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1 IDAHO MUSIC NOTES Volume 56, Number 1 of 3 A publication of the IDAHO MUSIC EDUCATORS ASSOCIATION A State Unit of NAfME: The National Association for Music Education FALL 2015 Biennial Inservice Conference! Idaho All-State Groups! February 11-13, 2016 Idaho State University Pocatello, Idaho pages 6-10 Amazing Articles! Advice for New (& Old) Teachers pages Learning to be a Music Teacher page 16 Marine Band Resources page 17 Focusing on Music Fundamentals page 22 INSIDE! President s Page...6 JOIN IMEA/NAfME...7 Conference & All-State New Music Standards...14 INSTITUTIONAL MEMBERS...15 In Memorian Linda Berg..21 Fall Board Minutes...24 Advertiser News...26 Do You iyerp??...27 College/University News...28 Scherzo & MORE! e e Register today! pages 8-10

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4 OFFICERS & COMMITTEE CHAIRS e Ron Curtis, President 1407 E Homedale Rd, Caldwell, ID Vallivue High School e Wayne Millet, Webmaster/President-Elect 1677 S 2750 W, Aberdeen, ID 83210; W/ H/FAX ; e Curt Griffiths, Past-President 7814 Birch Ln, Nampa W/ H e Eric Skidmore, Secretary 190 E. Walker St, Blackfoot, ID Cell: ; School: (208) e Kevin Howard, IHSAA Representative Twin Falls HS, 1615 Filer Ave E, Twin Falls, ID 83301; Home: ; cell: ; Fax: e Camille Blackburn, President, NW NAfME, 659 Marjorie Avenue, Idaho Falls ID 83401; H/ W; e Karen Goodrich, State/Business Manager 1412 Clearwater Way, Twin Falls, ID H; C; e Eva Hale, State Solo Chairman Buhl High School, 1 Indian Territory, Buhl ID 83316; e Ted Hadley, Publications 824 Northview Dr., Twin Falls, ID e Peggy Wenner, Coordinator, Arts and Humanities, SDE, P.O. Box 83720, Boise, ID ; H , W e Research Chair: Lorie Enloe, University of Idaho, Room 206, Moscow, Id e Collegiate Chair: e Gale Maxey, Retired Members 8440 Golse Drive, Boise, H e All-State Orchestra Chair: Matt Fiorentino, Renaissance High School 1307 E Central Drive Meridian, ID e All-State Band Chair: Aaron Marshall, Marsh Valley HS, e All-State Mixed Choir Chair: Lindsay Lowe, Centennial HS, e All-State Mixed Choir Chair: Joyce Brien, Century HS, e All-State Site Manager: Colin Brien, Century HS, e Exhibit Chair: Jeff Davis, Western Idaho Community College e Collegiate Chair: Judy Marlett e Elementary Chair: Shirley Van Paepeghem e Middle Schools Chair: Michael Hall/ Glenda Bernhardt/Samantha Sabrowsky e Small Schools Chair: Kathy Stefani e Band Chair: Phil Hoesing/Kevin Sullivan e Choral Chair: Steve Dresen, ACDA e String Chair: Kevin Howard, ISTA e Technology Chair: José Rodriguez e Higher Ed/Research Chair: Lorie Enloe e NAfME: Exec. Director Michael Butera, Toll-free/ ; Glenn Nierman, President, Lincoln, Nebraska; Denese Odegaard, President-elect, Fargo, North Dakota CONTENTS President s Page...6 C0me to the Conference...6 JOIN IMEA/NAfME...7 Registration FAQ/Form/All-State News Specialist s Space: New Music Standards...14 IMEA Institutional Members...15 Blackburn: Learning to be a music teacher...16 Marine Band Resources...17 Granlie: Sage Advice for New (& Old) Teachers...18 In Memoriam Linda Berg...21 Tornello: Focusing on Music Fundamentals...22 IMEA Board Minutes...24 Advertiser News & Announcements...26 JW Jackson Fund: Do You iyerp??...27 College/University News...28 Scherzo! The mission of IMEA is to promote and advance music education in all Idaho schools, to foster personal and professional growth of music educators, and to standardize and enhance musical opportunities for all students throughout the state. DISTRICT PRESIDENTS e District I President Mark Sescilla PO Box 1314, Rathdrum, ID 83858l; ; e District II President Joel Pals Moscow HS, 402 E. 5th St., Moscow, ID School: ; Fax: e District III President Dawn Sandmeyer P.O. Box 340, Marsing, ID Home: ; Phone: ext 297; Fax: e District III Vice-President David Burton 9119 W Cory Ln, Boise ID ; H ; W ; Boise High School e District IV President Max Stimac Wood River High School, 1250 Fox Acres Road, Hailey, ID 83333; Home: ; School: ; Fax: e District V President Beth Buxton IDAHO MUSIC NOTES Official Publication of the Idaho Music Educators Association A State Unit of NAfME: The National Association for Music Education FALL 2015 Volume 56, Number 1 of 3 Idaho Music Notes is published three times yearly November, February, & May Subscription price is included in IMEA/MENC dues. Non-member subscription rates $10.00 per year. Complimentary subscriptions available for sponsors and, upon request, to Idaho principals & school adminstrators. SPONSOR DEADLINES SEPTEMBER 15, DECEMBER 15 & APRIL 1; RATES ON REQUEST. EDITOR & MANAGER TED HADLEY, 824 Northview Drive, Twin Falls, Idaho H / ext 4377 W / FAX / NAfME: The National Association for Music Education and Idaho Music Educators Association are voluntary, non-profit organizations representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Second class postage is paid at Twin Falls, Idaho Postmaster: Send address changes to Idaho Music Notes, 824 Northview Drive, Twin Falls, ID Idaho Music Educators Association e District VI President John Anderson Salmon School District #291, 401 S Warpath, Salmon ID , H ; W ; w w w w w w SPONSORS INDEX These are the people who keep our state dues low and enable us to put out a quality magazine please support them. AAIIRR Acoustics...14 Blue Rider Music...12 Boise State University Blue Thunder Marching Band...2 Boise State University...3 BYU-Idaho...13 Brigham Young University...31 Central Washington University...25 Chesbro Music...26 College of Idaho...5 College of Southern Idaho...16 Greif s Music...14 Idaho Orff...28 Idaho State University NAfME...7,20 OAKE...23 Treasure Valley Community College...30 University of Idaho...31 University of Portland...27 Willamette University...31 World s Finest Chocolate...24 Yamaha...back cover Editor s Desktop Whew! Where did the Fall go! Here s your guide to All-State & Conference & lots of great articles and news. Forgive the lateness! Ted Hadley, Editor w w w w w w e Gemstate District President Joel Sandford FALL 2015 Idaho Music Notes 4 e

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6 President s Page Ron Curtis Exciting Times! I always loved it when a principal or superintendent would say in a meeting these are exciting times and yet no one else in the room was really that excited. So, I am entitling this message Exciting Times! If you are wondering why, it is because I feel that for IMEA these are exciting times. In early October, our IMEA Board along with each District President or Representative gave up a few days to discuss IMEA and where we are headed. I get to say it is exciting because in my fourth year in the Presidency cycle, I am seeing things changing in a dramatic way that will make an impact on our members but most importantly our students. At the fall meeting we discussed the new format for All State every year. There was a great discussion on what will be needed in order to keep the All State wheel moving year after year. It takes a great group of volunteers to make that event happen and now that it is annual, we have to make sure that we are spreading the wealth and not bogging down a handful of people. I am proud of the discussion that was held and the level of participation from every part of our state. Another item that we are piloting this year is including String Ensemble into our State Solo Competition. We are starting with Strings to get a framework set in place and will hopefully expand to include band and vocal ensembles in the future years. Be sure to check for details about this new addition at our IMEA website (idahomusiced.org) and talk with your district President at your next meeting. There are many other things to discuss, but that will wait for another article. As we look forward to All State 2016, I want to give you a little glimpse of two of our guest speakers that will be coming to speak and share with all of our members. The first is Jennifer Mohr Collette, an elementary music teacher from Beaverton, Oregon. Jennifer will share with you how an amazing, thriving, cohesive music program in the Beaverton School District was destroyed in the matter of one year and the immense amount of effort and determination she and her community went through to restore the music program in that district. Jennifer will also be doing a few sessions on Advocacy and how we can begin to build advocacy programs around the state to ensure this doesn't happen anywhere else. The second speaker is Lynn M. Tuttle from Arizona; she is the Senior Regulatory Policy Advisor for NAfME. She has an immense amount of knowledge about things like Title I funds and things that effect small school districts that you need to know in order to maintain and improve your music programs statewide. I have heard her speak many times at National Assembly in Washington DC and I know you will find the information very helpful to any size program. I could go on and on, but mainly, I AM EXCITED! I hope that you will join with all of us to volunteer to be active in IMEA and be a part of all the great things happening here. I hope to see you all in Pocatello in February to share more exciting things with you! Clinic Sessions in all Categories Exhibits Concerts Outstanding Speakers Special Events Performing Groups All-State Honor Groups: Band, Orchestra, Treble Choir, Mixed Choir, Middle School Choir, Elementary Choir!...and MORE! Biennial Inservice Conference & Idaho All-State Honor Groups February 11-13, 2016 Idaho State University, Pocatello Visit the IMEA website today: We invite you to join or re-join IMEA/NAfME today See the information on the page opposite and go online to nafme.org Call Active - $ Retired - $62.00 First Year Teachers - $56.00 Collegiate - $37.00 DON T HAVE YOUR IMEA MEMBERSHIP NUMBER HANDY? Now you can download the NAfME Mobile App and you ll have it with you all the time. Just go to the app store on your smart phone and search for NAfME. FALL 2015 Idaho Music Notes 6

