native Venezuela’s

political and economic disorder, but was

unable to bring his crush along. His emotional

reaction is a song that’s changing the course of

his life. Me Rehuso debuted this summer and

has already gained over 350 million streams on

Spotify. It’s fi lled with subtle synths and a reggaeton

rhythm, and is clearly one from the heart …

9 Toronto-born saxophonist Chelsea

McBride, just 25 years old, leads her

19-piece modern jazz orchestra, the Socialist

Night School, on their critically acclaimed debut

album, The Twilight Fall. The nine-minute-long

title track is a journey through some alternately

velvety and avant-garde jazz ...

10 The Antonio Vivaldi-composed Soprano

Recorder Concerto in G Major, RV 443:

III. Allegro molto is a blissfully bright closing

moment on Tartini, Vivaldi & Sammartini: Soave e

virtuoso by the European orchestra Les Ambassa-

deurs. French fl autist Alexis Kossenko sticks to

the soprano recorder’s dazzling high notes to

complete an assortment of alluring melodies.

The NationalStill peaking after nearly 20 years

The National formed in Cincinnati, Ohio, during the late ’90s before planting itself in New York’s concrete jungle in 2001. Then, as now, the band consisted of singer Matt Berninger backed by two pairs of brothers: Aaron (guitar, keyboards) and Bryce Dessner (guitar), and Scott (bass) and Bryan Devendorf (drums). At � rst listen, these 40-year-old dudes with a pretty mellow sound might not immediately appeal to today’s average youngster. However, they’ve accomplished something special by putting out a steady stream of literate rock that continuously garners critics’ praise while charting higher with each release. Their self-titled debut LP introduced a dulcet, melancholy sound blending Americana, indie rock, and pop. In 2007, after two more albums, they released the well-received Boxer. Then 2010’s High Violet and 2013’s Trouble Will Find Me both reached No. 3 on the Billboard 200 chart. This year’s Sleep Well Beast beat that mark, rising to No. 2. Its single, “The System Only Dreams in Total Darkness,” embodies the shadowy themes that have brought the National all this way, and we like it so much that we’ve also included it in this month’s In Tune Listening List—something we’ve never done for a Frontrunner in the same issue!

SamphaBringing you to tears brings him success

South London singer, songwriter, and producer Sampha Sisay brings a distinctly vulnerable tone to his mix of pop and electro R&B. That special, emotive delivery is what took him from his work with underground acts like SBTRKT (pronounced “subtracked”) and Lil Silva to collaborations with A-listers Drake, Kanye West, Frank Ocean, and Solange, all before Sampha released a full-length collection of his own. The wait for a solo album ended this year when the 28-year-old introduced Process, an otherworldly collection of spacy tones and raw emotion that further strengthens his claim to stardom.

Astrid SFrom a frozen fairytale to the hottest story in pop

It was a � fth-place � nish on the Norwegian Pop Idol TV show that brought then 16-year-old Astrid Smeplass from her mountaintop village of Rennebu into Norway’s spotlight. Inspired by John

Mayer’s music, Astrid broke from her classical training to write her own songs. In 2014 she penned “2AM,” which went 5x

platinum in Norway and created a chain reaction of awards and record deals. Now 20, the singer/songwriter has three

EPs to go along with singles like “Hurts So Good” and “Breathe,” but it’s her recent involvement in projects with pop’s top names (Katy Perry, Shawn Mendes, Avicii) that has fans and industry execs looking forward to more.

Martin GarrixThe new ruler of DJ land

Dutch electronic music artist and producer Martijn Gerard Garritsen was eight when he � rst saw his soon-to-be idol DJ Tiesto perform. Just 12 years later, DJ Magazine named Garritsen—now known as Martin Garrix—the No. 1 DJ in the world. His career took o� in 2013 with the solo single “Animals.” Then, after a string of high-pro� le performances and tours that took him around the world, he released “In the Name of Love” featuring Bebe Rexha, which led to the world DJ crowning. Now, tracks like “Scared To Be Lonely” featuring Dua Lipa and “There For You” featuring Troye Sivan promise to lengthen his reign.

Brett EldredgeA soulful center and new chart-topper make for a great country-pop pie

Born in Paris, Ill., Brett Eldredge grew up listening to Ray Charles and Frank Sinatra, and didn’t develop an a� nity for country music until his teens.

While in college, he saw his cousin Terry, a veteran of Dolly Parton’s band, perform in Nashville, and was so inspired by the music and city

that he transferred to Tennessee State University. Before long, local club performances begat publishing contracts, which in turn led to a recording deal. Opening for Taylor Swift and Darius Rucker brought Eldredge to country’s main stages, and he’s proved himself worthy of the spotlight with his three albums—the most recent, a self-titled 2017 release, reached No. 2 on the Billboard 200 and No. 1 on its Country Albums chart.

Left to right: Louis Tomlinson, Liam Payne, Harry Styles, Zayn Malik, Niall Horan

intunemonthly.com intunemonthly.com 3

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November 2017 • In Tune Monthly2 In Tune Monthly • November 2017

They’ve already been in One Direction, the world’s

biggest boy band. What are they doing for their next acts?

By Lyndsey Parker

WHEN BOY BANDS grow up—and inevita-bly split up—their members’ transition from boys to men is rarely easy, and solo

stardom is certainly never guaran-teed. For every success story like *NSYNC’s Justin Timberlake, the Jonas Brothers’ Nick Jonas, Wham!’s George Michael, or Menudo’s Ricky Martin, there’s a Chris Kirkpatrick, Kevin Jonas, Andrew Ridgeley, or … well, at least 30 other members of Menudo.

However, One Direction’s Zayn Malik, Harry Styles, Niall Horan, Liam Payne, and Louis Tomlin-son—who came together (and placed third) on the British talent show The X Factor under Simon Cowell’s watchful eye in 2010; went on “indefinite hiatus” in 2016; and released five hit albums, 17 singles, three documentaries, and countless pieces of merchandise in between—just might buck those boy-band

Left to right: Louis Tomlinson, Liam Payne, Left to right: Louis Tomlinson, Liam Payne, Harry Styles, Zayn Malik, Niall HoranHarry Styles, Zayn Malik, Niall Horan

Charlie Puth (left) and Wiz Khalifa perform

together in New York’s Times Square on New

Year’s Eve 2015.

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intunemonthly.com intunemonthly.com November 2017 • In Tune Monthly 4746 In Tune Monthly • November 2017

M O D E R N B A N D : L E A R N I N G N E W S O N G S

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There are two secrets to this global megahit: musical

simplicity and a dramatically shifting arrangement. BY ERIN O’HARE

PHOTO: MICHAEL STEWART/WIREIMAGE

HOW TO PLAY WIZ KHALIFA AND CHARLIE PUTH'S

Modern Band (littlekidsrock.org/modernband) is a school-based music performance ensemble program that focuses on popular music instruments

and repertoire. This season, In Tune looks at songs being taught in Modern Band

programs across the country.

