SBO June 2011

Survey: Destinations

Commentary: Brain Rules 1 & 2

“Working Towards Excellence”

Steve Olsen and the Rosemount High School Band

JUNE 2011$5.00

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SB&O School Band and Orchestra® (ISSN 1098-3694) Volume 14, Number 6, is published monthly by Symphony Publish-ing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

Cover photo by Travis Johnson, Rosemount, Minn.

4 Perspective

6 Headlines

44 New Products

46 Playing Tip

47 Classifieds

48 Ad Index

Columns

Features

Contents June 2011

16

40

28

10 FROM THE TRENCHESBob Morrison offers perhaps surprising data affirming the health and well-being of music programs around the country.

16 SURVEY: TOP DESTINATIONSRead the results of this recent survey, in which SBO readers name the top destinations for school band travel, both in the U.S. and abroad, and also give a few pointers on choosing the right location for any school music group.

20 COMMENTARY: BRAIN RULES 1 & 2Joe Allison and Erin Wehr of Eastern Kentucky University take a close look at John Medina’s Brain Rules 1 and 2, exercise and survival instincts, as applied to rehearsals for instrumental ensemble.

28 UPCLOSE: ROSEMOUNT HIGH SCHOOL BAND Steve Olsen leads the trio of directors in the Rosemount (Minn.) High School band department. In a recent SBO interview with Olsen and his colleagues, Leon Sieve, and Bo Hoover, the three discuss the evolution of the program that has produced a 5-time state champion marching band, while also touching on the latest trends in festivals, including their own highly successful annual Rosemount Marching Band Festival.

40 STAFF SELECTIONS: BRASS & WOODWIND CHOIRSVince Corozine presents music for brass and woodwind choirs.

2 School Band and Orchestra, June 2011

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Perspective®

June 2011Volume 14, Number 6

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An Assist from Centerfield

If you had to choose someone who became famous in a field other than music to send to Capital Hill to tout the benefits of music edu-cation in the schools, it would be difficult to find a better candidate than Bernie Williams, the former New York Yankees all-star center-fielder who has won four World Series championship rings. Beyond Williams’

extraordinary athletic abilities, he has been lauded as a highly skilled jazz guitarist with several successful CDs and a Grammy nomination to his credit. According to www.thebrushback.com, “As a guitarist, Williams has never been better. In fact, after his album came out, former Beatle Paul McCartney signed him to a publishing deal with his own record company. One might say he’s entering his prime as a musician.” Recently, as part of the NAMM Foundation’s annual “Advocacy Fly-in,” Mr. Williams joined a group of 40 members along with former US Secretary of Education Richard Riley to address the issue of strengthening music education. NAMM has made a con-

certed effort over the course of many years to lobby Congress to increase support for music education in public schools.

Often, many folks in the music education field perceive sports as competing with the increasingly limited time available from students. With this in mind, having someone as uniquely successful in both sports and music speak on behalf of the benefits of music education is extremely powerful. In an inter-view on ABC News’ Top Line, Williams suggests,

“The things I learned from playing a musical instrument such as discipline and over-coming adversity I was able to incorporate into my sports career… My message is to try to pull this idea to have every kid have the opportunity to learn an instrument in schools, and have music as part of the… curriculum in schools.”

The NAMM Foundation is a “non-profit organization with the mission of advanc-ing active participation in music making across the lifespan by supporting scientific research, philanthropic giving and public service programs from the international music products industry.” It supports a wealth of programs that have benefitted all types of music programs, including the Wanna Play Fund, the SupportMusic Coali-tion, Museum of Music Making, and many other terrific ventures.

The advocacy and support music education in the United States is most likely at the highest level that it has ever been, thanks to groups like NAMM, VH1, Mr. Hol-land’s Opus, MENC, and so many others. A continued effort, especially throughout the recent economic turmoil, has no doubt helped to solidify music education in local communities around our country. However, it will take a continued effort from the grassroots through the national level to insure that music education doesn’t lose its momentum, especially with state budgets being slashed, so if you’re not involved in these efforts, now would certainly be a good time to lend a hand…

Rick [email protected]

“It will take a continued effort from

the grassroots through the national level to

insure that music education doesn’t lose

its momentum.”

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HeadLinesNAMM Foundation Announces “Best Communities for Music Education”

In a year that saw budgetary crises and partisan conflict at all levels of govern-ment, the NAMM Foundation has announced the results of its 12th annual Best Communities for Music Education (BCME) survey, which acknowledges

schools and districts across the U.S. for their commitment to and support for music education in schools.

In all, 179 communities out of 279 that submitted surveys were recognized, including 172 school districts and seven schools. 2011 marks the first year that individual schools received this impressive designation. The announcement came as a part of NAMM’s National Wanna Play Music Week, (May 2-8) a weeklong promotion designed to encourage people of all ages and skill levels to experience the proven benefits of playing music.

The BCME survey is a nationwide search for communities whose programs exemplify a strong commitment to music education. Established in 1999, BCME recognizes and celebrates schools, their administrators, teachers, board members, parents and students for their support of music education and their efforts to as-sure access to all students as part of the core curriculum.

The announcement of the 2011 Best Communities for Music Education cam-paign comes at a crucial time, as school districts nationwide finalize their budgets. According to the NAMM Foundation, the designation exemplifies a distinction worthy of pride, but also a call to action for local music education advocates to help preserve – and in some cases, save – their current music education programs.

Each school receiving the “Best Communities” designation scored in the 80th percentile or higher in the survey’s grading process. Participants in the survey an-swered detailed questions about funding, graduation requirements, music class par-ticipation, instruction time, facilities, support for the music program, and other relevant factors in their communities’ music education programs. The responses were verified with district officials and advisory organizations reviewed the data.

The 2011 survey was conducted between January 14, 2011 and March 14, 2011 in collaboration with The Institute for Educational Research and Public Service (www.ku.edu/~ierps/cgi-bin) of Lawrence, Kansas, an affiliate of the Uni-versity of Kansas. Each school district or school was allowed to fill out one survey, completed by a school administrator and/or teacher with access to school and district demographic and budgetary information.

For a complete list of the communities and schools honored, visit www.nammfoundation.org.

Dementia Risk Decreased with Music Lessons, Study Says

The chances of developing dementia are lower among people who take music lessons at a young age, according to a new study from researchers at Emory University, reports www.thirdage.com.

Dr. Brenda Hanna-Pladdy, lead study researcher and clinical neuropsychologist at Emory University, and a group of colleagues analyzed data from 70 adults between the ages of 60 and 83, all of whom had a clean bill of health and had parallel levels of education and fitness. The researchers separated them into three groups depending on their musical ability and background. One group was for participants who had no musical background, one was for those who had two to nine years of musical training, and the third group was for participants who had 10 or more years.

The researchers discovered that, after undergoing a neuropsychological evalu-ation testing their verbal, memory, and attention functions, the participants in the group who had played an instrument for 10 or more years scored the highest. The group with the least amount of experience in music scored the lowest.