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10 Idaho All-State 2016 Honor Groups Wayne Millett, President-Elect, All-State Honor Groups Chair IMEA Web Master, All-State Honor Group Site Manager Colin Brien Century High School, All-State Treble Choir Conductor Jeremy Manternach, University of Iowa Iowa City, Iowa Treble Choir Repertoire Dixit J. Michael Haydn, ed Banner Lorenz Corp. I Carry Your Heart Laura Farnell Hal Leonard Corp. Kungala Stephen Leek Boosey & Hawkes No Time arr. Susan Brumfield Colla Voce Music LLC Still I Rise Rosephanye Powell Fred Bock Music All-State Treble Choir Chair Joyce Brien Century High School All-State Mixed Choir Conductor Lori Marie Rios, College of the Canyons Santa Clarita, California Mixed Choir Repertoire Admirabile Commercium Jacob Handl Theodore Presser Co. Erschallet, ihr Lieder from Cantata 172 Johann Sebastian Bach Public Domain Sednalo e Djore dos arr. Sara Shakliyan Santa Barbara Music Publishing Feller from Fortune arr. Harry Somers Gordon V. Thompson Music The Prayer Morten Lauridsen Peer Music Classical Great God Almighty Spiritual, arr. Stacey V. Gibbs Gentry Pub. All-State Mixed Choir Chair Lindsay Lowe Centennial High School, All-State Band Conductor Andrew Boysen, University of New Hampshire Durham, New Hampshire Band Repertoire Blue and White Dance Andrew Boysen Neil A. Kjos Music Co. Pageant Vincent Persichetti Carl Fisher LLC Symphonic Movement (Premier) Dan Bukvich Unpublished All-State Band Chair Aaron Marshall Marsh Valley High School, All-State Orchestra Conductor Allen Tinkham, Chicago Youth Symphony Orchestra Chicago, Illinois Orchestra Repertoire Supermaximum Kenji Bunch Bill Holab Music Capriccio Espagnole Nikolai Rimsky Korsakov Public Domain All-State Orchestra Chair KC Chojnacki Pocatello School District, All-State Elementary Choir Conductor Cheryl Dupont, Director, New Orleans Children s Chorus Director, Crescent City Choral Festival Elementary All-State Choir Chair Isaac Robbins or (208) All-State Middle School Choir Conductor Marcia Patton, Casper Children s Chorale Middle School All-State Choir Chair Haley Baker or (208) Idaho Music Educators Association and National Association for Music Education Join or Re-Join Today FALL 2015 Idaho Music Notes 10

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12 For Professional Repair & Quality Service Blue Rider Music & Instrument Repair Specializing in Brass & Woodwind Sales, Rental & Repair INSTRUMENTS King Armstrong Fox Conn-Selmer Pearl Drums ACCESSORIES Rico LaVoz VanDoren Humes & Berg SHEET MUSIC Method Books Solo Books & State Solos Instant Repair Service for Instruments! Beginning Instruments/ Method books REPAIR 595 W. Ustick (208) Meridian, Idaho FALL 2015 Idaho Music Notes 12

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14 Specialist s Space Peggy Wenner Fine Arts Specialist, Idaho State Department of Education New Idaho Music Standards! November 7, 2015 was an important date in our statewide standards work. On this date the Idaho State Board of Education published our newly proposed standards in the Arts and Humanities via their newsletter. The work represented in these many documents could only have been accomplished through years of work. But before diving into Idaho s schedule for standards adoption, we need to back up a few years. We have many people to applaud for the four years of work dedicated to revising and funding the new National Fine Arts Standards provided by SEADAE (State Education Agency Directors of Arts Education). This group of my peers took on the huge task of imagining the next step in totally green standards that could be adopted or adapted by each state in the country and called by each individual state's name. SEADAE wrote grants, sought private and member donations, and hired an organization manager, who was responsible for coordinating four years of small to huge meetings on the topic. Cory Wilkerson and three SEADAE Presidents kept this work together to bring the final documents to fruition. Through many discussions, sometimes heated, always energetic, the collection of supporting organizations brought together by SEADAE voted to create a fifth discipline in media arts, which should be welcomed by several Idaho schools. SEADAE will soon own the formal copyright to these arts standards. The bulk of the standards work was created through NCCAS, the National Coalition for Core Arts Standards. NCCAS maintains a wikispace site, open for the public to review the vast project of standards revision. The NCCAS wikispace is a very informative website, which offers the history of this project, provides names of all supporting arts organizations, lists writing committees, and keeps active in the project through communication of new projects. The site also archives all activity and several research papers written by The College Board, expressly in concert with the project. Please check out the site to check out names of the writing team for the music standards. nccas.wikispaces.com/ This school year , NCCAS is accepting applications for Cornerstone Assessments in several arts forms. For music model cornerstone assessments, participants will be participating in research as part of a grant through the National Endowment for the Arts. If you are interested in participating in this important study, please complete the questionnaire found at the following link: https://kstate.qualtrics.com/jfe/form/sv_9s0s2rlsn0udn1b Lynn Tuttle, my former peer at the Arizona State Department of Education, is leading the Cornerstone Assessment work. She is also assuming a new role at NAfME, and will be working in all states through that work. So, if you want a good reason to get to know Lynn better, please complete the questionnaire and apply to become a participant in the music cornerstone assessments. Now, taking a deep breath, I wish to continue on with my opening remark about November 7. Today, we have the link for public comment on the proposed standards that will go to the legislature in January, All of the Arts and Humanities standards are currently located on my webpage at the Department: SERVING THE TREASURE VALLEY SINCE 1948 WE RENT TO OWN BAND INSTRUMENTS Instruction Available On Most Instruments SALES SERVICE RENTALS S. OREGON - ONTARIO, OREGON Band Instruments Guitars & Amplifiers Pianos Keyboards Drums Sound Systems Violins Banjos Mandolins Music Methods All Accessories 1234 S. Quince Way Denver, CO Please scroll to the middle of the page and find Proposed New Standards: Fine Arts. Then find Music, and scroll down to find a white paper describing Idaho's adaptions of the music standards, and the actual standards in five areas of music. After you have read these proposed standards, please take time to go to the Public Comment Page it is just below the standards information on my webpage. linkhttp://www.sde.idaho.gov/site/rulemaking/academic.htm Please offer your insights on these standards. If you could, it would be helpful to comment on the new standards versus the ones we are currently using. After the Public Comment time has closed, the SBOE will review comments and make a final vote to accept the proposed standards. If accepted, the standards will move to the Legislature to be considered in the 2016 session. If the 2016 Legislature accepts the proposed standards, they will become Idaho's official standards for the coming school year Sorry for so many words (not too many notes ) but there is still much to be said about the fine work of Idaho s music writing team, chaired by Bev Schumaker. The team met in October 2014 and again in the winter for two meetings meant to determine which pathway Idaho should take in adapting the new SEADAE standards for music. Please read the white paper that explains the minor revisions and check out the work done by your music committee. Then, most importantly, make your voice heard by clicking on the Public Comment link located on my webpage and tell us what you think about the newly proposed standards for music education to direct the students of Idaho to a better future through a solid background in music education! Thanks to everyone who has participated in this enormous project! Peggy FALL 2015 Idaho Music Notes 14