ABOUT MODERN BAND

WRITTEN FOR THE SOUNDTRACK OF Furious 7, the seventh installment in The Fast and the Furious action movie series, “See You Again”—credited to rapper Wiz Khalifa featuring singer/songwriter/keyboardist Charlie Puth—is a sentimental tribute to Paul Walker, that series’ lead actor, who lost his life in a car crash

during the making of the film. Furious 7 currently ranks as the sixth highest-grossing movie in history, and “See You Again” has met with similarly huge success. It was the best-selling song of 2015, with 21 million copies sold worldwide; it topped Bill-board’s Hot 100 chart for 12 weeks; and its accompanying video has over three billion views on YouTube, making it the second most viewed YouTube clip of all time.

KHALIFA AND PUTH FACTSBorn Cameron Jibril Thomaz, Wiz Khalifa (khalifa is an Arabic word meaning “successor”) has been a major player in the rap game since the release of his debut album, Show and Prove, in 2006. In subsequent years, he’s put out six more albums, with a seventh due before the end of 2017. Charlie Puth, on the other hand, was just beginning to receive wide notice as a professional musician and songwriter in 2015; in fact, the session in which he co-wrote “See You Again” happened only two days after he’d moved to Los Angeles to jumpstart his career. Before that, he’d majored in music production and engineering at Berklee College of Music, made a bunch of cover song videos on YouTube, and issued a couple of independent EPs. Little more than a month after “See You Again” came out, Puth had his second Billboard

intunemonthly.com48 In Tune Monthly • November 2017

Musical Styles Within StylesSUBGENRE

1. Anita Baker, whose multi-platinum 1986 album Rapture was one of quiet storm’s high-water marks; 2. Peabo Bryson, who actually recorded an album called Quiet Storm, also in ‘86; 3. British singer/songwriter Sade, one of the few non-American quiet storm artists; 4. Eight-time GRAMMY winner Luther Van-dross, who died in 2005 due to complications following a stroke.

Quiet Storm?

What Is

Unlike many subgenres, quiet storm has a simple line of ancestry, going straight back to rhythm and blues (R&B). The source

of its name is also clear: It’s the title of a 1975 album by classic R&B singer, songwriter, and producer Smokey Robinson. That album, like the subgenre it inspired, is characterized by slow tempos, touches of jazz, romantic lyrics, and a relaxed mood.

One night in 1976, Melvin Lindsey, a college student at Washington, D.C.’s Howard University,

fi lled in as a DJ for the school’s radio station WHUR. He designed a set that focused specifi cally on smooth R&B from artists like the Isley Brothers, Marvin Gaye, and Teddy Pendergrass. Lindsey’s show—later named “The Quiet Storm” after Robinson’s album—gave listeners a laid-back alternative to the era’s more typical soul radio programming. His tastes sparked a trend, and the “quiet storm” format was imitated by late-night radio shows all over the D.C. area and eventually across the country.

Appealing to mostly affl uent, adult African-American listeners, quiet storm guided R&B’s trajectory through the ’90s. Soon the term was being applied not only to a radio format but also to specifi c artists, including Luther Vandross, Minnie Riperton, Peabo Bryson, Anita Baker, and Sade. Today, most of those artists have been reclassifi ed as “adult contemporary.” But traces of quiet storm’s slow, jazzy sound can still be found in the work of Kendrick Lamar, Frank Ocean, Blood Orange, and other modern makers of R&B.

From the 1970s through the 1990s, the relaxed, romantic sound of quiet storm marked the meeting point between slow-jam R&B and smooth jazz.

Smokey Robinson and

(inset) the album that

started it all

By Kate Koenig

1 2 3 4

( R O B I N S O N ) M A R K D A V I S / B E T / G E T T Y I M A G E S F O R B E T , ( B A K E R ) M C 2 E R I C A R . G A R D N E R , U S N ( B R Y S O N ) M O S E S R O B I N S O N / W I R E I M A G E , ( S A D E ) T H I L O P A R G / W I K I M E D I A C O M M O N S /

L I C E N S E : C C B Y - S A 3 . 0 , ( V A N D R O S S ) © S O N Y M U S I C E N T E R T A I N M E N T

NO GROUP DID MORE to shape hip-hop than Run-D.M.C. When they made their recording debut in 1983, most hip-hop songs featured cheerful rappers rhyming about themselves or par-ty-related subjects over funk and disco backing tracks. Run-D.M.C. changed all that. They stripped their music down to its bare beats, giving it a hardcore feel that ref lected rap’s urban origins. They emphasized social issues, paving the way for politically charged groups like Public Enemy as well as gangsta rap. And their use of hard rock and heavy metal samples

broadened their appeal, bringing hip-hop into the mainstream, where it has thrived ever since.

The trio of Joseph “Run” Sim-mons, Darryl “D.M.C.” McDan-iels, and Jason “Jam Master Jay” Mizell formed in the New York neighbor-hood of Hollis, Queens, in 1981. Run was a teenage DJ who’d spun records for rap star Kurtis Blow. When he discovered that his school pal McDan-iels was writing rhymes, Run encouraged him to start rapping so they could form their own group. McDaniels shortened his name to D.M.C.—for “Darryl Mac,” his childhood nick-name (it’s lucky coincidence that rappers are also some-times called MCs)—and the pair teamed up with Mizell, another local DJ, allowing Run to get out from behind the turntables and also focus on rapping.

Impresario and producer Russell Sim-mons, Run’s older brother, � ne-tuned the group’s style. He’d been unhappy with the smooth, disco-based hip-hop of acts like the Sugarhill Gang, and with his guidance, Run-

D.M.C. created a sparer sound with brash over-lapping vocals. That formula worked wonders on their debut single, “It’s Like That.” Over nothing but a drum machine and synthesizer

stabs, they rapped about life’s hardships while urging lis-teners to believe in them-selves. The song became a Top 20 R&B hit. Soon after, the group released its first album, Run-D.M.C., which included the hits “30 Days” and “Hard Times,” as well as “Rock Box,” a fusion of rap and guitar-based rock that turned many rock listeners into hip-hop fans.

Run-D.M.C.’s in� uence even extended to hip-hop’s look. Unlike old-school rap acts,

who wore glam-in� uenced disco club fashions, this group sported clothes you’d see on the street, including black jeans, tracksuits, Kangol hats, gold chains, and their trademark unlaced Adidas

sneakers. Their love of the footwear eventually won them an endorsement deal with Adidas, a � rst for a rap group.

A major breakthrough came in 1986, when Run-D.M.C. teamed

up with Aerosmith for a remake of the latter band’s 1975 hit record “Walk This Way,” highlighting the stylistic connection between hip-hop and hard rock. It became the � rst rap single to break into the Top Five on Billboard’s Hot 100 chart and marked hip-hop’s arrival as a mainstream force.

