School Band and Orchestra November 2012

November 2012 • $5.00

40 School Band and Orchestra • November 2012

Survey: Streaming Video

79%

21%

Yes

No

63%

33%

67%

Yes

No

21%

79%

Yes

No

24%

62%

I don’t worry about it

14%

I make sure I have all the licenses

I don’t load performances online because of this issue

15%$250-$500

$500-$1,000

0-$250

18%

4%

$1,000+

The people seated in the concert hall or the stands of a football field will always be the

primary audience for a musical performance. However, with advances in modern

technology, musical events can now reach across the globe, and in real time. From

simple set-ups like video chat or Skype to sophisticated usage of cameras, routers, and other

equipment, there is a wide array of possibilities for sharing performances far and wide. Of

course, there are challenges with broadcasting video, including equipment, expertise, and

the time and effort involved with setting it all up. On top of that, concerns about copyrights

are enough to prevent some school groups from making the dive.

Beyond the Auditorium

TheAudience

For a closer look at how school groups are cur-rently using video and streaming capabilities with their ensembles, this recent SBO survey asked readers to weigh in on this very 21st-century topic. And with almost 80 percent of respondents indicating that they shoot video of their performances, stay tuned, as the nature of this conversation is sure to evolve over the next few years.

Do you make video recordings of your ensem-bles’ performances?

NEW, SBO iPad APP NOW AVAILABLE

On the Beat with Mark Stone:

The Evolution of the Percussion Activity

Health: Minimizing the Risk of Noise Exposure

Survey: Streaming Video –


CoverFinal.indd 1 11/6/12 11:24 AM

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SB&O School Band and Orchestra® (ISSN 1098-3694) is published monthly by Symphony Publishing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trade-marks 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 © 2012 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

ContentsFeatures10 Report: Music Achievement

CouncilSBO checks in with the Music Achievement Council, a volunteer panel of music industry retailers, manufacturers, and suppliers who have joined forces to help educators meet classroom challenges.

16 Health: Noise ExposureResearchers from a government occupational safety organization look at noise exposure in music classrooms and give some safety tips to prevent or minimize hearing damage.

22 Performance: Percussion Jeff Crowell of the University of Wisconsin-Eau Claire presents several exercises to improve control and musicality among percussionists.

28 UpClose: Mark StoneIn this recent SBO interview, Mark Stone of Ayala High School discusses his world-class percussion program and the ongoing evolution of the indoor activity.

40 Survey: Streaming Video

44 Technology: Instructional ResourcesJohn Kuzmich examines several resources for advancing professional development.

Columns4 Perspective

6 Headlines

48 New Products

53 Playing Tip

54 Classifieds

56 Ad Index

44 School Band and Orchestra • November 2012 School Band and Orchestra • November 2012 45

technology-based creative music activi-ties, locating lesson plans and resourc-es, and assessing creative work with a variety of music teaching ideas. There are detailed plans for incorporating the concepts that link to NAfME Na-tional Standards, with adaptations for grade level and technology proficiency. Outstanding are the activities designed especially for novice users with free or low-cost music applications.

Scott’s book offers fresh ways to use the technology tools that many educa-tors already have. The creative proj-ects he presents are both flexible and adaptable depending on grade level, available technology, and the teacher’s and students’ experience, comfort, and confidence with technology. The only prerequisite is nominal familiarity with a personal computer, but no special-ized software or hardware knowledge is required. The strength of Scott’s text is how it is structured on a set of eight principles that successfully draw out student creativity.

1. Allow students to share themselves.2. Offer compelling examples to imi-

tate and inspire.3. Employ parameters and limitations

that remove distractions and help students focus.

4. Remove parameters and limitations that stifle creativity and lead to con-trived expression.

5. Facilitate improvisation.6. Engage in coaching interaction.7. Foster opportunities for feedback

and critique.8. Employ performance and recital.

These concepts are especially im-pressive because they are supported by emerging research on creativity; they also represent cutting-edge instruction.

Using Technology to Unlock Musical Creativity is divided into two parts. Part one is based on educational phi-losophy and a methodical pedagogical style. Part two deals with demonstrat-ing practical ways that today’s music technology can be a dynamic aid in un-locking the authentic musical creativity inside every student. There are nearly 30 detailed lesson plan examples to show how technology can be a vital key to unlocking creativity from within

music students of all backgrounds. A companion website has been creat-

ed to further supplement the book. Visit www.oup.com/us/musicalcreativity to find links to the major web resources mentioned in the text, files to support various lesson plans, and sound and movie clip examples of most of the proj-ects described in the book, as created by actual students.

The diverse lesson plans in the sec-ond part of the book cover topics such

as creativity with keyboards, sound recording apps, multi-track music production, computer music notation, and instructional software with curric-ulum integration. For instance, in the chapter on computer music notation (programs like Finale, Sibelius, and Noteflight), Scott shares a lesson called “Pedal Point Duet,” in which students employ a simple pedal point in the lower part of a brief duet for two like instruments. The upper part follows

Technology: Instructional Resources

What is a master teacher, and what does it take to become

one? While precise definitions vary, master teachers are

leaders who have perfected the management of their class-

rooms and found ways to accelerate learning for all their students.

Their expertise comes in recognizing that the education-

al process involves more than sharing content: it’s

about creating independent learners who have the

critical thinking skills to grow and thrive. I’ve met

many of these teachers in my clinics over the years. I

find they are, themselves, life-long learners searching for

new and better ways to reach and teach. These educa-

tors are embracing technology in increasing numbers, not

afraid to adapt it to their needs and situations.

by John Kuzmich

Professional development tools, such as those found at www.ti-me.org, are de-signed to give educators the resources they need to excel through courseware that covers the gamut of music software applications. These following three landmark books vividly illustrate how technology can be used to further develop teaching skills and student output.

Using Technology To Unlock Musical CreativityScott Watson is the author of Using Technology To Unlock Musical Creativity: A

Comprehensive Approach for Music Educators (Oxford University Press). His teaching style builds on traditional, face-to-face, K-12 and university formats, while incor-porating technology through student projects.

Scott has an extraordinary track record of teaching AP Music Theory courses. For the past eight years, 90 percent of his students received college credit, an un-paralleled statistic for AP tests. His book is a game-changer that nurtures and devel-ops students’ potential for music expression and offers project-oriented instruction covering composition, improvisation, arranging, and producing music and music-related projects. I particularly like how Scott offers a variety of practical ideas for

Resources to Assist Instruction and Creativity

School Band and Orchestra • November 2012 4140 School Band and Orchestra • November 2012

“We make videos of our marching band and audio re-cordings of our concert bands. Parents are asked to video their child’s section during our shows. I ask for a zoom and wide angle variety to highlight needs for improvements. Each week there is an evening rehearsal inside our stadium that is open to the parents. They learn our concerns in the show and then know where to record. They post to YouTube and send me a link. It works quite well.”

Bob BeshearsGarland High School

Garland, Texas

“Matters related to confidentiality and privacy keep me from trying this avenue.”

Cheryl CornishClancy Scool District

Clancy, Mont.

Do you upload those performances to the web?

“We make videos available – some public for everyone to view and some private for only the band members so that they can critique their performance and look for ways to im-prove. This is especially helpful with marching band perfor-mances because the view (movement/drill) is so important from an audience’s standpoint.”

Jan HareDelphos St. John’s High School

Delphos, Ohio

“I don’t want to deal with any of the copyright issues. The Web has made many things for us in music very easy, but I worry about the effect it has on abuse of the copyright laws.”

Kurt StalmannSantana High School

Santee, Calif.

Assuming you want to, do you have the ability and capa-bility to stream performances live, in real time?

“Our district does not presently have the infrastructure to support such an endeavor.”

Tom CrawfordEmily Gray Jr. High

Tucson, Ariz.

If yes, how expensive was the cost of implementing that capacity/equipment?

What are the biggest challenges associated with stream-ing video online?

“Without paying fees, the advertisements on the streaming site are not always appropriate for families with young chil-dren, or any children for that matter. Sound is a challenge – streaming through the laptop doesn’t allow me to mix the concert prior to the performance. I also need someone who can run the equipment or I just leave it streaming through the whole concert, shifting bands around, preconcert stuff, and so on. It can be pretty boring viewing that way, but it can be edited after the fact if someone wants to see archived copies.”

Steve StenzelLake Zurich Middle School North

Lake Zurich, Ill.

“Acquiring the laptop, camera, and cables was our biggest challenge (to our budget). Once obtained, it was very easy!”

Peter CrostaOrange Township Public Schools

Orange, N.J.

“Having a person on the camera/computer who is very comfortable with the technology involved.”

Brad ThewViroqua MS/HS

Viroqua, Wis.

“Making sure there are adequate broadband speeds on both ends, and sound quality.”

Andrew VickersCentral Middle School

DeWitt, Iowa


79%

21%

Yes

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63%

Yes

No

21%

79%

Yes

No

24%

62%


14%



15%$250-$500

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0-$250

18%

4%

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67%

33%

79%

21%

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63%

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21%

79%

Yes

No

24%

62%


14%



15%$250-$500

$500-$1,000

0-$250

18%

4%

$1,000+

67%

33%

79%

21%

Yes

No

63%

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21%

79%

Yes

No

24%

62%


14%



15%$250-$500

$500-$1,000

0-$250

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67%

33%

79%

21%

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63%

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21%

79%

Yes

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62%


14%



15%$250-$500

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0-$250

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67%

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TheAudience



44

40

November 2012

Cover photo by Jose A. Fernandez, Chino Hills, Calif.

28 Mark Stone

“All of the kids in the program are equal, whether it’s a piccolo player, a snare player, or a trumpet. They’re all important, and I need to make sure that they get the best opportuni-ties they can to reach their potential.

”



79%

21%

Yes

No

63%

33%

67%

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79%

Yes

No

24%

62%


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15%$250-$500

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TheAudience



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November 2012 • Volume 15, Number 11

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Perspective

Entrepreneurial EducatorsThe actual quote from the famed movie Field of Dreams is, “If you build it, he

will come.” However, in the case of our featured director this month, the common misquote is more apropos – “If you build it, they will come.”

Mark Stone, director of bands at Southern California’s Ayala High School, has developed a championship program from scratch using his unique entrepreneurial spirit to drive his success. The differences between an entrepreneurial business start-up and an educational start-up are not really that far apart; one is focused on building a new product or service and the other on building an educational program for students. Both take the seed of an idea that extends from a need in the marketplace and gather the resources to fill that need. Both require inves-

tors or administrative support, the business plan/educational program outline, leadership, employ-ees, and most importantly, customers or students as the primary target. Stone shows us how he ac-complished this feat with little support from the traditional sources by gaining the necessary help from unorthodox places.