15 IMEA Institutional Members Please support our Institutional Members Their membership shows their support for us! Lionel Hampton School Of Music at the University Of Idaho Vanessa Sielert, Associate Director & Associate Professor 875 Perimeter Drive MS 4015, Moscow, ID Phone: /Fax: Web: Idaho State University Music Department Thom Hasenpflug, Chair of Music Department of Music Stop 8099, Pocatello, ID Phone/Fax: Web: Boise State University Music Department Mark R. Hansen, DMA, Chair & Professor 1910 University Drive, Boise, ID Phone: ; Fax: Web: Idaho State University Music Department Thom Hasenpflug, Chair of Music Department of Music Stop 8099, Pocatello, ID Phone/Fax: Web: Treasure Valley Community College Performing Arts Department Stephanie Laubacher, Administrative Assistant 650 College Blvd., Ontario, OR Phone: /Fax Web: The College of Idaho Department of Music Dr. Mari Jo Tynan, Chair 2112 Cleveland Blvd, Caldwell, ID Phone: Fax: or Web: Chesbro Music Company Gary Christensen, Manager, 257 N Second E, Rexburg, Idaho Phone: Fax: Karen Stewart, Manager, 327 Broadway, Idaho Falls, Idaho Phone: Fax: Web: chesbromusicretail.com Great Basin Jazz Camp Mike Allen, Camp Founder, Executive & Artistic Director 10th Annual Great Basin Jazz Camp, July, 2015, TBA Treasure Valley Community College, Ontario, Oregon Facebook: The Great Basin Jazz Camp Brigham Young University-Idaho Department of Music Diane Soelberg, Department Chair Rexburg, ID Phone: ; Fax: Web: University of Portland David DeLyser, Associate Professor of Music 5000 N. Willamette Blvd., Portland, Oregon Phone: Website: Blue Rider Music & Instrument Repair Chris Britt, Manager Robin Boles, Technician 595 W. Ustick, Meridian, ID Phone & Fax: Sun Valley Summer Symphony Kim Gasenica, Educational Programs Director P.O. Box 3956, Hailey, Idaho Phone/Fax: (208) Website: or John William Jackson Fund (in The Idaho Community Foundation) P.O. Box 4711, Boise, Idaho Website: Phone: A music education advocate for Idaho school children Brigham Young University School of Music Dr. Will Kimball, C-550 HFAC, Provo, UT Website: music.byu.edu Phone: FAX: J.W. Pepper Music Wendy McKee, Regional Marketing Manager 7611 S. 180th Street, Kent, WA Phone: ; Fax: Northwest Nazarene University Music Department Dr. Philip Miller, Chairman, Nampa, Idaho Phone: Web: Willamette University Department of Music John Peel, Music Department Chair 900 State Street, Salem, Oregon Phone: Fax: Website: Become an IMEA Institutional Member. FALL 2015 Idaho Music Notes 15

16 North By Northwest NW NAfME President Camille Blackburn Learning To Be a Music Teacher You have your music education degree, you completed your student teaching, and you have been hired for your first job. Did you learn everything in college that you need to know to inspire your students, build a strong music program, and establish yourself as a successful professional? The truth is that not one of us is really ready for what we face as a new music teacher. We learn from experience. We learn from making mistakes. We learn from our colleagues and we learn from taking advantage of opportunities to learn wherever we may find them. It takes years to gain the skills needed to be effective as a music educator. I am not the same teacher today that I was when I first started, and thank goodness for that. My first job was teaching junior high choral music. I thought I was doing a fantastic job and that my choirs were the best around. I took my 9th grade mixed chorus to large group festival where I was sure we would receive a superior rating. Well, we did not. And to make matters worse all three adjudicators made the same comment on the judging sheet, which was, Do you realize that the basses are singing the soprano part an octave lower? What! How could that be? I was a good musician and they sounded great! So, the next day in class I had the choir sing one of the songs and I actually looked at the bass part and followed it along as they sang. Guess what? The basses were singing the soprano part an octave lower. I felt very foolish, but I learned a very important lesson and that never happened to my choirs or me again. I would love to say that I was perfect from that moment on but that is not the case. My first year teaching high school choral music I had a fantastic mixed choir that I had carefully prepared to take to large group festival. I was certain we would receive a superior rating. Well, we did not. Now this time I was absolutely sure that everyone was singing the correct parts and they were. I had programmed three contrasting pieces, one of the requirements, but the same composer had written all three. I actually thought I was being very clever in doing that but the adjudicators did not agree and once again I learned a very important lesson. Thankfully I have been able to put those two rather embarrassing performances behind me. I wanted to be the best music teacher I could be and over the years I have learned much from the ratings and comments I have received at music festival, and from attending state, division, and national in-service sessions, seminars, workshops and conferences. There are many quality professional development opportunities available for music teachers, some of them without leaving your home or office. The National Association for Music Education, our professional organization, provides several great on-line options. If you haven t explored the NAfME web site, I encourage you to do so. Professional Development Programs programs/ NAfME believes all students should have access to a comprehensive, sequential music education program taught by a qualified music educator. Our programs and resources promote teacher excellence, encourage networking and information sharing, and provide professional development opportunities. NAfME's resources for teachers: Professional Development ekit Magazines and Journals - NAfME publishes six periodicals, available to members online and in print. Books covering a wide range of teaching topics and offered at a discounted rate to members. NAfME Membership - Teachers can join a network of active, retired, and preservice music educators. Music Education Events including the annual In-service Conference as well as the biennial Teacher Education and Music Research Conference My Music Class - A lesson plan library filled with standardsaligned teaching ideas and resources, exclusively for NAfME members. Online Communities and Discussion Forums featuring a Mentor Program to help members get expert advice in answer to their teaching questions. National Standards for Music Education, which represent the first comprehensive set of educational standards for K-12 arts instruction. Developed by NAfME in Programs and Activities that raise awareness for and encourage participation in music education. E-Learning Activities - the Live Webinars schedule and other resources can be found through the E-Learning page as well as the list of Archived Webinars that can be found in the NAfME Store. And, as always, collaborate with other music educators, find a mentor, observe other music teachers, ask a colleague to observe you teaching, and most importantly, attend your local, state, division and national in-service conferences and work to implement state and national standards along with creating assessments for measuring student progress. Stay positive; keep moving forward and you will become the music teacher you want to be. You ve got this! I ll see you at the Conference in February! FALL 2015 Idaho Music Notes 16