Though Run-D.M.C.’s output declined in the 1990s, their in� uence continued to be evident in the rap-rock of groups like Red Hot Chili Peppers, Rage Against the Machine, Korn, and Linkin Park. Sadly, Jam Master Jay was shot and killed in a Queens recording studio in 2002; his murderer has never been apprehended or even identi� ed. This tragedy brought an end to Run-D.M.C. But Simmons and McDaniels have reunited for various shows in recent years, treating new music fans to the rhyming genius of hardcore hip-hop’s originators.

intunemonthly.comIn Tune Monthly • November 201718

I C O N GREAT MUSICIANS IN HISTORY BY CHRISTOPHER SCAPELLITI

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Run-D.M.C.

WHO: Two MCs and one DJ WHAT: Rap trio who established hardcore hip-hop’s sound and style with their minimalist beats, street-smart rhymes, and urban fashion senseWHEN: Formed 1981, Hollis, Queens, N.Y.; disbanded 2002

More than 30 years on, Run-D.M.C.’s self-titled 1984 debut album remains required listening for anyone who wants to understand

hip-hop. For a thorough look at the group’s catalog, check out the two-disc set The Essential Run-D.M.C.

“These areour Beatles.”—Chuck D of Public

Enemy (one of fi ve hip-hop acts besides Run-D.M.C. to be inducted into the

Rock and Roll Hall of Fame)

H I P - H O P H I G H L I G H T S

I N F LU ENCE S CONNECTING MUSICIANS THROUGH TIME

A modern pop diva has changed her course by reconnecting to a deep country music pedigree that might come as a surprise.

Kesha toMaybelle Carter

JUNE CARTER CASH (1929-2003) will forever be re-membered for her partnership with husband and American music icon Johnny Cash. (She wrote one of his biggest hits, “Ring of Fire.”) But long before they met, she was a member of hugely influential country group the Carter Family, along with her mother Maybelle.

The second mother-daughter connection on this page brings us to a primary figure in country music history. MAYBELLE CARTER (1909-1978) co-founded the Carter Family in 1927 and led the group after 1944. Admired by generations of guitarists, she devised a special style of thumb-picking that’s still called “the Carter scratch.”

In the early 2010s, KESHA made her name with trashy but catchy electropop tunes like “Tik Tok” and “We R Who We R.” However, on her latest album, Rainbow, she loses her bad-girl image and delves into classic rock, folk, and soul sounds. She even sings with country legend Dolly Parton on “Old Flames Can’t Hold a Candle to You.” Why that song? It was a No. 1 hit for Parton in 1980, and it was co-written by Parton’s friend Patricia “Pebe” Sebert—who just happens to be Kesha’s mother.

“Old Flames” is just one of 25 songs that DOLLY PARTON has taken to the top of the Billboard country singles chart since 1974. Her sweet voice, sassy stage persona, and songwriting prowess have made her Nashville royalty, as she followed in the footsteps of an equally skilled singer, writer, and performer: June Carter Cash.

P H O T O S ( T O P T O B O T T O M ) : A L L E N B E R E Z O V S K Y / G E T T Y I M A G E S , A N D R E W P U T L E R / R E D F E R N S , G A B A R C H I V E / R E D F E R N S , M I C H A E L O C H S A R C H I V E S / G E T T Y I M A G E S

In Tune Monthly • November 201724

WELCOME TO NOVEMBER The leaves are turning, the days are getting shorter, and there’s a chill in the air (at least if you’re up north). It must be about time to give thanks … for music! At In Tune, of course, we do that all the time. The depth and breadth of the music fi eld is continually surprising us, and we consider it an honor and a privilege to bring it to you and your students in all its complexity and diversity. For proof of that, look no further than this issue’s lineup.

WHAT’S IN THIS ISSUE AND WHY

TEACHING WITH IN TUNE

i nt u nemont h ly.com6 N O V E M B E R 2 0 1 7 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N

The Write Stuff section of In Tune looks at songwriting and composing from a variety of angles. BY KATE KOENIG

 Songwriting is much like trying to catch a wild ani-mal,” Sting told American Songwriter magazine in late 2016, following the release of his latest album, 57th &

9th. “Only you cannot kill the beast—you have to somehow trick him into being captured. And you can never use the trick twice. There is no repeatable method. Every time it is di� erent.”

songs with a collaborator.Collaboration is a crucially important

skill to learn as an artist. Stereotypically, artists struggle with ego. Of course, artistic personalities are endlessly nuanced, but there is some truth to the stereotype: It’s hard to have a strong creative mind and, at the same time, be able to share creative control with someone else. It’s even harder to do this when you’re young and haven’t yet had the oppor-tunity to prove yourself, or receive formal validation of your talent from peers and mentors.

By breaking the collaboration process down to its nuts and bolts, this Write Stu� article can provide students with some insight into how to get past these hurdles. It points out the advantages of working with someone

TEACHING WITH IN TUNE

As one of the most versatile and acclaimed songwriters of the 20th century, with 16 GRAMMY awards to his name, Sting knows a thing or two about the art of songwriting. And yet, if the above quote is to be believed, that knowledge seems to boil down to not knowing. In other words, the only rule is that there are no rules.

We at In Tune Monthly agree with Sting’s assessment. That’s why our department called The Write Stu� , which is devoted to songwriting and composition, doesn’t get too hung up on rules. Practical applications

do get discussed, and we do think it’s impor-tant that beginning students of songwriting are made aware of some essential guidelines. But our preference is to o� er a wide mix of content over a season. Some articles give readers new ways of thinking about the craft; others provide advice that they can put to use as soon as an opportunity arises; others encourage them to learn by observing the habits of successful songwriters. All, ideally, will point them in the direction of gradually discovering what works best for them.

Here are summaries of our three favorite recent Write Stu� articles, along with some suggestions on how to best use them in your classroom.

MAKING THE TEAMIn the November 2016 issue of In Tune, the focus of The Write Stu� is on how to write

looks at songwriting and composing from a variety

do get discussed, and we do think it’s impor-tant that beginning students of songwriting

dinner. Although great songs can emerge from scratch, that’s usually the result of being more expe-rienced and at ease with your co-writer. But if you have four or � ve snippets in play, which do you follow? The one both of you can best relate to. Trust your gut.