Having a vision is an essential part of launch-ing any successful venture. Without a clear goal in mind, it’s impossible to know the direction in which you’re going. Mark saw that what was be-ing done in other states was not being done in his locale and, rather than simply accept the situation, he took his vision and went about seeking ways to establish and build upon it. Part of this initiative included launching the Southern California Per-cussion Alliance to provide students with an outlet to learn, hone, and showcase their indoor percus-

sion talents and encourage more schools and students to participate. He took his own program from a start-up to one of the top groups in national competitions like WGI.

Sometimes we all look at our surroundings and feel that we’re stuck with a situation that simply can’t be changed. However, Entrepreneurs of all types may see these same situations and determine that they are going to change the status quo. In schools, there are often significant roadblocks of funding, administration, lack of parental support, and so on. It is encouraging to know that, with the right amount of effort, thought, and fortitude, these situations can slowly but surely be improved. Whether your goal is large or small, short term or long term, you’ll find some great insight from this story of a leader whose determination illustrates one path to building a superior program…

“Having a vision is an essential part

of launching any successful venture.”

Rick [email protected]

Join the conversation on:

Perspective.indd 4 11/6/12 11:26 AM

Confidence. Character. Camaraderie. These are the three

tenets of the Disney Performing Arts program. The confidence

to perform on the grandest of stages. The character required to

perfect your chosen craft. And the camaraderie that’s essential

to come together as a team. And when your group takes part

in a Disney Performing Arts program– whether that’s in a

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Headlines

�

�

Oberlin Grad and ICE Founder Claire Chase Named MacArthur Fellow

Flutist and new-music trailblazer Claire Chase was recently named a 2012 MacArthur Fellow by the John D. and Catherine T. MacArthur Foundation, which carries a $500,000 award dispersed over the next five years. Commonly known as “genius grants,” the MacArthur Foun-dation’s annual awards support “exceptional merit and promise of continued creative work.”

Chase is a 2001 graduate of Oberlin Conservatory of Music. That year, she co-founded the trailblazing Interna-tional Contemporary Ensemble (ICE) in Chicago. Chase has focused on opening new avenues of artistic expression for the 21st–century musician, as well as providing students in public schools whose music programs have been cut with innovative music education programs.

The ICE, now an ensemble of 33 instrumentalists, tours throughout the world and is currently the Ensemble in Residence at the Museum of Contemporary Art in Chicago. It has premiered over 500 works and released acclaimed recordings on labels like Bridge, Naxos, Tzadik, and New Focus. Throughout this year, they are set to perform 65 concerts in five different countries.www.ice.org

Percussive Arts Society 2012 Industry Awards Announced

The 2012 Percussive Arts Society Industry Awards class represents five individu-als and one international chapter, each of whom has developed important careers and service to not only PAS, but the percussion world as a whole.

The PAS President’s Industry Award recipient is Dave Black, who has been the director of Percussion Acquisitions at Alfred Music Publishing over the past 27 years and has received two Grammy nomination certificates and over 20 consecutive ASCAP Popular Composer Awards. The Outstanding PAS Chapter Award went to

the PAS Australia Chapter.The Outstanding PAS Service Award went to Kathleen

Kastner, professor of Music at Wheaton College who has served PAS in roles including PAS Board of Directors, Schol-arly Research Committee Chair, associate research editor for Percussive Notes, and more. The Outstanding PAS Sup-porter Award went to Christopher Smith, a drummer and Senior Product analyst for FinishMaster, Inc. in Indianapolis, Indiana who serves as PASIC volunteer coordinator.

Finally, the Percussive Arts Society Lifetime Achievement Award in Education was given to Marty Hurley and Alan Shinn. Hurley served most notably as instructor and arranger for the Phantom Regiment Drum & Bugle Corps, as well as director of bands at Brother Martin High School in New Orleans from 1974

until his death in 2011. Shinn’s work as an educator and performer has spanned over 30 years, with the majority of those years spent teaching at Texas Tech University. Currently serving as principal timpanist with the Santa Fe Pro Musica and Lubbock Symphony Or-chestra, Shinn has always maintained an active performing schedule providing students with a ‘working musician role model.’ The recipients were honored in an awards presenta-tion during PASIC 2012 in Austin, Texas at the Austin Convention Center.www.pas.org

NAMM Foundation Invites Educators to 2013 ‘Music Education Days’

The sixth annual “Music Education Days” will be held January 26-27 at the 2013 National Association of Music Merchants (NAMM) Show. Hosted by the NAMM Foundation, music educa-tors and school administrators will have access to NAMM’s premier industry-only music product trade show, where they will have an opportunity to preview the latest instruments, products, and tools relevant to today’s music classrooms.

“Now in its sixth year, Music Edu-cation Days continues to celebrate and support music educators in their very important role of inspiring children to learn to play music,” said Mary Lueh-rsen, executive director of the NAMM Foundation. “This event brings together

music education professionals to net-work with the industry and each other, but it also offers tools to create even bet-ter music programs in their districts.”

Music Education Days will again feature inspiring musical performances each morning, followed by session brief-ings and program highlights. Afternoon breakout sessions will cover topics for music educators ranging from “How to Start a Mariachi Program” and “Technol-ogy for Music Educators” to “Adding Group Guitar to Your Program” and “Top 10 Tips for Music Teacher Success.” In addition to networking and reviewing best practices, teachers will have the op-portunity to explore miles of new music

Dave Black

Claire Chase

Headlines.indd 6 11/6/12 11:27 AM

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Headlines

Bob Morrison’s article in the Septem-ber issue is right on – many music educa-tors have little or no idea how their state will react to the new teacher evaluations. We all need to be aware and proactive.

Bob reports that “music teachers will be measured by outcomes in … math!” That will not happen in most states, but I would be ok with it at my school. Our district recently published a report for teachers that revealed all of our stu-dents’ test scores from highest to lowest. The entire first two pages were all or-chestra or band kids – that should mean that the orchestra teacher and I would be the highest paid teachers in the dis-trict since cause shows that we are the only common factor in these kids’ lives! I am NOT joking, and if our state or district ever uses test scores to pay teachers more, I will persist in making our case.

Kevin Paustian

Past President, Washington Music Educators Association

Mt. Baker Middle School

Letters

ONLINE SURVEYDoes your school field

competitive Winter Guard or Percussion Ensembles?

product displays; examining new prod-ucts and technologies they can use in their schools.

Registration for Music Education Days is open online – there will be no registration onsite. www.nammfoundation.org �

No

56%44% Yes

Visit www.sbomagazine.com and let your voice be heard in the current online poll – results to be published

in the next issue of SBO.

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Report: Music Achievement Council

An Educational Resource

“The original meeting, which grew into what is now known at the Music Achievement Council, was held at the National Association of School Music Dealers (NASMD) annual meeting in 1982,” says MAC member Steve West of West Music, a music retailer with locations across Iowa and Illinois.

“Manufacturers and retailers came to-gether to discuss ways of addressing a number of concerns and problems school music programs were experi-encing in the early ‘80s. The organiza-tion went through several evolutions and settled about 15 years ago on the current seven-person council.”

Originally, the MAC started out with the objective of bringing aware-ness to music in-dustry manufactur-ers, suppliers, and retailers about the challenges music educators face. “It’s almost like a bi-partisan group, includ-ing Joe Lamond, the CEO of [music products trade organization] NAMM, three people from the manufacturing and distribution side of the music prod-ucts industry, and then three people from the retail side,” notes Rick Young, who, in addition to being the MAC chairman, is also senior vice president of Yamaha Corporation of America. “The idea was that we knew that there were concerns facing music educators, and the ques-tion was how we could build awareness of these concerns and then find ways to help alleviate them. That mission has evolved over the years. The awareness angle is important, but at this point I think everyone knows that music pro-grams are based on the quality and job

The Music Achievement Council:

One of the wonderful aspects of this digital age in which

we live is the immediate access to so much information.

Music educators, like professionals in many other indus-

tries, can now reach out via a click of a mouse and a few taps on a

keyboard to browse virtually limitless relevant and helpful content,

some of which might even serve to improve skill sets and advance

careers. The Music Achievement Council (MAC) is a panel of music

industry professionals who share the singular goal of wanting to as-

sist and promote the teaching of music. Although the MAC predates

the information age by several years, the Council has evolved with

the times, and now has available on their website a wide array of ma-

terials designed to help educators address common challenges found

in music classrooms across the country.

Rick Young

Report.indd 10 11/6/12 11:28 AM

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done by the music educator. Areas like budgets, scheduling, and so many other things can be really problematic. If you talk to any retailers who are strong in school service, they will all say that the educator makes all the difference in the world – the retailers get it.”

The premise is that with better preparation for the many challenges music educators face – in all aspects of instruction and program manage-ment – educators will be more suc-

cessful, and more kids will receive quality instruction. Young notes that the Council’s efforts are not an in-dictment of the preparations future educators receive during their col-lege years, so much as an acknowl-edgement of the complexity and dif-ficulty of running a quality music program.

“We now have products that we have updated to what makes sense for today’s educators,” says Young,

“including The Practical Guide to Re-cruitment and Retention, Tips for Suc-cess, videos, and the wisdom and insight from people like Tim Laut-zenheiser, Marcia Neel, and Charlie Menghini of Vandercook College. The Council has recently expanded, taking on two positions that we call educational advisors, Marcia Neel and Charlie Menghini. Those two individuals are really plugged into what’s happening out there. Mar-cia is an expert in understanding the challenges facing educators out there in the trenches, while Charlie runs a college that focuses on pre-paring future generations of music educators. There are these needs that aren’t being met, so we have to raise awareness so we can help edu-cators – especially those new to the job – do better and have more suc-cess. None of us can afford to have the current rate of attrition to educa-tors continue.”

One key hurdle for the Music Achievement Council has been sim-ply finding ways to put the materials that they produce in the hands of as many educators as they can. “That was a big challenge when I came on board in 2004,” Young admits. “We have these great products that we are continually updating, but our big question was how we were go-ing to get them out to the educators. To make that happen, we’ve started the ‘state-by-state’ initiative. We have had spokespeople doing ses-sions on our materials at state MEAs and bringing that awareness to the teachers. We pass out literature and products to 100 or 150 people at a time. Now we have everything on a flash drive. It’s really easy to get that information out to people and keep everyone updated through those methods or on our Facebook page. We also have a database of teachers we’ve spoken to at the state conven-tions, and we let them know when we have new articles or materials that might be helpful to them. The whole delivery system has become much better.