17 of the world both around and within us and this concert explores the classical elements in classical music, from fire in Igor Stravinsky's Fireworks to water in Leonard Bernstein's Symphonic Suite from On the Waterfront, and earth with Darius Milhaud's depiction of the genesis of the planet itself in La Création du monde. These elements are all tied together by the very wind that powers this grand acoustic ensemble called the concert band. While the ancient Greeks first presented the concept of the four elements, the Eastern Asian cultures transformed the idea into a belief in the transmission of energy between elements, to include wood and metal. These elements are represented in grand fashion in Jennifer Higdon's virtuosic Percussion Concerto. To be added to the list to receive CDs, please us at Once your request is processed, your organization will receive all Marine Band recordings in U.S. Marine Band Offers an Abundance stock. Your of Educational Resources organization will continue to receive in DC area & Nationwide new recordings as When the musicians of The President's Own U.S. Marine Band aren't hailing the they are released. chief at the White House, honoring fallen heroes at Arlington National Cemetery, performing concerts in the DC metro area and across the country on tour, or in a practice are available to Many of the selections room honing their craft, they can be found in schools, both live and virtually. The following educational resources are available for free from the Marine Band: more information, download for free. For please visit: Marine Band Concerto Competition for High School Students Young People s Concert "The President's Own" United States Marine Band, in conjunction with the Marine Each spring, the Marine Band or Marine Chamber Orchestra presents the Young Corps Heritage Foundation, is pleased to announce its annual concerto competition for People s Concert. Director Lt. Col. Jason K. Fettig initiated this interactive and theatrical series in 2006 and has authored, hosted, and conducted the popular annual event high school musicians. The winner will appear as a guest soloist with the U.S. Marine Band and receive a $2,500 cash prize from the Marine Corps Heritage Foundation. since its inception. The Band s 2016 performance will take place on Sunday, April 24 The runner up will receive a $500 cash prize. Deadline for applications was Nov. 16, and the band will be conducted by Assistant Director 1st Lt. Ryan J. Nowlin. More information about the program will be available in mid-december at The final round of the competition will take place at 2 p.m., Saturday, February 13, at John Philip Sousa Band Hall at the Marine Barracks Annex in southeast Washington, D.C. The final round is presented as a recital and is open to the public. The YouTube winner will perform in concert with the Marine Band at 2 p.m., Sunday, April 10, 2016 Each #MusicMonday the Marine Band releases streaming albums and recordings in the Washington, D.C. area. of live performances on its YouTube channel, as well as interviews with band members Please click the link, or cut and paste into your browser, for the application: and historical vignettes. The online collection includes many out-of-print educational bit.ly/concertocompetition2016 recordings, which have previously only been available to schools and libraries. Future releases include The Bicentennial Collection, a 10-disc set which traces the recorded US Marine Band Library history of The President's Own from rare wax cylinders and early radio broadcasts to The Marine Band library lends out of print and unpublished commissions to high recent performances captured with the latest digital technology. None of the recordings on the set were previously released on compact disc and many are live recordings school and community Bands. They can be reached at Complete Marches of JPS never previously released in any form. Please visit This year, The President s Own United States Marine Band released its first Music in the Schools (MITS) volume of The Complete Marches of John Philip Sousa. This multi-year recording Each October, ensembles from the Marine Band present programs designed to introduce musical instruments and concepts to elementary school students throughout project, initiated by Director Lt. Col. Jason K. Fettig, is the Marine Band's first comprehensive collection of Sousa's marches since the 1970s. The collection is in chronological order, and Volume 1 contains his first 17 marches, covering the years 1873 to the Washington, D.C., metropolitan area. Designed for grades 3-5, the 45-minute interactive presentations feature instrument demonstrations, explanations about how instruments produce sounds, instruction on musical terms, and a question and answer Volume 1 is available for free download exclusively on the Marine Band website, along with scrolling videos and PDFs of the full scores that include historical and editorial session. The musicians also perform a wide range of music geared specifically toward notes about each piece. Each march has been carefully edited and corrected by Lt. Col. elementary school students. Demand for this program is high and bookings are made Fettig and Music Production Chief Master Sgt. Donald Patterson using some of the earliest known publications and incorporate performance practices employed by the on a first come, first served basis starting in September. Schools must be within a 15- mile radius of Washington, D.C. Please visit this link for the application: Marine Band that are modeled on those of The March King himself. Download MITS_2015. Volume 1 here: Volume 2 will be available in April Music in the High School s (MITHS) Sousa s March Mania From February-March, musicians and vocalists from the Marine Band visit high school music programs throughout the Washington, D.C., metropolitan area for sessions designed to entertain and challenge music students. The Marine Band ensembles When it comes to the historical knowledge and performance of marches, especially for those written by John Philip Sousa, the United States Marine Band is considered a and vocalists perform varied selections geared specifically toward high school level musicians participating in band, orchestra, or choral programs, and are not suitable for prime resource. That s why during the month of March, The President s Own will be hosting Sousa s March Mania, a tournament pitting 32 marches against each other general assembly type audiences. The presentations include instruction and concepts, for the Marine Band online community to determine which one is the favorite. Each in addition to receiving valuable guidance on chamber music performance. Demand day, marches will compete head to head while fans vote which ones advance in the for this program is high and bookings are made on a first come, first served basis starting in December. Schools must be within a 30-mile radius of Washington, D.C. tournament. Participants can listen to the competing marches, download and print a tournament bracket, and vote for favorites on the Marine Band Facebook page. The winners of Sousa s March Mania will be named The March King for a day! Please Live Stream Performances visit in December for more information. The Marine Band live streams all performances from the Chamber Music Series at Educational Discography and Upcoming dates include each Sunday in October at The Marine Band produces an annual CD recording, which is made available to schools, radio stations, and libraries. The recordings are distributed free of charge to 2 p.m., EDT. Programs will be posted on educational institutions, public libraries, and radio stations. This year s CD is Elements, a recording that Director Lt. Col. Jason K. Fettig built around the four classical our online calendar usually two weeks before the performance: elements: fire, water, earth, and air. Music is often the representation and inspiration Calendar.aspx. FALL 2015 Idaho Music Notes 17

18 Sage Advice from a Veteran Music Teacher/Music Supervisor For New (& Experienced) Teachers By Dennis Granlie, Montana Music Educators Association Reprinted by permission from MMEA CADENZA In the past two decades, one as a music supervisor and one as a mentor to new teachers, I have observed more than 200 music teachers teaching lessons or rehearsing a choir or instrumental group. I have seen incredibly effective teachers in action, not all of whom were veterans, and a few who had no idea what to do in front of a group. It is obvious that there are very different teaching situations in Montana from K-12 schools with fifteen students to AA schools with fifteen hundred plus students. No matter what the size of school, there are some basic things to consider when taking a new job. From my observations of first-year teachers, I offer these suggestions for new teachers, especially in K-12 schools, but veteran teachers may find them useful as well. Don t make big changes: Find out as much as you can about how we did things. Kids don t seem to mind a new science or English teacher each year, but they often resist new music teachers. Much of the reluctance to accept a new teacher is inconsistency. Instead of doing it your way at the outset, go along with a few traditions that you may not like. I have seen promising teachers careers derailed because of spats with administrators or parents over minor issues, many times having nothing to do with instruction. We ve always done it... carries a lot of weight. Be patient and implement your new policies and practices a little at a time; think evolution instead of revolution. If possible set things up so that the kids think change was their idea. Don t be unrealistic about practice time: One area that seems to create a huge amount of controversy for a new teacher is band practice slips. It is important to establish a practice routine, but a time requirement for practice is usually not productive. Put the emphasis on what to practice rather than how long to practice. First, kids must be taught how to practice. If students do not have the ability to keep a steady beat and count/say rhythms, it is not likely that home practice is improving their musical ability other than building embouchure. In fact, it is likely that students are practicing mistakes and learning incorrectly. Many new teachers create their own issues by demanding large amounts of practice time reported on weekly practice slips. Encourage practice, but make rehearsals the model for good practice habits. That is, tackle the tough parts and go back over passages for specific improvement. If practicing to fill a prescribed amount of time, most young students will simply replay the parts that are easiest. Playing tests are a far better measure of musical progress than practice slips (which most often lead to dishonesty). It is more important to be respected than liked: Don t worry about being popular. Be effective and you will be popular. The kids are looking for leadership and they expect you to take charge. Music class is not a democracy; it s more of a benevolent dictatorship. Make silence an important element in rehearsals. The music should start from silence each time you raise your hands to conduct. Don t count off or start conducting or playing accompaniment until silence is established. Teach beginners to be the kind of musicians and citizens you would like to see in your high school groups. If beginning band is all fun and games, there is little hope of changing their perspective as they get older. Insist on focus. Expect the same decorum as any classroom. Silence is just as important at the beginning level as in the high school rehearsal. Meet the kids where they are: If they don t have a counting system, don t know scales or fingerings, have no rehearsal etiquette and are unable to make music on their own, it isn t their fault. Teach them what they don t know and never belittle them for their lack of skill. Think of it as job security! Teach rhythm every day! That means having kids using a consistent counting or syllable system and verbalizing rhythms every rehearsal. Make rhythm drills a regular rehearsal segment and verbalize every rhythm before having the student play them. Unfortunately, there is little evidence of counting when I visit rehearsals. I almost never hear students counting rhythms and seldom even hear a teacher counting aloud. At one particularly poor rehearsal, I heard the director say, Drums, you have to count! That goes bum baba bum baba... Don t tell them how it goes. Make them figure it out, but use a consistent system. Mastering a rhythm system is key to music literacy: A piece can have a few wrong notes and keep going, but without solid rhythm, the music will immediately break down and stop. The goal for every music teacher should be to give kids the skills they need to make music independently. Without a way to interpret rhythm, that goal is impossible. One of the saddest situations I recently came across was a five-piece band that showed up for music festival and none of the kids in the band could count musically. That meant they certainly could not sight-read. With only five students in the group, how could a teacher not be able to teach each of them to count and interpret rhythms? The answer is, he simply doesn t take time to teach basic music skills, and his students are unable to make music on their own. Imagine what home practice must be like! No wonder band enrollment is down to five. Be effective and you will be popular! Teach musical skills, not tunes: Use a good deal of rehearsal time to teach rhythms, scales, tone building and articulation. The college band is NOT a good model for a middle or high school rehearsal. You are not dealing with music majors who can warm up by themselves and are receiving private instruction. You must deliver private lessons from the podium. Check every student every day for proper posture, horn/stick position, hand position and embouchure. A good warmup procedure allows you to look at every student and correct issues. Remember, the goal is to produce independent musicians. Teaching a piece of music by rote will not accomplish that goal. Instead of saying how it goes, let the kids learn how it goes using their musical skills, not the teacher s prompting. Train ears: Something like 90% of the information going to the brain arrives via the optic nerve. Despite the implications for teaching music, often students are never asked or guided to listen during rehearsals. Without helping students hear specifics in music (balance, blend, pitch, tone quality), their ability to listen critically will not develop. Instrumental teachers spend a great deal of time eye training. Much of the rehearsal revolves around reading printed symbols, often without any attention to the resulting sound. Much of a young singer s attention goes to the text unless a skillful teacher is directing her listening to musical details. Likewise, a young instrumentalist will be more concerned about fingerings, note names or counting than listening The maturity of a group s sound is directly related to how well in tune they perform. The simplest music can be beautiful if it is in tune. On the other hand, out of tune music, no matter how simple or complex, is not pleasant to hear. Every rehearsal should include a tuning procedure near the beginning, and adjustments to pitch as needed throughout the rehearsal. Use of an electronic tuner is eye training. Make students listen and adjust their pitch based on what the hear. Instrumentalists should be able to identify the beats that result of two pitches being out of tune, and be taught to work for beatless tuning. No matter how well in tune, if balance is not adjusted so that melodies or important parts are heard, the performance will not be musical. An important part of ear training is teaching students to listen to the big picture and make their part fit appropriately. With the attention to FALL 2015 Idaho Music Notes 18