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From Marching and Concert Bands to Orchestrasand Jazz Bands, instrumental groups who take part in a Disney Performing Arts program — whether that’s in a performance or a workshop or festival — share a common bond. And now, Disney Performing Arts is celebrating this bond and commemorating

this once-in-a-lifetime experience with an exclusive badge of honor. So, if you think your instrumental group has Ears for the Arts, then there is no better time to plan your next Disney Performing Arts trip. For more information, contact your travel

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HeadLinesGoogle Launches New Cloud Music Service

Google has launched a test version of a new digital music service that will enable users to upload their music libraries to the company’s servers, re-ports CNET. Google has been testing its music service internally and finally

launched the long-anticipated service on Tuesday, at the company’s I/O Developer Conference in San Francisco, according to Zahavah Levine, one of the executives in charge of getting the music service off the ground.

While Google and Levine have been negotiating to obtain licenses from the four largest record companies for more than a year, the test version of the service will launch without licensing. This is the same strategy that Amazon employed when it launched its cloud-music service in March.

Google’s test service will be called “Music Beta by Google” and it will allow users to upload their personal music libraries to their own account on Google’s servers. Users will then be able to access those libraries anytime or anywhere from Web-connected devices.

Read more at news.cnet.com.

New Mexico Symphony Orchestra Folds

The AP is reporting that the New Mexico Symphony Orchestra has filed for liquidation, the third bankruptcy decision by an American musical collective in the past month. The orchestra follows Philadelphia, Pennsylvania’s, and Syra-

cuse, New York’s orchestras, as all three ended up with extreme financial difficulty.The company, which has been playing concerts since 1932, has had a great

deal of financial issues for years, according to New Mexico news source, KOAT. Members of the orchestra had health insurance stopped almost two years ago, and have not been paid in four months. The orchestra will sell off its assets as a part of the filing, and George Boerigter, the vice chairman of the symphony told the news source it will stop all operations once assets are sold off.

Online Survey Results

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

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

Has your program achieved all of its goals this year?

We had an okay year. Hoping for big improvements next year.

It was a great year, but we still have some things to work on.

We accomplished everything we wanted to and more!

38%

49%

13%

Tony Bennett, Bernie Williams visit D.C. to Lobby for Music Ed

NAMM, VH1 Save The Music Foundation, and DoSomething.org co-hosted a reception at the U.S. Capitol Building celebrating and supporting nation-al school music programs, as a part of NAMM’s annual Member lobbying

trip to Capitol Hill. Multiple Grammy and Emmy-award winning artist Tony Bennett, founder

of Exploring the Arts which provides support for the arts in NYC Public High Schools and the Frank Sinatra School of the Arts in Queens was on hand to dis-cuss the importance of school music and art programs:

“We hope to see every public school in the United States have an art program,” said Bennett. “And it will be the best thing that ever happened to the United States because the whole premise of art is to search for truth and beauty. And when you give that to the rest of the world, every country will respect us so much. And so I hope you’ll help us with that.”

Former New York Yankee and Latin Grammy-nominated jazz guitarist Bernie Williams, who spent the day meeting with Members of Congress on behalf of this cause, added, “Music has had a very profound impact in my life. I was able to incorporate the things I drew from music like dealing with stress, overcoming adversity, into my athletic training and my life. I also believe that every kid should have the opportunity to learn to play a musical instrument and that’s why I’m here today.”

Learn more at www.namm.org.

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SBOFrom the Trenches

The Report of Our Death Has Been Greatly Exaggerated

By BoB Morrison

In response to reading newspaper coverage of his supposed demise, Mark Twain famously

stated, “The reports of my death have been greatly exaggerated.” I was reminded of this state-

ment after seeing recent newspaper reports and arts leaders’ comments touting the demise of

arts education in our schools and recommendations that we significantly alter music and arts

education as a result of “decline.”

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Sometime during this past winter as we were working on yet another state report on the status and condition of arts education, I started seeing articles, blog postings, and news headlines about the supposed decline in arts education in the United States.

Here are just a few:

HOUSE COMMITTEE PASSES BUD-GET WITH STEEP CUTS: Doesn’t in-clude money for full-day pre-kindergar-ten, teacher incentive pay, arts education and numerous other school programs.

‘GLEE’ HITS FEVER PITCH, DESPITE DECLINE OF MUSIC PROGRAMS IN SCHOOLS: Many schools across the country continue to reduce music and arts education or cut music programs altogether.

FILLING THE VOID! Most of the arts programs in the schools are being elimi-nated. The good news is that there are many individual artists and performers within the state that feel compelled to provide arts education where the schools cannot.

And then there are quotes from na-tional arts leaders like these:

“Arts education has been severely di-minished in public education over the past 30 years.”

“Arts instruction in schools is on a downward trend.”

Or my favorite: “Public school arts education is virtually dead”

Cuts, Elimination, 30 Year Decline, Downward Trend, Virtually Dead! My god! What have we done! This makes me want to curl up in a corner in the fe-tal position and suck my thumb in fear! Except for one thing... it is not true!

I am happy to say that the reported nationwide decline in access to music and arts education in our schools is a myth.

Before I started to look at the data I had also been of the opinion there had been broad cuts to programs. This must mean there were fewer programs in our country. Recently, as we have had great-er visibility on actual school data about courses, teachers, and student enroll-

ment, I began to have my doubts. So with this contradiction gnawing at me I decided to look at all the various state data we had access to in order to compare information and see if, indeed, music and arts was lacking for most students or if they were more widely available than is being reported.

State ComparisonsWhat did we see? Music and visual art are nearly universally available in all public

schools. (Dance and theater are barely present in the elementary schools while show-ing a greater presence in middle and high schools.)

Chart 1 includes data from reports Quadrant completed for New Jersey, New Hampshire, Oklahoma and Arizona. Data for Florida and Texas are from state data files. The column marked FRSS is the most recent data released from the Fast Re-sponse Survey System of the US Department of Education (released in May, 2011). As you can see, most states report more than 90 percent of their schools have music. The FRSS data supports these finding.

Elementary

High School


School Band and Orchestra, June 2011 13

When we look at the secondary level we see a similar pattern of near universal access to music with most states reporting more than 90 percent of schools with programs and the FRSS data supports these findings. We see very similar findings for visual art as well.

US Department of Education Fast Response Survey System Data on Arts EducationWhen we look at the FRSS data and compare the current findings to the results from the two prior surveys going back to 1994

we see a pretty steady holding pattern for music and visual arts.

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To quote the FRSS report, “most of the nation’s public elementary schools offered instruction that was designated specifically for music and visual arts.” Going further the report shows for music, “91 percent em-ployed arts specialists to teach the subject.”

How about instrumental music?We then reviewed proprietary data

from one of our research partners to see if there was any change in instru-mental music programs between 2008 and 2010. This is during the heart of the great recession. What we found was that there was a decline of 0.58 percent. Less than 1 percent of our in-strumental music programs were elim-inated. Any program being eliminated is a problem. But a decline of less than 1 percent does not support the kind of hysterical headlines we have been see-ing recently.

Music and arts education in the US is the rule... not the exception!

With music and visual arts nearly universally available in our schools it is hard to put stock in claims that arts ed-

ucation is in decline or virtually dead. There is just no evidence this is true. While there are certainly places where cuts have been implemented it is not clear these are the exceptions and the presence of music and visual art in our most of our schools is the rule.

To me this is the best news possi-ble! And here is why: These findings allow us to fight for our programs from a position of strength. If access to arts education is the rule in this

country, then a school that cuts a program is out of step with the main stream of our educational expecta-tions. This allows us to put a clear focus on the places where these cuts are occurring while promoting the expectations established for all stu-dents. This also makes it difficult for school administrators, who be-moan the need to make cuts to arts programs, to cite the false fact that this is something most districts are being forced to do. This is clearly not the case.