Stay positive. Del Close, founder of the Second City comedy troupe, had a basic rule of improv: Just say yes. If your partner throws an idea your way, embrace it, then toss it back. This idea of the creative volley is at the heart of co-writing. Back-and-forth energy helps propel an idea forward, and sidesteps the internal editors that might keep you from voicing an idea. Nothing kills a session faster than a few repeats of “No, I don’t like that.” You can be more critical later in the writing pro-cess; at the start, just get that ball in the air. Be diplomatic but decisive. Making

Seek out someone with complemen-tary skills. You may be a better collaborator than a solo writer. A lot of us are either strong lyricists or more facile with melodies. So co-writing, like all relationships, becomes a matter of � nding someone who completes you musically. How do you do this? Go out, hear bands, meet people, let it be known you’re looking to collaborate. From this networking, opportunities will emerge. Also, don’t be afraid to approach someone whose writing you admire. Don’t

be pushy, but let them know you’d be hon-ored if they’d consider writing with you. From a business standpoint, it’s good to agree up front on how you’ll split ownership of a song. Unless it’s some special circum-stance, most co-writes are even splits (50-50 for two writers, a third each for three, a quarter each for four, and so on).Bring some snippets. Writing sessions

go more smoothly if you both bring ideas to the table: bits of melody, a title, a few lines of lyric. Think of it as a creative potluck

T H E W R I T E S T U F F THE ART AND CRAFT OF SONGWRITING

BY BILL DEMAIN

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Be diplomatic but decisive.

Making the Team

You can be critical later in the writing process. At the start, just get that ball in the air.

 F ROM GEORGE AND IRA GERSHWIN in the 1930s

to the Beatles’ Lennon and McCartney, Motown’s

Holland-Dozier-Holland, and modern conglomerates

like Stargate (see our “Made in Sweden” feature), the songwrit-

ing team has been a cornerstone of popular music. But � nding

the right co-writing partners isn’t easy. It usually takes a lot of

trial and error, leading to a lot of songs that are just okay. If

you’re interested in going down the collaborative path, here

are six tips to help increase your chances for success.

decisions in the moment is crucial for co-writing. The basic rule is that whatever’s best for the song is the right decision, but the problem is that egos are always involved. You may become attached to a clever rhyme or chord change that doesn’t really belong in the song. At those moments, you have to learn to let go. Always listen closely to the song. It’ll tell you what it needs.Don’t rush. In Nashville, where I live,

it’s common for professional writers to � nish a song in three to four hours. Sometimes, on a really good day, that happens and the song turns out great. But not often. So don’t be afraid to say, “This is a good � rst draft. Let’s keep working on it separately, then meet again later to put the � nishing touches on it.” Expect nothing and hope for the

best. That’s a good approach to both song-writing and life.

Bill DeMain’s recent credits include co-writing all 10 songs on Teddy Thompson and Kelly Jones’ critically acclaimed 2016 album Little Windows.

Songwriting doesn’t have to be a solitary occupation. Here are six suggestions for forming and maintaining a co-writing partnership.

Motown’s Lamont Dozier, Brian Holland,

and Eddie Holland at work in the 1960s

intunemonthly.com

In Tune Monthly • November 2016

16

ON THE WRITE TRACK

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What Will I Learn? • Posture and hand positions• Chord strumming w/ singing in various styles and keys• Beginning classical, finger-style, and pick-style right hand

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Start or Enhance a ClassroomGuitar Program in Your School!Highland, Utah – June 11-15, 2017Indianapolis, Indiana – June 18-22, 2017Lexington, Kentucky – June 18-22, 2017Atlanta, Georgia – June 25-29, 2017Lynnfield, Massachusetts – June 25-29, 2017St. Louis, Missouri – June 25-29, 2017Wichita, Kansas – June 25-29, 2017Woodinville, Washington – July 9-13, 2017Milwaukee, Wisconsin – July 16-20, 2017Nazareth, Pennsylvania – July 16-20, 2017Oceanside, California – July 16-20, 2017Omaha, Nebraska – July 16-20, 2017Chicago, Illinois – July 23-27, 2017Reston, Virginia – July 23-27, 2017

More Locations to Come! Check our Website for Updates!

i nt u nemont h ly.com8 N O V E M B E R 2 0 1 7 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N

the November 2016 In Tune, discusses the work of Swedish songwriter/producer Max Martin—someone who’s arguably not only dissected the earworm, but harnessed it and trained it to earn him millions (a hard thing to do to a worm after you’ve dissected it!). For songwriters, the thought of Martin and his 22 No. 1 hits can lead to an almost moral ques-tion: Does writing a song by adopting a commercially successful formula make it art? And by extension, is it honest to write melodies using simi-larly tried and true methods?

In the end, it’s not really about the process or methods you might use to � nish a song, or even about the money it makes—it’s about how it makes listeners feel when it’s done. (Listen to the Backstreet Boys’ “I Want It That Way,” co-penned by Martin, and see if it doesn’t entertain while also burrowing into your head.) With that in mind, students can absorb the information in “Dissecting the (Ear)worm” and apply it whenever they so choose. As the article points out, not every hit song is an earworm.

For an exercise, have students come up with two or three songs that get stuck in their heads, and analyze their catchiness

who has skills that complement yours, com-ing to songwriting sessions prepared with rough ideas, being receptive to the rough ideas of your partner, and knowing when to let go of an idea that you may like—but may not be what’s best for the music. These skills—recognizing your own strengths and weaknesses, sharing responsibility, respect-ing others’ thoughts, and putting your ego aside for the sake of an all-around better experience—are ones we’re taught from the time we � rst learn to work with other people. They’re also skills that lead to great musical collaboration, and the likelihood of even greater songs.

Share these concepts with your students. You can also have the class participate in an exercise inspired by the article: Divide the students into groups of two, and assign each of the groups to write a verse and chorus of an original song. If possible, ask the students who among them identify as lyricists and who identify as composers, and pair them accordingly. Afterward, discuss with them how they felt about the experience. If your class has access to computers or other devices, there are a number of software applications that can help with this exercise. For the composer half of the duo, digital audio workstations (DAWs) like Audacity, GarageBand, and Pro Tools may come in handy. For the lyricists, there’s Master-Writer, a program that combines several useful tools including a thesaurus, a rhyming dictionary, and an alliterative dictionary.

DISSECTING THE (EAR)WORMThe January 2017 installment of The Write Stu� , an article titled “Dissecting the (Ear)worm,” examines what makes catchy songs so catchy, referencing a recent academic study that identi� ed signi� cant formal simi-larities between many hit melodies.

Every person—musician or not—has an opinion about pop music. Some love it shamelessly, while others might prefer major oral surgery over hearing that Top 40 hit one more time. We’ve all had songs get stuck in our head, and have probably wondered why—especially when we might not even like the song.

“Made in Sweden,” another article from

using the criteria mentioned in the article. How well do they � t those criteria? Do the songs that get stuck in their heads also happen to be their favorites? Would they want to write songs like these? Why or why not?

JEAN-MICHEL JARREFrench electronic composer Jean-Michel Jarre is the subject of our third and final Write Stu� example, from the March 2017 issue of In Tune. This article, the most theo-retical of the three, features an interview with Jarre that exposes a lot of his ideas on composition, including his belief in the bene� ts of self-limitation. In his opinion, giving yourself fewer options at the start of a project can lead to more creative results.

