School Band and Orchestra

SEPTEMBER 2011$5.00

Survey: Back-to-School Rituals

Staff Selections: Holiday Music

Fran SheltonHendersonville High School’s

“A Small School

Big Band”with a

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SB&O School Band and Orchestra® (ISSN 1098-3694) Volume 14, Number 9, is published monthly by Symphony Publish-ing, LLC, 21 Highland Circle, Suite 1, Needham, MA 02494 (781) 453-9310, publisher of Musical Merchandise Review, Choral Director, Music Parents America and JAZZed. All titles are federally registered trademarks and/or trademarks of Symphony Publishing, LLC. Subscription Rates: one year $24; two years $40. Rates outside U.S.A. available upon request. Single issues $5 each. February Resource Guide $15. Periodical-Rate Postage Paid at Boston, MA and additional mailing offices. POSTMASTER/SUBSCRIBERS: Send address change to School Band and Orchestra, P.O. Box 8548, Lowell, MA 01853. No portion of this issue may be reproduced without the written permission of the publisher. The publishers of this magazine do not accept responsibility for statements made by their advertisers in business competition. Copyright © 2011 by Symphony Publishing, LLC, all rights reserved. Printed in USA.

Cover photo by Patrick Sullivan, Hendersonville, N.C.

4 Perspective

6 Headlines

63 New Products

68 Playing Tip

69 Classifieds

72 Ad Index

Columns

Features

Contents September 2011

10

32

14

10 FROM THE TRENCHESBob Morrison makes the case for all music educators to step up and advocate for their programs, while also providing useful advocacy suggestions and resources.

14 UPCLOSE: FRAN SHELTONSBO catches up with band director Fran Shelton of Hender-sonville (N.C.) High School, a small school that has amassed a whopping 60 consecutive superior ratings at N.C. state concert band festivals, dating back generations.

28 SURVEY: BACK TO SCHOOL RITUALSSBO readers share their back-to-school rituals, tips, hopes, and fears.

32 COMMENTARY: INSTRUCTIONDr. Paul Schilf urges music educators to consider the symbiotic benefits of both individual and ensemble music instruction.

36 GUEST EDITORIAL: WEST SIDE STORYAs “West Side Story” celebrates the 50th anniversary of its film debut, SBO contributor Keith Mason takes a look at the origins of the musical and suggests some related classroom activities.

44 TECHNOLOGY: MUSIC TECH WORKSTATIONSJohn Kuzmich Jr. presents the key ingredients to music tech workstations.

56 STAFF SELECTIONS: HOLIDAY MUSICPeter Haberman reviews holiday music, both standards and new selections, for high school bands and orchestras.

2 School Band and Orchestra, September 2011

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Perspective®

September 2011Volume 14, Number 9

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Music for a Cause

There are many orchestras, bands, and other ensembles around the country that operate under unique missions beyond just playing great music. Some very fine ensembles have a focus on introducing new composers; some are focused on early music utilizing historical instru-

ments, there are those that offer marching opportu-nities for adults, and there are a wide variety of oth-ers that focus on similarly unique specialized areas. Among these are a great many groups whose core raison d’etre is to support charitable causes. One such ensemble is the Longwood Symphony Orches-tra, which, based near Boston, Mass., is made up virtually entirely of healthcare workers, including doctors, nurses, physical therapists, and others allied to the field. A look at the Longwood’s website reveals dozens of MDs, PhDs, and other medical degrees next to most of the players’ names. Although this is primarily an amateur orchestra, the level of quality and repertoire that they perform might make one think they are a pro group. Besides the unique aspects of the play-ers, the group has a singular mission, which is “to perform concerts of musical diversity and excellence, while supporting health-related nonprofit organizations through public performances.

Their mission puts the Longwood Symphony Orchestra in a bit of a different position than most in that instead of using revenues to fund only itself, it utilizes some of its income to help health-oriented charities in the area. On the Long-wood’s website, their principle clarinetist, Dr. Jeffrey Berman states: “I find the unique philanthropic mission of the orchestra to be of particular value in connect-ing the orchestra to the community.”

Although this is a very unique organization that could only exist in a major metropolitan center like Boston, the concept that musical ensembles could be organized around a specific set of charitable needs, while also supporting them-selves, is a wonderful idea. Many popular groups have taken up causes over the years, including some very famous ones, including George Harrison’s Concert for Bangladesh, Farm Aid, USA for Africa, and Band Aid. On the classical side there are a few others, including the London Charity Orchestra, The Great Orchestra of Christmas Charity (a Polish organization that raises money for sick children), and the Whitman Walker Health’s World Doctors Orchestra of Berlin, which features hundreds of physician members from over 36 countries.

The relationship of musicians to charitable enterprise has always been very strong, and we have even seen this powerful bond at the school level, as groups perform in nursing homes, hospitals, rehabs, and other medical institutions. It is critically important that we instill this sense of giving back to the community in our students, beyond the normal day-to-day lessons, rehearsals, and concerts, as this will provide them with a life-long sense of understanding to lend a hand to those who need it most.

Rick [email protected]

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HeadLinesU.S. Military Bands Facing Huge Funding Losses in Congress

A merica’s military bands are facing a potentially dev-astating cut in the 2012 budget, including slashes to the U.S. Army Field Band, The U.S. Army Band and

the United States Marine Band (“The President’s Own”). An open letter from the American Bandmaster’s Associa-

tion called for support for the nation’s top music makers. “The House of Representatives has voted to limit spending on military bands, reducing by $125 million what the Penta-gon originally planned to spend,” the ABA wrote. “It would be the first time that spending on the military’s 154 bands has been reduced by Congress. To take effect, however, the reduction must be approved by the Senate, which has yet to take up the fiscal 2012 Defense Appropriations Bill.”

The letter goes on to state that the bill’s recommended 37.7 percent reduction in spending would result in thou-sands of military musician contracts being terminated while making national concert tours by premiere military bands a thing of the past.

The letter concludes: “NAfME urges you to contact your member of Congress, and to encourage all within your realm of influence to do the same. Ultimately, cutting fund-ing for our nation’s military bands will impact us all.”

Read more at www.contactingthecongress.org.

El Sistema Treks to Istanbul

The 220-member Simón Bolivar Symphony Orchestra of Venezuela visited Istanbul recently for a perfor-mance at Turkey’s famed Haliç Convention Center.

The orchestra is made up entirely of members or graduates of Venezuela’s famous El Sistema music education program, including perhaps its most well-known graduate, Los Ange-les Philharmonic conductor, Gustavo Dudamel. El Sistema, founded by José Antonio Abreu in 1975, has served over 300,000 children from impoverished areas of Venezuela, and trained them from the age of 2 until they were actively

performing and teaching others. The first night of the con-cert included works by Piotr I. Tchaikovsky, while the sec-ond night included music by Igor Stravisnky, Maurice Ravel, Evencio Castellanos and Carlos Chávez.

For more info, visit www.elsistemausa.org.

Two New Board Members at Music for All

Two new members have been elected to the Music for All Board of Direc-

tors – Sam Laurin (Indianapolis, Ind.) and Kathy Black (Portland, Ore.). Music for All’s mission is to create, provide and ex-pand positively life-changing experiences through music for all. Kathy Black is an at-torney for the Bonneville Power Administration (BPA) in Portland. BPA, an agency within the U.S. Department of Energy, is responsible for marketing power generated by over 30 federal hydroelectric projects within the Columbia River basin and for operating the majority of high volt-age transmission within the Pacific Northwest. Ms. Black marched with the Guardsmen Drum and Bugle Corps of Schaumburg, Ill. and continues to play drums for various bands in the Portland area. Sam Laurin is a partner at the law firm of Bose McKinney & Evans LLP in Indianapolis, where he chairs the firm’s Litigation Department. He has been recognized in The Best Lawyers in America for com-mercial litigation and construction law and by Indiana Su-per Lawyers for construction litigation. He is proud of his daughter who played clarinet in her high school concert band, which won the Indiana State SchoolMusic Associa-tion Championship two years in a row.

Read more at www.musicforall.org.

Online Poll Results

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

next issue of SBO.

Compared to last year, I expect my music program this year to have

56% 32% 12%

Yes No, music is with me always!

38%

I need to get away from it for a bit!

Fewer students

(56%)About the same number of students (32%)Fewer students (12%)

Morestudents

Same #of students

Headlines.indd 6 8/30/11 9:41 AM

Mastering music is about more than what happens in the practice room. It’s also about how you grow as a person. We give you the freedom to experiment, find your own solutions, and evolve. But we also give you a structured and demanding curriculum that will test even the most talented musicians. You’ll be prepared to succeed in the world of music. Wherever it takes you. Learn more at berklee.edu/sbo

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HeadLinesMENC Director Butera to Give Keynote Speech at Urban Music Leadership Conference

The Urban Music Leadership Confer-ence recently an-nounced the details of its 2011 Confer-ence, including its selection of MENC executive director Michael A. Butera as

the keynote speaker. The event will take place this year October 20-22 at Shera-ton Station Square in Pittsburgh, Pa. Spe-cial visits for the event are planned to in-clude school visits, studies on new trends in curriculum development, discussions on hip-hop in the classroom, and more.

The group meets annually to address concerns in public and private school music education programs in urban ar-eas. Throughout the time of a typical conference, there are opportunities for participants to gather in small groups to share experiences, plans, ideas and have collegial exchanges with professionals of similar focus.

For more information, visit www.umlc.net.

Sabian Announces Scholarship Winner

Sabian has announced that this year’s Sabian / PASIC Scholarship winner is Noam Bierstone of Toronto, Ont. The scholarship is awarded annually to aspir-ing young musicians. Winners receive an all-expenses-paid trip to the Percussive Arts Society International Convention (PASIC) in Indianapolis, Ind.

Bierstone is a third year student majoring in Performance Percussion at McGill University, where he stud-ies with Aiyun Huang and Fabrice Marandola. He received the Schulich Scholarship upon his acceptance to McGill, where he is currently princi-pal percussionist of the McGill Sym-phony Orchestra.

Noam made his orchestral solo-ist debut with the Orchestre Metro-

politain in February, 2011, perform-ing Toshiro Mayuzumi’s Concertino for Xylophone. He was a finalist in the McGill Concerto Competition in February 2011 where he performed Nebojsa Jovan Zivkovic’s Concerto No. 2 for Marimba and Orchestra.