19 visual stimuli, students need constant reminders to listen to other sections/parts. Have the students memorize a chorale and play it with their eyes closed. It s an amazing experience. A class period with no mention of balance or pitch shortchanges students, because there is no other class in which ear training is part of learning. Even very young children can develop critical listening skills. All students come to you with two tuners, one on either side of their head. They just need your guidance to help them calibrate. Fill each class with instruction: Some teachers are able to deliver a great deal of instruction during a class period, while others just run through the music with no real instruction or learning taking place. The director must give prescriptions for fixing problems. It is not sufficient merely to point out wrong notes or rhythms. How can tone, balance, articulation, pitch, etc., be improved? It is up to you to give specific instructions for improvement. Remember, most students receive all their instruction in rehearsals. Don t confuse rote teaching with instruction. Telling them how it goes has little value. Telling them how to do it and then allowing them to figure out how it goes is a better approach. Are your rehearsals rich with instruction that helps each individual become a better player/singer, one who will be able to make music on his/her own? Be careful not to practice mistakes. Going through method books does not mean students are gaining skill. Take time to make sure everyone is playing or singing everything correctly before going on to the next lesson or line. Counting off in two s and having ones play/sing for twos, and vice versa works well as a quick check for everyone s understanding. Remember, practice makes permanent! Don t practice mistakes! Going back to work on a section of literature should yield improvement. Simply singing or playing through may just be practicing mistakes unless the teacher stops to fix musical issues (and there are always plenty to fix). That means you must notice mistakes and address them. Saying nothing is tacit approval; the student assumes his/her performance must be okay if the teacher doesn t say otherwise. Don t let the tail wag the dog: Your main job is to provide music instruction for kids, not a noise ensemble for ball games. Pep band is an important entity in most schools, but it should not be what sets curriculum. You may need to delay some instruction in the fall to prepare pep band tunes, but make sure the bulk of your rehearsals are spent building music skills and performing meaningful music. Think of pep band as recreational playing. How much recreational reading does the English teacher allow in his/her class? Certainly it isn t the main thrust of the class and doesn t go on all year long. Stay on top of paperwork: Running a music program is like running a small business. A new teacher can become quickly overwhelmed by the business end of the job. Distributing and tracking instruments and uniforms, collecting permission and/or practice slips and documenting them, handing out music and then collecting and sorting it before putting it away, tracking grades, filling out requisitions, conducting fundraisers, downloading and completing music festival entry forms... The list goes on. Music teachers must make very efficient use of free time, because getting behind with the business can create a nightmare and ultimately lead to dismissal, even though music instruction might be solid. Seek help and advice from veterans: Think of your first teaching certificate as a learner s permit. You ll make plenty of mistakes, but you can avoid lots of pitfalls by asking for help. That doesn t mean you can t do things your own way. It s just that during your first few years of teaching, you don t know what you don t know. Mentors, colleagues and administrators can be a huge support for your budding career. The biggest mistake you can make is assume that your music degree courses totally prepared you for your career. Great music teachers are great thieves. The steal ideas from mentors, clinicians, adjudicators and colleagues. They adapt those ideas to their own situation and grow professionally. Enjoy the journey! Music teachers enjoy the power of music as a valuable ally. The personal satisfaction for both teacher and students cannot be found in other academic areas. We have the opportunity to open and entire world to our students! A Glendive, Montana native, Dennis Granlie retired in June of 2005 from his position as Music Supervisor for the Great Falls Public Schools after a career that will have lasting impact on music education in Montana. During his twenty-five years in the classroom, his bands earned a reputation for excellence. He taught in four Montana high schools (Lavina, Roundup, Glendive, and Great Falls Russell) ranging in enrollment from 36 to over 2,000. He has taught general music, choir, and band, and served as a church choir director. As a band director, his bands consistently earned the highest ratings at festivals and his symphonic bands won numerous awards at the state and regional level. Granlie served the last eleven years of his career as a music administrator. He holds music education degrees from Dawson Community College, Eastern Montana College and VanderCook College of Music in Chicago, and an administrative endorsement from the University of Montana. Mr. Granlie is a past-president of Montana Bandmasters Association, Montana Music Educators Association, and the Northwest Division of MENC, the National Association for Music Education. As a division president, he sat on MENC s National Executive Board and was a participant in the 1993 National Symposium for Arts Standards helping to develop music education standards now in place under Federal law. Granlie served on the Montana High School Association Music Committee for nine years, four as chair and he continued to chair the National Federation Music Advisory Committee for two years after he retired. During his tenure with the MHSA, Granlie was instrumental in developing the rubric adjudication forms which are in use today in MHSA festivals, and converting them to electronic format. Noted for his leadership ability, Mr. Granlie has organized such events as the 1997 All-Northwest Festival in Bellevue, WA involving over 900 students from six states. As NW MENC President, Granlie organized and managed the 1999 Division Conference in Portland, Oregon. In 1989 he organized and led the Montana Statehood Centennial Band s tour in Europe. He has also organized and hosted Montana All-State Festivals and MMEA conferences, chaired MHSA District Festivals for 15 years and organized countless smaller invitational festivals or events. Throughout his career, he has been a valued member and leader of many other arts organizations in the community, state and the Northwest. Mr. Granlie is one of three co-authors of MENC s Teacher Success Kit, and has had articles published in regional and national professional journals. His book, Teaching and Managing Performing Ensembles, was published in 2009, and is currently in use by several universities in their methods classes. Dennis has received numerous awards including both the Northwest MENC Distinguished Service Award and MMEA Distinguished Service Award in MENC also named Granlie a Lowell Mason Fellow at a ceremony in Washington D.C. in March of In June of 2006, the National Federation of State High School Associations presented Mr. Granlie with their National Citation Award for significant and/or long-term contributions to high school music activities. Mr. Granlie is co-director of the Winds of Montana adult band, and frequently serves as a clinician, adjudicator, and/or guest conductor at various conferences and festivals throughout the western United States. He works as a music consultant and serves as a mentor for the Montana Music Educators Association and is the editor of Cadenza, the official journal of the MMEA. He and his wife Marianne continue to live in Great Falls and have three grown children and six grandchildren. FALL 2015 Idaho Music Notes 19

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21 Linda Eustice Berg ( ) Linda Eustice Berg died peacefully on October 10, 2015, after a three-year battle with cancer. Linda May Eustice was born March 31, 1947 in Madison, Wisconsin. She attended Madison area schools, and went on to earn a Bachelors of Music in Music Education, and a Masters of Music in Voice Performance, both from the University of Wisconsin-Madison. She was chapter and province president of Sigma Alpha Iota, the fraternity for women in music. She taught music in both Wisconsin and Illinois before coming to Boise in 1984 when her husband was offered a professorship at Boise State University. From 1984 to 2004, Linda taught elementary music and was a curriculum coordinator in the Meridian (West Ada) school district. In 2004, she moved to the Boise school district, where she was an elementary music specialist until her retirement in While in the Boise school district she directed the Elementary Honor Chorus. In 1992 she founded the Opera Idaho Children's Chorus, which she directed until She was seen on stages all over the state, perhaps most memorably as the Mother Abbess in The Sound of Music, a role she reprised in Boise Music Week. After many years of performing with them, she went on to music direct many of their productions. She was twice named Meridian Teacher of the Year, and in 2010 received the award for Idaho Music Teacher of the Year. Linda is preceded in death by her parents: Mr. and Mrs. Carl Eugene Eustice of Madison, Wisconsin. She is survived by her husband of 42 years, Dr. Lynn Robert Berg Jr., of Boise, one son, Lynn Robert III, his wife Laura Welsh Berg, of Chicago, one daughter Laura Alice, her husband Alexis Feo-Fernandez, and two grandsons, Javier and Mario, of Boise, and a brother, Richard Carl Eustice of Boston. She will be missed by the thousands of students and colleagues who had the privilege of knowing and working with her. Requiescat in pace... Idaho Music Educators Association National Association for Music Education FALL 2015 Idaho Music Notes 21