Before Jarre began work on his nine-teenth album, Oxygéne 3, he decided that

he would only record on eight tracks (meaning instruments or sounds to an

individual song). He then started the pro-cess by writing pieces only for what he

considered the “middle” of the album, rather than worrying about beginnings and end-ings. Within these boundaries, he took an organic approach—for him, melodic ideas tend to suggest a de� ned structure, whereas sonic or textural ideas inspire him to write more in the abstract.

The concept of setting limits has a great deal of resonance in modern culture. Those

TEACHING WITH IN TUNE

AN APP FOR THATSoftware applications that can help with both solo and collaborative songwriting include Avid’s digital audio workstation program Pro Tools (top) and MasterWriter (bottom).

N O V E M B E R 2 0 1 7 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N

The January 2017 installment of The Write Stu� , an article titled “Dissecting the (Ear)worm,” examines what makes catchy songs so catchy, referencing a recent academic study that identi� ed signi� cant formal simi-

Every person—musician or not—has an opinion about pop music. Some love it shamelessly, while others might prefer major

giving yourself fewer options at the start of a project can lead to more creative results.

(meaning instruments or sounds to an individual song). He then started the pro-cess by writing pieces only for what he

considered the “middle” of the album, rather than worrying about beginnings and end-ings. Within these boundaries, he took an organic approach—for him, melodic ideas tend to suggest a de� ned structure, whereas sonic or textural ideas inspire him to write more in the abstract.

deal of resonance in modern culture. Those

Between 2010 and 2013, a team of psy-

chologists at Durham University in England

asked 3,000 people to complete an online

survey in which they named the songs that

got stuck in their heads the most. Once the

surveys were complete, the psychologists

compared the structures of the most fre-

quently named songs to see what they might

have in common. The results of this research

appeared last November in Psychology of

Aesthetics, Creativity, and the Arts, a journal

published by the American Psychological

Association. According to the Durham study,

three main elements make an earworm:1) Shape. The shape of a melody comes

from the pattern of notes it contains. When

a song has a simple repeating note pattern

that can be followed easily, it tends to be

catchier. However, if there isn’t enough

variation in that pattern—say, for example,

that every line in the melody only rises or

falls in pitch, never doing the opposite—that

makes it less memorable. Patterns can also

be too simple; two-note melodies don’t often

lodge in the mind the way � ve- or six-note

ones can. You can � nd a successful melodic

shape in “Twinkle, Twinkle, Little Star,”

which uses six notes to establish a simple

pattern that both rises and falls in pitch. 2) Surprising intervals. An interval is

the distance in pitch between one note and

another. If a melody keeps tracing out the

exact same intervals over and over again,

that’s bad. Something has to break the cycle,

even if it’s just for a second. A sudden jump

up or down of more than a � fth (the distance

between C and G in the key of C) can do

the trick. Another option is to use an interval

that lies outside of a song’s main key, such

as a � atted � fth (Gf in the key of C). 3) Speed. A melody that goes by slowly

can still be catchy, but on the whole, ear-

worms tend to move at a brisk, danceable

pace. Shorter rhythmic divisions like quarter

notes and eighth notes tend to predominate

over longer ones like whole and half notes.Of the top 10 earworms mentioned in

the Durham study, three were by Lady Gaga;

one of those, “Poker Face,” perfectly illus-

trates all three of the above features. The

song moves quickly (119 beats per minute).

It establishes a simple note pattern in its

verses before adding a surprising � at-� fth

interval in its pre-chorus. Then it launches

into a higher, more complex melody in the

chorus that repeatedly falls and rises in pitch.

Not all hits have earworm melodies, of

course. Harmony, rhythm, and words can

be key hit components too. But given that

“Poker Face” has sold over 14 million copies,

it’s fair to say that plenty of people agree on

what constitutes a catchy tune—and that

makes these melodic techniques worth

studying for any would-be hit songwriter.

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T H E W R I T E S T U F F THE ART AND CRAFT OF SONGWRITING

BY MAC RANDALL

 O NE PRIMARY GOAL of most professional song-

writers is to come up with a melody that listeners

will remember. In their most extreme forms, such

melodies can become what are commonly referred to as

“earworms,” burrowing into your consciousness and refusing

to leave. What is it about these tunes that makes them so

catchy? A recent study suggests that there’s actually a science

of sorts to creating earworms.

An “earworm” burrows into your consciousness and refuses to leave.

DissectingDissectingDissectingthe (Ear)worm

Why some melodies can make a permanent home in your brain

Celebrated earworm creator Lady Gaga at the 73rd Annual Golden Globe Awards

i nt u nemont h ly.com I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N • N O V E M B E R 2 0 1 7 9

born in the ’60s, ’70s, and ’80s grew up in a world governed by curators: To discover new music, they looked to the radio DJ, the magazine editor, the sta� at their local music store, their parents, siblings, friends, and teachers. Today, young people are submerged in information that’s often only curated by the � imsy and impersonal � lters of YouTube, streaming platforms, and social media. In a world where there don’t seem to be any limits to what you can access, use, and do with technology, setting your own limits can be, as Jarre says, creatively stimulating, even therapeutic.

Compared to the other Write Stuff articles, the pro� le on Jarre is far less direct when it comes to o� ering advice. Students can mimic Jarre’s writing techniques, or just wonder about why it is they work for him. Do they agree with or relate to his idea

of setting artistic limits? Why or why not? Have them write down and/or share with the class an example from their own lives of how they were more creative when they had more limits in place.

DO THE WRITE THINGWhat makes a great songwriter? The right mix of talent, con� dence, and experience. By providing students with more angles from which to observe the writing process, we hope to help them come closer to learning their own personal tips and techniques—ultimately, the only “rules” that matter.

The French musician, who at press time

was in the running for a GRAMMY Award

for his 2015 album Electronica 1: The Time

Machine, also believes that technology can

potentially be dangerous for artists. Why?

“It is making us believe that we have no

limitations. But we know that any art form

depends on limitations”—the frame of a

painter’s canvas, for instance, or the number

of minutes per side on a vinyl record. “These

days you can � ll your hard drive with giga-

bytes of information, so you have to create

your own limits.”

Jarre’s nineteenth and latest album,

Oxygène 3, is a perfect example of this kind

of intentional limit-setting. It’s the third part

of a trilogy that began in 1976 with Oxygène,

the album that � rst brought him to world-

wide attention. Recorded by Jarre alone in

his home studio using analog synthesizers

and an eight-track tape machine, Oxygène is

regarded today as a landmark of electronic

music and a forerunner of EDM.