“The whole key is about getting support for the educators. If they use these materials, they’ll be more suc-

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School Band and Orchestra • November 2012 13

cessful, and our real goal is to help retain good, successful educators. With the addition of our educational consultants, we now have a viewpoint that we may have been missing. We had the manufacturing and distribu-tion side, we had the retail side, and we had the NAMM side; the one side that was missing was the true music educator perspective, and that’s what these folks will bring. We think they will help us get our message out to a broader audience, and they also are in touch with the latest trends and challenges facing educators.”

Marcia Neel, the former music su-pervisor for Las Ve-gas’s Clark County School District, is the person who has been present-ing sessions on the MAC materials at state MEAs. “A lot of times, teachers’ needs might not be what you might perceive them to be,” she notes. “Some of their needs are more along the lines of areas of training in planning or logistics that they didn’t get while they were in school, but that business people completely understand. For example, younger or less experienced educators might not understand how to lay out an instrument replacement plan – something like a five-year plan to make sure that their students are playing quality instruments that aren’t in disrepair. That is where the Music Achievement Council is coming from in terms of what it’s brought about in its publications for teachers.

“We have wonderful materials, and as I travel around the country present-ing them, I’m amazed by how many people aren’t aware of these free tools that are out there for them to use in their classrooms. The Music Achieve-ment Council’s goal is to help music educators be better teachers. Educators should know that they aren’t out there all alone. Everything from how to per-form effective advocacy, the business side of music education, managing a budget, even things like classroom management and organizing and pro-gramming a concert – it’s all covered.

These are wonderful and helpful tools. It’s like a music ed program in a box, all available online for free at www.nammfoundation.org/music-achieve-ment-council, and at music education conferences across the country.”

Bill Harvey of Buddy Rogers Music notes that the members of the MAC don’t necessarily consider themselves experts, so much as conduits of this expert information. “The council has done a lot of research by talking to

many really successful people,” he says. “That’s how we all learn. There’s tons of information that successful educators have shared with us, and we’ve formatted it into a number of different materials that we’re trying to get out there – on the website, the thumb drives, videos, and so on. Our job is not to find the solutions, but to listen to the people who have found the solutions, and then go and share those ideas and best practices with

Marcia Neel

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educators through our presentations, our materials, and our websites.”

The next phase of the MAC’s re-search will focus on the attrition that occurs among music students be-tween middle school and high school. “That’s one area where we lose a ton of kids,” says Young. “Our educational consultants are actively researching this topic by asking successful educa-tors out there, ‘How have you bridged that gap?’ For the last four years, we’ve been videotaping educators at the Midwest Band Clinic to get their best practices in a format that we can share with other educators. We will simply be asking people how they do that, and we’ll build our next materials out of the responses we get to that ques-tion – how to maintain retention from junior high into high school. Once we formulate those materials, we’ll identi-fy the next area of challenge and then we’ll address that one.”

“We’re a relative-ly unknown orga-nization, which is okay as long as the important conver-sations are still hap-pening out there,” says MAC member George Quinlan Jr. of Midwest retailers Quinlan & Fabish. “The question sometimes comes about whether or not this is some kind of for-profit venture, because there are retail-ers and manufacturers involved. This is a volunteer effort. The industry only grows when school band and school orchestra programs recruit more stu-dents and retain them longer. We re-ally have the same goals as educators in this respect. People think there might be a hidden agenda when they see ma-jor companies like Yamaha and Hal Leonard are involved, but there really isn’t. It’s a volunteer group that wants to help educators reach more students and keep them involved in music.”

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The National Institute for

Occupational Safety and

Health (NIOSH), part of

the Centers for Disease Control

and Prevention (CDC), was recent-

ly asked to evaluate a high school

band director’s noise exposure

during music classes and band

rehearsals (see “The Health Haz-

ard Evaluation (HHE) Program”).

The band director was concerned

about hearing loss from loud noise

while teaching music classes, and

during band rehearsals and per-

formances. Music classes included

fifth and sixth grade band, music

arts, and marching band rehearsal.

Most classes had 15-30 students.

The marching band had about 90

students and band rehearsal lasted

50 minutes each day. Music classes

were held in the 1,700-square foot

band room. The marching band re-

hearsed in the band room or in the

6,000-square foot cafeteria. The

band director sometimes taught

lessons after school which contrib-

uted to his overall noise exposure.

By Lilia Chen, MS, CIH, Scott E. Brueck, MS, CIH, and Maureen T. Niemeier, BBA

Health: noise exposure

Noise-induced Hearing Loss (NIHL)

NIHL is a permanent condition caused by damage to the nerve cells of the inner ear; it cannot be treated med-ically.1 In most cases, NIHL develops slowly from repeated noise exposure over time, but the amount of hearing loss is usually greatest during the first several years of noise exposure. NIHL can also result from exposure to very loud noise for short periods of time, or even from a single exposure to an impulse noise or continuous noise, de-pending on the intensity of the noise and the person’s susceptibility to hear-ing loss.1 Noise-exposed employees can develop substantial NIHL before they realize it.

Hearing often worsens with age, but exposure to loud noise can in-

crease how quickly hearing loss oc-curs. Even mild hearing losses can interfere with a person’s ability to un-derstand speech and hear important sounds. Some people with NIHL de-velop tinnitus, a condition in which a person hears sound in one or both ears (often described as ringing, hiss-ing, buzzing, whistling, clicking, or chirping like crickets), but no external sound is present. Tinnitus can be oc-casional or constant, and the volume can range from soft to loud. Currently, there is no cure for tinnitus.

One study of 104 music educa-tors found evidence that being a high school band director carried a slight risk for NIHL.2 However, fewer than 20 percent of the high school band directors had NIHL, and the degree of loss was highly variable. In anoth-

Noise Exposures in School Music Classes and Marching Band Rehearsals

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er study, 45 percent of student musi-cians aged 18 to 25 years had NIHL, compared to 11.5 percent of people in the same age range in the general population.3

A study of university music stu-dents indicates that how close the band director and students are to specific groups of instruments can affect noise exposure levels.4 The study found that brass instrument players had significantly higher aver-

age noise exposure levels (95.2 dBA) compared to woodwind players (90.4 dBA), percussion players (90.1 dBA), vocalists (88.4 dBA), or string play-ers (87.0 dBA) (see “Noise Exposure Limits” for an explanation of noise measurements). Since music teachers and students may also be exposed to loud music outside of the classroom, it is important to educate them about the risk of hearing loss from exces-sive noise exposures and inform them

about ways to protect and preserve hearing (see “Recommendations”).

Noise Exposure Limits Occupational noise exposure lim-

its in the United States have been de-veloped by NIOSH, the Occupation-al Safety and Health Administration (OSHA), and safety and health or-ganizations. Employers are encour-aged to follow the more protective NIOSH recommended exposure lim-it (REL),5 but the law requires them to adhere to the OSHA permissible exposure limit (PEL) and Action Level (AL).6 When employees’ noise exposure levels exceed the AL, em-ployers must institute a hearing con-servation program which includes noise monitoring, audiometric test-ing, providing hearing protectors, training and education, and record keeping. When noise exposures are greater than the PEL, employees are required to wear hearing protection.

Noise measurements are report-ed in units of A-weighted decibels (dBA). The decibel (dB) scale is logarithmic, so increases of 3 dB, 10 dB, and 20 dB represent a dou-bling, tenfold, and hundredfold in-crease of sound energy, respectively. A whisper is 30 dB, a normal speak-ing voice is 60 dB, a powered lawn mower is 90 dB, an ambulance siren is 120 dB, and a jet engine during take-off is 140 dB.

Noise Exposure Measurements and Results

We measured the band director’s noise exposure during marching band rehearsal in the cafeteria, and we measured his noise exposure in the band room for an entire school day. Because the band director was the only employee who taught music classes and rehearsals, we also mea-sured noise on each side of the band room. We measured the dimensions of the band room and cafeteria and calculated reverberation times (the time it takes for a sound to decrease 60 dB from its original intensity) for these areas.

The band director’s full work day noise exposure did not exceed the

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OSHA PEL of 90 dBA, but reached the OSHA AL of 85 dBA and was above the NIOSH REL of 85 dBA. Noise ex-posures were the highest during marching band rehears-als and averaged 97 dBA when rehearsal was in the band room and 95 dBA when rehearsal was in the cafeteria. Noise levels exceeded 100 dBA numerous times during rehearsals. Noise levels on each side of the band room were below the OSHA AL or PEL. Our results showed that increasing the distance between the band director and the students decreased noise exposure. Reverbera-tion times in the cafeteria and band room were appropri-ate for teaching music classes (and within ranges recom-mended by other researchers), but the band room was too small for the number of students in the marching band.

We evaluated the band director’s noise exposure, but not the students. Students are likely to have lower noise exposures from school-related activities, because they spend less time in music classes and rehearsals. How-ever, for the range of the noise levels we measured during rehearsals, overexposures could occur in 30-60 minutes. We recommend administrators educate teachers, stu-dents, and parents involved with music (especially with the marching band) about NIHL symptoms (see “Noise-induced Hearing Loss (NIHL)” and prevention (see “Rec-ommendations”).

RecommendationsWe provided the following recommendations to reduce

noise exposures during music classes and marching band

Based on a federal law, NIOSH conducts health hazard evaluations (HHEs) to investigate possible workplace health hazards. Employees, employers, or union representatives can ask our comprehensive team of experts to investigate their health and safety concerns by requesting an HHE. Our team contacts the requestor and discusses the problems and how to solve them. This may result in sending the requestor information, referring the requestor to a more appropriate agency, or making a site visit (which may include environmental sampling and medical testing). If we make a site visit, we prepare a report that includes recommendations specific to the problems found, as well as general guidance for following good occupational health practices. HHE reports are available on the Internet (www.cdc.gov/niosh/hhe/).

The Health Hazard Evaluation (HHE) Program

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rehearsals. The recommendations are based on basic principles that are also applicable in other schools.

• Hold marching band rehearsaloutside or in a room appropri-ately sized for the number ofband students and acousticallydesigned for musical rehears-als and performances. Until an acoustically-designed space for mu-sical rehearsals and performances is available, hold marching band rehearsals in other spaces such as the cafeteria or a larger room with sound absorbent materials. If re-hearsals must be in the current band room, all students should be asked to play softly and focus on tech-nique. They should practice louder dynamics when rehearsals are out-side or in a larger rehearsal area. One organization recommended

that a high school band room for 60 to 75 musicians have a floor space of 2,500 square feet and a ceiling height of 18-22 feet.7

• Stand away from surfaces offwhich sound can bounce, suchas blackboards, when leadingmusic classes and marchingbandrehearsal. If this is not pos-sible, then cover such surfaces with sound absorbent material.