Bierstone’s current projects include a marimba/violin duet with Sarah Frank and a five-piece ensemble called The Bombadils. Upon graduation, he intends to pursue percussion perfor-mance as a career.

For more info, visit www.sabian.com.

Cadets Win 2011 DCI Championship

Longtime Drum Corps Interna-tional favorites the Cadets won their tenth championship recently at the DCI Finals at Lucas Oil Stadium in

Indianapolis, Ind. The group’s pro-gram, “Between Angels and Demons,” earned a score of 98.35 and a reported two-minute standing ovation after the finale.

The 77-year old corps also earned two caption awards, which are deter-mined by averaging the scores in each area from the Prelims, Semifinals, and Finals; the Donald Angelica Best Gen-eral Effect Award and the Best Visual Performance Award went to the Ca-dets, a nod to their method of cloth-ing half the corps in maroon uniforms – the “demons” – and half in cream uniforms – the “angels.”

The Cadets were followed in the rankings by runners-up The Blue Devils and first runners-up The Cave-liers. For more info on the event, visit www.dci.org.

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SBOFrom the Trenches

Promoting Your Program is No Longer an Option

It’s a Requirement!By BoB Morrison

Wow… where did the

summer go? It feels

like just yesterday

school was wrapping

up. Yet here we are facing the

start of the new year: new hopes,

new dreams, new goals for you

and your students. It means plan-

ning your programs, selecting

your music, getting your lesson

plans arranged, reviewing your

student roster, instrumentation or

vocal range and… planning your

advocacy activities!

That’s right: I’m talking about planning advocacy strategy and activities to promote your program.

“But Bob, I don’t have time to focus on advocacy” you may say.Well, if you do not take the time to plan how to advocate for and pro-

mote your program, who will? Yes, I know this can be time consuming. But fear not! Here are some ideas to help you plan as well as some resources to help get the job done!

Letters to Parents: Everyone should do one. Welcome the parents and their child into your program for the new year. Outline your educational goals for the program and solicit the support of the parents to volunteer. Be sure to include some fascinating facts about the benefits of music educa-tion. Every parent wants to know that the decision to enroll their child in an activity or class will be rewarding.

Letters to Local Newspapers: Send an open letter to the community about the new school year, outline past accomplishment of the program, talk about your excitement for the coming year and publish dates of con-certs or appearances, inviting the public to attend.

Teachable Moments: Look for opportunities to educate your admin-istration, staff, parents, and the community with information about the success of your program and the benefits music education provides to stu-dents. Some of these moments are:

Comments from the stage during a concert.Facts included in your concert program.Facts included in the announcer’s script for halftime performances.Play videos, public service announcements or news clips as people enter

the auditorium for a concert.

Trenches.indd 10 8/30/11 9:46 AM

August 31, 2010

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Engage Your Students: Over the past year, some of the most power-ful video statements about the im-portance of music education have been developed by students. A great example was created by students from Boyertown, Pa., which has been shared around the country on You-Tube [online at: www.youtube.com/watch?v=tObY7i6qkLo].

Embrace Technology: How do you use technology to promote your music program? Websites? Twitter? Facebook? Blogs? Podcasts? YouTube? Newsfeeds? The new tools developed for the web and for social networking are tools you can use to help promote and advocate for your program. Here are just a few ideas:

Twitter: By following some key hashtags, you can follow the conver-sations of music and arts educators and gain some useful ideas for your program from some of our leading experts! Some of my favorite hash tags to follow are: #artsed (arts edu-cation) #musiced (music education) #musedchat (chat on various music education topics) and #mpln (music education professional learning net-work).

Newsfeeds: This stream of informa-tion provides content for websites from reliable sources. Use any newsreader to create your won newsfeeds. Check out our daily arts education news feed at: http://feeds.feedburner.com/Quadran-tArtsEdNews

YouTube: Do you use YouTube to promote your program and create video for your site? You should. Look on the YouTube website for some ideas how!

PowerPoint-Style Presentations: Before every concert or event download and customize a handy dandy presenta-tion to run on a screen while people en-ter your event. This is a quick, concise, presentation of the case for how music benefits all students.

Concert Inserts: Download and customize concert program inserts for use with any of your concerts, pro-grams or events. Available from sup-portmusic.com

Widgets: These little snippets of code may be added to any webpage, blog, or social network. Use one of ours or create your own! Your students will LOVE these (and you will gain some

“tech cred” in the process (that stands for Technology Credibility… it’s street cred for the tech set).

And if you will only take one action, make it this:

The one item that belongs in the ar-senal of every music educator is the Sup-portMusic Community Action Kit. This “Tool Kit” for the music advocate has a wealth of ideas and materials in custom-izable formats to use in your community. Whether you are just starting your local advocacy campaign or find yourself in a crisis and need help to organizing your efforts, the SupportMusic Community Action Kit is the one tool you cannot af-ford to be without! You may download it for free at supportmusic.com

There you have it – some ideas to help promote and advocate for music and arts education during the coming school year. Within this list is something for everyone.

Remember: it is up to each of us in music education to both make the case and empower others to become effec-tive advocates for our programs. Like I wrote at the top of this article: If we don’t… who will?

Do you have a tool or resource you would like us to share? Email me at [email protected], on facebook (bobmorrison) or find me on twitter @bobmorrison.

Robert B. Mor-rison is the founder of Quadrant Arts Education Re-search, an arts education research and intelligence organization. In addition to other related pursuits in the field of arts education advocacy, Mr. Mor-rison has helped create, found, and run Music for All, the VH1 Save The Music Foundation, and, along with Richard Dreyfuss and the late Michael Kaman, the Mr. Holland’s Opus Foundation.

He may be reached directly at [email protected].

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UpClose: Fran Shelton

“A Small School

Hendersonville High School:

Big Band”with a


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Hendersonville High School:

Big Band”By Eliahu SuSSman

School Band and Orchestra, September 2011 15

Upclose.indd 15 8/30/11 2:22 PM


Hendorsonville High School is a music powerhouse in North Carolina. Despite

having only 630 students in the school, more than 130 of them (around 25 percent of the student body) partici-pate in the music department, includ-ing the current student body president, the starting quarterback of the football team (a clarinetist), eight members of the state champion-soccer team, cheerleaders, and a number of other athletes. In fact, over 80 percent of Hendersonville’s band members par-ticipate in at least one sport. The bread and butter of the music department is its concert band, which boasts a ridic-ulous 60 consecutive superior ratings at state festival, dating back to 1926. Another remarkable statistic is that since the high school began managing its own music program in 1937, there have only been six band directors lead-ing the program. And aside from the first director who founded the school band 74 years ago, all of those that fol-lowed have been Hendersonville High School graduates themselves.

For the past 24 years, Fran Shelton has been running the show in the Hen-dersonville High School band room. In spite of her substantial credentials in music education – having served as president of the Western North Carolina Bandmasters Association, the North Carolina Bandmasters As-sociation, and Women Band Directors International, as well as secretary of the North Carolina Music Educators Association – Fran remains humble about her accomplishments. She even jokes that it took her almost 20 years of teaching to realize how little she actually knew. Yet, in this recent con-versation with SBO that covers such topics as preparing for the new school year, integrating the student body into the music program, and developing administrative and parental support, it’s clear that Ms. Shelton has accrued a substantial amount of wisdom work-ing in what she calls, “Just a special place: a small school with a big band and a great reputation.”

School Band & Orchestra: Tell me about the program that you walked into at Hendersonville when you were hired.

Fran Shelton: The high school was incorporated in 1901, and moved here in 1926. It’s a registered historic site. And in the entire history of the high school, I am the sixth band director. That says a lot right there.

SBO: That says it’s a great place to work!

FS: It is a great place to work! And it’s a great concert band school. The

tradition of that concert band is pretty remarkable in the state of North Caro-lina.

SBO: What does it take to estab-lish a program like that?

FS: In this case, it was one of the first in the state. It was actually start-ed by the Lion’s Club and then the city schools ended up picking up the band program. We’re still a small high school, with only 600 students. We

The Hendersonville symphonic band performs at Symphony Hall in Chicago, Ill.

Band members show off their HHS Band winter hats in the Windy City.

Upclose.indd 16 8/30/11 9:48 AM

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have 130 students in the band, and I credit that participation to the tradi-tion we have: the band has always been great, and it’s always been well respected in the state and in the com-munity.

SBO: It’s one thing to have that history, but what was your game plan to maintain that status when you first took over the reins of the program?

FS: As my superintendent told me, “Get on that horse, but turn it around gradually, because we already have a pretty good program.” He wasn’t a band person, but I thought that that was pretty substantial advice. The thing is, except for the first band direc-tor, every other one since is a graduate of the high school, so we’re vested in it.

What I tried to do was take what was already there – and it was a won-derful program – and build upon that, try to do a little bit more. We devel-oped the concert band program, the level of literature, and the quality of

the literature. One thing I’ve really tried to do is to expose the students to great literature and great composers, really push them to the upper level of

music. When you play quality litera-ture, your kids get so much out of it – it’s such a great learning experience for them.

SBO: Where do you find literature?

FS: I listen to everything. I go to the Midwest Band & Orchestra Clinic and attend concerts, and I pick up all the CDs. When I’m getting ready to pick a program, especially a contest program, I am constantly e-mailing di-rectors, primarily at the college level, making sure that we are playing qual-ity literature. I don’t want us to play junk, and there’s a lot of junk out there.

SBO: How far in advance do you normally select the literature you’re going to play?

FS: I start listening in the sum-mer, because that’s when I have time. And then I look at scores at Midwest, sometimes go to J.W. Pepper to look at scores, and just pick people’s brains for the best music I can find. I’m on the concert festival committee for our state, and we have summer meetings where we pick each other’s brains, too.

Our top band plays masterworks, but even with the younger kids, my baby band, they don’t play nearly as well, but it is super important to ex-pose them, too, to great literature.