Twenty years later, Jarre made a fol-

low-up, Oxygène 2, and now, 20 years on

from that, he’s produced Oxygène 3. This

time there was no tape recorder (he created

the music on an Apple MacBook Pro using

Ableton Live software) and the analog syn-

thesizers were supplemented with digital

ones. But in two important respects, he

emulated the way in which he’d composed

the original Oxygène. First, he gave himself

only eight tracks to record on. Second, he

chose to think in terms of a two-sided

record, with the � rst side possessing a dark

tone and the second a lighter one. Then he

started by composing for the middle of each

“side” in order to “force myself to get a

beginning and an ending that would not be

conceived in a logical narrative process.”

Jarre, who is a famous performer as well

as a composer and holds the world record

for largest audience at an outdoor event

(approximately 3.5 million people saw his

1997 concert in Moscow), says that his

writing approach varies depending on the

kind of idea he comes up with

� rst. If it’s a melody, he starts

thinking about patterns and

creating a harmonic structure.

If it’s a sound or texture, the

piece evolves “like an abstract painting.” He

has learned through experience that less is

more: “When I rework something, instead

of adding I try to get rid of as much as I can

until I cannot subtract anything and I know

that I’m pretty close to the end.”

With a laugh, he adds that “I knew

Oxygène 3 was � nished because I had to leave

the studio to go back on tour. I had six

weeks, so I did it in one go. I like this idea

of things not being entirely finished but

keeping this very intuitive and instinctive

approach. With technology, we have the

tendency to lead a never-ending process

where you can always twist, you can always

change, you can always distort. Most of the

time you lose yourself in this process.”

That’s not to say Jarre has any problems

with technology. He points out that the EDM

subgenre called dubstep owes its existence

in large part to Massive, a software plug-in

designed by Native Instruments, whose

products he praises. “The best advice I could

give to a young artist is to choose your soft-

ware and your hardware carefully and try

to stick with it,” he says. “Go in depth with

this instrument, because it will be the only

way to create something interesting.” MU

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In Tune Monthly • March 2017

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T H E W R I T E S T U F F THE ART AND CRAFT OF COMPOSITION

BY BRYAN REESMAN

 OVER A CAREER of more than 45 years, electronic

music composer Jean-Michel Jarre has seen technology

progress and trends come and go. But no matter how

sophisticated musical equipment gets, he still believes in the

creative power of the artist above all.

Jean-Michel Jarre

“Choose your software and your hardware carefully and try to stick with it.”

This electronic music

pioneer has a passion

for technology, but says

it can get the better

of you if you don’t

establish some limits.

Shaping the Future of Popular Music Education

popularmusiceducation.org

THE ASSOCIATION FOR POPULAR MUSIC EDUCATION

June 24 - 27 2018

Hosted by Middle State Tennesee University

with events in Murfreesboro & Nashville, TN

Announcing The Annual APME Conference

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I n T u n e M o n T h l y • T e a c h e r ’ s e d I T I o n • n o v e M b e r 2 0 1 7

The printed concert program is often a neglected detail in a director’s preparation for a perfor-mance. recall the times you’ve attended a concert, reviewed the program, and discov-ered a grammatical error, misspelled word, formatting mistake, omitted performer, or poor printing quality. Programs should repre-sent planning, display organizational effort,

provide communication to the audience, and express pride. Is your concert program doing these things?

as concert season approaches, reflect on ways you can improve the creation, organiza-tion, and distribution of your programs. besides the names of the pieces being per-formed, the ensemble members playing them, and the composers/arrangers, consider adding the following:

1) Program notes. These could include a brief biography of the composer, details about the work’s historical and musical context, a description of how it will sound, an interpreta-tion of the work by the performer(s), and/or—if applicable—biographies for a guest conductor or soloist.

2) Honoring of musical effort. Include the names of all accompanists, narrators, and soloists. If a choral selection features instrumentalists or an instrumental selec-tion features vocalists, include the names and instru-mentation/voice parts of these performers.

3) Praise for accomplishments. have particular students been selected to countywide, state, regional, national, or international events? These accomplish-ments can be listed individually or by use of a symbol system. For example, an asterisk next to a performer’s name can denote that the student has been selected to perform in the all-state choral festival.

4) A show of gratitude. Thank any person or organization that has supported the music program throughout the school year. spotlight patrons who have donated equipment, expertise, money, or time.

5) Upcoming events. list dates, times, and loca-

tions of future performances, fundraisers, trips, etc.6) Volunteer or donation requests. be gentle with

your wording here. Information about the perfor-mance should be of greatest concern.

7) Contact information. Include your full name, along with school or music office phone, fax, address, email, websites, and/or social media accounts.

once you’ve reached a decision on what to include

and have begun actually creating your document, be sure to:

Plan ahead. What’s your timeline for designing the program? have you given yourself enough time to review, photo-copy, staple, fold, and insert additional

items? What type of paper are you using? are you printing in color or black and white? have you secured helpers?

Proofread. do this after each draft. as you near the completion of the final draft, print out the docu-ment and check for formatting errors. does the document appear symmetrical, especially when folded? has any text or image been cut off? employ a new set of eyes to review the content, grammar, formatting, etc. If suggestions or changes are made, reprint and check formatting errors each time.

Obtain approval. Particularly if you’re a new teacher, be sure to show the document to your admin-istrator before printing and photocopying. ask him/

Get With the programIt Can Be the Icing on a Concert’s Cake

Lori Schwartz Reichl is a music educator and consultant. Gain inspiration from her at makingkey changes.com.

tooLS foR EduCatoRSB y L o R I S C h w a R t z R E I C h L

K e y C H A n g e s : R e f R e s H i n g y O U R M U s i C P R O g R A M

“Everything is important — that success is in the details.”—Steve JobS

Make sure to name everyone who takes part in a concert, whether it’s a vocal soloist or ensemble musician.

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tools for Educators

her to review it, offer suggestions, and approve of all content. allow ample time for this; don’t expect a one-day turnaround.

If the programs are printed a few days before the performance, consider passing some along to individual staff and placing others in visible areas throughout the school. at the concert itself, distribute the programs to the audience in a creative and attractive way. have students, volunteers, or staff pass them out at the entrance doors to the per-formance venue, or set up tables with deco-rative baskets full of programs for audience members to retrieve themselves.

If you do accidentally omit a name from the program, alert the audience with remorse. apologize to this person (and his/her family if it’s a student), and provide him/her with an updated program that adds the missing information. This kind gesture will surely be appreciated; you may be amazed at how many students and families hold on to programs as souvenirs.

Keep extra programs on hand for a few days following the concert. students and parents will often ask if there are any left. retain an electronic version for your files and a printed version for your portfolio. and mail programs to any dedicated supporters known for their great past attendance but who, for whatever reason, were unable to attend this particular performance.