• Move the students farther backintheclassroomtocreatemoredistancefromthebanddirector.

• Provide the band director withflat attenuation “musician” earplugs until an acoustically ap-propriate space for musical re-hearsals and performances isavailableandnoiselevelsarebe-low occupational exposure lim-its.These hearing protectors reduce sound levels evenly across frequen-cies to maintain sound quality. Ad-ministrators should provide training for the proper fit, use, and care of the ear plugs.

• Establishahearingconservationprogram for the band directorandothermusicteachers inac-cordance with the OSHA hear-ing conservation standard [29CFR 1910.95] and NIOSH rec-ommendations (see “ResourcesandLinks”).This program should provide guidelines for reducing the risk of hearing loss, include annual audiometric testing and follow-up,

and include training on using hear-ing protectors. Audiometric testing allows for the early detection of hearing loss and provides opportu-nities for interventions.

• Shareinformationonthesymp-toms and prevention of NIHLwith band students and theirparents (see “Resources andLinks”).

Lilia Chen, MS, CIH, is an industrial hygienist for the Centers for Disease Control and Prevention (CDC), National Institute for Occupational Safety and Health (NIOSH), Health Hazard Evaluation (HHE) Program in Cincinnati, OH.

Scott E. Brueck, MS, CIH, is an industrial hy-gienist for the Centers for Disease Control and Pre-vention (CDC), National Institute for Occupational Safety and Health (NIOSH), Health Hazard Evalua-tion (HHE) Program in Cincinnati, OH.

Maureen T. Niemeier, BBA, is a freelance techni-

cal writer/editor in Cincinnati, Ohio. She has written and edited public health documents for the Centers for Disease Control and Prevention (CDC), Na-tional Institute for Occupational Safety and Health (NIOSH), and other clients since 2002.

Mention of company or product names does not imply endorsement by the National Institute for Occupa-tional Safety and Health.

1. Berger [2003]. Berger EH, Royster LH, Royster JD, Driscoll DP, Layne M, eds. “The noise manu-al.” 5th rev. ed. Fairfax, VA: American Industrial Hygiene Association.2. Cutietta RA, Klich RJ, Royse D, Rainbolt H [1994]. “The incidence of noise-induced hear-ing loss among music teachers.” J Res Music Ed 42(4):318–330.3. Phillips SL, Henrich VC, Mace ST [2010]. “Prevalence of noise-induced hearing loss in stu-dent musicians.” Int J Aud 49(4):309–316.4. Phillips SL, Mace S [2008]. “Sound level mea-surements in music practice rooms.” Mus Per Research 2:36–47.5. NIOSH [1998]. “Criteria for a recommended standard: occupational noise exposure” (revised criteria 1998). Cincinnati, OH: U.S. Depart-ment of Health and Human Services, Centers for Disease Control and Prevention, National Insti-tute for Occupational Safety and Health, DHHS (NIOSH) Publication No. 98-126.6. 29 CFR 1910.95. Code of Federal Regulations. Washington, DC: U.S. Government Printing Of-fice, Office of the Federal Register.7. Wenger Corporation [2001]. “Planning guide for secondary school music facilities.” Owaton-na, MN: Wenger Corporation.

Resources and Links

NIOSH HHE Program information:www.cdc.gov/niosh/hhe/HHEprogram.html

OSHA hearing conservation program information:www.osha.gov/dts/osta/otm/noise/hcp/index.html www.osha.gov/Publications/osha3074.pdf

NIHL information:National Institutes of Health, National Institute on Deafness and Other Communication Disorders WISE EARS!® campaign at: www.nidcd.nih.gov/health/wise/Pages/Default.aspx.

For more detailed information on the methods, results, and recommendations of this evaluation, see www.cdc.gov/niosh/hhe/reports/pdfs/2011-0129-3160.pdf.

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Making music is our ultimate goal, that’s

a given. However, when playing per-

cussion and engaging in the act of be-

ing “percussive,” it’s not necessarily the most mu-

sically capable or nuance-oriented interaction one

can have with an instrument. The human voice or

breath or a bow has much more shaping potential

than the act of striking something. The short mo-

ment we percussionists have to interact with our

instruments leaves little time to learn as much as

we can – those are just the facts.

By Jeffery Crowell

Performance: Percussion

Expanding students’ musical potential through a technical approach

So what can we do about it? Our art is packed with things that aren’t necessarily our fault, but are definitely our prob-lems to deal with. I feel it helps students understand that it’s not their fault, too, but they still have deal with the end result. Take rushing for example. How many great jokes are there about drummers rushing? Lots. Why? Because they are true! For example, show me someone who always alternates hands when playing notes that last a split second – even if marked quarter notes – and I’ll show you someone that an-ticipates each entrance slightly. When you anticipate an en-trance you’re technically coming in early. Do that twice in a row and you have a recipe for pushing the tempo. Bingo. Like I said, it’s built into our craft and it’s not something we do consciously, but that doesn’t change the fact it’s a real is-sue that we have to address.

Something that falls into this category is that many young percussionists play with less than a full stroke and rebound, and not by choice. They do this automatically, and that’s what I want to help fix. If an educator wants to have a more

legato or warm sound from an instrument, that needs to be generated from a more relaxed movement that falls toward the instrument and comes back to where it began. If you’re not in control of your playing and therefore, by default, don’t maximize that type of potential, aren’t you limiting yourself? The answer is yes, and I have a way to fix that.

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The Piston StrokeFor simple purposes here, I’m de-

fining what many might call a piston stroke. Use whatever term you want but it’s a stroke that starts high, falls to-ward the instrument, and returns back up to where it initiated.

There are many different types of strokes for different types of sounds,

including ones that plays more into the instrument, some that don’t return all the way, or others (used in marching drums) where we catch the stick just after contact, and so on. But what I’m talking about here specifically is a full piston stroke, and here’s why I like to

train my concert percussion-ists in this way.

If we train and can auto-matically and consciously play with the most move-ment possible (a full return to starting position), then every other sonic choice becomes less work or I don’t have to return “all the way back up.” If we can’t or haven’t fully trained this full rebound, then you’ll limit your return. This could be “not quite the work of the full stroke” and then that becomes your 100 percent potential. When, if musically needed, you need a full rebound stroke by de-fault, it becomes more than you are normally used to do-ing. Isn’t it easier to do less than normal? If someone said I could do less work and get paid more, I’d say, “Sign me up!”

The goal of all of this is to provide students with the maximum amount of sound potential – to give them the most diverse sonic potential from a playing standpoint and be in conscious control of it. I make the analogy of having the biggest toolbox with every possible tool in it. If I need a small Phillips head screwdriver, not only do I

musically want to have one, but I want to have six varieties of them. I never want to need something I don’t

have. This is the same thing, just from a musical standpoint. When performing, if I need a quieter sound with the same sound quality, I can do that. If you listen to many young percussionists, when they get quieter, they change the way they play the stroke. Same thing applies to faster and slower passages. Watch someone playing fast alternat-ing strokes that gradually slow down and you’ll notice the way they gener-ate their stroke will change. They’ll normally move from a very rebounded/full stroke to one that stays closer to the head after it strikes it. Why? Because they have the time to keep it there. By definition, though, that’s a different movement, and that’s not necessarily what I want. I maybe want the same sound I get at the faster speed at the slower speed, too. Don’t change your movement unless you want to. To me, that means don’t change your sound or type of articulation unless you are specifically and intentionally trying to change it. The point here is that per-cussionists do this often, without really ever noticing it. Again, the purpose of working on this is to give your percus-sionists an awareness of what they are doing, so when they want to play con-sistently, they can. Without this con-trol, our playing becomes limited – and

we have less potential when it comes to color/timbre and ultimately musical expression.

I want to make clear that I don’t always play with this type of stroke/articulation. I make conscious choices of what I want and then draw from my technical ability to execute these sounds. The ability to play the entire range movement available is what I have to draw from, so I feel like I don’t have a wall or limit on what I can or can’t do. Since I’m able to run what I would call a complete spectrum of movements or articulations, when I

“The purpose of working on this is to give your percussionists an awareness of what they are doing, so when they want to play

consistently, they can.”

The beginning of the stroke, up as high as you’d like it to begin.

The end of the stroke.

The halfway point of the stroke, where it interacts with the instrument.



play I’m merely choosing my best option for that particular situation. If I were to not be able to execute the required movement, I would be limited in my musical potential. If we’ve already established that we as percussionists have less articula-tive potential when compared to other instrumentalists, if we limit amount in some way and are not maximizing what we can do, then we’re really taking away from our musical potential.

Developing ConsistencyThen how do we train that full stroke? It’s actually quite simple in concept, but

will take some physical training. I remember re-tooling myself at age 27 during my DMA work, how easily I understood what I needed to do, but how I couldn’t cheat the hours that it took me to reach my goal. Stick with it and it’ll happen.

Before we get to the exercise, I mentioned something in my last article that needs repeating here. We as percussionists have to know what we are doing when we play and how to control the mechanics of our playing. A big part of this is lis-tening to what we are getting from a sonic and musical standpoint. If a conductor tells me he or whe would like my crashes to sound slightly darker, then not only do I need to know how to do that, but I need to know the sound I just got. Simple, right? Ah, but to the percussionist it’s difficult! It’s difficult because our instru-ments are much more instantly gratifying – hit a drum and it sounds okay. Get a beginner on a French horn and it will take time for the sound quality to improve. Hand a beginner a stick and have them hit a drum and it’s really not half bad. We percussionists get a pretty good sound – good enough, right? Well, in our world B+ doesn’t cut it, we want to shoot for A+. Therefore, the mere act of having your percussionists really listen to what they are doing can open their ears to a whole world that’s been there all along, they might have just been missing it.

So as your percussionists practice, in order to incorporate the concepts present-ed below, they need to be constantly aware of what they are doing. Practicing in front of a mirror is a great way to give them that front perspective to their playing. After they have the exercise memorized, they can also look down on their hands and observe what’s going on. Watching and listening are the two best ways they can teach themselves.