Hendersonville High School Bands At a Glance

Location: 311 8th Avenue West, Hendersonville, N.C.On the web: www.hendersoncoun-typublicschoolsnc.org/hhs/Students in School: 630Students in Band Program: 130Band Director: Fran Shelton

Recent musical accomplishments ★ 60 Consecutive Superior Ratings

at N.C. Concert Festival (1926 – present)

2011 ★ Festival of Disney – First Place

Band Class AA – Symphonic Band ★ Class A Concert Band – First

Place Band Class AA Jazz Band – Gold Mickey Award

★ Top Scoring Band of the Festival – Silver Mickey Award – Jazz Band 2011

★ Festival of Gold, Chicago Sym-phony Hall (Chicago, Ill.) – First Place Band

2010 ★ National Adjudicators Concert

Festival (Atlanta, Ga.) – Superior Rating

2009 ★ International Band Festival, Ken-

nedy Center (Washington D.C.) –First Place Band

2008 ★ National Adjudicators Concert

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2007 ★ Festival of Gold Invitational, Sym-

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SBO: Let’s get down to brass tacks – how is the your program set up?

FS: We have a symphonic band, that’s the top group – 75-78 stu-dents, and membership is by audi-tion. Then there’s the concert band, which has 55-60 students. We have a jazz band, which is by audition, and then a marching band, which is strictly volunteer. The marching band is curricular – the students get a half a credit for participating – but I can tell you that at a high school

like this, by making the marching program all volunteer, the numbers in the concert program will increase because the kids aren’t having to make a choice. Eighty percent of our concert band kids are athletes. That’s how we can have those numbers at a small high school. Our emphasis is not on marching band. We compete and that sort of thing, but it’s not our bread and butter, so to speak.

Like I said, 80 percent of our con-cert band members are athletes, and this year the starting quarterback on the football team plays clarinet in the band. We have a running back, linemen, cheerleaders, basketball players, soccer players, cross coun-try athletes, the student body presi-dent – and having all of those people participating just makes your band healthy!

SBO: Some schools seem to struggle with dispelling a nega-tive image of playing in the school band – is that something you’ve experienced?

FS: You mean the band nerd? For us, that’s pretty easy. You make march-ing band volunteer, and that way your athletes don’t have to make a choice. You want to keep your athletes. You want to keep your stars on the vari-ous teams participating in music. We had eight kids from the soccer team playing in the band, and they won the

state title last year. That’s real impor-tant! And it means that there simply isn’t that stigma here. I do understand that that is a problem at some other schools.

SBO: Speaking of problems many music programs are facing, what’s your take on the difficulties every-one seems to be having in terms of funding and support?

FS: Those problems aren’t caused by the band programs; it’s school boards and state legislatures. They’re cutting up here like crazy, too. We cut

chorus at our high school this year, and it’s terrible when that happens. Thank goodness we have wonderful administration at our school and an extremely supportive principal. And, we’ve got wonderful band parents. If it weren’t for wonderful band parents, who knows where we’d be. We strug-gle with funding, too, but it’s our band parents who make sure that we have everything we need to be successful.

SBO: Would you expand on that – what’s your approach to integrat-ing parents into your program?

FS: We try to involve them as much as possible. They have to have a rea-son to participate. I don’t think we’re beating them up with fundraising too badly. Parents run the away conces-sion stand – and I don’t think that’s anything new, a lot of bands also do that. We try to keep the parents active and involved. We try to make sure that they know that we want them there: we want them at rehearsals; we want them at concerts; we want them on trips. We travel a fair amount with our two concert bands, and the parents are really helpful when we travel.

We are constantly keeping them in-volved and informed about everything we’re doing.

SBO: What’s your preferred meth-od of keeping people informed?

FS: We do everything over e-mail. We have a web page maintained by one of our parents, we send out regu-lar emails, and our parent group also sends out regular emails. We are con-stantly asking for help, and because we have such a large pool of parents to draw from, we don’t have to beat the same people up over and over asking for help. Our parents chaperone, they make props, they work in the conces-sion stands, they help with fundraising – they really do so much for us.

SBO: What sorts of fundraisers do you do?

FS: We sell fruit at Christmas, we do discount cards, we do some yard sales, we do concerts – we did a big Memorial Day concert where we had all the veterans in.

SBO: What have you found to be most effective?

Hendersonville Band members at Disney World in the spring of 2011.

Band students display their Micky Mouse Awards.



FS: Probably our fruit sale. We’ve been doing that for years, so people plan for it and count on it. Special concerts can pull in pretty good funds. We have the state playhouse in town and every other year we go out there and play. That opportunity is great because it is a chance for us to reach a different clientele than our normal audiences.

SBO: To change gears for a mo-ment, what do you do to prepare for the school year? What steps do you take, so that everyone is ready hit the ground running as soon as school starts?

FS: I do most of my preparation be-fore the school year ends in the sum-mer. As soon as our last concert let out, we started listening to music and stuffing a folder full of material that we might look at throughout the year. The kids have had that music all sum-mer, and a lot of them take a look at it before the year starts. During the sum-mer, many students check their horns out to start going through the new ma-terial. It gets pretty frantic at the end of the school year. We have our kids help with everything, and that gives them something to do over the sum-mer. Some of them might never open their horn cases, but others will.

SBO: Do you have a system of stu-dent leadership in place?

FS: Absolutely. We have student of-ficers, who are voted on by the other students, and we put a lot of responsi-bility on our senior class. For the most part, our officers are usually seniors, and they’re responsible for almost ev-erything. It’s their band, and they have to run it. They’re constantly setting up stands and chairs, running rehearsals, running sectionals… we do a lot of sec-tionals, where we break up into small groups, and the students are responsible for running those. The older students are also responsible for working with the younger students as well. The older kids come in before school or stay after school to work with the younger stu-dents and help bring them up to speed.

SBO: Like a peer mentoring pro-gram?

FS: We give our seniors a lot of responsibility, especially in the teach-

ing end of it. I’ve had the students do more and more of that over the last five years, and it’s been great. A lot of times the senior section leaders will re-write parts, assign parts to play for concerts, and more. I have to be will-ing to give up that responsibility and let them have that leadership role, but that’s worked quite well for us.

Every once in a while you have a dud class that isn’t into it. But when that happens, you just give the respon-

sibilities to the juniors, and then the seniors step up right away! They run the rehearsals, get the others in line, give out music – they really do it all. They’re better than having a student teacher because they know the pro-gram inside and out and they know the younger students. It’s also a re-spect issue, where the older kids have more respect for the younger kids be-cause they work with them and they get to know them faster.


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SBO: You’ve been teaching for al-most three decades – in that time, what are the most important les-sons you’ve learned about being a successful music educator?

FS: Well, I didn’t know anything when I started teaching, and it took

me about 20 years to figure that out! [laughs] After about 25 years of teach-ing, I finally started figuring some things out. It’s only dangerous when you don’t know that you don’t know anything. Once you realize how little

you know, that’s when you can start learning.

Going back to your question about starting the year on a positive note, only about four years ago, I started putting all the material together be-fore the end of school. By the time school starts up again, the marching band students have already met and read their music. We also do that with the concert band and the jazz band. Perhaps the most important thing to surviving in this field is asking for a lot of help. Once you start doing that, life gets a lot easier. You also have to be extremely organized. I have my calendar out for the next year by the beginning of June. That calendar in-cludes everything we’re doing in all of our bands, except for the jazz band, which will sometimes play out in the community on short notice. The stu-dents know all the extra rehearsals, concerts, and everything else far in advance. That’s been a big help be-cause our kids are all involved in so many different activities. You can’t

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put an ultimatum on the child, you have to get those schedules out and then go talk to the coaches and teach-ers of other activities. You never want to put the children in the middle of scheduling conflicts. It doesn’t always work as well as you want it to, but you have to try. Our athletic director has all of our calendars in June, so he also tries to prevent having to put the kids in a bind.

If the kids know when they walk in the first day that they’re going to have to be ready to play, that sets the tone. We send out emails that say, “Bring your horns, we’re starting on day one,” so they do know that we’re just going to dive right into the material. We have a concert for 9/11 and we have a Labor Day parade that we march in, so we don’t have time to waste.

SBO: Music educators have to wear so many different hats these days. Do you have any tips for staying sane and preventing burn-out?

FS: I ask for help. I del-egate a lot to the kids and I delegate to the band booster organization. I go to my prin-cipal a lot, too – we talk all the time. I don’t make any major decisions without in-volving him. My principal goes with us on all of the trips. We talk about funding and fundraising – he won’t let the kids go door to door, be-cause we feel it’s just not safe. We don’t beat the community up with fundraising. My prin-cipal and I don’t always agree, but that’s okay. I’ll keep going back to him until we reach an acceptable compromise. I am very lucky to have someone who I can go to talk out any issues or binds facing the program.

Running a band program is a lot of work, but when I get home, I try to take a break from it. I might lis-ten to music at home, but I try to

get most of my work done at school, and then leave it there when I leave the building. If you’re not having to fight your administration – if your administration is behind you and your principal knows what’s going on – it makes life so much easier. If something comes up, then it’s much

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easier to deal with because you know you have some support.

This year we’re flying the band out to Los Angeles, and our principal has been in on this project every step of the way – talking plane tickets, busses, hotels, and so on. It’s so important to keep your administration involved.

SBO: Do you have any other advice for band directors around the country, perhaps something you’ve learned over the years in your own class-room that other band directors might want to do more of?

FS: We all need people to come in and listen to our band during rehearsals. Directors have to be prepared to unzip the defenses and listen to feedback. A lot of directors don’t like to do that because they think they know it all. I have people every year come in and rip my kids up – but we do that so we can get better.

I want to get better at conducting, too. I see things going on and I just think, “Golly, they need to ask for help!” The older you get, the less cocky you become about all of this. The longer you teach, the more you figure out that you just don’t know anything. Like I said, the light bulb clicked on for me at about year 25. I’ve been figuring it out slowly, and I think I’m getting better at it. I learn a lot from those kids every day. It’s a great motivator, having to keep up with the kids. These kids today are smart and savvy – they have all these technology skills. If I don’t know a piece inside and out, I’m in trouble, because my students will have already listened to four or five different performances of it on YouTube.

SBO: What is the most rewarding aspect of being an educator?

FS: Most days, I love it! [laughs] I go into the eighth grade every day to work with those kids and assist their band director. When you see them that young, watch them progress and mature into ladies and gen-tlemen, go on and graduate high school and you just know they’re going to be successful, that makes all the difference in the world. Hopefully music and band is only one small part of what I’m teaching; hopefully I’m also teaching them to be good human beings who will do the right thing. Some of these kids may never play music again, but at least they will be able to go to a concert or a show at the theatre and have an appre-ciation for what they’re seeing and hearing.