Can things be better? You bet! Certainly the recent testing frenzy has put a squeeze on time and some programs have been altered to deal with testing and remediation. These are challenges we must continue to address. We are in a much better po-sition to address these points from the position that music and arts ed-ucation programs have a significant presence in our schools. Not virtu-ally dead.

We must avoid the temptation to buy into the negative narrative that most programs are being eliminated and embrace the positive position of strength we have in our profes-sion. More than 200,000 arts edu-cators report to school each day to give the gift of music and the arts to our children. We must not allow these negative erroneous headlines to become a self-fulfilling proph-ecy. The future of our profession and the education of our children depend on it.

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

He may be reached directly at [email protected].

“If access to arts education is the rule in this country, then a school that cuts a program is out of step with the main stream of our educational expectations.”

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Whether as an end-of-year vacation or a strict per-formance tour, many music programs take their students on adventures far beyond their school

auditorium walls. But where, exactly, is the best place to go? At SBO headquarters, we had some ideas about where the top destinations are for instrumental school music groups, but you, the SBO readers, are the experts, not us, so we recently put the question out to you. We have asked, you have answered, and the votes have been tallied.

The top U.S. destinations for school music groups, it turns out, are primarily along the East Coast. Orlando, Florida – home of Walt Disney World, Universal Theme Park, and a host of other attractions – narrowly edged out Carnegie Hall, Lincoln Center, Broadway, and the multitude of other world-class sites and venues found in New York City for the top spot in this survey. Washington D.C., Chicago, and Boston round out the top five, with Dallas, Anaheim, Hawaii, and several sites in Virginia among the other locations also earning considerable votes.

Internationally, the top two destinations were both English-speaking countries: England and Canada – yeah, yeah, we know, Quebec, nous sa-vons – were selected for their accessibility, cost, and fantastic performing opportunities. A trio of classic Continental countries – Germany, Italy, and France – also made it into the top five destinations abroad, although it is worth mentioning that several Asian countries – notably China, Ko-rea, and Japan – also garnered significant tallies.

“In Orlando, Disney & Universal Studios are incredibly fun and they offer great perfor-mance venues.”

Steve OlsenRosemount High School

Rosemount, Minn.

“New York City’s Carnegie Hall! We teach our students the historical significance of Carnegie Hall and it is a really sweet thing to watch their faces as they walk on stage for the first time.”

Bingiee ShiuMemorial High School

Houston, Texas

“Washington, D.C. – The history and the opportunities to explore in a place the stu-dent have seen so many times on TV and studied blows the kids away. Being able to experience the monuments or the national archives first-hand is life changing for some.”

Brian ToneyGrovetown High School

Grovetown, Ga.

“Chicago has lots of options from sym-phonies, to theme parks, to museums, to great restaurants, and more.”

Kathy McCulloughCathedral High School

Indianapolis, Ind.

“Boston has so many historical places to visit.”

Rick CoxFlinthills USD 492

Rosalia, Kan.

SBOSurvey: Travel

Travel Destinations

Top 5 Domestic DestinationsAs selected by SBO readers.

1. Orlando, Fla.2. New York City, N.Y.3. Washington, D.C.4. Chicago, Ill. 5. Boston, Mass.

Survey.indd 16 6/2/11 3:52 PM

How far do you typically travel with your school music groups?

In state only 14%

Nearby states 49%

Across the country 27%

Internationally/Overseas 10%

Do you have any advice on narrowing down the plethora of potential destinations for school music travel?

“I have a two-tiered process: 1) I spend one class period with stu-dents, discussing performance and locations and educational oppor-tunities. These are always at the forefront for our planning; 2) I take the top three choices to our parent booster group to discuss financial feasibility and fundraiser planning. The adults weigh the options then return the presentation to kids. So far, I’ve had four, soon to be five, successful trips using this plan.”

Jason LoweBeal City Schools

Mt Pleasant, Mich.

“Determine if the trip will incorporate a lesson in culture. Many students do not understand how life functions outside of their imme-diate area unless they are well traveled.”

Patrick DoerrSweetwater High School

National City, Calif.

“Look for good/cross-curricular educational opportunities for the students as well as great performance opportunities. For example: I always look for a well attended, competitive parade for the marching band performance.”

David LyncheskiBrick Township High School

Brick, N.J.

Is there anything to be wary of when selecting a destination?

“Be prepared for what makes each destination different from your hometown. I took a group to Chinatown in Toronto once and three kids sat in the Burger King for two hours because things were so dif-ferent that it scared them.”

Rick BrimmerLake Local Schools

Millbury, Ohio

Top 5 International DestinationsAs selected by SBO readers.

1. England2. Canada3. Germany 4. Italy5. France

“England has so much history. It’s our mother country. And there is no language barrier!”

Bill ThomasShawnee Mission West High School

Shawnee Mission, Kan.

“Toronto is clean and has great musical experiences for the kids. There are many things for the students to do, too. Plus there’s a great stop on the way in Niagara Falls.”

Kathy McCulloughCathedral High School

Indianapolis, Ind.

“Germany has so much in the way of his-torical culture and tradition – it makes for a great learning experience.”

Patrick DoerrSweetwater High School

National City, Calif.

“Italy is the home of many music mas-ters.”

Sparky KoernerCollege of the Mainland

Texas City, Texas

“France offers the cultural history to West-ern music tradition, as well as beautiful per-formance spaces that enable us to connect with composers of the music we perform.”

B. WeilandCentennial High School

Circle Pines, Minn.




“I would advise to look into any large happenings that may coincide with your travel dates. While you may be able to avoid running into the events themselves, you cannot guar-antee that your hotel will be isolated from those participating.”

Larry PetersenHuron High School

Huron, S.D.

“Choose places that are most likely to be politically stable. One of our trips encountered a national flight controllers strike on the day we were to fly in to that country. Our trip was cancelled en route, and it was one of the worst experiences of my 30 years of teaching.”

Conrad MiskaEagan High School

Eagan, Minn.

Additional thoughts on the best destinations for instrumental school music groups?

“Our best trips have been when our students have built relationships with the people on the tour. That means that the specific destination may not even matter so much.”

Peter KlempConcordia Jr/Sr High School

Omaha, Neb.

“Affordability and cultural inter-est coupled with outstanding ad-judication or clinicians make for a great trip.”

K. HartseShadle Park High School

Spokane, Wash.

“We have shared performances with local schools on each of our concert tours. Our marching band trips are to venues with a parade, and lots of possibilities for our stu-dents to be exposed to the local sights and culture – China, Canada, England.”

Steven AccatinoYgnacio Valley High School

Concord, Calif.

If you are interested

in participating in

upcoming SBO music

education surveys,

please contact editor

Eliahu Sussman at

[email protected]


www.skbcases.com

SBO_19 19 6/2/11 3:39:01 PM

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SBOCommentary: Brain Rules 1 & 2


It’s important to note that the molecular biologist-author warns us that his principles are not pre-scriptive, but rather “a call for real-world research.” He stipulates that brain research in one context can’t be assumed or predicted as to how it works in another field. Medina does, however, give us ideas on how this research might apply in the real world, and this series of articles will explore some of these possibilities as they relate to music ensemble teaching and rehearsing. Let’s start at the beginning then and see what we find!