No detail is too small when planning a program. People love to see their name in print. Imagine how such a small deed can inspire them to continue supporting your efforts. don’t allow the program’s creation to be rushed or ignored. Take the time to create an aesthetically pleasing document. When photos or videos are lost or deleted, a printed program may be all that remains of a performance besides individual memo-ries. at the very least, it gives the audience something to read when there’s a delay!

The actual concert is the main attrac-tion, of course, but a finely crafted program can be an additional benefit. bake a great cake, then make the icing the sweetest.

Thanks to Erin Shaw Washington and Ste-phen Henry at the University of Maryland’s Michelle Smith Performing Arts Library for their help with this article.

VERY OFTEN WE ARE FACED with the question of, “Why does my child need this class?” There are so many amazing and accurate answers to that particular ques-tion but one that often comes to my mind is “Because we are teaching skills that go far beyond the band (or choir/orchestra) room.” Otherwise known as: “the real world.” Of course we know that studying, performing, and learning music is a real-life skill on

its own, however, relating it to other careers is helpful too.

LIFE SKILLS 101Right now I am going to focus on only one “real-world” skill that music education helps students learn. This skill is the epitome of aggravation for students and one that teachers must force students to face: hard work.

That is right. Working hard is a skill. Not being able to accomplish something with 100% accuracy and perfection the very � rst time is something many students need to be taught. They have to learn to live with imperfection. However, the beauty of this is “� guring it out” and learning to buckle down and try again, and again, and again, and to put in more than � ve minutes on a task to achieve more.

THE CHALLENGETake a peek at this excerpt from one of Rossano Galante’s gems from Sound Innovations Ensemble Development for Advanced Concert Band:

O� ering your students a challenge of spending time to work out those more di� cult � ngering patterns and getting them up to speed is something they will feel frustrated with at � rst.

A PLAN OF ACTIONGive them some strategies, like practicing an arpeggio exercise at several di� erent speeds, or scale patterns such as this one.

Using Music to Teach Students Other Real-World SkillsBy Chris Bernotas, co-author of Sound Innovations

F R O M A L F R E D M U S I C

Here comes the most important part—let them go and practice on their own. Allow your student to sit with that seemingly insurmount-able challenge. Once they climb that mountain of aggravation and defeat they will begin to see some light. They will begin to get more of the right notes. Their � ngers will � nally start to untangle and learn the muscle memory. They will learn that hard work does, in fact, pay o� .

Be clear in telling students the particular life skill you are address-ing. Tell your students, “When you are part of the workforce there are going to be some tasks that you just will not know how to do at � rst. You are going to have to put in hours of time, testing theories, and celebrating both successes and failures. Spending the necessary time to improve in your performance of (insert musical goal here) is an excellent way to practice for those days.”

Your students should know that hard work is . . . hard. They should learn that going over the break while playing 16th notes at 144 bpm is exciting for the e� ect of the music, but also an important tool for learning the skill of hard work. That is the big lesson, and one of the many real-life skills we teach daily.

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CHRIS BERNOTAS is a co-author of Alfred Music’s Sound Innovations series and an active composer and arranger of concert band music. Chris has been teaching more than 20 years in the Mountain Lakes School District in NJ and is in demand as a conductor, clinician,

and adjudicator throughout the United States.

Learn more at alfred.com/SI.

Source: Sound Innovations Ensemble Development for Advanced Concert Band

Source: Sound Innovations Ensemble Development for Advanced Concert Band

N o v e m b e r 2 0 1 7 • I N T u N e m o N T h l y • T e a c h e r ’ s e d I T I o N 14

or multi-level four-year program (beginning, intermediate, advanced, artist). It can be taught with a regional influence, such as mariachi in the Southwest or bluegrass in the Appalachians. And the instrument provides the opportunity to forge special connections with your students. If you have any “hot shots” in your class, for example, use them as a resource to demo whatever songs or exercises the class is working on; this can be both helpful to you and a confidence booster for them.

If you offer guitar but are not a guitarist, take heart in the knowl-edge that you’re already a musician and therefore can pick it up faster than your students. A program like TGW can be of important assistance in this regard.

ABOUT THE WORKSHOPSTGW started in 1995. Under the leadership of Will Schmid, former president of the Music Educators National Conference (MENC), a meeting with representatives of the National Association of Music Merchants (NAMM), the Guitar and Accessories Marketing Associa-tion (GAMA), and Bill Purse from Duquesne University was held at MENC headquarters. This meeting evolved into the development of a week-long TGW. In the workshops’ first year, they took place at three separate sites. In 2017 there were 16 sites—and at six of those, two levels were offered. With support from NAMM, GAMA, VanderCook College, and the National Association for Music Educa-tion (NAfME), formerly MENC, the program continues to grow. Through the years, thousands of educators have taken a TGW, and those teachers using the guitar have given the gift of music to tens of thousands of students.

Here’s the breakdown of what to expect if you attend a TGW:

TOOlS fOR EdUcATORS

W hat percentage of your student body is taking a music class right now? If your school is like the average U.S. high school, the answer is only about 20%. Whether you teach general music, band, orchestra, or chorus, this figure has to be a little disheartening. How can you reach that other 80%? One way is to offer guitar instruction.

The prospect of starting up a guitar class may be intimidating at first, especially if you’re not comfortable with the instrument yourself. But don’t worry, there’s help at hand. Teaching Guitar Workshops (TGW), a program that I’ve been involved with for years, is a week-long professional development opportunity for all music educators. Even if you’re a guitar rookie, or aren’t thinking of offering a guitar class, taking a TGW will reacquaint you with the excitement of learning a new instrument. And if you already play guitar, taking a TGW introduces you to the latest methods and pedagogy that you can use.

WHY TEAcH GUITAR?Because the guitar is so closely associated with popular music, it tends to appeal to young people who aren’t engaged by more typical school music. Generally speaking, the student who takes guitar is not the same student that you’ll find in the BOC (Band, Orchestra, and Chorus) class. Some BOC students may decide to also take a guitar class, but offering guitar will probably not lower the number of students in your BOC programs. However, once guitar students get acquainted with the music program, they’ll often find their way into chorus, jazz band, theory, and related classes. (They make great bass players!)

Another plus to teaching guitar is that the cost of offering guitar is minimal. An entry-level nylon-string (classical) guitar should not cost more than $150. Guitar can be offered as a semester, year-long,

The Teaching Guitar Workshops— now in their third decade—help music educators bring a popular instrument into their classrooms. BY GlEn MccARTHY

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I n T u n e M o n T h l y • T e a c h e r ’ s e d I T I o n • n o v e M b e r 2 0 1 7 15

Scenes from a 2017 Teaching Guitar Workshop in Reston, Va.