The other thing is when you have one of those magical moments where the kids are playing and ev-erything is going just great – that’s enough to keep you in it. Also, where I teach is just a special place: a small school with a big band and a wonderful reputation. Really, our school is strong in many areas, not just band, and all of those different areas work together. It takes all aspects of the high school to make a strong band program.


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SBOSurvey: Back to School

The key to starting the new

school year on the right

note lies in preparation,

and it seems that every ed-

ucator has his or her own unique

methods for getting the most out

of the first few days of school,

while also setting the tone for

year-long success. To probe a little

deeper into the specifics of exactly

what music educators around the

country are doing to start the year

off right, and what they’re excited

or worried about for this com-

ing school year, SBO sent out this

reader survey in early August.

Let’s hope that the 26 percent of respondents who indicated that they weren’t ready for the new school year have since gotten up to speed!

Are you ready for the new school year?

“Next year will be my 40th year in education and I’m as excited to start this year as I was my first year. I have great kids and I work in a fabulous school in an amazingly supportive community.”

Dave Hanke Slinger High School

Slinger, Wis.

“I am a middle school band di-rector and I have been assigned to also be in charge of the elemen-tary band lessons this year. I am really excited about this and am really looking forward to getting started!”

Jim Miller Laurel Highlands Middle School

Uniontown, Pa.

“We are still under a very widespread construction project, and I am not able to have access to my building at this point. Paperwork and com-munications aspects are progressing as usual, but the physical setup will be a very, very last-minute rush!”

Robin Linaberry Maine-Endwell Senior High School

Endwell, N.Y.

Back to School Rituals

Yes

74%

No

26%

Excellent

69%

Okay

2%

Good

29%

One week

61%

One monthSeveral days

5%9%

Two weeks25%

24%

23%

16%

3%

3%

31%Seeing my returning students

New musical adventures

Meeting my incoming students

A fresh start

New non-musical adventures

Other

28%

23%

4%

9%

36%Funding

Scheduling

Student interest/talent level

Making it through another school year

Other

Surveys.indd 28 8/30/11 9:51 AM


Have you developed any unique tricks or rituals for preparing to start the school year strong?

“I plan the first day in detail, even writing a script to be sure I cover the procedures, expectations, and paper work. I try to imagine what a ‘new kid’ sees and feels coming into my class for the first time, walking through every part of that first class.”

Martha Giarratano Austin Middle School

Beaumont, Texas

“I get my orchestra room setup as well as the first several orchestra pieces selected the week before man-datory teacher workdays commence, so I feel empowered and energized to teach when stringers arrive in my or-chestra room!”

Joel Jank Hastings Middle/Senior High

Schools Hastings, Neb.

“In my partial retirement years, I have learned to ‘go with the flow’ more. Since all I teach are beginners now, the start of the year is focused on getting the kids on quality horns that don’t hurt family budgets. Sometimes it’s hard to convince parents to spend a little more for better instruments. Rental plans seem to be the best way to get started as long as the rentals are also quality equipment.”

Harlan Yenne Chandler Intermediate School

Chandler, Texas

“I enjoy the process of getting the classroom ready – cleaning parts of the room that usually don’t get cleaned, preparing instruments and music, and setting up the classroom. It’s nice to go in a few days before the year starts and work at your own pace, knowing full well you’ll never get ahead of the game, but trying nonetheless.”

Bill Martinez Hollencrest Middle School

West Covina, Calif.

What are you most excited about in terms of the new school year?

Comments in response to “Other”“Our brand new High School

building and music area.”John Stetler

Elida High SchoolElida, Ohio

“A new Principal that has already set a better tone.”

James Porter Springville Elementary

Springville, La.

“As I am the only band director grades 7-12, I will be learning to say ‘no’ a lot more this year to administra-tor and people that want more of my time.”

Matthew Taton Mt. Pleasant High School

Mt. Pleasant, Mich.

What are your biggest worries or concerns?

“We continue to go through budget issues in our state that force us to justify our place in the budget without staffing reductions. We also have issues with instrumentation and retention coming up from the middle schools. This is a continued challenge to find the avenue to attract the best and brightest.”

George Dragoo Stevens High School

Rapid City, S.D.

“As with most states, Wisconsin is going through a major change in school funding. Cuts have diminished the amount given to public school dis-tricts and schools are scrambling to find solutions without affecting pro-grams that are offered to students. The elective courses seem to be the first area that is decreased. These classes which include the performing arts are important to the school curriculum. Students are more likely to achieve a higher level of success and will stay in school if there is something there that will attract their interest. We need to be concerned about meeting the needs of all students and learner types.”

Tim Meinholz Columbus High School

Columbus, Wis.

“I had about 10 students who were great musicians move out of our area to another city, neighboring state, and some across the country because that was where their families could find work or a more affordable place to live. Some of these families were our biggest financial supporters. Some of the other families were some of our most consis-tent parent volunteers. With the lawsuit my district went through last year about a ‘free’ public education as well as our lingering [troubled] economy, we are definitely seeing it affect our program’s financial status. We are doing all we can to try to drive home that if we as a group are unable to come up with the required funds we need for the school year, we will be unable to participate in some events that we really should be a part of, like marching band contests, concert band festivals, and so on.”

David Lesser Clovis North Educational Center

Fresno, Calif.

Yes

74%

No

26%

Excellent

69%

Okay

2%

Good

29%

One week

61%


5%9%

Two weeks25%

24%

23%

16%

3%

3%




A fresh start


Other

28%

23%

4%

9%

36%Funding

Scheduling



Other

Yes

74%

No

26%

Excellent

69%

Okay

2%

Good

29%

One week

61%


5%9%

Two weeks25%

24%

23%

16%

3%

3%




A fresh start


Other

28%

23%

4%

9%

36%Funding

Scheduling



Other



Is there anything you’re planning to do differently from last year?

“I’ve already started doing dif-ferent things this year. I’m going to focus more on the positive and less on the negative, and let the batteries recharge when they need to be re-charged. I’m ready to meet my chal-lenges and face them, rather than try to hide them.”

Mark Webster TK Stone Middle School

Elizabethtown, Ky.

“I plan on implementing the use of SmartMusic in the classroom and encour-aging its use with all my students. I will also be using it for assessment so that I no longer lose a week of rehearsal time for testing.”

Jeff Canter Thorne Middle School Port Monmouth, N.J.

“Make parental contacts a priority, even more than before. It is important for parents to know what their children are learning and what the teachers’ ex-pectations are.”

Ron DePascale David E. Williams Middle School

Coraopolis, Pa.

“Be more of a stickler. I think I give up before the kids do what I re-ally want, and I plan to keep at it until I get my way!”

Margaret Cancino John Hanson Middle School

Waldorf, Md.

Additional thoughts on the com-ing school year?

“I worry about the big picture. Num-bers have been decreasing the past few years and the new 8-period schedule has had an impact this year, and it will continue to impact us. Unfortunately, I see more changes in the program down the road. We don’t seem to have or get the support we once had both, depart-ment-wide and district-wide.”

Allan Deitz Walt Whitman High School

Huntington, N.Y.

“I’m finally ready to step out and present at music conferences. I’m re-ally excited. I think that I have good ideas and a better perspective that can help other educators in the field.”

Juan AguilarSan Marcos High School

San Marcos, Calif.

“Planning is hardly ever perfect. Being flexible and remembering that we work with students and volunteer parents are of the essence.”

Joel L. Denton Ooltewah High School

Ooltewah, Tenn.

“Positive energy from me makes all the difference, and as I get a little older, I have to occasionally reminded myself to lengthen my stride and pick up my pace. So far, so good!”

Rick Hammarstrom Sierra High School

Manteca, Calif.

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SBOCommentary: Instruction

The Necessity for Individual and Ensemble Instruction By Paul R. Schilf, Ph.D.

in Secondary Public Schools

With budget cuts, staff reductions, physical plant limitations, and general lack of vision for com-

prehensive music education by many administrators and some music educators, individual per-

formance has taken a backseat in many instrumental programs. Across the country, we have seen

a reduction in the number of students participating in solo and small ensemble festivals. This

unfortunate situation has left a void in public school instrumental music education. Regardless, as champi-

ons for quality music instruction, we can’t ignore the emphasis we need to place on each individual student.

Individualized instruction is pertinent to the stability of any instrumental program. Attention given to solo

and ensemble participation in today’s schools can provide greater success of the larger ensembles.

Historically, emphasis on individual and group partici-pation in instrumental music has been the foundation and often the development and expansion of music education

in secondary school programs. At present and in the very recent past, there has been the fo-cus in which the main group activity tends to eliminate all but the most competent from participation. Fewer and fewer school districts have the position in the ensembles for the “recreational” indi-vidual performer. These “recreation-al” players are often the core of our main ensembles. It is the band, the orchestra, the larger ensembles that count, and the individual student is of importance only as he or she contributes to the group. There-fore, it is only logical that we need to develop individuals to the best of their ability so that they fill our ensembles as high caliber players.

In music education, the orga-nization itself has great value, but

Commentary.indd 32 8/30/11 9:53 AM

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the greatest worth is the influence the large ensemble has upon the students as individuals. To refute Mr. Spock, when it comes to music, the needs of the many do not outweigh the needs of the few: each individual, as an indi-vidual performer, is important to each ensemble and hence the program. As mu-sic educators, we are creating life-long in-dividual learners, not life-long bands or or-chestras. We strive to create individuals who are artistically and mu-sically sensitive, indi-viduals who are life-long consumers and supporters of the arts. Moreover, just as other academic areas attempt to justify their role in school programs, music education must stem from a program broad-based enough to serve the needs of the individual through the emphasis on the individual as well as on the group.

In curriculum planning for today’s secondary schools, much thought must be given to the continuing ben-efits for the students as they practice individually at home and in school. In school or out of school, each stu-dent will be a producer of music, a consumer of music, and often both. It is impossible to escape music in life. Our aim as music educators must be to help individual student, become more discerning consumers and performers of music. A key way to assisting this process is through students engaged in solo and small ensemble literature. Individualized instruction via solo and small ensemble literature is critical to preserving and enhancing music edu-cation in our schools.