Exercise boosts brain power

A consensus among current neurological researchers is that exercise can improve long-term memory, reasoning, attention, problem solving, and even fluid-intelligence tests. In the labora-

Those of you with fully func-

tioning memory might recall

that we recently discussed an

overview of Dr. John Medina’s

best-selling book: Brain Rules: 12 Princi-

ples for Surviving and Thriving at Home,

Work, and School [SBO May, 2011]. We

examined each of Medina’s 12 “Rules”

and briefly looked at how they might

apply to the school ensemble rehearsal.

Now it’s time to look more closely at how

these findings can contribute to a better

instructional experience for our students!

Using Exercise & Survival Instincts In the Band Room

By Joe Allison And erin Wehr

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tory it appears that 30 minutes of aerobic activity two or three times a week is all it takes, and adding a muscle-strengthening regimen gives you even more cognitive benefit. This begs the question: do concert band/orchestra rehearsals raise heart rate and pulmonary function enough to be considered aerobic exercise, providing a contribution to healthier brains?

Further, is it possible that activi-ties such as marching band rehearsals provide an even greater physiological benefit? Following this logic, it may then be possible that an outdoor re-hearsal in the morning helps kick start the students’ brains for learning in classes the rest of the day! This ratio-nale is certainly solid motivation for applied research. Based on anecdotal evidence as well as Medina’s current research summary, we can likely as-sume that students learn more in a rehearsal that is physically as well as intellectually stimulating and active.

We all know well what happens when students sit too long while the leader either talks too much or works too long with a particular section of stu-dents. Typically the younger or less-focused students talk to each other, whisper, play with mutes as if they are microphones or hats, or compete to see how many rotations one can get tossing a drumstick before being noticed by the director. You probably know that drill.

As teacher-directors, often our re-sponse to “rehearsal discipline” is to coerce the students into a benign compliance by sitting quietly and still, with no sudden movements. They are to play only when asked, which some days turns out to be 10 percent of re-hearsal or less. Small wonder, then, that brains and bodies become “mum-mified” in a stupor – but they’re not disturbing anyone else (and their hi-bernation!).

Have you ever noticed how this “maturing” process of an ensemble

often coincides with the instructor having to repeat himself, or the diffi-

Medina’s 12 Brain Rules

•Rule#1: EXERCISE Exercise boosts brain power.

•Rule#2: SURVIVAL The human brain evolved, too.

• Rule#3: WIRING

• Rule#4:ATTENTION

• Rule#5: SHORT-TERM MEMORY

• Rule#6: LONG-TERM MEMORY

• Rule#7: SLEEP

• Rule#8:STRESS

• Rule#9: SENSORY INTEGRATION

• Rule#10:VISION

• Rule#11: GENDER

• Rule#12:EXPLORATION


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culty students have in paying attention consistently, and even less retention of instruction? As Medina emphasizes in his text. our bodies have always been conditioned to active movement. This fact is an axiom of our human evolu-tionary history. We moved constantly, up to 12 miles a day, and our brains developed not when we were sitting down, but while we were physically active!

In light of our fundamental human need for physical activity and move-ment, Medina describes the modern classroom as the least effective envi-ronment possible for intellectual de-velopment and learning. As we sit stat-ically, our breathing slows, and so less oxygen gets to our brain. The prob-lem is that our brains require a robust oxygen supply to burn the fuels that stimulate activity and growth. Talking, laughing, yawning, stretching, and all manner of “goofing off ” is the body’s way of getting oxygen to the brain! We are actually trying subconsciously to

stimulate ourselves into an alert state of focus. We all do it: students in “less-than-electric” rehearsals, teachers in staff/faculty meetings, the body takes over and adapts.

It would certainly be understand-able, given all this, to be a bit frus-trated or puzzled about how to use this information in a typical ensemble rehearsal. After all, we still have to have a unified and focused rehearsal environment, right? Medina spends a good bit of time and effort encourag-ing teachers to allow their classrooms a bit of near-random and s p o n -taneous energy, as the students have discov-ery moments that enhance the quality and depth of learn-ing. For most of us, that seems antithetical to group-focused learning. They (the students) all have

to get it,” and “get it in the same way,” or so the traditional story goes.

Perhaps we can plan activities in the rehearsal to keep the bodies and there-fore brains working. This is one of the reasons why tried-and-true rehearsal techniques such as 1) not giving direc-tions for more than 10 seconds at a time 2) not letting any section sit tac-itly for more than 10 minutes, and 3) giving students stretch or talk break in between rehearsing different works are consistently useful. Maybe the

“trick” is balancing the physical activity with the mental. It

becomes pretty obvious pretty quickly that

the model of “still body-active mind”

is not biological-ly accurate or even practical.

R e a l i z i n g the learning brain’s crav-ing for oxy-


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gen, is it possible that all rehearsals should begin with breathing exercis-es rather than just the random few every now and then? Could breath-ing exercises also be physically and mentally useful in the middle of a rehearsal, particularly a long ses-sion like a 90-minute block? Even though it brings the potential of unfocused time getting all students sitting properly again and on-task, does a break in the middle of that 90-minute block ultimately coun-teract any negative organizational issues by allowing the students to move and get their brains and bod-ies the much needed oxygen? If we really buy into the idea of supplying the brain with oxygen for learning power, could pre-scripted exercise and movement during rehearsal in-crease learning power? To be more bluntly provocative: is it possible we sometimes sacrifice true learning and retention for a quietly-motion-less (read: benign) rehearsal atmo-sphere?

The human brain evolved, too

Wow – this already sounds challeng-ing, doesn’t it? As the Brain Rules text clearly states: ”The brain is a survival organ. It is designed to solve problems related to surviving in an unstable outdoor environment and to do so in nearly constant motion (to keep you alive long enough to pass your genes on). We were not the strongest on the planet but we developed the strongest brains, the key to our survival.”

Okay, so far-so good. Next, Medi-na says: “The strongest brains survive, not the strongest bodies. Our ability to solve problems, learn from mistakes, and create alliances with other people helps us survive. We took over the world by learning to cooperate and forming teams with our neighbors.”

As a conductor, you probably like reading the words “cooperate” and “forming teams.” That’s what we do, isn’t it? It gets a bit tricky, however, when we consider the quality of the actual learning. One of the collateral

benefits of the current discussion of standardized testing and its merits is the concept of the quality of the learning process, and how that affects both understanding and retention. Most all in the discussion now con-cur that the “bunch-‘o-facts” method (thanks to Alfie Kohn) is not the best way to educate minds and develop an actual learning process. There is also a healthy revisiting of Bloom’s Tax-onomy of higher-order thinking skills – we’re even doing this in higher edu-cation!

It may be that the new emphasis on critical thinking and higher-level pro-cess is a great opportunity for the mu-sic ensemble teacher – after all, these concepts seem to describe the process of musical instruction, particularly as applied to large groups. Students must not only develop the mechanical skills to participate, but they must apply the learnings, synthesize information, and constantly evaluate how what they are doing relates to what everyone else in the ensemble is doing at the same time.


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A potential “fly-in-the-ointment” appears when the great majority of the rehearsal process becomes “I tell you exactly what to do, and you do it,” with absolutely no room for discovery and evaluation on the students’ part. We’ve known for quite some time that students understand more and retain better when there is that “discovery” aspect to the process of learning. It’s just again that it seems so much more organized and disciplined to do the students’ thinking for them, doesn’t it? Again, the “trick” must be in the mod-

eration of balancing between an indi-vidual’s freedom to discover, and the need for a unified class focus. Obvious-ly, both are necessary to real success!