The following exercise will help teach students about consistency and stroke. Since it’s simple in design, it allows the student time to focus on how they are mov-ing, how they are holding the stick, how that stick is moving in their hand, the sound they are getting, the consistency of that sound between hands, and so on. As I tell them, “If you want to sound consistent, then you need to play consistently.” Again, a very simple concept, but once they start to really listen with detail, they’ll find there’s quite a bit that they are missing. It also has some interesting parts to it, such as 3/4 time and varied groupings of stickings, so there’s an element of focus that is required. That’s a good thing, because it keeps the player engaged in play-ing it – students can’t just turn off their brain and get through it. This exercise was written by my teacher when I was at the University of Southern California, Erik Forrester, and I’m amazed at how well it works as a tool to controlling and hearing consistency. Let’s call it Exercise A:

There’s no tempo indication. Take it slow enough to feel and control each 16th note. Maybe eighth note = 50. Speed is not the end result, consistency is and the only way to work on movement is take things slowly. Students will be tempted to take it fast, not only because we’re fascinated with playing fast (we just are!), but because they’ll see 16th notes and just want to play them quickly. Exercise A

works on fighting that temptation on both levels.

What is Exercise A? Essentially it’s constant 16th-notes where the stickings change. They go from groups of fours, to threes, to twos, then to alternate strokes in the last measure. Obviously percus-sionists will play the sticking used in that last bar more often, but what this exer-cise helps us do is to get a “running start” at them. Pick one bar that your students statistically will play the most consistent stroke-wise upon first trying this exer-cise? Measure one. The least consistent? Measure four. So if measure four’s stroke control is the goal here, then what we’re really doing is starting with the easy and working towards the more difficult.

To think of it on a horizontal time plane, the full piston stroke here would then essentially make a “V” type shape. I would consider this a single stroke for this exercise. So by default then the first four 16th notes in the first bar in the right hand would look like “VVVV.” The key thing here is to play each stroke the same. What happens is that on the notes that finish several in a row on a particular hand (the fourth of the fours, the third of the threes, the second of the twos, and actually all the single strokes), the percussionist might end those down closer to the drum. Why? Because they can – they don’t continue on so there’s time to keep them there. But that’s not the same type of stroke. Just because you can doesn’t mean you should. I do if I want to, but not by default. You’ll find that as they get closer to the last mea-sure, it gets harder and harder to make sure that “last” stroke comes back up, since they get fewer and fewer groups of the same hand stickings. The one bar we play the most, the last, is the one that’s the hardest since it’s always chang-ing between hands.

They should practice on practice pad, preferably something that doesn’t have a gum rubber surface. I say this because they need as much sonic feed-back as they can get and gum rubber is very quiet. I prefer a coated head practice pad so I can hear lots of tex-ture when I play. The more feedback I get on how I’m sounding, the better. They should also practice it at about a mf volume. You need a good amount of motion to practice motion, so barely

Exercise A



moving off the practice pad won’t help train your ability as well, so think of it at 10” or so off the pad.

The beauty to this exercise is that it’s short and to the point. The ultimate goal is for the director to turn his or her back when the student plays and to not be able to hear any sound variations. All the notes are written equally so they should sound that way. It works on a lot without seeming to really do much – that’s why I like it. I do have a couple of other variations, one that works mostly on two-beat variations, and another on three-beat variations. They are Exercises D and E.

The same thing applies to these with

tempo: students should take them nice and slow so as to digest every stroke and train themselves to be aware of what they are doing.

By focusing on this movement and making sure percussionists are aware of the sound and color they are making, it will enable them to be in conscious con-trol of how they are moving. The results are musicians who are in total control of how they are moving and can then make choices based on what they want to do and not what just might happen. Another great result of this is that their attention to detail and consistency can only be increased, and their touch on other instruments that aren’t as neces-

sarily as responsive as a drum (such as the bar of a mallet instrument or wood blocks) will be increased as well. I’m all about being efficient and when I can practice something that benefits my overall playing, I’m more than willing to do it. This is one of those exercises that will truly help your percussionists. Remember, our stoke type should be a matter of choice. I guarantee you’ll hear a difference in their playing.

Dr. Jeffery Crowell is an associate professor of Music and coordinator of the Wind and Percussion Division at the University of Wisconsin-Eau Claire, where he is the director of Percussion Studies, as well as assistant director of the award-winning Jazz Studies area. He is active through-out the United States as a performer, clinician, adjudi-cator, and educator with re-cent performances in South Africa, Argentina, Uruguay, and at the John F. Kennedy Center for the Perform-ing Arts in Washington, D.C. Dr. Crowell is also a member of the Percussive Arts Society’s Education Committee.

Exercises D & E


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By Eliahu SussmanPhotos by Jose A. Fernandez

A Southern California native, Mark Stone already had

his sights set on running his own band program early

in his high school career. “I was one of those kids who

always had a suggestion about how to do things,” Stone

recalls. “Eventually, my high school band director grew

a little tired of it. After I made a comment about trying

something a certain way, he said, ‘Stone, when you have

your own band, you can do it your way. Until then, this

is my band and we’ll do it my way.’ That’s when I thought

to myself, ‘Okay, I’ll have my own band some day.’”

SBOUpClose: Mark Stone



UpClose.indd 28 11/6/12 11:34 AM

“We focus on the

kids and we focus on

the process.”



Fast-forward to the present, and Mark Stone’s own band program at Ruben Ayala High School in Chino Hills, California is recognized as a powerhouse on the national stage. The reigning Western Band Association grand champion is a five-time Winter Guard International (WGI) world class gold medalist and five-time Bands of America regional champion, among numerous other accolades. Beyond the awards and championships, Ayala High School’s competitive indoor ensembles boast fabulously intricate and complex shows that push the frontier of adjudi-cated marching, percussion, and guard activities.

It wasn’t always like that, though. Stone developed the band program at Ayala from scratch, agreeing to take the job before Ayala High School had even been built, a little over 20 years ago. SBO recently spoke with Mark to learn about his process of devel-oping a program from the ground up, the challenges and rewards of running top-flight percussion en-sembles, and the evolution and fu-ture of the activity.

School Band & Orchestra: When you first agreed to build a program at the new Ayala High School, did you have any idea what it might end up becoming?

Mark Stone: Originally, when I came here, I didn’t know what I didn’t know. Luckily, I was starting a new pro-gram, so I was able to grow as a director as the program itself grew. I was really fortunate that in my second semester here I picked up a percussion instruc-tor named Ike Jackson. For the past 23 years, he and I have worked together to build this program. He’s always been a great motivator.

I’ve always had spring drum lines. Back in the day, we were doing it out-doors, kind of like a miniature field show, and eventually that evolved into the indoor activity. We got involved in WGI in the late ‘90s. Our first WGI championships were in Phoenix in 1998, where we surprisingly made fi-nals. We felt we were successful and that that was a great experience, so we’ve gone back almost every year since. It was a life-changing experience, and a career-changing experience.

Location: 14255 Peyton Drive, Chino Hills, Calif.On the Web: www.ayalapercussion.comStudents in Band Program: 250Students in School: 2,300Director of Bands: Mark Stone

Recent accomplishments • Six-timeSothernCaliforniaPercussionAl-

liance(SCPA)WorldClassGoldMedalists• Five-timeWinterGuardInternational

(WGI)WorldClassGoldMedalists(con-certandmarching)

• Eleven-timeWesternBandAssociation(WBA)ChampionshipFinalists,currentWBAGrandChampion

• 2004BandsofAmerica(BOA)GrandNationalChampionshipFinalists

• Two-timeBOAGrandNationalSemi-finalist

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SBO: A life- and career-changing ex-perience? How so?

MS: In California, with all due respect to my peers, things were on a different level than in states like Indiana, Texas, or Georgia. A lot of that is from the sup-port standpoint. We have a ton of talent and resolve here in California, but we just don’t get the support that programs in other states get. So when we first left the state and saw what programs from other parts of the country were doing, we realized that we could do those things, too, we just had to figure out how. That’s when we really got started.

SBO: What steps did you take from the realization that you could do more to actually making it happen?

MS: We did a few things. We were ac-tually in our own circuit out here. At the time, we felt that it was not sufficiently driving the activity in California. My staff and I, along with three other programs, started our own circuit, the SCPA, the Southern California Percussion Alliance. We brought out WGI judges, so we were able to get top-level input, critique, and commentary at our local shows. We have great instructional staff here in Califor-nia. It’s almost like our own little cottage community of percussion instructors, and we all work really well together. Even though the programs around here are extremely competitive, all of the in-structors are very warm and open to each other. The activity grew. In many ways, California is probably the Mecca of in-door drum lines right now.

SBO: How did you build the student base and awareness of the new pro-gram?

MS: We said we had an indoor drumline, and the kids just flocked to it. There are some problems with music education in the concert setting where the percussionists are often overlooked. A band director might spend 40, 50, or 60 percent of the time balancing a brass chord or working on a woodwind technical figure, while the percussion-ists are just sitting in the back doing very little. But if you tell these kids that they’ve got a competitive activity that they can participate in, they’ll leap at it. Especially when we started going back to WGI and the students were able to participate on the national stage, the kids really do love it. We also have a feeder program, Canyon Hills, our junior high school, which has a very good indoor drumline. That JV team feeds our varsity.

Our community, Chino Hills, actu-ally has two high schools – Chino Hills High School and Ayala High School – and both of those indoor drumlines are extremely competitive, and our com-munity really supports it.

SBO: Does the success and strength of your indoor program feed into your stage ensembles?

MS: It does, to an extent. The in-door percussion program is a beast: ei-ther you ride it, or it rides you. Some band directors may be a little afraid of it because it can be a bit of a beast. It takes a lot of support, time, and a lot of equipment. We just have to strike a balance. I have to communicate with my instructors and they have to be on the same page with me. I need to have performers in my symphonic band and my concert band, and they also need the right equipment for those ensem-bles to be successful, so it is a trade-off.

“The indoor percussion program is a beast: either you ride it, or it rides you.”



There have been times in the past when we require our section leaders to be in our top stage ensembles, but right now due to academic pressure, kids just don’t have time in their day to do both activities. I’m usually able to fill my stage ensembles with percussionists who are interested in participating in those programs. Plus, the students who are considering becoming band directors or music majors know that they have to have a well rounded musical experience. There aren’t professional opportunities for number three bass drum, but there are professional opportunities for a timpa-nist in an orchestra or something like that.

SBO: How do you go about setting up your competitive indoor ensembles?

MS: It’s really just a continuation of the marching season. We believe that the marching band sets up winter indoor, and that winter indoor sets up marching band. We’re always looking towards the next semester.