Our National Standards for music education clearly outline the need for group and individual performance. “Performing on instruments, alone and with others, a varied repertoire of music,” is the second of the nine standards with which we need to align our curricula and philosophy of instruction. Clearly the emphasis of performing begins with each in-dividual within our ensembles. This standard of instruction is what many of us use to continue to justify and

build our programs. In justifying our programs within the community and to our administration we often stand alone instead of aligning our programs with what has already been set forth as important components of instrumen-tal music education. Individualized

instruction is unique to music instruction. We don’t need to be ashamed or embar-rassed that we work with individuals. Too many programs are justified by the cater-ing to the masses. In-dividualized instruc-

tion permits music educators to really connect with their students. This is something that, as administrators and building disciplinarians have been tell-ing us for a long time, keeps kids in school and reduces many forms of dis-cipline problems.

The highest quality secondary-school music programs have become and remain strong because of the emphasis of a well-rounded and well-balanced curriculum, programs that serve the individuals and the group as parts of the comprehensive school program. Instrumental music educa-tors with vision, working with school administration and teachers in other areas of academic instruction, can fur-ther their programs by addressing the needs of the many through the needs of the individual or few. In the light of today’s educational environment, there has never been a greater oppor-tunity offered to music educators than to provide small group and individual instruction and opportunities.

Dr. Paul Schilf is associate professor of music educa-tion and associate director of bands at Augustana Col-lege in Sioux Falls, S.D., where he teaches music education courses and supervises instrumental stu-dent teachers. Dr. Schilf directs the Northlanders Jazz Ensemble, the Brass Choir, and the College & Community band.

“Instrumental music ed-ucators can further their programs by addressing the needs of the many through the needs of the individual.”

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SBOGuest Editorial: “West Side Story”

By Keith Mason

“West Side Story” is one of the

great films of all time. Pre-

miering on October 18, 1961

at the Rivoli Theater in New

York, it celebrates the 50th anniversary of its film

debut this year. To mark the occasion, a special

Blu-Ray edition of the film will be released in No-

vember. Earlier this year, “West Side Story” was

voted one of the top five favorite musical films of

all time on an ABC-TV special entitled “Best in

Film: The Greatest Movies of Our Time.”

This article commemorates the 50th anniversary of the motion picture version of “West Side Story,” providing background about the original conception of the Broadway stage musical. It then trac-es the creation of the motion picture version and outlines activities that focus on the “West Side Story” music and libretto that can be utilized with both vocal and instrumental music students.

The film version of “West Side Story” garnered 11 Academy Award nominations, winning 10. While the original 1957 Broad-way musical was, in retrospect, innovative, some reviewers be-lieve it may have been ahead of its time. A musical about gangs was very different from the typical musical comedies of the same era; by the end of Act I, two main characters are dead; another main character dies by the end of Act II. This was quite different from themes and characters found in the traditional musical com-edy. Scott Miller, author of “From ‘Assassins’ to ‘West Side Story’:

“West Side Story”: Fifty Years of Cinematic Magic

Rita Moreno (Anita) sings and dances “america” with the Sharks and their girlfriends.

George Chakiris (middle) performs as “Bernardo.”

GuestEdit.indd 36 8/30/11 9:54 AM


The Director’s Guide to Musical The-atre,” observed that, “ ‘West Side Story’ is the American musical theatre’s only great tragedy, a story in which a happy ending is not possible, a musical about hatred and prejudice, a musical that says that love cannot triumph over all. It is also a perfect blend of the many disciplines that make musical theatre. More than in most musicals, the book, music, lyrics, and staging come together as a perfectly unified whole, speaking with one voice.”

Background: The Stage and Screen Versions

The four creators of “West Side Sto-ry” were Jerome Robbins, Arthur Lau-rents, Leonard Bernstein, and Stephen Sondheim. “West Side Story” was origi-nally conceived as “East Side Story” in 1949, and it was to be a conflict between Jewish and Catholic families. Instead, the creators decided to capitalize on the huge Puerto Rican immigration of the 1950s. The Sharks represent the Puerto Rican immigrant gang while the Jets were the

New York gang, forming the main con-flict in the musical. The conflict is in-creased when the New York character of Tony falls in love with a Puerto Rican woman, Maria.

The concept for “West Side Story” was to stage Shakespeare’s “Romeo and Juliet” as a ballet, an idea that legendary chore-ographer Jerome Robbins came up with in 1947. Robbins had worked with Leon-ard Bernstein on the musical “Wonderful Town” and thought Bernstein, Sondheim, and Laurent would be ideal for the mu-sic and libretto of the Romeo and Juliet musical. Bernstein, Robbins, and Laurents discussed this musical treatment between 1949 and 1955, yet the project remained on the back burner for several years.

On August 25, 1955, Bernstein and Laurents crossed paths. They discussed how they regretted that nothing had come of the Romeo project. They talked about gang wars between Chicanos and Caucasians in the Los Angeles area. Lau-rents was not comfortable with a city and people not part of his consciousness and suggested Manhattan, and the tension

between Puerto Ricans and whites as the main theme.

Laurents was set as librettist but Bern-stein was so occupied with conducting in New York and guest conducting elsewhere that he preferred to share the workload. Laurents saw Stephen Sondheim at a party and brought up the Romeo project. Sondheim wanted to be involved, yet he wanted to create both music and lyrics and was reluctant to accept the position as lyri-cist. Oscar Hammerstein, II, Sondheim’s mentor, believed that Sondheim should not pass up the opportunity to work with Bernstein and Robbins.

The Laurents libretto was atypically brief compared to other musical libretti because so much of the story was told through dance and songs. All the main characters of “West Side Story” derived from Romeo and Juliet characters.

Miller maintains that, “The drama and power of “West Side Story” lies as firmly in the choreography as in the words and music. Though Bernstein’s music, Sond-heim’s lyrics, and Laurents’ dialogue are laid out carefully for anyone producing

SBOGuest Editorial: “West Side Story”

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the show, Jerome Robbins’ choreography is not.”

Originally called “Gangway!,” the title “West Side Story” was reinstated prior to the out-of-town tryout in Washing-ton, D.C. staged on August 19, 1957. A Philadelphia tryout followed, and then the Broadway run began on September 26, 1957.

Seven Arts Productions was the lead-ing contender for film rights of “West Side Story,” which they bought for $350,000 in July of 1958. The Mirish Company, comprised of four brothers, entered the scene to produce the film. They were instrumental in getting Jerome Robbins, choreographer of the original Broadway stage production, as director. Because he had little film experience having only choreographed the 1956 musical film “The King and I,” they secured Robert Wise as a co-director. Wise had never directed a musical but was a big fan of them. He commissioned Ernest Lehman to adapt the show to the silver screen.

Lehman was famous for his screen-plays, including Executive Suite, Sabrina, “The King and I,” and “North by North-

west before “West Side Story.” He would later go on to write such blockbusters as “The Prize,” “The Sound of Music,” “Who’s Afraid of Virginia Woolf?,” and “Hello, Dolly!”

For the film, the “Prologue” was filmed on location in Manhattan from 61st to 68th Street. Abandoned housing was located in this area in anticipation of the construction of Lincoln Center. A playground was used at 110th Street between Second and Third Avenues. Parts of Maria were also filmed on loca-tion. The rest of the film was shot on sets within seven soundstages at the Samuel Goldwin Studios in West Hollywood. The production company used the ma-jority of the studio space from September 1960 until the film’s completion in 1961. The opening of the film used aerial shots using bird-eyed views capturing New York City landmarks such as the Empire State Building, the United Nations, Co-lumbia University, and Yankee Stadium. Robbins put shooting so behind because of his perfectionism and desire for mul-tiple takes that he was released from his directorial duties in late October of 1960.

Print MaterialsFinstad, Suzanne. Natasha: The Biography of Natalie Wood. New York: Three Rivers Press, 2001.Keenan, Richard C. The Films of Robert Wise. Lanham, MD: Scare-crow Press, 2007. Laurent, Arthur. Original Story By. New York: Knopf, 2000.Miller, Scott. From Assassins to West Side Story: The Director’s Guide to Musical Theatre. Ports-mouth, NH: Heinemann.Monush, Barry. Music On Film: West Side Story. Milwaukee: Lime-light, 2010. Nixon, Marni, with Stephen Cole. I Could Have Sung All Night: My Story. New York: Billboard Books, 2007.Peyser, Joan. Bernstein: A Biogra-phy. New York: Beech Tree Books, 1987.Secrest, Meryle. Stephen Sond-heim: A Life. New York: Delta, 1999.


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Co-director Robert Wise invited Robbins to view footage done in his absence so that he could still provide feedback. They must have done something right; Miller explained that: “It wasn’t until the re-lease of the 1961 film version that the [‘West Side Story’] finally captured the hearts of the public.”

The Musical ScoreLeonard Bernstein composed and

conducted classical music, as well as musicals and operas. Bernstein not only composed the music for “West Side Story” (and lyrics, although uncredited) but also for the musicals “On the Town,” “Wonderful Town,” and “1600 Pennsyl-vania Avenue.” He also composed the operas “Trouble in Tahiti,” “Candide,” and “A Quiet Place.” Stephen Sond-heim has been a prolific contributor to Broadway for numerous musicals as both composer and lyricist. Some of his most famous musicals include “Gypsy,” “A Funny Thing Happened on the Way to the Forum,” “Anyone Can Whistle,” “Do

I Hear a Waltz?” (with Richard Rodgers), “Company,” “Follies,” “A Little Night Music,” “Sweeney Todd,” “Sunday in the Park with George,” “Into the Woods,” “Assassins,” and “Passion.”

What makes “West Side Story” so phenomenal? Many have argued that the songs in the jazz-influenced score are its strength. Most of the songs from “West Side Story” are considered standards and familiar to so many uni-versally. Some of the most recogniz-able songs of any musical are found in the “West Side Story” score: “The Jet Song,” “Something’s Coming,” “Ma-ria,” “I Have a Love,” “One Hand, One Heart,” “Somewhere,” “Quintet,”

“Cool,” “Gee, Officer Krupke,” “A Boy Like That,” and “I Feel Pretty.” Certain-ly, the musical score greatly contributed to its status. Miller believes that: “Bern-stein’s music is heavily jazz inspired and, here and there, borderline rock.”