Ready for another challenge to the status quo? Medina further says: “Our ability to understand each other is our chief survival tool. Relationships helped us survive in the jungle and are critical to surviving at work and school today.” Fascinating, particularly in the context of complex large-group dy-namics. Further: “If someone does not feel safe with a teacher or boss, he or

she may not perform as well. If a stu-dent feels misunderstood because the teacher cannot connect with the way the student learns, the student may be-come isolated.”

How can you not feel challenged by those quotes? We operate in an environment where there is typi-cally one teacher with 40, 60, 100 students! Even in situations with “better” ratios, there are still lots of them, and few of us. There is al-ways the temptation to “over-orga-nize” or “over-discipline” in order to maintain a semblance of control. Basic accountability warrants this. But the risk of stifling students (indi-vidually or collectively) is certainly a by-product of this approach, ob-viously. And we’re talking about ar-tistically motivated, active students, hopefully. Is it even possible to do anything that meets every student in a group at the exact point of their need and readiness to learn? Or is the more pertinent question one of percentages? Compare that to “No

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Child Left Behind.” Very challeng-ing, indeed.

At the very least, teachers of large groups are officially on notice that the dynamics of the student-teacher rela-tionship are more complex than ever, both due to societal factors, as well as what we are discovering about learn-ing needs and brain development. We can’t afford to take it for granted any longer that just making them “sit down and shut up” is the best way to

approach actual learning – even if it does give the appearance of a well-oiled machine to an uninitiated viewer ... or principal.

If you think at this point that the issues raised by the first two of John Medina’s “Brain Rules” are confined to large-group instruction, here’s one more quote from the book:

“There is no greater anti-brain envi-ronment than the classroom and cubicle.”

Keep an eye out in the next few issues of SBO, as we continue to visit more of the 12 Rules, evaluate how they effect our world, and ana-lyze how we might use them to ben-efit our students and our programs. In the meantime, if you dare, check out Medina’s Brain Rules website at www.brainrules.net/.

Joseph Allison is a professor of Music, the di-rector of Bands, and coordinator of Conducting Studies at East-ern Kentucky University. Prior to this position, Dr. Allison was the director of Bands and Orchestras at Sumter (S.C.) High School, where his program became the first internationally to be honored by the John Philip Sousa Foundation as laureates of both the Sudler Flag of Honor for concert excellence and the Sudler Shield for marching achievement. Allison maintains an active international schedule of clinics and adjudica-tions in the concert, marching, and jazz activities. He can be reached at [email protected].

Erin Wehr has taught music education for Eastern Kentucky University, the University of Missouri, and the University of Iowa. She has also directed elementary and secondary instrumental music programs in Iowa and Illinois, taught general music, and holds Orff certification. Wehr has served as a clinician, adjudicator, and guest conductor for elementa-ry and secondary music programs, drum and bugle corps, and adult and community music groups.

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“We set high expectations and goals, and achieve some and maybe not others, but we’re always working towards excellence.”

Upclose.indd 28 6/2/11 4:01 PM


“WorkingTowards

Excellence”Rosemount High School, located in suburban Minneapolis, has a

long-standing tradition of musical excellence. Located in one of the larger school districts in the state of Minnesota, which includes four high schools with about 2,000 students in each, Rosemount was at one point the only school in the area. As the town and district grew, it was split into two high schools of approximately even size. Years later, Rosemount was split again, and then again, until there were four high schools, all spawned by the one original institution. The last split, which occurred in 1997, had a particularly traumatic effect on the music department, as many of the resources and band personnel were moved to the new school, while Rosemount High School was left to rebuild.

Rosemount HS Band ProgramSBOUpClose

Leon Sieve, Steve Olsen, and Bojan Hoover

By Eliahu SuSSman PhotoS By traviS JohnSon



And rebuild they have. Under the guidance of Steve Olsen, band direc-tor and music/dance/art department coordinator, along with fellow band director Leon Sieve and a recently hired third director, Bojan (“Bo”) Hoover, the performing arts at Rose-mount are once again on par with those at other top public schools in the state of Minnesota. With the help of administration and a supportive community, approximately 60 per-

cent of the student body now par-ticipates in band, choir, dance, and theatre, a figure in which Steve Olsen take particular pride.

Rosemount’s plethora of highly suc-cessful instrumental ensembles (which include six concert bands, a five-time state champion marching band, as well as jazz and chamber groups), are div-vied up evenly between the three band directors, who frequently work togeth-er, even team-directing the marching

band. In addition, the school also hosts an annual marching band festival every year, as it has continuously since 1989. Until several years ago, the Rosemount band festival was even considered the unofficial state marching band champi-onship, as it was the last festival of the season and typically attracted many of the best bands in the region.

To learn more about this vibrant music community and the formula to their success, SBO recently caught up with Steve, Leon, and Bo, who credit their accomplishments to dedication, teamwork, and the selling of a vision for the music program to students, parents, and administrators. The three band directors also pooled their years of experience to share some tips on festivals, including preparing students for performance, selecting events to attend, and even some organizational sticking points of hosting a music fes-tival.

School Band & Orchestra: Let’s dive right in and talk about the evolution of the music program since the last high school split off from Rosemount in 1997. How have you approached the rebuild-ing process?

Rosemount Band: After the split in 1997, Rosemount was left with only a tiny little band program. At that point, there were about 130 kids in-volved, split into two bands, and a tiny marching band that didn’t have much success at competitions. Prior to that, Rosemount had had a great history of music. Well, the new school that split off followed in that tradition, and this school was left having to rebuild. So that’s what we’ve been doing, and now we’re up to 400 students in the band program. We’ve done well in competitions, both locally and nation-ally, and we also really believe that our program is not centered on one ensemble, which can be a weakness in some schools.

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SBO: Can you tell me about what it takes to get from 140 kids up to over 400? What steps did you take to foster that growth?

RB: A big part of that was an orga-nized effort with administration in the high school. The instrumental music band directors at the elementary and

the middle school levels work together as a team to establish what might be called the “articulation of our curricu-lum,” in terms of exactly what the kids are being taught and when. We start at fifth grade here, so that discussion builds continuity all the way through high school.

The other major factor is working closely with parents to develop sup-port for our program. We make a big point of meeting the kids where they are at, challenging them, and trying to make it fun along the way.

Other factors that we think are im-portant are having long-term goals, having a leadership program in place with student leaders who get what our vision is and what we’re trying to do, and then working in tandem with all of the constituency of people – admin-istrators, parents, fellow band direc-tors at every different level.

SBO: Where do you start with a project like that?

RB: It starts each day in the class-room. It starts by selling that vision that this is going to be a quality experi-ence, it’s going to be fun, it’s going to be challenging, but in the end, it’s all going to be worth it. That’s what we hear in the end from our seniors: they worked hard, they are proud of what they’ve accomplished, and it’s worth


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it. Many of them go on to play their instruments beyond high school, and that makes us especially proud.

SBO: What do you hope these kids walk away with after their time with you?

RB: Hopefully, their experience has given them a love of music and a love of music making. Also, learning what it is to work cooperatively with other people. We set high expectations and goals, and achieve some and maybe not others, but we’re always working towards excellence. Enjoy the process along the way, while learning how to get along with a diverse group of people.