Generally what we do is move the marching percussion section into the indoor ensemble. There are always going to be some adjustments we have to make. For example, this year we have seven snares and seven cymbals on the field, and we’re not sure we’ll take that many on the indoor ensem-ble. There are some students that choose not to do second se-mester, due to the time commitment. Also, due to the travel – sometimes the expense keeps kids out, too, even though that’s something that we work to prevent all the time.

SBO: What are the particular practice demands for your percussion groups?

MS: During indoor season, the marching group goes Monday and Wednesday nights, with Wednes-day afternoons being sectionals. The concert group goes Monday and Friday afternoons. So a student who does both is probably in rehearsal for about 15 hours a week.

SBO: And that’s extracurricular?

MS: Yes. That is in addition to a percussion class, which works on all of that material, depending on

need. It’s a serious commitment. What I’m really proud of is that not only do these kids commit all their time and effort, they’re also extremely academically successful. The average GPA of my group during the peak of the marching season, which is the most difficult time, is usually around 3.5, and that’s without weighted grades. I’ve had valedictorians and salutatorians come out of my program all the time.

SBO: How does that schedule work for students who also play sports or have other interests in addition to music?

MS: In the marching band and concert bands, I have vir-tually every athletic team represented. Second semester, that becomes very difficult because of the time constraints. We do have some student athletes who participate in indoor en-sembles, but it’s not as common as it is in some of my other ensembles. And that is, by the way, a reason that some per-cussionists will choose to be in the symphonic band rather than the competitive indoor ensemble.

SBO: When did the idea of competitive events first be-come appealing to you, and how do you use that as an educational tool?

MS: I’ve been in the competitive arena with percussion ensembles since I was aware that it was possible. When I came to Don Lugo in 1985, they already had an outdoor winter drumline, and I just continued that. There, I learned to appreciate what it did for the kids and I just always con-

tinued it. One of my philosophies is that all of the kids in the program are equal, whether it’s a piccolo player, a snare player, or a trumpet. They’re all important, and I need to make sure that they get the best opportunities they can to reach their potential.

The other thing I discovered once we became successful was that it really was the motor that drove the program, in a lot of ways. Due to the success, achievement, and opportuni-ties for the drumline members, we felt that it was important that we also give the marching band the same opportuni-ties, so that’s when we started competing nationally with the marching band. Color guard was right along there with the


drumline. It’s easier to start along that path with the indoor, because it’s easier to compete. Getting the marching band on the same competitive level as schools like Avon, L.D. Bell, and Broken Arrow is very difficult. Whereas because of the local atmosphere here, we were able to pretty quickly reach a level where we could compete in the percussion ensemble.

For the kids, competition is a great motivator. You have to be very careful with it, though. We take competitive arts very seri-ously here, but we never talk about the competition. We never talk about what other schools are doing with their programs. We focus on the kids and we focus on the process. If we do that, the success will come. The students’ job is to be a performer. My job is to be a competitor. I’ll give them a great opportunity for success, all they have to do is try their best to reach their potential. When the kids know they’re gunning for the top spot or the top-five or whatever the opportunity is, that’s a really great motivating factor. It also gives them the opportunity for the kids to work together as a group, set goals as a group, and evaluate their progress and successes – it gives them life skills.

SBO: Sure, as does sharing a stage with and hearing other outstanding musical groups. How have these activities evolved since you’ve been a part of it on the national stage?

MS: Color guard had already evolved significantly by the late ‘90s or 2000, but the drumline was still in its infant stage. In the past 10 to 12 years, I like to think that the activity has evolved tremendously. I like to think that we have been a part of the vanguard of evolution. There are other groups in-volved, also, of course, but we like to think we’re a part of it.

SBO: Where do you see the activity going?

MS: One development is the use of technology. When we got started, the use of PA systems was very limited. Now it’s not unusual to have complete digital sound systems, along with remote access and remote control. The use of lighting has been changing over the past year, and that’s going to keep changing for a while – I don’t know where it’s going to settle in. We used video monitors in both concert and the march-ing group. The use of video is going to be very interesting. I’m not sure if it’s going to be an asset or a hindrance, but it will be interesting to watch its evolution.

We learned some things about using the video with our concert group last year, and we’re going to utilize it in a dif-ferent manner this year with the marching group. It’s about bringing in the new technology, learning how to apply it to the program, and using it as efficiently as possible.

Some of these non-musical elements can help tell a story. In some ways, our concert group last year acted as a soundtrack to a video. That might not have worked out perfectly, because it may have drawn away from what the students were doing as performers. We just need to be a little smarter about how we utilize this – whether we just use it as a color source, or if we’re going to use it as a visual effect. Other people are using lights in their drums and all kinds of other creative applications. And then there’s the use of the PA system, different synthesizers, and looping. We don’t loop, but we sample. Now we can use songs with words. You can’t record it and it can’t be looped, it has to


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be signaled with a sampler, but that’s an entirely new skill and activity that we do really well here in California. That’s just one of the skills that through the cama-raderie of our local instructors, they’ve been able to adopt.

SBO: Sounds like quite a sophisti-cated show.

MS: The sophistication and invest-ment in time, effort, and design is amaz-

ing. It’s amazing what is done to put 30 kids on the floor for about eight minutes.

SBO: It sounds like a great opportu-nity for your students, but also one that is really challenging to put in place.

MS: I think a lot of it is first the decision to do it, and then to have a vision for where you want to go. Ob-viously, when we started this, we had

no idea where we were going to end up. It was just an evolution from year to year where we got better, we got smarter, and we did more. For any new director looking at getting into it, there are a couple of things that it’s going to do for your program. It’s definitely go-ing to build the skill set of your front ensemble. My mallet players are on a level that I never would have imagined before. And the same thing with the battery – but the marching band is al-ready doing a lot of that stuff.

We have been really helped by cor-porate support, sponsorships and so on: implements, heads, and instru-ments. We’re being sponsored by Tama right now and we’re R&Ding their drums for them. I have many sets of drums right now – I have more than I can use! Some of them are at differ-ent stages of development, and some of them we’re not going to use, but just to have all the equipment for the kids to play is great. Also, the students got to interact with the engineers and design-ers of the drums. The owner of Tama and the engineer of the instrument fly in and talk to the kids and give them a chance to make suggestions on what will make the drum better. Then, when we see the next generation of the drum, the kids suggestions are right there in it. That’s an irreplaceable experience for my students.

If I were young and going to start this again, my suggestion would be to start with a concert percussion group. It’s more like what happens in the con-cert band and requires less investment. You don’t have to have a big floor or props; it’s simply musicians perform-ing music. Bring up the level, and if the marching activity looks attractive, then make a move in that direction. The marching activity is where you need the visual designer and the props, and that’s a whole other portion of the job.

SBO: With all of the challenges among public school funding in Cal-ifornia, how are you able to afford the staff that it takes to put together such a complex show?

MS: There was a day when I ran this program on fundraising. We were always broke and never had everything we needed, but we just did our best.

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In 1996 or so, our district office said, “Hey, why don’t you just charge fees?” So I set about establishing a fee system that went in conjunction with the fun-draising. Eventually, the parents just said, “I don’t want to fundraise – I’d rather just write you a check.” That’s when we moved to a system built around donations. In my community, we are not allowed to charge fees, only charitable donations and right now donations are doing fine. Also, when parents donate to our program, there are a lot of matching donations from corporate sources. Because we are a non-profit entity, it’s a tax write-off. So if an employee makes a donation to a non-profit, some employers will match it. That has been a great source of rev-enue for us.

SBO: Any other thoughts on percussion ensembles and the impact they have on your students and your program?

MS: Competitive percussion groups are a viable activity that is great for the kids. At first it’s intimidating. It’s scary to see how good – and how big – the top groups are. But you don’t have to be on that level, say, with five or six ma-rimbas. The students are going to get the same experience whether they’re in first place in World or last place in Scholastic A. The only real difference in the experience between first place and last place is the five minutes during the award ceremony.

At any level, students go to re-hearsal and work to achieve some-thing with their friends and peers, and they get that opportunity to perform

in front of the audience. That’s the im-portant part – it’s not about winning, it’s about competing and performing well. Most states, where appropriate, have an indoor circuit, and if you’re happy there, stay there. And if you start to achieve at the highest level and outgrow that circuit, then try out for a regional competition. You don’t have to start at the top. Start at the bottom, work your way up, and see how it fits into your program. Make sure that your instructors are on board with the idea that it’s all about the full program. Just be careful that the indoor activ-ity doesn’t take over the band pro-gram. That can happen, because you get percussion people who are totally focused on their activity. But it’s the band director’s job to make sure that they fit into their niche of the overall program. If you use that focus to en-hance the rest of the band program, it’ll be a real help to all of your en-sembles.

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79%

21%

Yes

No

63%

Yes

No

21%

79%

Yes

No

24%

62%


14%



15%$250-$500

$500-$1,000

0-$250

18%

4%

$1,000+

67%

33%










TheAudience



Survey.indd 40 11/6/12 11:59 AM


“We make videos of our marching band and audio re-cordings of our concert bands. Parents are asked to video their child’s section during our shows. I ask for a zoom and wide angle variety to highlight needs for improvements. Each week there is an evening rehearsal inside our stadium that is open to the parents. They learn our concerns in the show and then know where to record. They post to YouTube and send me a link. It works quite well.”

Bob BeshearsGarland High School

Garland, Texas

“Matters related to confidentiality and privacy keep me from trying this avenue.”

Cheryl CornishClancy Scool District

Clancy, Mont.

Do you upload those performances to the web?

“We make videos available – some public for everyone to view and some private for only the band members so that they can critique their performance and look for ways to im-prove. This is especially helpful with marching band perfor-mances because the view (movement/drill) is so important from an audience’s standpoint.”

Jan HareDelphos St. John’s High School

Delphos, Ohio

“I don’t want to deal with any of the copyright issues. The Web has made many things for us in music very easy, but I worry about the effect it has on abuse of the copyright laws.”

Kurt StalmannSantana High School

Santee, Calif.

Assuming you want to, do you have the ability and capa-bility to stream performances live, in real time?

“Our district does not presently have the infrastructure to support such an endeavor.”

Tom CrawfordEmily Gray Jr. High

Tucson, Ariz.

If yes, how expensive was the cost of implementing that capacity/equipment?

What are the biggest challenges associated with stream-ing video online?

“Without paying fees, the advertisements on the streaming site are not always appropriate for families with young chil-dren, or any children for that matter. Sound is a challenge – streaming through the laptop doesn’t allow me to mix the concert prior to the performance. I also need someone who can run the equipment or I just leave it streaming through the whole concert, shifting bands around, preconcert stuff, and so on. It can be pretty boring viewing that way, but it can be edited after the fact if someone wants to see archived copies.”