An interesting fact about the film “West Side Story” is that several of the principal actors had their singing parts dubbed by professional singers, at the in-sistence of associate producer Saul Chap-lin. Natalie Wood prerecorded the songs sung by “Maria,” yet in the final film, fa-mous ghost singer Marni Nixon looped in the singing voice of “Maria.” Interest-ingly, Nixon also dubbed Rita Moreno’s vocals in the song “Quintet.” Betty Wand did the singing for “Anita” for the song “A Boy Like That” because of the very low register to very high range required by the song. Jim Bryant dubbed Richard Beymer’s singing, and Russ Tamblyn’s lead vocal in “The Jet Song” was done by Tucker Smith (who played “Ice” in the film). Nixon is also famous for doing the singing for Deborah Kerr in the 1956 movie musical “The King and I” and for

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Audrey Hepburn in the 1964 movie mu-sical “My Fair Lady.”

The “West Side Story” soundtrack was the best-selling U.S. album of the 1960s. It spent 54 weeks at #1 on Billboard’s album charts and won a Grammy Award for “Best Sound Track Album Original Cast.” Monush observed that the music of “West Side Story” appealed to both adults and teens. The soundtrack also created new-found interest in the Broadway cast album, which also leapt in sales and returned to the Billboard charts. Monush maintains that the “West Side Story” soundtrack held the number 1 position “longer than any other soundtrack album or album of any kind in recording history.”

Score and Libretto Activities The jazz-style music of “West Side

Story” can undoubtedly enhance the vo-cal and instrumental music curriculum. A number of interesting activities are possi-ble that treat the “West Side Story” score and libretto outlined below. • Keeping score: Students listen careful-

ly to the background score. Students identify what melodies they hear in the background score that Irwin Kos-tal and Sid Ramin so carefully utilized in various scenes in the film version (see Miller 1996 for further discus-sion).

• Identify the tune!: Using the film’s overture and the closing title music, students identify the melodies they hear from the “West Side Story” score.

• Who’s Really Singing?: Besides using ghost singers in “West Side Story,” a number of musicals used

the same approach. Students could investigate to see who really sang for the actors and actresses. A rele-vant tie-in is the MGM movie mu-sical Singin’ in the Rain, all about the emergence of talky films in the late 1920s, and the need for voice doubles for non-singing actors.

• Act it out!: Working with the Laurents libretto (script), students act out select scenes.

• Hit it!: Students perform “West Side Story” songs with piano or other ac-companiment or a cappella or instru-mental versions.

• And now for our feature presentation: Students view the film in class or at a special screening.

• Now on stage: Students see a stage production of the show.

• Write it down: Students write about their favorite song from “West Side Story” or some other aspect of the show or score.

• Rapping: Students discuss the show’s score in cooperative groups. Each group could analyze a different song

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or compare different versions of the same song.

• Musical Analysis: Using Scott Miller’s analysis of “West Side Story,” teach-ers can help walk students through the music of “West Side Story.” For example, Bernstein used many minor chords and the lowered third and sev-enth scale degrees, common to jazz and blues music. He also used “hemi-ola,” setting a duple time melody against a triple time accompaniment, or three against four, etc. Bernstein also based his entire score on the tri-tone (the musical interval of a raised

fourth). Bernstein, “to great advan-tage” according to Miller, uses the use of this dissonance that often indicates danger or evil. The tritone is used in almost every song of the “West Side Story” score, but especially in songs that reflect Tony and Maria’s romance (“Maria,” “Somewhere”).

• Vocal versus Instrumental: In “West Side Story,” in addition to the songs with lyrics, much instrumental mu-sic is used and could be analyzed by students. Thus, both vocal and instru-mental music teachers and students can analyze the score.

• “Tonight” and Balcony Scene: “To-night” is staged on a fire escape in “West Side Story.” In “Romeo and Ju-liet,” a balcony is used. Students could undertake a comparison of these two key scenes.

• “America”: Students could investigate the Puerto Rican immigration wave in 1950s United States and analyze as-pects of Puerto Rican culture, music, and dance.

• “Quintet”: Students could analyze the “Quintet” song involving the Jets, the Sharks, Tony, Maria, and Anita. How does this song fulfill the role of a turn-ing point in the story?

• Compare and Contrast: Students could compare various recordings of the “West Side Story” score, especially the Broadway cast, London cast, film soundtrack, the 1985 Bernstein studio recording, and The Songs of “West Side Story” recorded by popular re-cording artists such as Selena, Phil Collins, Aretha Franklin, and Little Richard. Specific songs could be as-signed to individuals or groups. Stu-dents could consider the key signature (are any songs in a different key?) and orchestration (is it similar or different? How so?) A few songs in the stage ver-sion are positioned differently in the film. Why was this done?

Conclusion“West Side Story” is both one of the

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SBOTechnology: Music Tech Workstations

By John Kuzmich, Jr.

Whether building one’s first student workstation or

thinking of updating or adding to existing modules,

it’s a good idea to enlist the help of a solid music

technology specialist. I recently talked with a few mu-

sic tech experts who have offered great advice and suggestions for

designing and building music workstations: Mike Klinger of The

Synthesis Midi Workshop (midiworkshop.com); Kelly Demoline

of Kelly’s Music and Computers (kellysmusicandcomputers.com);

Jim Frankel of SoundTree (www.soundtree.com); Chris Rutkows-

ki of Sweetwater Sound, Inc. (www.sweetwater.com); and Peggy

Morales of Romeo Music (www.romeomusic.net).

Building a Cutting-Edge Music WorkstationDr. John

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

For more information, visit www.kuzmich.com.

Before making any concrete plans, Peggy Morales suggests first answering sev-eral questions to determine specific needs. Consider what the music workstation will be used for. Will it be used:• Tocomposeoriginalmusicorarrangemusicforbandororchestra,createstu-

dent exercises and worksheets, and transposing?• Touse theworkstationwith interactive software such as SmartMusic,Au-

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• To recordmusic – concerts or re-hearsals,accompaniments tomakepracticemusicfiles,assessment re-cording for grading and chartingstudent growth?Will the studentsto also use theworkstation to re-cord their ideas and do project-basedlearning?

• Toworkwithvideosandbeabletoedit, combinewithmusicandcre-atequalitymusicvideos?

An honest reality check will helpestablishthefactsneededtomakethemagic happen. Educators should berealistic about their experience andcomfort levelwith technology.Otherfactorstoconsiderincludehowmuchspacethere isworkwith intheclass-room,aswellashowmuchmoneyhasbeenbudgeted for thisproject. “Oneteacher’sdreamworkstationisanoth-er’snightmare,”warnsPeggy.“Keepitsimple. Whatever you choose, makesureitcangrowandchangewiththeever-changing technology world, yetbe simple enough that anew teachernextyearwouldalsobeabletounder-standanduseit.”

Workstation Components• Awell-designedmusicworkstation

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• Instructionalsoftware;• Technicalsupport.

And that’s not including criticalextrassuchasmicrophones,headsets,speakers,furniture,cables,andmore.

While newer computers allowmorepowerful softwareapplications,oldercomputerscandelivergreatper-formance if the components arewellplanned. Because we have so manyinteresting variables tomix and inte-grate,careneedstobegiventoplan-ning,especiallywhencombiningnewand old components. With that inmind,thebestwaytogetstartedistofirstdevelopamasterplanthatensurestheentiresystemiscompatible,within

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budget, and has the appropriate level of technical support.

Over and over again, modular com-ponent devices were recommended by our panel of experts due to the ease of upgrading such systems. “Class-compliant” was another highly rec-ommended consideration. This is also referred to as “plug in-play,” which means drivers are automatically in-stalled and fully compatible with the entire workstation system. This is valuable because it means applications

can be used right “out-of-the-box,” with no special installations require-ments – just a USB port connection to the computer. Jim Frankel says that class-compliant hardware is a safe standard for beginning and interme-diate level workstations, adding, “As you know, this is almost never an issue with Macs, but does pose a problem with most PCs (especially in terms of what operating system it is running). It is safest to assume that most PCs will require some type of driver to con-nect.” Class-compliant hardware alle-viates this situation.

Frankel also mentions the advan-tages of defining music workstations in terms of how they’ll be used. He asks, “Recording/audio editing? Sequenc-ing? Ear training/theory software? No-tation? Keyboard skills development? Identify your needs for each music workstation and look at what prod-ucts/applications are pertinent. The main thing is to design a workstation intelligently so that it can serve the teacher and students without the need to upgrade constantly, yet remains rea-sonably affordable. Modular appears to be the answer because upgrading is easier than a fixed workstation.”

Chris Rutkowski of Sweetwater

Sound, Inc. agrees that the best solu-tion is often a modular system that is class-compliant and open-ended for expansion. He notes that there are three workstation levels: entry-level; most bang-for-the-buck; and ad-vanced. “It’s important to first teach educators concepts before simply sell-ing a sophisticated advanced-level mu-sic workstation,” Chris says.

Some schools, like Carmel High School in Indiana, which has an incred-ible orchestra that can play Stravinsky,

can support advanced level workstations. “Advanced lev-el workstations could also be geared toward specific needs of the music teacher,” notes Chris. “For example, advanced audio recording or elastic audio to fix rhyth-mic problems, the making of CDs for sale, video editing for making promotional DVDs or editing a clip to send to You-Tube, or using marching band

software. At the advanced level, the emphasis is on specialization.”

Digital KeyboardsA major advantage of a class-

compliant MIDI keyboard is it has no sound latency from the keyboard input to the sounds produced by the computer; the keyboard simply con-nects to the computer with a USB cable. If the MIDI keyboard doesn’t have a USB port, consider purchas-ing a MIDI-to-USB converter, which connects older MIDI keyboards with game-port connections to the com-puter. This will also eliminate latency between the keyboard’s input and the computer’s sound card, enabling play-back output with no sound delays. But a USB-to-MIDI converter is not required in most cases, since most of the newer recommended keyboards all have USB port connections and are class compliant. Just plug them in and they will work.

Dumb keyboard terminals or key-board controllers (without speakers and amplification) are recommended instead of units with speakers and am-plifier because amplification is not re-quired in a classroom situation when students primarily use headphones.

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These can result in significant cost sav-ings. Kelly Demoline recommends the GarageKey 37 keyboard by Miditech with desk stands that place the key-board above the alphanumeric key-board.