The team of teachers we have in place, we each have our own unique skills and aptitudes that we bring to the program, and it’s the same with our student leaders. We talk a lot about this; they have a responsibility to utilize their strengths towards our vision and our goals. Some of them are great musical ideals and goals, and some of them have nothing to do with music.

SBO: Talk about the teaching dynamic between the three of you. How do you divide up the course load?

RB: What’s interesting about our situation is that Steve is in his 30th year of teaching, Leon is in his 18th year of his career and Bo is a new teacher. So we have representation across all different levels of the career spectrum of a band director.

Utilizing our strengths, we have a brass specialist, a woodwind specialist, and a percussion specialist. We divide up the lessons primarily through that way, and then with the bands, we have six concert bands, so we each take two of them. There’s a primary conductor for each concert band, but then we’ll have days where we’ll do sectionals, and Steve will take all the brass, Leon will take all the woodwinds, and Bo will take all the percussionists. When we are with our own ensembles, we have a very similar routine during class time. We also listen to each oth-er’s groups, give each other feedback and help each other. It’s a very team-oriented approach.

Rosemount High School Bands at a Glance

Location: 3335 142nd Street West, Rosemount, MN On the Web: www.rosemountband.comStudents in School: 2,056Students in band program: 401Band Directors: Steve Olsen, Leon Sieve, Bo Hoover

Ensembles and students in eachConcert Band Blue: 74Concert Band Gold: 80Varsity Band: 71Symphonic Band: 69Wind Symphony: 54Wind Ensemble: 53Marching Band: 178Fall Color Guard: 30Winterguard: 13Four Jazz Ensembles: 84 (total)

Recent Accolades & Notable Events ★ 6-time Bands Of America Super-

Regional Finalist ★ 2010 Bands Of America St. Louis

Super-Regional AAA Class Cham-pion, and AAA Outstanding Gen-eral Effect & Outstanding Visual Awards

★ 5-time Minnesota State Champion Marching Band

★ Jazz Ensemble 1 selected to par-ticipate in day-long clinic with the Lincoln Center Jazz Orchestra

★ Many students selected for area College/University High School Honor Bands

★ 7 students selected for 2011 Min-nesota Music Educator’s All-State Band and Orchestra

★ March 2010 – Performance tour to Honolulu, Hawaii

★ March 2007 – Performance tour to Beijing & Shanghai, China

• “SuitefromMASS”–LeonardBernstein,arr.MichaelSweeney(HalLeonard)

• “Villanelle”–PaulDukas,arr.DonaldMiller(EdwinF.Kalmus)

• “Emmanuel”–MichaelColombier,trans.MarkScatterday(manuscript)

• “Elsa’sProcessiontotheCathe-

dral”–RichardWagner,trans.LucienCailliet(Alfred)

• “FestiveOverture”–DimitriShostakovich,arr.DonaldHuns-berger(HalLeonard)

On Deck:Music from the most recent Rosemount Wind Ensemble performance:



SBO: I’d be remiss if I don’t bring up the topic of funding. How is your program holding up?

RB: Certainly funding is an issue with us, just like everyone else. For-tunately, we’re doing okay. We are finding that we are relying more and more on fundraising for some things that previously may have been funded by the dis-trict. In general, though, I would say that we’re pretty healthy. We’re just hoping to hang on. A big part of it is that we feel we do a really good job of educating our parents – who are the stakehold-ers in the program – in terms of understanding the value of the educa-tion their children re-ceive in instrumental music. We also make it clear how they can play a key role in supporting the program and their children.

SBO: Specifically, what do you do to get this message across to parents?

RB: Before every concert we play, we present a brief power point pre-sentation with some facts and statistics

that function as music advocacy about our band program and music educa-tion to inform them of what’s going on. We include some great research about the value of students participat-ing in music and the performing arts that we’ve received from national mu-sic education organizations, as well as

some information about audience eti-quette. We receive a lot of good feed-back about the pre-concert slide show from both parents and students.

We also send out a lot of emails. We have an email list to which we send out announcements, and we also include some music advocacy items mixed in there. We try to work with members of our local media – the town newspaper and so on – to cel-ebrate the great achievements of our students, both in band and academics. We celebrate academic success in our school, and it turns out that almost all of the students who are recognized for scholastic achievement happen to be band members and/or performing arts members. The valedictorian of every senior class is a band member, and we try to make that known as much as we can.

We also have an extensive website that is continuously updated and used to communicate with the parents and the community. In fact, our website also attracts people to our program. We currently have four families that are in the process of relocating here specifically so their children can par-ticipate in our band program.

SBO: Looking at the bigger picture, where would you like the band program to be in the next five or ten years?

RB: First of all, we need to work hard just to keep what we have go-ing right now. While a lot of news sources talk about recovery, in educa-tion, we’re about two years behind. So honestly, we’re proud of what’s go-ing on right now and we just hope to maintain it and keep the infrastructure in place. While it may be easy to cut programs back, it takes years to re-

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build once those cuts are made and the program suffers.

In the future, we also hope to have more competitive success on the na-tional stage, while also expanding op-portunities for our students through travel and participation in other spe-cial events.

SBO: Speaking of events, let’s talk about the Rosemount Band Festival.

RB: Our festival, one of the older ones in the state, having been around

for 22 years now, used to be the un-official state championship in Minne-sota. We used to schedule it so that it was the last festival of the season, and everyone in the region would come to perform or watch other bands. And when the placements came out, the winner was considered the unofficial state champions. However, we have an aging dome stadium in town, the Metrodome, and five or six years ago, a non-profit organization was founded to put on a state high school march-ing band championship there. Since that happened, we have made some changes to our festival.

Our focus has totally changed now. We have our festival early in the sea-son, and rather than a championship,

it is now all about getting the bands that participate feedback that can help them enhance and improve their shows as the season moves on. We try to find clinicians who are great at giv-ing lots of feedback and really under-stand what’s going on from an educa-tional perspective.

We still continue to get all of the top bands to come. Part of our success with that comes from bringing in re-ally terrific educator adjudicators. We look for people who really understand what we’re doing as teachers first and as adjudicators second. We’ve had some great people from around the country come and work with us.

SBO: Hosting a band festival for so many years must have given you some insight into the key ingredients for running a success-ful event. What have you learned about how to make everything run smoothly, create intrinsic value that will draw in the performers, be entertaining for the spectators, and maintain financially viability for your school?

RB: It has to be meaningful for the performers – the kids. We always ask ourselves whether or not the other bands that will be at a festival we’re considering will be inspiring for our kids. One of the key ingredients to a successful festival on both sides – whether visiting or hosting – is attract-

“We make a big point of meeting the kids where they are at, challenging them, and trying to make it fun along the way.”

Steve Olson teaches the brass lessons.


www.hawaiimusicfestivals.com


ing the kinds of groups that will be inspiring to their peers. The other thing that helps attract those kinds of groups is level of adjudicators that you hire, as well as the educational com-ponent – doing clinics and that sort of thing.

For our kids, if they know that they’re go-ing to see clinicians and adjudicators and that they will receive com-prehensive feedback, that makes the whole experience much more meaning-ful to them. It’s not just about the score. We’re not that interested in that. We’re much more interested in affirmation about things the students have done well, but also constructive criticism in areas that need work, so the kids and the ensemble can continue to grow and improve, as an ensemble, individual performers and musicians, and people.