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First, you’ll be playing a great deal. We recommend you bring a nylon-string (clas-sical) guitar; your � ngers will thank you for this if you’re not used to a steel-string. Each day’s schedule starts at 8:30 AM. On Monday through Thursday, there are six hour-long sessions with a 15-minute break in between each session, plus an hour break for lunch. Friday’s schedule is abbreviated, � nishing by 1:30 PM. Each session covers a speci� c topic relating to both guitar playing and teaching techniques: setting up the class-

room, guitar maintenance, testing rubrics, playing with a pick, fingerstyle playing, strumming in various styles and meters, improvising, and playing as an ensemble. Subsequent sessions build on what was pre-sented earlier. For the � rst time this year, TGW will include ukulele sessions, too.

It’s not all work and � nger torture. Shar-ing snacks during break, lunch, and a spon-sored happy hour make this a fun social event as well. This workshop is also a great way to earn three graduate credits from Vander-

Cook College. (Not all states require gradu-ate credits for recerti� cation; you may sign up for professional development hours.)

What I’m most proud of is that all stylesof playing guitar are presented at a TGW. Even veteran players and experienced guitar teachers have gained valuable resources—and a network of like-minded music educa-tors—from these workshops.

READY, SET, TEACHThere are other guitar programs/work-shops available for teachers; LittleKidsRock.org and guitarcurriculum.com o� er par-ticularly excellent resources and unique views on teaching guitar. If you’re unsure which one to choose, you should just be aware that Teaching Guitar Workshops is a NAfME-recognized program featuring clinicians who have taught at the primary, secondary, and collegiate levels and who have developed and/or established their own guitar programs. You’ll leave a TGW with a “milk crate” full of methods and accessories that, if purchased at a music store, would cost far more than the course. You won’t be a great guitar player by the end of the week, but you will have the knowledge to be a great guitar teacher.

Here are two more quick statistics to consider: 30% of students don’t graduate high school, but schools with music pro-grams have a 20% higher graduation rate than schools without music programs. Get-ting more students involved in music would seem to be bene� cial to all, and teaching guitar is an excellent way to do that. If this sounds appealing to you, and you’d like to get yourself a fast, � rm foundation in guitar, go to the Teaching Guitar Workshops web-site at guitaredunet.org.

TOOLS FOR EDUCATORS

For more than 20 years, Glen McCarthy has taught guitar pedagogy and class guitar required for all music education majors at George Mason University. He

has been a guest clinician and adjudicator at numerous festivals, conferences, and workshops, both nationally and internation-ally. In 2014 the GRAMMY Foundation recognized Glen as one of the top 10 music educators in the United States.   A

RT

PIT

TM

AN

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Korg Education has your Classroom SolutionsFor over 20 years the Educational Division of Korg USAhas specialized in turn-key learning solutions for education.Our goal is to help educators of every level create the most innovative and exciting learning environments. Our fully trained music technology experts provide advice and guidance to ensure your school has the solution to best fit your needs.

Learn how Korg Education can become your long-termpartner and find out about special discounted pricing at education.korg.com.

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Applications and recordings are dueSunday, Jan. 28, 2018.

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P o P Q u i z

M a t c h Q u i z

the following quiz questions can be used to test for comprehension or for general reading of this issue of In Tune. (answers are on pg. 3 of the teacher’s Edition.)

Match the name in the left column to the term on the right.

1. What’s the new name of the former Avatar Studios in New York?

a. The Hit FactoryB. The Power Stationc. The Power Station at Berklee NYCD. The Magic Shop

2. Which of these composers wrote the Oscar-winning score for La La Land?

a. Justin HurwitzB. Nicholas Britellc. Mica RiceD. Danny Elfman

3. Where is the Take Note initiative happening?

a. CaliforniaB. Coloradoc. NevadaD. Utah

4. What is songwriter Pebe Sebert’s relationship to Kesha?

a. GrandmotherB. Auntc. DaughterD. Mother

5. Which of these artists made the album A Quiet Storm?

a. Anita BakerB. Smokey Robinsonc. Minnie RipertonD. Luther Vandross

6. Darryl McDaniels is better known to the world as…

a. Jam Master JayB. Runc. D.M.C.D. Chuck D

7. What’s another name for the C Ionian mode?

a. The C major scaleB. The C natural minor scalec. The C harmonic minor scaleD. The C melodic minor scale

8. Where did Charlie Puth go to college?

a. New England ConservatoryB. New York Universityc. The University of MichiganD. Berklee College of Music

9. What’s a txalaparta made out of?

a. SteelB. Woodc. GlassD. Clay

10. Who was the first person to leave One Direction?

a. Harry StylesB. Niall Horanc. Zayn MalikD. Liam Payne

N a M E

1. Richie Hawley

2. EveAnna Manley

3. Steve Dorff

4. Benj Pasek

5. Vashon Johnson

6. Sampha

7. Maybelle Carter

8. Gene Frenkle

9. Matt Berninger

10. Astrid S

c o N N E c t i o N

a. Manley Labs

B. Process

c. The National

D. Dear Evan Hansen

E. The Carter Family

F. Clarinet

G. “2AM”

h. Murphy Brown

i. Cowbell

J. Miley Cyrus

tools For EDucators

Books For StudentsCOOL JOBS IN THE MUSIC BUSINESS $24.95 x _____ copies = $_________Jeffrey Rabhan starts from his own experience to clearly explain career paths in today’s (and tomorrow’s) music business (w/DVD).

JAZZ THEN & NOW $24.95 x _____ copies = $_________A textbook (w/CD) on jazz history and its relationship to today’s jazz.

MUSIC ALIVE!’S PERCUSSION $24.95 x _____ copies = $_________Daniel Glass offers students a comprehensive introduction to drums and percussion (w/CD).

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MARCHING MUSIC $24.95 x _____ copies = $_________Everything young musicians need to know to get started–and succeed–in marching music.

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EXPLORING THE BLUES $39.95 x _____ copies = $_________Topics include: Birth of the Blues, Early Blues Guitarists, Women with the Blues, The Blues Begin to Rock (w/CD).

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In Tune is accepting subscription orders for the 2017-2018 school year, so act now to get The Young Musician’s Textbook for your students. Order today to get eight issues of the magazine that addresses students’ passion for music and helps you give them a well-rounded music education.

MONTHLY

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FITZ AND THETANTRUMS

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CALVIN HARRIS/RIHANNA HIT

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✦ Reggae King Bob Marley

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✦ Usher, The 1975, the Listening List, and More!

TANTRUMSThe next step in the evolution of a smart pop band

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✦ Rock ’n’ Roll Godmother Rosetta Tharpe ✦ Drum Virtuoso Terry Bozzio✦ The Physics of Bowing a Violin✦ Izzy Bizu, Bon Iver, the Listening List, and More!

MENDESA young troubadour graduates from the Internet to the arena

The In Tune LibraryPresenting a series of books for students and lesson books for teachers from the publishers of In Tune Monthly and Music Alive! magazines. Lesson books feature reproducible articles with lesson plans, activities, and a CD.

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