22 Focusing on Music Fundamentals to Prepare Better Musicians For Your Secondary Band Program By Joe Tornello, Director, Blue Thunder Marching Band, BSU Programming Teaching Administering: The responsibilities of leading a secondary band program can be immense. While it s difficult, if not impossible, to address all aspects of musicianship in every ensemble, focusing on a key group of fundamentals in each area of your program will help create well-balanced performers. Every program has its own character and organizational details; however, almost any program will benefit from implementing a key set of strategies and methods. Whether marching, jazz or concert band, starting each rehearsal with a focus on breathing serves multiple purposes. It s a given that a large majority of the students in your program deal with breathing in order to create characteristic sounds on their instruments. Spending as few as two minutes on breathing will ensure that all wind players are exposed to proper breathing techniques. It is critical to isolate the breathing from the distractions of thinking about embouchure, intonation or any of the other aspects on which students are asked to focus throughout a rehearsal. While the winds are going through breathing exercises, percussionists can set up their equipment based on the rehearsal schedule. When concentrating on breathing, an added bonus is classroom management. Students cannot participate in most breathing exercises while talking. In most cases you will find the time spent on breathing will help students play with a fuller sound, while enabling them to start rehearsal with a greater sense of focus. Reinforcing the fundamentals is critical in aiding a program to progress toward a higher level of performance, as well as maintaining an established outstanding band program. Regardless of how your program is structured, spending time reading rhythms on a given pitch serves two great purposes. First, by reading rhythms only, students are able to focus on counting, subdividing, note length and articulations, if you chose to add articulation markings. Second, while it is not the primary intent of the exercises, by asking each student to play the same note throughout an exercise, you can help students with matching pitch or tuning chords. Three minutes a day will pay huge dividends by the end of a semester and certainly an entire year! Rhythm reading may not be feasible during your full marching band rehearsal, but hopefully you can incorporate this technique when you rehearse with those same students throughout the regular class schedule. As students begin to lock in on counting, subdividing and keeping time, they will be able to perform at a higher level and should be able to learn music at a faster rate. One word of caution: do not play the same rhythms day-after-day; keep it fresh. This will require a little more work from you as the director, but it is well worth the extra effort. A critical fundamental in developing successful programs is to set a goal for each musician to learn and memorize all 12 major scales. While this may seem daunting, by starting in the first week of school and simply progressing through one scale a week, you'll enable every performer in the band to play all the major scales within a few months. But don't stop there! Go one step further and add a short technical sequence in the respective key to help increase student's facility. (See example 1) Using the same sequence in each key will help the students anticipate how it should sound. Based on the general ability of your students or ensembles, add articulations or speed up tempos to challenge students throughout your program. One great benefit of using this exercise with your ensemble is that even your bass clarinetist, baritone saxophonist and tuba players will gain facility on their instrument! Example 1: Based on the above suggestions, each rehearsal should begin with a focus on breathing, rhythm reading and scale/technical exercises. While it will take approximately six minutes from your rehearsal, the benefits are tremendous. Two other critical components that should be incorporated near the beginning of each rehearsal are the playing of chorales or lyrical music and tuning. If the focus on breathing, rhythm, scales/technical studies, lyrical playing and tuning become part of the routine on the first day of school, by the time the marching band season is over, your ensemble(s) will be prepared to begin sight reading. The foundation that will be created by students practicing the fundamentals will enable you to expose your students to significantly more music as they progress through your program. If you begin the fall semester in a concert setting, start by working on each of the fundamentals and sight reading very easy repertoire with your ensemble. Consider reading three grade levels below the literature you plan to prepare for concert festival or adjudicated performances later in the year. In addition to playing the correct notes and rhythms, ask your students to read with a focus on articulation, dynamics and balance. If the students are unable to achieve established goals, select more simple music so they are able to achieve the goals you establish for them. Once the students are meeting your expectations in the sight-reading process, select more difficult music, two grade levels, then one grade level below your target level or performance repertoire. Set a benchmark for each of your ensembles to sight read at least once a week. If your music library is not conducive to sight-reading frequently, consider setting up an exchange with your colleagues, either at other secondary schools or middle schools in your region. After building the fundamental abilities of your students, show your audience members at concerts what the students have been learning. While this may seem outlandish, if students are prepared consistently, they will be able to sight read at an adequate level at a concert. It may take some time to build the ability throughout an entire program to ensure a successful public sight reading experience. Be sure to take the time to find repertoire that you are confident the ensemble will be able to read successfully as well as be certain that any exposed solos will be performed with confidence. One additional note: make sure that the primary percussion parts will be performed without large unwritten rests due to lack of personnel. Sight-reading at the concert is a terrific teaching tool for the students, but also brings awareness to the parents of the skills you are teaching their students. If each and every student in your band program spends time practicing these critical fundamentals, you'll find that your marching, concert and jazz ensembles will all benefit. If the members of the marching band are able to sight read music, you'll be able to spend much more time teaching the music and not having to spend hours of rehearsal teaching notes and rhythms. If every student in the program can play through all twelve majors scales after a few months, you will avoid having to explain how to play in complex keys when working on more advanced literature. When working with your marching band, you can better your concert and jazz ensembles by spending more time building breathing capacity and ability to play with a full, high quality sound. While your goals and responsibilities as a music educator may seem overwhelming at times, don't doubt the power of calling on fundamentals. Each area of your program can benefit from student musicians being exposed to these critical methods and strategies, regardless of the ensembles in which they participate. The end result will lead to well-prepared students who can successfully tackle almost any challenge throughout their musical career. Joe Tornello is an Assistant Professor and Director of the Keith Stein Blue Thunder Marching Band at the Boise State University Department of Music. Contact him at FALL 2015 Idaho Music Notes 22