The venue is also a critical element. A field in good condition makes a big difference. Organization is also a huge part of it. We’ve all been to festivals that are not well organized, and that can be a miserable experience for everyone. It’s important to have a parent group on board that’s organized and friendly.

As far as timing goes, it’s critical to find the right date, to make sure you aren’t competing with other festivals. We’ve tried a few different weekends in the past, and last year we settled on some dates that collaborate with anoth-er festival in our district, setting it up so that groups could participate in both events on the same day. That’s espe-cially useful for groups that come from out of town and have some distance to travel, we do an afternoon show, pro-vide clinics that are interested, and then there’s an evening show at our neigh-boring school. We make it work so that student groups can participate in as many area activities as they want to, and that works out really well.

SBO: What are the critical stick-ing points of the organizational process?

RB: Certainly, everything needs to run on time. Also, it’s important that there’s a good video made of the per-

formance. The first thing that the kids want to do after we’ve had a weekend of performing is sit down and watch their performance to see how they did. It’s important that the host pro-vide the participating bands with the option to make a good video like that.

Other factors to consider: It’s good to have food available. Thinking about trying to get parents to come, there are a lot of opportunities to go to these things, so you want to try to make your show special and unique some-how. One of the aspects of our festival that sets it apart is our announcer who has a real personality and has a lot of fun with the crowd. He has a wireless mic and he’ll go out in the audience during a break and do really fun things with the crowd. We have parents that come to our shows even after their kids are long gone because they love the announcer and the pageantry of how we put the show together. Our field and setting are beautiful – our sta-dium is kind of like a little bowl with all of these trees around it – so we re-ally try to sell everyone on all of these other kinds of elements that make our show unique and different. You have to do that if you are trying to make your show successful. It’s not enough to just have a bunch of bands play.

Another factor that helps draw crowds is keeping the price low.

SBO: Have you noticed any general trends in festivals over the past few years?

RB: We’ve seen an increase in the utilization of a positive, education-based adjudication system, such as the one used by Bands of America. They employ an “earned credit” system (in contrast

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to the traditional “tick system” where mistakes are noted and subtracted from a score), with meaningful rubrics that are very instructional and informative to the student performers.

Another way in which festivals are changing comes with technology. With the use of YouTube, Fan Network, Face-book, and other social media networks, there is a grow-ing awareness of high quality band performances across all genres of musical styles and instrumental ensembles (con-cert band, marching band, jazz, solo performances, etc.). Students and teachers are inspired and educated by viewing performances on these networks as well as “how to” instruc-tional videos and a wealth of other helpful resources.

SBO: Do you have any tips for band directors who are planning to bring their students to a festival?

RB: It’s always critical to research the background in-formation about the clinicians/adjudicators. If there is a clinic, make sure the pace of the clinic allows for some time near the end when the students can ask questions and interact with the clinicians.

It’s also important to be open-minded about the feedback you receive. Listening critically to the comments of the clini-cian, asking questions, being open to “corrections” and/or constructive criticism of the clinicians will make for a more productive festival experience.

Band directors should definitely take a moment to teach audience etiquette, for both students and parents, remind-

ing all to represent themselves in a respectful, dignified, and professional manner. Especially noting the importance of being quiet during performances, and applauding appropri-ately at the correct times for all performances they witness.

It can be useful to give students (and parents) a schedule listing high quality bands that you recommend for them to observe perform. Further, ask them to note elements of the performance they especially enjoyed or found memorable and why. That little exercise can help keep them focused throughout each of the performances.

And finally: Leave the cell phones at home!

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SBOStaff Selections

Small ensembles are a necessary

part of any vibrant, successful

music program. These groups

provide students with unique

opportunities to perform music not

suited for larger groups, as well as

the chance for students to perform

as soloists, without the potential of

being “buried” in a larger ensemble.

Smaller, specialized groups can also

be a real confidence builder for stu-

dents.

This review is divided into three

parts: Part I reviews transcriptions of

works by the master composers, Part

II takes a look at ensembles that are

written in a contemporary styles, and

Part III reviews some of the standard

literature for every band program.

by Vince corozine

Repertoire for Brass and Woodwind Choirs

StaffSelections(Repertoire).indd 40 6/2/11 4:04 PM


SBOStaff Selections TranscriptionsThe following pieces have skillfully

been transcribed from other sources for woodwind and brass choirs.

“The Barber of Seville” by Gioachi-no Rossini (Arr. by Xavier Eeckeloot, Pub. by PEL Music Publications. www.pelmusic.com)

This Grade Level 4 overture is scored for woodwind choir consisting of flute, oboe, two B♭ clarinets, and bass clarinet. First performed in Rome in 1816, this piece is among Rossini’s most-loved orchestral themes. Stu-dents will undoubtedly recognize the infectious main theme from its fre-quent use in many Bugs Bunny car-toons. This arrangement highlights the colors of the woodwind instruments, yet it remains close to Rossini’s origi-nal.

This transcription of a very famous opera overture will delight your stu-dents and provide them with a look at a masterpiece of opera literature. The overture (in F major) is fun to play, yet it is technically challenging due to the required articulation and rapid tonguing.

This satirical and farcical piece with its impish staccato chirpings is perfect-ly balanced by the contrasting legato sections. This is a “showcase” for your woodwind section.

“1778 New England Suite” by Wil-liam Billings (Arr. by Jon Meyer, Pub. by PEL Music Publications)

William Billings was the first American composer of psalms and hymns and the inventor of “fuguing songs.” He was a choral composer and is widely recognized as the father of American choral music.

This is an easy suite for Grade Level 2 comprised of four movements: “Jor-dan,” “Richmond,” “Boston,” and “Washington.” It is arranged for a clarinet choir of four Bb clarinets and bass clarinet. Clarinets 2, 3, and 4 are comfortably written below the break, while the bass clarinet is expected to play periodically above the break.

This is a wonderful piece to teach legato and marcato phrasing to young groups, along with expressive dynam-

ics and balance of tone. One potential concern is that two movements are scored in the clarinet key of A♭ major. Young players should, by the second year of playing, be able to play chro-matic notes in the low register.

The rhythms are not challenging, except for a few dotted eights and six-teenth combinations that are sprinkled among the parts. The arranger has provided ample instrumental differ-entiation in that all of the instruments are not playing throughout, as is the case with many easier transcriptions. The use of imitative entrances provide enough contrast to keep students in-terested and alert.

This suite will give your band con-cert added variety and will help teach balance of tone in the woodwind sec-tion.

“A Mighty Fortress is Our God” by Martin Luther (Arr. by Frank H. Siekmann, Pub. by Brelmat Music www.brelmatmusic.com)

Martin Luther’s most well-known hymn, this one was written between 1527 and 1529, and the words are paraphrase Psalm 46. The first trumpet part extends to A above the staff and the horn is expected to play a written F on the fifth line. The transcription is set at quarter note = 112 and is ar-ranged for a brass quartet consisting of 2 B♭ trumpets, horn in F, trombone, and tuba.

The arranger, in this Grade Level 2+ piece, cleverly employs the use of imitative entrances to provide added interest and color. The keys take us through B♭, E♭, and C major, and are a good piece for teaching the marca-to style of playing. The clever use of theme and variations will challenge the intermediate brass players.