Steve StenzelLake Zurich Middle School North

Lake Zurich, Ill.

“Acquiring the laptop, camera, and cables was our biggest challenge (to our budget). Once obtained, it was very easy!”

Peter CrostaOrange Township Public Schools

Orange, N.J.

“Having a person on the camera/computer who is very comfortable with the technology involved.”

Brad ThewViroqua MS/HS

Viroqua, Wis.

“Making sure there are adequate broadband speeds on both ends, and sound quality.”

Andrew VickersCentral Middle School

DeWitt, Iowa

79%

21%

Yes

No

63%

Yes

No

21%

79%

Yes

No

24%

62%


14%



15%$250-$500

$500-$1,000

0-$250

18%

4%

$1,000+

67%

33%

79%

21%

Yes

No

63%

Yes

No

21%

79%

Yes

No

24%

62%


14%



15%$250-$500

$500-$1,000

0-$250

18%

4%

$1,000+

67%

33%

79%

21%

Yes

No

63%

Yes

No

21%

79%

Yes

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For those that stream live or keep past performances online, how do you approach the issue of copyright?

“I’m not sure about copyright laws. Everyone that I have asked seems to have a different interpretation of them.”

Jeff EhardtNorth Branch Area Schools

North Branch, Mich.

“I share privately with parents and students. We are not ben-efiting financialy from these videos – educational purposes only”

Tom CookFort Atkinson High School

Fort Atkinson, Wis.

“We work very hard to make sure we have secured copy-right permission. I suspect some slip through without copy-right approval, but most are approved. If we know we have selections that are not approved, we typically do not post them on the web.”

Don ReddickOlivet Nazarene University

Bourbonnais, Ill.

Additional comments“We are in the beginning of a new era of sharing informa-

tion that can literally take place in the palm of your hand. The music ed world needs to be current. I don’t make money by posting my videos; it just provides publicity for the com-poser and pride for my students.”

Russell KahleMcPherson Middle School

McPherson, Kan.

“I don’t care for this medium and will likely not ever use streaming video.”

Charles WhitmerLincoln Jr. High School

Coldspring, Texas

79%

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63%

Yes

No

21%

79%

Yes

No

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Technology: Instructional Resources

What is a master teacher, and what does it take to become

one? While precise definitions vary, master teachers are

leaders who have perfected the management of their class-

rooms and found ways to accelerate learning for all their students.

Their expertise comes in recognizing that the education-

al process involves more than sharing content: it’s

about creating independent learners who have the

critical thinking skills to grow and thrive. I’ve met

many of these teachers in my clinics over the years. I

find they are, themselves, life-long learners searching for

new and better ways to reach and teach. These educa-

tors are embracing technology in increasing numbers, not

afraid to adapt it to their needs and situations.

by John Kuzmich

Professional development tools, such as those found at www.ti-me.org, are de-signed to give educators the resources they need to excel through courseware that covers the gamut of music software applications. These following three landmark books vividly illustrate how technology can be used to further develop teaching skills and student output.

Using Technology To Unlock Musical CreativityScott Watson is the author of Using Technology To Unlock Musical Creativity: A

Comprehensive Approach for Music Educators (Oxford University Press). His teaching style builds on traditional, face-to-face, K-12 and university formats, while incor-porating technology through student projects.

Scott has an extraordinary track record of teaching AP Music Theory courses. For the past eight years, 90 percent of his students received college credit, an un-paralleled statistic for AP tests. His book is a game-changer that nurtures and devel-ops students’ potential for music expression and offers project-oriented instruction covering composition, improvisation, arranging, and producing music and music-related projects. I particularly like how Scott offers a variety of practical ideas for

Resources to Assist Instruction and Creativity

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technology-based creative music activi-ties, locating lesson plans and resourc-es, and assessing creative work with a variety of music teaching ideas. There are detailed plans for incorporating the concepts that link to NAfME Na-tional Standards, with adaptations for grade level and technology proficiency. Outstanding are the activities designed especially for novice users with free or low-cost music applications.

Scott’s book offers fresh ways to use the technology tools that many educa-tors already have. The creative proj-ects he presents are both flexible and adaptable depending on grade level, available technology, and the teacher’s and students’ experience, comfort, and confidence with technology. The only prerequisite is nominal familiarity with a personal computer, but no special-ized software or hardware knowledge is required. The strength of Scott’s text is how it is structured on a set of eight principles that successfully draw out student creativity.

1. Allow students to share themselves.2. Offer compelling examples to imi-

tate and inspire.3. Employ parameters and limitations

that remove distractions and help students focus.

4. Remove parameters and limitations that stifle creativity and lead to con-trived expression.

5. Facilitate improvisation.6. Engage in coaching interaction.7. Foster opportunities for feedback

and critique.8. Employ performance and recital.

These concepts are especially im-pressive because they are supported by emerging research on creativity; they also represent cutting-edge instruction.

Using Technology to Unlock Musical Creativity is divided into two parts. Part one is based on educational phi-losophy and a methodical pedagogical style. Part two deals with demonstrat-ing practical ways that today’s music technology can be a dynamic aid in un-locking the authentic musical creativity inside every student. There are nearly 30 detailed lesson plan examples to show how technology can be a vital key to unlocking creativity from within

music students of all backgrounds. A companion website has been creat-

ed to further supplement the book. Visit www.oup.com/us/musicalcreativity to find links to the major web resources mentioned in the text, files to support various lesson plans, and sound and movie clip examples of most of the proj-ects described in the book, as created by actual students.

The diverse lesson plans in the sec-ond part of the book cover topics such

as creativity with keyboards, sound recording apps, multi-track music production, computer music notation, and instructional software with curric-ulum integration. For instance, in the chapter on computer music notation (programs like Finale, Sibelius, and Noteflight), Scott shares a lesson called “Pedal Point Duet,” in which students employ a simple pedal point in the lower part of a brief duet for two like instruments. The upper part follows


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some parameters such as beginning and ending on the first scale degree and following a musical contour. Teacher coaching – easy to do because of the technology – facilitates the inclusion of good writing using repletion and phrasing in the duet. For this or any activity, teachers can coach students as they work on laptops, iPads, in a com-puter lab, or at a small cluster of com-puters in the back of a room. Coaching and peer feedback may also be facili-tated by projecting student work on a screen or interactive whiteboard.

“The ‘rules’ or parameters help fo-cus the creative energy of this activity and pretty much guarantee that stu-dents will create a musically satisfy-ing result,” says Scott. Another of his principles, employing performance or recital at the conclusion of a creative activity, could include informally go-ing around the room having students share their work or works-in-progress, posting student products on a class website or wiki, screening a movie of student work along with popcorn and soda, or something more formal like staging a concert or recital for other classes, administrators, and/or par-ents. An example of this is the CD his Music Production class produces each fall, which includes student-produced

winter/holiday tracks and is sold to the school community to raise money for a student-selected charity. Last year, they raised $2,500 for a local homeless shelter.

Music Arranging & Composition

Rarely do composition and arrang-ing books bridge the gap between tech-nique and creativity. But in Jazz Com-position and Arranging in the Digital Age, authors Richard Sussman and Michael Abene do so in a dynamic way, helping students and teachers use Sibelius and Finale to engage in composi-tion. What distinguishes this book is that the ma-terial is presented with the idea of doing much of the creative work us-ing notation software.

This book is organized in three sec-tions. The five chapters in the first sec-tion provide an overview of the con-tent being presented, as well as basic information covering the book’s philo-sophical, aesthetic, and musical con-siderations. Section two is made up of 13 chapters on writing for a small jazz

ensemble of three to six horns plus a rhythm section. Most chapters contain musical examples, many of which are available as audio recordings and/or software files on the companion web-site. Most chapters end with music ex-ercises and software tips illustrating the application of music notation software to the topic at hand. This section is de-signed to also be used as a semester-long syllabus.

The 15 chapters of section three concen-trate on writing for a large jazz ensemble with eight brass, five reeds and a rhythm section. Chapter formats are similar to that of section two with many musi-cal examples, audio re-cordings, and software files on the companion website, located at www.

oup.com. Most chapters end with mu-sical exercises and software tips illus-trating the application of music nota-tion software.

The publication’s extensive com-panion website provides listening examples for each chapter as well as enhanced software tips, appendices of basic principles and an expanded rec-ommended listening list. This site has a wealth of resources containing infor-mation and musical examples integral to understanding the material in the book.

Literacy, Music & Technology Connection

Zig Wajler is the author of Lit-eracy, Music & Technology Connection, released by Alfred Music Pub l i sh ing . Zig is a dy-namic teacher who inspires his students to surpass all expectations in generating music accom-plishments. The engaging lessons in this book focus on real-world appli-cations and create a positive learning environment for students and teach-


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ers. This results in an exciting, positive learning experience. The lessons tie together lyrics, music, and technology as learning tools in student-driven ac-tivities. Zig offers opportunities for stu-dents to create, compose, record, and produce original songs.

This book is straightforward and easy to use, no matter your technol-ogy backgrounds. The CD loop library and associated lessons are designed to guide K-12 students through the com-position process. The nucleus of each lesson is organized with the T.P.A.P concept: Think, Plan, Assemble, and Produce. The Think and Plan word lessons are designed as Language Arts tools. The Assemble lessons integrate loop-based music software with mu-sic and lyrics. The Produce lessons are designed to arrange music and to prepare the students to record their voices. The software is formatted to play on a standard CD player but can be played via a computer’s media play-er, such as Windows Media Player or Quick Time. I like the cookbook ap-proach of getting students engaged in music first before providing a formal curriculum.

The lesson plans provided in each chapter are outstanding. Zig ex-plains, “I design the majority of my lesson plans by listening to student suggestions. The key here is to be an ‘active listener.’ I find this is an ex-cellent teacher-to-student tool when reinforcing the art of listening, which lends itself directly to effective com-munication. The students seem to be aware of the end result of the projects we create in the classroom, such as contemporary songs, skits, adapta-tions of plays, not to mention all the different forms of writing (expres-sive, persuasive, reflective, literary, and poetry). This is one way students can make a connection outside the classroom, and somehow relate to textbook learning, not only in the music or technology class, but across the curriculum.”