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24 IMEA Board Meeting, October 4-5, 2015 Minutes Summary Attending: Ron Curtis, President; Wayne Millett, President-Elect/Webmaster; Karen Goodrich, State Manager/Business Manager; Eva Hale, State Solo; Max Stimac, District IV President; Greg Goodworth, District V President-Elect; Mark Sescilla, District I President; Dawn Sandmeyer, District III President; Kathy Stefani, District II Representative; Kevin Howard, IHSAA Rep./ASTA President; Ted Hadley, Publications; Saturday additions : David Burton, District III President-Elect & Curt Griffiths, IMEA Past-President.. Missing: District III President- Elect, Gem State President, District VI President, IMEA Past-President Converting from Travel Agents to Leaders: We are in a place to move forward with some expansion of leadership. We need to get the District Presidents more involved. All-State - We are moving toward having someone serve as the All-State Manager. The group chairs would be under the manager and would also have Assistant Chairs. The assistant chair would then move into the chair's position the next year. Possibly have one of the group chairs move into the manager position the next year. The manager would take over the group chair s responsibilities and also the session chair and the concert hours. MSC (moved, seconded, carried) to create a position of an All-State Honor Groups & Conference Manager with an honorarium to be determined at a later date. Moved and seconded. Passed. All-State Schedule - Possibly have All-State on All- NW years during November. It would not be a full conference. Each content area would bring in their own clinician for the 2 days. Ted will work on creating a IMEA Board Handbook. Ted will work on it. Expanding State Solo to include Ensembles: It wouldn t be for small groups of large ensemble performing their large ensemble literature. It would be for small ensembles from the school to perform. They would have to attend the district festival. This next year we will try it with just strings. Duets, Trios, Quartets, & Quintets. The order to implement them would be Brass/Percussion, then Woodwinds, and Vocal last. Statewide Member Recognition: What type of things can we do on a state level to recognize members Up and Coming Music Teachers; K-12 Music Educator of the Year; District Rookie of the Year; Recognize District Music Educators of the year at the banquet; Collegiate Member of the year. Years in IMEA. Service Award. Elementary Educator; Administrator of the Year. Community Organization/Supporters; Years of Support from Institutional Members; School District of the Year. Financial Report: The Balance Sheet will posted on the Website. How much money is too much? NAfME recommends that we have one year of emergency funds It took $175,000 to run the organization. We do need a sizeable amount to cover that in case something happens and we have to cancel the conference. We don t want to take it down too far. Review of the Treasurer Surveys. Four Districts have their own accounts and two run them through schools. Gem State did not report. All should have an EIN number. Only three districts have them. One district has a checking account using the treasurer's SSN and no EIN number. That needs to be fixed. Karen will send out guidelines and what every district needs to be doing. Karen has been using the NAfME Executive Recital Message Board to ask questions about the need to be a 501(c)3. The only reason to be a 510(c)3 is so you don't have to pay income taxes and donations to the organization are tax deductible. The general feeling is that each district should have and EIN and file the taxes every year. All should be paying the sales tax. Ron recommends that every president have a discussion with the treasurer to make sure things are in order. Karen reviewed the Board of Directors Statement of Understanding, Constitution, and Conflict of Interest Statement. Directors reviewed those and signed. Publications: Music Notes is now self-supporting. We are down a little in advertising. There are thirteen Institutional Members. At what point to we convert to a strictly online journal? Encourage members to submit articles for the journal. Website: Redesigned this past summer. It is now mobile friendly. If anyone finds problems or bugs, Wayne to let him know. State Solo: Balance of $25,000. The string entries were way up this year. They will have to move to Friday night this next year. Getting students registered on time was a big problem this past year. There were a lot of students who didn t register on time. District Presidents or the District Solo Chairs need to remind people to register online when their student has been accepted to State Solo. Teachers need to be reminded that they need to send a list of students that the check covers. Make checks to State Solo/IMEA so that it goes to the correct place. If checks are not mailed by the deadline, don t mail them, bring them to the Festival. Discussion of adding String Ensembles to State Solo. Kevin Howard and Eva will work on a proposal and logistics. Discussion on how to choose alternates when there is one slot open and several from different districts that can fill the slot. MSC: In the event of an overabundance of alternates, we select the alternates through seniority based on a lottery system. The balance for State Solo is $25, The cost to run the festival this last year was $13, We will see how the ensembles effect the festival and then look at lowering the cost of the entry fee. If you have anyone who would be a good adjudicator for State Solo, let Eva know. Kevin Howard, IHSAA Board Representative: There was a question about the District III having the marching band festival sanctioned. The state board does not sanction marching band festivals. The District III board of control should sanction it. Discussion of what Sanctioning means. IHSAA does not sanction our event. Our date is sanctioned by them. If they sanction the event they run it. They don't want to run our event. It is the same with HS Baseball. They sanction the baseball date, but they don't run State Baseball. If the district pays for students to attend State Baseball, they should pay for All- State. IMEA Hall of Fame - Gale Maxey: Committee - Gale Maxey, Kevin Howard, Jerry Vevig. Nominating Form needs to be updated with the items he presented. Motion - Adopt the recommendations of the committee to update the IMEA Hall-of-Fame application. Seconded. Passed. There is no longer a November 5th deadline. Applications can be submitted at any time. State Department of Education - Peggy Wenner: Arts Standards met in October and February to review the new National Standards for Music. They looked at the standards to decide if they want to adopt or adapt. The music committee wanted to adapt a few minor things. They are posted on Peggy's website. She is working to tighten up the Interdisciplinary Studies Humanities credit options. The new standards will be posted on the State School Board page and will have about a three-week period to comment. The board will review all the comments. If they like them then they will decide on whether to send it on to the Legislature. If adopted by the legislature they will go into effect next school year. Peggy will contact Lynn Tuttle to come and do a session for the conference. Question for Peggy: Is there a way to get a list for all of the music teachers in Idaho? She can. It may overstated, but she will do that. District Reports District I - Mark Sescilla: They had a great year. Several of their older teachers are looking to retire. They have been working to get more students involved in solo and ensemble. They are having a solo clinic day for non state solos. Suggestion that the All-State chair work more closely with the clinician on repertoire. District II - Kathy Stefani: Things are going well. They are doing well financially. Their district festivals are well attended, except for one school. They do struggle with a District Honor Festival. They used to do it before finances became tight. They are trying to rebuild it. Discussion of what other districts do. District II is in favor of holding State Solo in a single place without rotation. District III - Dawn Sandmeyer: They have worked out some of their financial problems. They had made by-laws and are setting guidelines in place. They are looking for ways to get the elementary teachers more involved. District IV - Max Stimac: They are in good shape financially. Their district has a lot of young teachers. They had a lot of retirees the past couple of years. He has worked hard to get a complete list of music teachers. They had great participation in their festivals this past year. District V - Greg Goodworth: They will be holding their first honors concert for several years this year. One of the problems they have is getting all schools involved. One of our schools hired a teacher this year that didn't show up at the beginning of the year. They have two student teachers hired as full time teachers. No District VI or Gem State Reports. NAfME National Assembly, Summer 2015, Washington DC: Review of meetings with legislators. There is now a Collegiate Conference along with NAfME National Assembly. Motion - We will sponsor a collegiate member to attend the Delegate Assembly. Seconded. Passed. Motion - The person selected will either be the Collegiate Member of the year or the Collegiate President- Elect. Seconded. Passed. It is now OK to say NAfME. They would like us to incorporate both our State and National logos on all of our information. Forms Review: Adjudicator's Contract Discussion of adjudicator fees. It was felt that districts were free to pay what they want, but if they pay of $600 to any individual they need to file the proper forms with the IRS. Several Districts are using their own Adjudication Forms for festivals. We will post those on the website so that others can use them. All-State Inservice Conference: Jennifer Mohr Collette, Beaverton, Oregon - Keynote speaker. Program was gutted by the superintendent. She led the advocacy campaign to bring the program back to where it was. Ron would like to bring her and one other person from her board to be the keynote speaker for the conference. She would also do sessions. Wayne Millett - All-State: Need a refund policy for All-State. Motion - If an alternate cannot be found, All- State registration fees will be refunded on the following schedule: During December, after registration fees have been paid, 66%. After January 1st, 30%. No refunds after February 1st. Seconded. Passed. Karen Goodrich - Logistics Curt Griffiths - Performing Groups: Submissions just closed. 15 Bands, 17 Choirs, 5 Orchestras, 1 Percussion Ensemble. MS/Elementary Honor Groups - performing on the Friday concert hour. DIII Superintendent Request for Housing Local Students: They would like to either a) have their local school drop them off for the day, or b) have a parent drop them off at the hotel. Previously we had a policy that if they were within 30 miles they didn't have to stay at the hotel. Discussion. Motion - To leave the policy as it now stand. Seconded. Passed. Discussion on a student that wants to audition for All- State whose teacher doesn't want to join IMEA. It was felt that we have to keep the rule as it is. If we bend it for one person, it opens a whole can of worms. Banquet - Honor the K-12 Music Educator of the Year, District Rookies of the Year, District Teacher's of the Year, Collegiate Member of the Year, Years in IMEA/Service, Elementary Teacher of the Year, Community Organization/Music Business Recognition, Institution Award, School District, Recognize Retirees. Ron will organize this. District I - An exchange student wants to audition for All-State but she has already graduated from high school in Belgium. The IHSAA has ruled that she is ineligible for the swim team. Motion - Moved to allow her to audition. Seconded. Passed. All-State Dates & Rotation: Either NNU or Boise State. Discussion of dates. Motion to move the odd-year All-State to the 1st week of November. Seconded. Discussion. Passed. November 3-5, 2016 [recently rejected]. February 8-10, Kevin will get those sanctioned by IHSAA. Rotation: ISU; NNU; BSU; BYU-I; U of I; NNU Replacements of indispensable people: District Presidents should discuss people who could take on some of these duties. Nominees for President-Elect: Discussion about possible candidates. Idaho Band Masters Formation: Christy Taylor, from District IV, would like to start the Idaho Band Masters Association. They were voted a free booth at the exhibits for All-State Scholarships: Motion - Provide $ scholarships for students who are in All-State and are accepted into All-Northwest that would be put toward their All-NW Registration. Seconded. Passed. Motion - Create a scholarship for teachers to attend the In-service Conference. One per District, except for District III which would have two, up to $300, pending funding. Seconded. Passed. Ted will create a form. Motion - First year NAfME/IMEA Members will have their conference fees waived. Seconded. Passed. Meeting adjourned. Wayne Millett, Acting Secretary FALL 2015 Idaho Music Notes 24

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26 Third Annual Youth Songwriter Contest & Composition Competition deadline February 1! Sponsored by Violettes by Becky Violettes by Becky presents the third awesome year of the Youth Songwriter Contest and Composition Competition. Entries are to be submitted online; details are available at Violettes by Becky s website: A score and recording of the song entered is required (MP3 or You Tube). Created for students ages 10 thru 18 (still in high school), the competition has two separate divisions Songwriter and Composition, and each is divided into two age groups 10 through 13 and 14 through 18. Entrants must register by December 15, then submit their song or composition by February 1, Guidelines, registration and prizes, are at the website One great benefit of the contest, even if a student doesn't win, is feedback from professionals and a participation certificate. Becky Chafee, owner/creator of Violettes by Becky, designs and makes musical-instrumentshaped gig bags that can also be used as fun purses. The bags are both whimsical and elegant. Professional musicians love them to keep spare strings, tuner, metronome handy. Becky has violin/cello/bass purses, hand painted guitars and grand pianos. A link that shows some of the fun designs and uses of the bags is at youtube.com/watch?v=hfp-mzjeiwg. The bags are awesome, unique gifts and conversation starters. Mothers of string players wear them and are asked about their purse, giving them a chance to talk about their musical children! Tenth Annual Great Basin Jazz Camp set for Summer 2016 in Caldwell Founder and Executive Director & Artistic Director Mike Allen has announced the Tenth Annual Great Basin Jazz Camp, to be held at College of Idaho, Caldwell, Idaho, July 11-15, He encourages all High School & Middle School Jazz musicians to make plans to attend Tenth Anniversary Camp!! Visit: Phone: Cell: Follow the Camp on Facebook: The Great Basin Jazz Camp GET AN ACOUSTICOIL FOR THE WIND PLAYER ON YOUR CHRISTMAS LIST Inventor/professional musician Don Novy would love to send you an AcoustiCoil to help your special wind instrument player play and tune better! Don no longer sells online or accepts credit cards for payment but will respond quickly to your paid-by-check request sent by US Postal Service, phone or . AcoustiCoils for all wind instruments are available for $40 each plus $10 shipping/handling. To order or get a free brochure and additional info. contact Don at 1234 S. Quince Way Denver, CO USA, 1-(303) or To help you understand the ideas/technology behind AcoustiCoils, please visit this interview of Don Novy by banddirector.com: FALL 2015 Idaho Music Notes 26