Information about the composer and song make be an interesting ad-dition to both audience and players if added to program notes.

“Beautiful Savior” (Crusader’s Hymn) Selesian Melody (Arr. by Frank H. Siekmann, Pub. By Brelmat Music)

Many people say this is called the “Crusader’s Hymn” because it was sung by German Crusaders as they

made their way to the Holy Land. This Grade level 3 transcription of this familiar hymn melody is written for tenor trombone, bass trombone or tuba, and piano. For the most part the piano is treated as a third soloist, in that it plays contrapuntal lines rather than full chords.

In this theme and variations treat-ment, both brass instruments are ex-pected to play sixteenth notes and eighth note triplets at moderate tem-pos. This piece can be a good “work-out” piece for trombone (or baritone horn) and bass trombone (or tuba) and would add a novel touch to a concert or recital.

Some background information about the composer and the song could be printed on the inside of the front cover and would be valuable for program notes for added interest.

Three Dances for three flutes by Igna-cio Cervantes (Arr. by Byron DeFries, Pub. by PEL Music Publications)

Cervantes was a Cuban virtuoso pi-anist and composer who was influen-tial in the creolization of Cuban music.

Why not show case your flute sec-tion with this Grade level 3 suite of dances written in the keys of E♭, F and B♭ major? This piece is a good work-out for the flute section of a band. This music is also available for three clarinets, three bassoons, three saxo-phones, three horns, and three brass.

The rhythms used throughout the three movements are reminiscent of Scott Joplin and employ the traditional “cakewalk” rhythms of the sixteenth-eighth-sixteenth pattern. This short piece works well if the dynamic con-trasts are fully observed. Flutes 1 and 2 play concerted (together) for most of the suite, while a differing part is given to Flute 3. This arrangement has all three flutes playing continuously with very few empty spaces. This is a very good piece for establishing tonal balance within the flute section.

Trios for Developing Brass Players, Volume I (Arr. by Tom Wade-West, Pub. by Alfred Music Co. www.alfred.com)

This Grade Level 2 collection of arrangements for brass trio – con-



sisting of trumpet, horn in F, and trombone – is very well written for developing brass players. The titles included are:1. “Non Nobis Domine” (3-part can-

on) by Bryd (text from Psalm 115, Verse 1),

2. “I Great You” by Dulken (a pupil of Felix Mendelssohn),

3. “Lift Thine Eyes” from the oratorio “Elijah,” by Mendelssohn,

4. “Allegro Maestoso” from “Water Music,” composed by Handel for a royal barge trip on the Thames River,

5. and “V. Ave Verum,” a church mo-tet vocal piece in Latin by Mozart.These classic pieces are in the com-

fortable keys of B♭ and E♭ and the parts are easy to play. The arranger uses staggered entrances in three of the five pieces for added interest. These taste-fully arranged pieces could benefit from the inclusion of breath marks in each part. Young players need direc-tion concerning where phrases begin and end.

Trios for Developing Brass Players should be a part of every band direc-tor’s library.

Contemporary StylesThese pieces are original composi-

tions written in contemporary styles that will challenge the musicality of your students.

Three Shanties for Wind Quintet by Malcolm Arnold, (Pub. by Paterson’s Publications, dist. by Hal Leonard, www.halleonard.com)

Malcolm Arnold is an English com-poser who wrote the musical score for the highly successful movie “The Bridge on the River Kwai” in 1957.

In “Three Shanties,” the com-poser uses the familiar themes “The Drunken Sailor” and “The Girl I Left Behind Me” in various guises throughout theses three movements, which are rated for Grade 5+. The range for the horn is a written B♭ above the staff and the bassoon is re-quired to play periodically in tenor clef.

This is a stunning, rhythmically crisp-sounding piece that deserves an audience.

“Partita” by Irving Fine (Pub. by Boosey & Hawkes)

Every instrumentalist will be chal-lenged technically and musically with this superb piece of Grade 6 music.

Composer Virgil Thomson de-scribed Fine’s “unusual melodic grace,” while Aaron Copland noted the “el-egance, style, finish, and convincing continuity” of Fine’s music. Fine was a member of the group of Boston com-posers in the mid 20th-century who were sometimes called the “Boston Six” or “Boston School.” Other mem-bers of the Boston School were Arthur Berger, Leonard Bernstein, Aaron Cop-land, Lukas Foss, and Harold Shapiro.

In “Partita,” Fine has written a won-derfully satirical piece that provides a contrast in color and dynamics. It is mildly dissonant and spicy, and will challenge the ears of your best play-ers. The changes of key combined with contrasting styles makes this piece a great addition to the woodwind reper-toire. It may be performed in recital or one or two movements may be done in concert to provide variety.

Standard RepertoireAll schools should have these follow-

ing collections in their files. These are great pieces for recitals, concerts, art shows, civic events, group music lessons or at any gathering where musicians can get a chance to display their talents.

Twenty-Two Masterworks for Wood-wind Trio (Arr. by O.J. James, Pub. by Hal Leonard)

This Grade 3 medium-easy col-lection of great transcriptions in-cludes works by Mozart, Haydn, Bach, Schumann, Beethoven, Chopin, Schubert and Grieg. What an excellent way to introduce young players to mu-sic by the master composers!

This flexible collection of classics can be performed with a wide variety of instrumentation and includes the following parts in addition to a full conductor’s score.

• Part I Flute, oboe or lst clarinet• Part II 2nd Clarinet• Part III B♭ bass clarinet, 3rd

clarinet, bassoonThis collection should be a part of

every band’s music library.

Chamber Music For Three Wood-winds Volumes I and II by H. Vox-man Rubank (Hal Leonard)

Volume I is written for flute, oboe or 2nd flute, and B♭ clarinet. Volume II is written for flute, B♭ clarinet, and bassoon or bass clarinet.

The composers represented in this collection are the masters of the Baroque and Classical periods. These books have been around for many years and the tran-scriptions are excellent for teaching great music of the master composers to devel-oping students.

These easy to medium selections are fun to play and work well in almost any musical setting.

Ten Popular Classics For Saxophone Quintet (Arr. by Andy Clark, C.L. Barnhouse Company)

This superb collection of Grade 3+ music is written for soprano or 1st alto saxophone, 2nd alto saxophone, two ten-or saxophones, and a baritone saxophone.

The songs include: “El Relicario,” “The Entertainer,” “William Tell Over-ture,” “Broadway One-Step,” and six other fun songs. This collection presents a great way to feature a saxophone sec-tion in concert, recital, or at any other school or civic function.

Vince Corozine has served as director of Music for the Peekskill, New York City schools, associate professor of Music at the King’s College in Briarcliff Manor, N.Y., and director of Music Industry Studies at Eliza-beth City State University in Elizabeth City, N.C.

He performed and arranged for the USMA Band at West Point and served as music director for the annual Thanks-giving Day Parade in Philadelphia, Pa. for WPVI-TV (ABC-Disney) for 10 years.

Vince is the author of Arranging Music for the Real World, (Mel Bay). He records professionally in New York, Toronto, Philadelphia, Hong Kong and China, and currently teaches 12 music arranging courses online. www.vincecorozine.com


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LOUISVILLE, KYTHE 3RD ANNUALSAVE THE DATE

JEN CONFERENCEJanuary 4-7, 2012

Developing Tomorrow’s Jazz Audiences Today!

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

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

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

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Documents

SBO June 2011