Kelly gives due consideration to the furniture situation, especially for those working with a limited bud-get. He says, “It makes sense to try to avoid spending money on furniture. While most people look to purchase large MIDI keyboards with 49, 61 77, or even 88 keys, consider a smaller keyboard that might fit alongside a

computer keyboard on a regular desk. These are also cheaper, meaning that money saved can be spent on more important things, such as software or hardware.”

Another model Kelly recommends for school use is the MidiStart Music 25. “A bit smaller than the GarageKey, and it uses aluminum construction, making it very durable – a great solu-tion for schools that need to put the keyboards away instead of leaving them out in the computer lab. It is also class-compliant and, unlike most USB MIDI keyboards these days, it also

has standard game-port MIDI con-nections. This is important because it means it can be used without a com-puter, for those that have a MIDI sound module. It also can be used as a MIDI interface with computer to connect other MIDI devices, such as a MIDI sound module.”

Mike Klinger at the Synthesis MIDI Workshop recommends the M-Audio KeyRig 49 keyboard, with its profession-al feet and excellent touch response. It is class compliant and probably the most ergonomic keyboard on the market, and priced right. He says, “I know a lot of

Mike KlingerThe Synthesis MIDI Workshop

Kelly Demoline Kelly’s Music and Computers

Jim Frankel SoundTree

Chris RutkowskiSweetwater Sound

Peggy MoralesRomeo Music


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teachers who get the 25-key version, but then they call back and wish they had gotten the 49-key instead.” Mike uses the M-Audio KeyStudio 49i in his work-shop lab. It is the first keyboard with a built-in audio interface. It also has two headphone “outs” for students to share or teacher to listen. It even has a built-in Steinway Grand Piano sound.

Audio InterfaceBy connecting a microphone, guitar

or any line-level device through an au-dio interface for recording vocals, guitar, voiceovers, or more, a music worksta-tion can be considerably enhanced when combined with digital sequencers and MIDI keyboards. Kelly Demoline likes the AudioLink II, a great example of an audio interface designed for schools. He says, “It is a class-compliant USB audio interface made from aluminum instead of plastic, so it should fare much better in a school situation.” He recommends using it with GarageBand for Macs and Mixcraft for PCs.

General MIDI Sound Module and/or Virtual Instruments

A General MIDI Sound Module will completely eliminate latency and allow you to use your MIDI keyboard without a computer, pro-

vided it has a MIDI out. Mike Klinger thinks external

sound modules are a thing of the past, and says there are not many, if any, left on the market. His ra-tionale is that the current trend in making music with a computer is to buy the appropriate sound library of virtual instrument software that suits the desired style: classical, jazz, pop, rap, and so on. By using virtual instruments to avoid the latency is-sue, it is easier to connect with the software.

Kelly Demoline recommends the Pianobox, an affordable General Music sound module made of alu-minum that also has some built-in drum patterns and an audio input. He suggests, “You only need one set of speakers or headphones – take the audio-out from your computer and use the audio in on the PianoBox, plus the outputs from the PianoBox to headphones/speakers – no other MIDI module has this feature, so you don’t end up having to use a

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mixer. While it doesn’t sound near-ly as good as Roland’s SD-50, it is much less expensive and is General MIDI compatible. This means it will work with anything and there’s no programming required. Those who might want to go beyond the 128 GM sounds, such as those in the SD-50, will have to start programming software or hardware to access the additional sounds.” More informa-tion can be found at www.miditech.de. Important note: neither Finale nor Sibelius requires a powerful CPU or a lot of RAM if being used with the built in synths; this means that teachers can use older com-puters when using a General MIDI sound module. Newer computers can go in either direction for their playback sounds: hardware driven with a sound module or software-driven with abundant RAM and CPU power to successfully play vir-tual instruments.

Software ApplicationsThe most versatile component of

a music workstation deals with soft-ware applications. The wide array of applications – and pricing – al-lows budgets to be used efficiently and effectively. Popular software options to consider for workstation are applications for:• Notation: the basics from free-

ware to Finale and Sibelius• MIDI sequencinganddigital au-

dio: Audacity to Mixcraft, Ga-rageBand

• Musictheoryandauraltraining:Auralia, Musiton, Essentials of Music Theory

• Filmscoring:fromentry-leveltointermediate

• Performance: Band-In-A-Box,SmartMusic

• GeneralMusic:AvidGroovyMu-sic (Elementary), MIDIsaurus, Sibelius Instruments, StarClass and a host of others such as O-Generator Learn to Compose, O-Generator World Music, and Secret Composer. For younger students, consider Morton Sub-otnick’s titles.For more software suggestions, go

to www.kuzmich.com/SBO092011.

Technical Support“An all too common scenario is

playing the ‘pass the buck’ game when it comes to solving technical support problems,” cautions Jim Frankel. “For example, you start experiencing drop outs when us-ing a great new plug-in. You contact the support team for the plug-in developer and they claim the prob-lem must be with the Digital Audio Workstation (DAW) or host you are using. So you check with them, and they never get back to you, but you read on a forum that it could be a problem with your audio interface. You pay for a support ticket with the manufacturer of your audio inter-face and they blame it on the chip-set on your motherboard. You fire off an email to Taiwan and a few months later the reply is that Mi-crosoft is at fault. You finally reach someone at Microsoft that knows what they are talking about – and guess what, they blame it on your plug-in!”

No matter how new or powerful a workstation may be, it is essential to have good tech support read-ily available for both hardware and software. Unfortunately, most com-puter manufacturers can’t provide knowledgeable support and assis-tance on music-related technology. For this reason, Kelly Demoline rec-ommends Rain Computers, which were specifically designed for mu-sic. Rain Computers offer a three-year extended warranty and support contract, which means there is only one number to call for all hardware and software assistance. Here is what Kelly posted on his blog about the value of their technical support:

“Rain can be found at the Rain-Care Encompass Support. For an extra $300, you get a three-year hardware warranty, plus a three-year support contract. Rain helps you get to the bottom of the issue and back to work quickly. By taking accountability for the complete creative computing so-lution, Rain becomes a single point of contact – no more getting passed around by tech support from differ-

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ent companies. The RainCare Support network is uniquely designed to solve issues common to audio and video pro-duction. By email, phone, and Rain-Care Remote Login Support, they will help diagnose the issue, solve it, and let educators get back to what’s really im-portant. With the RainCare Encompass there is only one number to call, and they solve the problem – well worth the $100 a year!”

Kelly also suggests seeing what the in-school IT department can handle. “Either you meet their re-quirements and they support you or you go your own way.”

ExtrasSpeakers for classroom dem-

onstrations are essential. Mike Klinger loves the Roland BA-330 stereo-powered speaker, which

can run on batteries. This speaker de-livers high-performance sound that defies its size. The speaker system contains a digital stereo amplifier that drives four 6.5” stereo speakers and two tweeters for wide stereo projec-tion.

Microphones are also important for recording acoustic in-struments and voices. Mike likes the Yeti Pro microphone be-cause it is the first USB microphone combining 24 bit/192 kHz digital record-ing resolution with analog XLR output. It features three cus-tom condenser and four different pattern settings. And best of all it can capture digi-tal audio with up to four times the clarity found on CDs.

Closing CommentsWhen music workstations are tai-

lored for instructional needs, they can help create experiences that students will never forget. These tools help teachers and students explore learn-ing in exciting and creative ways and, most importantly, have fun learning something new. Thanks to Peggy Mo-rales, Jim Frankel, Kelly Demoline, Mike Klinger and Chris Rutkowski for sharing their expertise!

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SBOStaff Selections

Balancing musical quality, technical difficulty, and fun is the

challenge as we turn our attention to the holiday season.

The lighter selections are plentiful, but with so much time

spent preparing music for the December concert, it’s not

easy to find music that propels the curricular aims forward at the

same time.

By Peter J. HaBerman

Holiday Selectionsfor the High School Band or Orchestra

Visit SBO online at www.sbomagazine.com for previews of these pieces, as well as direct links to publisher websites.

Christmas DayGustav HolstBand: Arr. by Larry Daehn (Daehn Publica-tions); String orchestra: Arr. Douglas Wagner (Alfred Publishing/Belwin Division)Grade: 4Duration: 6:15

This work, originally written in 1910 for choir and orchestra, has been reworked for both band and orchestra. Holst masterfully blends variations on In dulce jubilo with God Rest Ye Merry Gentlemen, Come Ye Lofty, Come Ye Lowly, and The First Nowell. The tex-tures are wonderful; he jumps between carols and even stacking them atop each other! The work is in 3 flats, yes even the string orchestra version, but it is worth the effort. If the above work is too difficult, there is also a grade 3 work entitled A Holst Christmas also arranged

Here are both standard and new selections that would be great for the next holiday con-cert. The difficulty range is mostly grade 3 and 4, and some of the works are available for either orchestra or band.

StaffSelections(Print).indd 56 8/30/11 9:59 AM

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by Douglas Wagner which has a version for band, and string or full orchestra. Though a completely different piece, it is worth listening to as well.Publisher link: (Band) jwpepper.com; (Orchestra) www.alfred.com

Audio Link: www.alfred-music.com

A Christmas FestivalLeroy Anderson (Alfred Publishing/Belwin Division)Grade: 4Duration: 6:45

This is a must have for the library. The medley is enjoy-able for students and an au-dience favorite. A Christmas Festival is available for band or full orchestra (though in differ-ent keys), and each ensemble publication has optional SATB choral parts. A larger work which can challenge an en-semble’s endurance, it includes all of the following tunes: Joy To the World; Deck the Halls; God Rest Ye Merry Gentlemen; Good King Wenceslas; Hark! The Herald Angels Sing; Silent Night; Jingle Bells and Adeste Fideles. If the work is too de-manding or there is not a full orchestra to work with, there

are also several grade 3 arrangements for band and string orchestra.Publisher Link: www.alfred.com


Coventry CarolRichard Saucedo (Hal Leonard Corporation)Grade: 3Duration: 3:30

This work for band is a slower and melodic setting with a medieval feel. Saucedo’s arrangement of the English carol features the upper wood-winds throughout the work with prominent melodies, counter-melodies, and more technical demand than the rest of the ensemble. There is even an optional part for recorder to add to the ancient sound.Publisher Link: www.halleonard.com

Audio Link: www.halleonard.com

Dance of the TumblersNicolai Rimsky-KorsakovBand arr. Terry Vosbein (Neil A Kjos Music Co)