27 Is Your Music Looking for Work? The brand new and updated Edition of the Film & Television Music Guide has just been released. Order your copy now The Film & Television Music Guide is the only resource you need to get your music to every Music Supervisor, Film Studio and Television Network Music Department, Trailer House, Video Game Company, Music Library, Music Placement Company, and Music Editor in the business. This new issue has 428 pages of the contacts you need to put your music to work! Having the new edition means you will always have the most current and complete contact information in today's rapidly-changing music business. Stay current. Stay relevant. Get licensed. Order your copy now online at or by calling or For our online version go to DO YOU iyerp?? The Idaho Youth Education Recycling Partnership (iyerp) is a collection of individuals and corporations with a mission to raise recycling awareness and improve recycling at the community level. One hundred percent of the recycling proceeds coordinated via IYERP are donated to Idaho youth programs via the John William Jackson Fund - a Boise, Idaho based donor advised non-profit organization & member of the Idaho Community Foundation. The mission of the John William Jackson Fund is to advance academic scholarship, performing arts and outdoor sporting for Idaho youth.iyerp is currently scraping metal on the following Magic Valley projects: Jerome County Jail, Rock Creek Elementary School, Pillar Falls Elementary School, St. Luke Hospital (tenant improvement project) and Clif Bar Baking Plant. iyerp recently completed Maverik Country Store in Burley and Rupert. iyerp has reached out to the City of Twin Falls which has expressed interest to partner with iyerp on future projects. Got Metal to donate for Projects or Programs benefiting Idaho Youth? LET US KNOW what you think. Follow JWJF or iyerp on Facebook: visit facebook.com/johnwilliamjack sonfund. Twitter: twitter.com/jwjfund and iyerp has expanded its presence in the Magic Valley which is experiencing a surge in construction projects especially in Twin Falls. Progress project photo was taken at Clif Bar Baking Plant in Twin Falls. Instagram:instagram.com/jwjfund/ For more information visit & click on the Recycling Program link. Mailing Address: Idaho Youth Education Recycling Partnership P. O. Box 4711, Boise, ID Phone: (for Bill "Action" Jackson) (for Ben Blaine) FALL 2015 Idaho Music Notes 27

28 Idaho State University Department of Music High schools participated in two invitationals organized by the ISU Music Department in the month of October. The ISU Marching Band Mountain West invitational welcomed bands to the Holt arena on the 10th and then the ISU Choral Invitational Festival welcomed choirs on Oct. 17th. The ISU Department of Music hosted the annual Metropolitan Opera National Council district auditions on November 6 & 7. The event was capped off by a performance of The Magic Flute by Opera Idaho on Saturday evening. Our new Jazz Studies Professor Jon Armstrong directed his first Jazz Band concert on October 30, and the ISU Symphonic Band, led by Dr. Patrick Brooks, performed on November 18. The Idaho State Civic Symphony offered a Halloween Family Matinee on October 31, and performed Holst s The Planets on November 13. They also presented two Christmas performances, Joy to the World: An ISU Christmas on December 11& 12. The ISU holiday season will culminate in a New Year's Eve Gala event hosted by the ISU College of Arts & Letters and School of Performing Arts at the Stephens Performing Arts Center. ISU BANDS SET SPRING SCHEDULE For all ISU Bands concerts, any high school or middle school band student will gain two free admissions to the performance when they show their student ID, according to ISU Band Director Dr. Patrick Brooks. Saturday, February 6, All Day, ISU Jazz Fest Thursday, February 11, TBA PM, ISU Host Night Concert for IMEA Wednesday, February 24, 7:30 PM, Wind Ensemble & Civic Concert Band Thursday, March 10, 8 AM-6 PM, Concert Band Festival Saturday, March 12, 9 AM 4 PM, Day of Percussion Friday, April 8, 7:30 PM, ISU Jazz Bands Saturday, April 23, 7:30 PM, Wind Ensemble & Civic Concert Band BYU-Idaho Jazz Festival 2016 set for March 9-12 Main School Day is March 12 / Special Guest Artist will be Brian Lynch. There are events from March 9-12; the main school day is the 12th. Featured Clinicians and Adjudicators this year are... Armstrong, Jonathan; Booth, Brian (saxophone); Davis,John (trumpet); Gudmundson, Jon (saxophone); Heitlinger, Alex (trombone); Mathews, Ben (guitar); Miller, Aaron (bass); Nielsen, Justin; Nielsen, Ryan (trumpet); Reeder, Kurt (piano); Sielert, Vern (trumpet); and Watkins, Kobie (rhythm) Thanks to all that made the 2015 BYUI Jazz Festival a great success! The 2016 BYUI Jazz Festival will be held on the second weekend in March (March 12 for school groups). Dr. Mark Watkins, Director of Jazz Studies/Saxophone; Department of Music, Brigham Young University Idaho; Office: ; Cell: ; fourjazz.com U of Idaho Lionel Hampton School of Music UI Sets Regional Audition Days The Lionel Hampton School of Music is happy to announce four Audition Days around the region. Students meet with faculty and audition for entrance and scholarships at any of these locations: Jan 16 Boise, ID Jan 30 Idaho Falls, ID Feb 06 Bellevue, WA Feb 20 Moscow, ID (Included will be information sessions with Financial Aid, Admissions, and Housing as well as performances by faculty and student ensembles) Note: students are also invited to arrange other audition visits or submit audition recordings electronically. More information: The Lionel Hampton School of Music at the University of Idaho welcomes Christopher Pfund as Assistant Professor of Voice and Opera for the fall of American tenor Christopher Pfund has performed to critical acclaim with countless major orchestras and oratorio festivals throughout North America. International engagements have included performances in the Czech Republic, Germany, Mexico and Brazil. He has also enjoyed success on the opera stage, including performances with Glimmerglass Opera, New York City Opera, Florentine Opera, and Santa Fe Opera. He actively works with composers by premiering new works and records frequently with many different professional ensembles. UI hosted 16 teachers at its recent Conductors Conference and Music Teacher Music Inservice on October 1-2. Participants experienced a conducting clinic with Dr. Andrea Brown, member of the conducting faculty at the University of Michigan, and enjoyed nine other sessions and presentations. The 5th Annual Idaho Bach Festival took place October Concerts and events featured baritone Paul Max Tipton. The Vandal Marching Band welcomed 150 high school juniors and seniors to it annual Future Vandal Game Day on September 26. Students enjoyed master classes with UI music faculty and a pregame performance by the marching band. They also played with the band during the game and experienced a real collegiate game day. All High School Marching Bands were invited to visit Moscow for the annual Homecoming Parade and Band Day on Saturday, Oct 24. Free admission to the football game was provided. Spring 2016 Graduate Music Education Courses at the University of Idaho Here are some great opportunities to take graduate music education courses to support your music teaching licensure and these are courses that will help you be a more effective teacher. And the GREAT thing is you can meet with other music teachers online, face-to-face, to share ideas from your living room! MUST 514 Multicultural Music Education (3 credits) MUST 513 Assessment of Musical Behaviors (3 credits) Graduate registration began Monday, November 9. If you have any questions, please contact Lorie Enloe at or Be Part of the New Idaho Bandmasters Association In the interest of creating better opportunities for our students and educators and a stronger network across the state, several band directors in District IV are starting an Idaho Bandmasters Association. We would like to invite any and all band directors in Idaho to join us. Our goal this year is to create a summer workshop (continuing education credits through College of Southern Idaho) specifically geared towards teaching band and instrumental music. To make this event/organization as successful as possible, we are currently seeking a representative from each of the seven IMEA districts to help spread the word. If you are interested in joining the Idaho Bandmasters Association or would like more information, please contact Christy Taylor by at or by phone: (208) ext FALL 2015 Idaho Music Notes 28

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30 Scherzo: Humor for the Music Educator MORE FACEBOOK FAVORITES... FALL 2015 Idaho Music Notes 30

31 FALL 2015 Idaho Music Notes 31

32 IDAHO MUSIC EDUCATORS ASSOCIATION Idaho Music Notes 824 Northview Drive Twin Falls, Idaho NONPROFIT ORG US POSTAGE PAID TWIN FALLS, ID PERMIT NO 313

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