Closing CommentsWe are fortunate that these master

teachers have made the effort to share their successful approaches. These texts are great resources for any edu-

cators who have been shy to incorpo-rate technology. They are all uniquely different, offering proven strategies that incorporate technology in daily instruction. Yet, they all show ways to use technology tools to engage students in authentic creative musical experi-ences that heighten musical/aesthetic understanding. For samples and exam-ples, be sure to visit the supplemental website to this article, online at: www.kuzmich3.com/SBO112012.html.

Dr. John Kuzmich Jr. is a veteran music educator, jazz educator and music technolo-gist with more than 41 years of public school teaching expe-rience. He is a TI:ME-certified training instructor and has a Ph.D. in comprehensive mu-sicianship. As a freelance au-thor, Dr. Kuzmich has more than 400 articles and five text books published. As a clinician, Dr. Kuzmich frequently participates in workshops throughout the U.S., Europe, Australia, and South America.

For more information, visit www.kuzmich.com.


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Carl Fischer’s Chops: The Ultimate Guide to Building Tone, Technique and Flexibility

Carl Fischer’s Chops: The Ultimate Guide to Building Tone, Technique and Flexibility is available for both trumpet and trombone.

These exercises are designed as fun-damental tools to improve musicians’ tone, technique, and flexibility. Author Frank T. Williams’ students are proof of the effectiveness of these exercises, ranging from private students, high school bands, award-winning drum and bugle corps, current composers, band directors, and professional musi-

cians, including Mike Roylance, tubist for the Boston Symphony Orchestra.

Williams has been an educator for nearly three decades, teaching at the junior high, high school, and college levels. He recently retired from his po-sition as director of bands at Boca Ciega High School in St. Petersburg, Florida, where his jazz ensembles consistently received superior ratings throughout his tenure. Mr. Williams has also been involved in the drum corps and march-ing band arena for over 20 years. He is the former Brass Caption Head for the world champion The Cadets drum and bugle corps; Suncoast Sound drum and bugle corps; and Magic drum and bugle corps; and is presently a brass consultant for the Glassmen drum and bugle corps. www.carlfischer.com

Afro-Peruvian Percussion Ensemble: From the Cajon to the Drum Set from Sher Music

Afro-Peruvian Percussion Ensemble is designed to be useful for any level of musician – beginning to advanced. The book contains music charts with the specific rhythms played by the ca-jon, congas, cowbell, bongos, cajita and quijada – as well as bass and gui-tar parts – for major styles of Afro-Pe-ruvian and Creole music. The various rhythms are also shown being adapted to the drum set, with and without other percussion instruments playing. Read-ers will encounter a valuable history of the development of Afro-Peruvian mu-

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New Productssic, including numerous photos and an 85-minute DVD with instruction on each percussion instrument and the drum set.

The DVD also includes a song in each of the main styles shown in the book, recorded with top musicians of the field, including: Hector Morales, Peruvian Grammy award winner Oscar Stagnaro, former “Peru Negro” musi-cians (Mariela Valencia, Marcos Napa, Hector Ferreira and Jhair Sala), and also “Maestro” Carlos Hayre protege, Eric Kurimski, and Paulo Stagnaro. www.shermusic.com

Mr. Tuba from Indiana U. Press

Tuba virtuoso Harvey Phillips tells the story in this autobiography of his life and career from his Missouri child-hood through his days as the performer with the King Brothers and the Ring-ling Brothers and Barnum & Bailey circuses and his training at the Juil-liard School. Phillips was distinguished professor of music emeritus at Indiana University Bloomington and was world renowned as a tuba soloist and brass quintet member. Phillips was a found-er of the New York Brass Quintet and served as vice president of the New England Conservatory of Music and became Professor of Music at Indiana University. The creator of an industry of TubaChristmases, Octubafests, and TubaSantas, he crusaded for recogni-tion of the tuba as a serious musical instrument, commissioning more than 200 works.

Mr. Tuba conveys Phillips’s play-ful zest for life while documenting his

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important musical legacy, including an extensive gallery of photographs and a forward by Indiana University’s David Baker.www.iupress.indiana.edu

Insights and Essays on the Music Performance Library from Meredith Music

This anthology includes valuable information for all musicians – com-posers, performers, conductors, admin-istrators, educa-tors, students, com-munity volunteers, and professional performance librarians – written by librarians from today’s premier orga-nizations, highlighting the importance of print music upkeep, storage, and maintenance. Groups represented here include Boosey & Hawkes, the Boston Symphony Orchestra, Jazz at Lincoln Center, Los Angeles Philharmonic, Juilliard School, New England Conser-vatory, and the United States Marine Band, among many others.www.meredithmusic.com

The Story of Naxos by Nico-las Soames

Over the last 25 years, Naxos has brought clas-sical music to millions across the world. This book is an ac-count of how the label achieved commercial suc-cess and changed the culture of the classical music recording industry for-ever.

The Story of Naxos offers a unique insight into the workings of a classi-cal record label. It includes interviews with major artists such as the conduc-tors Marin Alsop and Leonard Slatkin,

and composers such as John Corigliano and Sir Peter Maxwell Davies. It also explains how the business works, from the initial recording process through to editing, booklet production, distribu-tion, and website promotion.www.piatkus.co.uk

Acoustics First Sound Channels Wall Fabric

Sound Channels® acoustical wall fabric is manufactured from 100 per-cent Post-Consumer Recycled mate-rial, making this a quick ship, easy, no thought acoustic solution. The product is applied directly to vertical surfaces, is easy to cut, and installs like wall carpet. This absorptive wall fabric is a great choice to moderate speech fre-quencies in any application. Great to soften sound in conference rooms, dis-

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Sound Channels in manufactured using Eco-fi fibers. Eco-fi is a high-quality polyester fiber made from 100 percent certified recycled plastic bot-tles. It can go into any textile product such as clothing, blankets, carpets, wall coverings, auto interiors, home fur-nishings, and craft felt. Eco-fi can also be blended with other fibers, such as cotton or wool, for enhanced qualities.www.acousticsfirst.com

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PUBLISHER’S STATEMENT1. Publication Title: School Band and Orchestra. 2. Publication No.: 0019-072. 3. Filing Date 10/1/12. 4. Issue Frequency: Monthly. 5. No. of Issues Published Annually: 12. 6. Annual Subscription Price: $24. 7. Complete Mailing Address of Known Office of Publication: School Band and Orchestra, 21 Highland Circle, Ste. 1, Needham, Norfolk, MA 02494. 8. Complete Mailing Address of the Headquarters or General Business Office of the Publisher: (Same as #7). 9. Full Names and Complete Mailing Addresses of Publisher, Editor, and Managing Editor: Publisher: Richard E. Kessel, 21 Highland Circle, Ste. 1, Needham, MA 02494; Editor: Eliahu Sussman, 21 Highland Circle, Ste. 1, Needham, MA 02494; Managing Editor: None. 10. Owner (If owned by a corporation, its name and address must be stated and also immediately thereafter the names and addresses of stockholders owning or holding 1 percent or more of total amount of stock): Zapis Capital Group, LLC; Leon Zapis, 26202 Detroit Rd. Ste. 300, Westlake, OH 44145; Richard Bongorno, 26202 Detroit Rd. Ste. 300, Westlake, OH 44145; Maria Wymer, 26202 Detroit Rd. Ste. 300, Westlake, OH 44145; Donna Thomas, 26202 Detroit Rd. Ste. 300, Westlake, OH 44145; Renee Seybert, 26202 Detroit Rd. Ste. 300, Westlake, OH 44145.. 11. Known Bondholders, Mortgages, and Other Security Holders Owning or Holding 1 Percent or More of Total Amount of Bonds, Mortgages, or Other Securities: None. 12. (For Nonprofit Organizations - Does Not Apply) 13. Publication Name: School Band and Orchestra. 14. Issue Date for Circulation Data Below: October 2012. 15. Extent and Nature of Circulation. Average No. Copies Each Issue During Preceding 12 Months/Actual No. Copies of Single Issue Published Nearest to Filing Date: a. Total No. Copies : 14,493/14,280b. Legitimate paid and/or requested distribution:(1) Paid/ Requested Outside-County Mail Subscriptions:. 9,998/10,036(2) Paid/Requested In-County Subscriptions:.0/0(3) Sales through dealers and carriers, street vendors, and counter sales:.0/0(4) Requested copies distributed by other USPS mail classes:.0/0c. Total Paid and/or Requested Circulation:. 9,998/10,036d. Nonrequested distribution:(1). Outside county nonrequested copies:.4,185/4,084(2) In County nonrequested copies:. 0/0(3) Nonrequested copies distributed through other USPS mail classes:0/0(4). Nonrequested copies distributed outside the mail: 142/0e. Total nonrequested distribution:. 4,327/4,084f. Total Distribution:14,325/14,120g. Copies not distributed:168/160h. Total: 14,493/14,280i: Percent Paid and/or Requested Circulation: 69%/71%16. This Statement of Ownership will be printed in the November 2012 issue of this publication.17. I certify that all information furnished on this form is true and complete. I understand that anyone who furnishes false or misleading information on this form or who omits material or information requested on the form may be subject to criminal sanctions and/or civil sanctions. Richard E. Kessel, Publisher

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Teaching Tonal Bass Drum“When teaching the bass drum section split parts, I noticed that the written part is often based on the dotted-quarter note. Within a one-measure frame, have the students play three exercises based on the dotter-quarter note:a) 1 – 2+ – 4b) 1+ – 3 – 4+c) 2 – 3+ – 1(of the next measure). In essence, each exercise is permeated by an eighth note. Play these exercises unison until the students are comfortable with them. After that, assign (a) to bass drum 1, (b) to bass drum 2, (c) to bass drum 3, and (a) to bass drum 4. Continue in this sequence if you have more than four bass drummers. This also works well for sec-tions that only have three bass drummers.”

William K. RickettsSouthside High School School

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SKB Corp. www.skbcases.com 13

Smart Chart Music www.smartchartmusic.com 42

Super-Sensitive Musical String Co. www.cavanaughcompany.com 14

Vic Firth Company www.vicfirth.com 34

Vic Firth Company www.vicfirth.com 35

Wenger Corp. www.wengercorp.com 17

Woodwind & Brasswind www.wwbw.com 48

Avedis Zildjian Co. www.zildjian.com 23


Networking the Jazz Arts Community …… Local to Global!

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today atJazzEdNet.org

ATTEND OUR

4TH ANNUAL CONFERENCE

JAN 2–5, 2013 ATLANTA, GA

Evening Concert Artist LineupWednesday 1/2

Thursday 1/3

Friday 1/4

Saturday 1/5

SBO_COV3 COV3 11/6/12 1:55:08 PM

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Documents

School Band and Orchestra November 2012