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Orchestra arr. edited by Carl Simpson (Masters Music Pub-lications Inc) Grade: 5Duration: 4:30

This excerpt from Rimsky-Korsakov’s opera “The Snow Maiden” will be a great showcase work for a top orchestra or band. Unison technical demand is required for all sec-tions, especially the low instruments. The work can take a variety of tempos from upbeat to burning fast and be used as an opener or closer. Every section in the ensemble will enjoy this musical and technical challenge. Sandra Dackow has two arrangements for grade 3 string and full orches-tras available through Tempo Press for younger orchestras as well. Publisher Link: jwpepper.com

Audio Link: jwpepper.com

Festival of LightsBud Caputo (Alfred Music Publishing)Grade: 3Duration: 5:30

This string orchestra arrangement of six Chanukah songs is so well done; every orchestra should program it on the next holiday concert. The medley of: Maoz Tsur, Oseh Shalom, Svivon, Mi Yamaiel, Chanukah, and My Dreydl was written with younger players in mind, however even advance groups will enjoy the musical experience this set-

ting provides. The piece will help develop all aspects of an ensemble’s musicality with its wonderful moments of lyri-cism, harmonic tension, and upbeat joy. This work is a great way to make a winter concert inclusive of multiple holiday traditions.Publisher Link: www.alfred.com


Greensleeves Alfred Reed (CL Barnhouse Company)Grade: 4Duration: 3:45

A standard in the band reper-toire, the Alfred Reed setting of Greensleeves will provide both reflective beauty and gran-deur to a December concert. The piece is technically a grade 3, and is approachable by younger ensembles, but is worth rehearsing with the most mature musicians as well.Publisher Link: www.barnhouse.com

Audio Link: www.barnhouse.com

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ImaniSean O’Loughlin (Carl Fischer LLC)Grade: 3Duration: 5:30

Imani, which means “faith,” gets its name from the sev-enth day of Kwanzaa. This work for band features great percussion writing and a piccolo solo, and the ensemble has the opportunity to sing! The piece travels from seri-ous and reverent to a joyful and celebratory dance. It is a work that is on the upper end of grade 3 and will require the attention to detail of any festival selection. Balance, rhythmic awareness, and musical arrivals are all tools on which a director will be able to work. Imani is a great op-portunity to include multicultural awareness on a winter concert. It will be well received by the audience, pose a musical challenge to an ensemble, and be worth the effort required.Publisher Link: jwpepper.com

Audio Link: jwpepper.com

O Magnum MysteriumMorten Lauridsen, arr. Sandra Dackow (Peer Music Clas-sical)Grade: 4Duration: 6:15

Now available for strings, this choral masterwork is a “must-do” experience! The beautiful piece can be pro-

grammed any time of year, but is a serious addition to the holiday concert that will give a director many weeks of deep musical material to access with their students. Lauridsen’s colorful harmonic palette and long vocal lines will challenge the ensemble both technically and musically.Audio Link: jwpepper.com

Russian Christmas MusicAlfred Reed, transcribed by Clark McAlister (Sam Fox, Inc.)Grade: 5Duration: 15:45

After being transcribed for orchestra, this epic work is available for both mature bands and orchestra. Using litur-gical music from the Eastern Orthodox Church and an an-cient Russian Christmas Carol, Reed has produced a monu-mental work that features an extended English Horn solo and all brass players. This powerful masterwork pulls out all the stops at the end and is a perfect way to close a holiday concert!Publisher Link: www.alfred.com


A Vaughan Williams ChristmasDouglas Wagner (Alfred Publishing/Belwin Division)Grade: 3

Duration: 4:30Get the entire music department involved in this one!


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Bands, orchestras, and choirs can all participate in the performance of these carols harmonized by Vaughan Wil-liams. Forest Green (O Little Town Of Bethlehem); Wassail Song and Sussex Carol have been beautifully set in flow-ing pastoral, and simple yet elegant ways. Douglas Wagner has arranged each ensemble’s part to be performed separately or in any combination. Publisher Link: www.alfred.com


A Winter’s CarolMark Williams (Alfred Music Publish-ing)Grade: 4Duration: 3:45

This wonderful arrangement for band sets O Come, O Come Emman-uel in a way that will leave everyone impressed. The audience will love the new, yet tasteful counterpoint of this classy setting. The students will enjoy the many moods they have the oppor-tunity to explore, from somber and re-spectful to heroic and grand. And the director will have a piece to work on expression, sound, and beauty.Publisher Link: www.alfred.com

Audio Link: www.alfred-music.com/player

Visit SBO online at www.sbomagazine.com

for previews of these pieces, as well as direct links to publisher websites.


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two finishes: Deep Yellow and White. They’re sold with a heavy-duty, fully height-adjustable, double-braced, double conga stand, making the total package an even greater value for be-ginners, hobbyists, and budget-con-scious pros alike.www.tocapercussion.com

Guitar Apprentice by Legacy Learning Systems

Award-winning multimedia and new technology company Legacy Learning Systems recently unveiled Guitar Apprentice, a new product that combines the technology and in-teractivity of video gaming with the use of each student’s own guitar, set to different levels of skills. A begin-

ner player can now plug in a gui-tar and learn how to play while en-gaging in an on-screen environ-ment that supplies a fast, easy, and fun instructional platform. Some of the world’s best known songs are included in Gui-tar Apprentice,

including such hits as “Hey Jude,” “Sharp Dressed Man,” and “More Than a Feeling.” The higher the level achieved throughout the experience, the more of each song a guitar player will play.

Guitar Apprentice offers 15 levels for each song provided, guiding the student through a non-intimidating environment that shows chords and strings on the screen.www.guitarapprentice.com

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

Saxophone CDs (many more – see www.crystalrecords.com)CD656: KENNETH TSE. “Tse plays with seductive tonal beauty...& sheer vir-tuosity.” (Amer. Rcd. Guide) Sonatas by Feld & Muczyns-ki; Bernstein, West Side Story Medley; plus Heiden, Moros-co, Kaufmann, & Benson.

CD655: HARVEY PITTEL. “master of his instrument” (N.Y. Times) Dahl, Concerto; Creston, Sonata; Ibert, Concertino da Camera; Maurice, Tableaux de Provence; Albinoni, Concerto; Rachmaninov, Vocalise.

CD659: KEITH YOUNG. “a master of the saxophone, an artist of the first order” (Saxophone Journal) “superb & delightful music” by Villa Lobos, Nelson, Bonneau, Koechlin, del Borgo, Honda, Piazzolla, & Wiedoeft.

CD653: BILL PERCONTI. “creamy smooth tone” (Amer. Rcd. Guide) Bozza, Im-provisation et Caprice; Gersh-win, 3/4 Blues & Promenade; Hovhaness, Suite; Massias, Suite; Grant, Duo 1 Point 5; Noda, Improvisation III.


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AdIndexCOMPANY NAME E-MAIL/WEB ADDRESS PAGE #Alfred www.alfred.com 49All American Music Festival www.allamericanmusicfest.org 38American Way Marketing www.americanwaymktg.com 52BandToday.com www.BandToday.com 69Bari Woodwinds www.bariwoodwinds.com 48Berklee College of Music www.berklee.edu 7Bob Rogers Travel www.bobrogerstravel.com 8Burkart-Phelan www.burkart.com 47Cascio Interstate Music Company www.interstatemusic.com 21Charms Office Assistant www.charmsmusic.com 65Columbus Percussion www.columbuspercussion.com 51Crystal Records www.crystalrecords.com 67D’Addario & Co. www.daddario.com 33Disney Performing Arts OnStage www.DisneyPerformingArts.com 9Distinguished Concerts International www.DCINY.org 60EMD www.benz-reeds.com 58EPN Travel Services www.epntravel.comm COV 4Executive Systems West www.quickhornrinse.com 40Festivals of Music/ www.educationalprograms.com Cov2-1Fiesta-Val Music Festivals [email protected] 23Five Towns College www.ftc.edu 66Fobes Clarinet Products www.clarkwfobes.com 65Full Compass www.fullcompass.com 24Gator Cases www.gatorcases.com 18Good for the Goose Products www.chopsaver.com 67Hawaiian Music Festivals www.himusicfest.com 67Hunter Music Instrument Inc. www.huntermusical.com 40InterCulture Association www.ica-us.org 12Jazz at Lincoln Center www.jalc.org 22KMC Music, Inc www.kmcmusic.com 50KMC Music, Inc www.kmcmusic.com 54Korg www.soundtreeinstitute.com 45Krispy Kreme Donut Corp. www.krispykreme.com 34Ludwig MusicMasters www.ludwigmasters.com 42Manhasset Specialty Co. www.manhasset-specialty.com 64MarchingBandPlumes.com www.MarchingBandPlumes.com 69McCormick’s Ent. Inc. www.mccormicksnet.com 13Mighty Bright www.mightybright.com 58MusicFactoryDirect.com www.musicfactorydirect.com 46North American Saxophone Alliance www.saxalliance.org 57Pearl Corp. www.pearldrum.com 3Performing Arts Consultants www.usafest.org 17, 19Peterson Strobe Tunerstants www.petersontuners.com 39Rada Mfg. Co. www.RadaCutlery.com 41Rivar’s www.rivars.com 46Rovner Products www.rovnerproducts.com 52Row-Loff Productions www.rowloff.com 25Super-Sensitive Musical String Co. www.cavanaughcompany.com 51United States Marine Band www.marineband.usmc.mil 5Vanderbilt University www.vanderbilt.edu/blair 37Vandoren www.dansr.com 61Vandoren www.dansr.com 35Verne Q. Powell Flutes, Inc. www.sonarewinds.com 11Vic Firth Company www.VicFirth.com 26Vic Firth Company www.VicFirth.com 27West Music www.tjflutes.com 59Woodwind & Brass www.wwbw.com 30World Strides Perf. Div www.heritagefestivals.com 55World’s Finest Chocolate Inc. www.WorldsFinestFundraising.com 43Avedis Zildjian Co. www.zildjian.com 31

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LOUISVILLE, KYTHE 3RD ANNUALSAVE THE DATE

JEN CONFERENCEJanuary 4-7, 2012

Developing Tomorrow’s Jazz Audiences Today!

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

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

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

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

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

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www.jazzednet.org

SBO_COV4 COV4 8/30/11 9:27:37 AM

www.festivalsofmusic.com

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