Idaho Music Notes www.idahomusiced.org Mike Klinger on What s New in Music Technology page 10 IDAHO MUSIC EDUCATORS ASSOCIATION Winter 2013 Double Reeds: Should you go there? page 14 IDAHO MUSIC NOTES Volume 53, Number 2 of 3 A publication of the IDAHO MUSIC EDUCATORS ASSOCIATION www.idahomusiced.org INSIDE! President s Page...6 New NW NAfME President...6 SESSION PROPOSALS...6 INSTITUTIONAL MEMBERS...7 Specialist s Space...8 Music Technology...10 David Burger...12 Double Reeds...14 Scherzo......16 Find out your Blues Name! & MORE! David Burger inducted into the IMEA Hall of Fame page 12 Camille Blackburn elected NW Division President! page 6 32nd Biennial Inservice Conference & AS Honor Groups Northwest Nazarene University Nampa, April 17-19, 2014 Go to idahomusiced.org to submit session proposals!
Idaho Music Notes 2
Idaho Music Notes 3
OFFICERS & COMMITTEE CHAIRS e Curt Griffiths, President, 7814 Birch Ln, Nampa, ID 83687-8306 cgriffiths@vallivue.org 208-466-5290/208-459-7114/208-371-8391C e Ron Curtis, President-Elect/All-State General Chair, ron.curtis@vallivue.org, Vallivue High School, 1407 E Homedale Rd, Caldwell, ID 83607; 208-249-1285 e Matt Barkley, Past-President 675 Divot Ave., Post Falls, ID 83854 mbarkley@sd273.com/ mbarkley3@roadrunner.com 208-457-9328H/208-773-0581W e Camille Blackburn, Secretary 659 Marjorie Avenue, Idaho Falls ID 83401 520-7845H/525-4429W queencamille@gmail.com; blackbuc@d93.k12.id.us e Gary Gemberling, IHSAA Representative 1021 10th Ave., Lewiston, ID 83501 743-3899H/748-3171W; ggemberling@lewiston.k12.id.us e Karen Goodrich, Business Manager 494 S 138 W, Jerome, ID 83338 324-5950H/732-7555W/FAX733-4949 goodrichka@q.com; goodrichka@tfsd.org e Wayne Millet, Webmaster 1677 S 2750 W, Aberdeen, ID 83210 604-0733H/397-4152W/FAX397-4437 webmaster@idahomusiced.org/ wsmillett@gmail.com e Ralph Bennett, State Solo Chair 127 W 440 N, Malad 83252 766-4728ext20W/317-5491H e Ted Hadley, Editor, MUSIC NOTES, Publications 824 Northview Dr., Twin Falls, ID 83301 733-1079H/732-7555 ext 4377W/732-7556FAX thadley@cableone.net/hadleyte@tfsd.org ALL-STATE HONOR GROUPS e All-State Orchestra Chair: Sandy Schoen e All-State Band Chair: Megan Olswanger e All-State Treble Choir Chair: Andrew Percifield e All-State Mixed Choir Chair: David Burton CONFERENCE CHAIRS/SESSION CHAIRS e Exhibit Chair: Steve Newton e Elementary/General Chair: Shirley Van Paepeghem, 208-283-6480 (shirleyvp1@msn.com) e Middle Schools Chair: Eric Adamson, 208-250-9341 (eric.adamson@vallivue.org) e Small Schools Chair: Melanie Halsell, Filer Middle School e Band Chair: Phil Hartman, hartman.phil@meridianschools.org e Choral Chair: Michael Murphy, ACDA e String Chair: Kevin Howard, ISTA e Technology Chair: José Rodriguez, 208-830-9337,jose.rodriguez@boiseschools.org> e Higher Education Chair: Dr. Judy Marlett, Northwest Nazarene University e Collegiate Chair: Amanda C. Soto, University of Idaho e Research Chair: Lorie Enloe, University of Idaho, Room 206, Moscow, Id 83844-4015 lenloe@uidaho.edu e Gale Maxey, Retired Members 8440 Golse Drive, Boise, 83704 gbmaxey55@gmail.com, H375-5079 e Peggy Wenner, Coordinator, Arts and Humanities, SDE, P.O. Box 83720, Boise, ID 83720-0027; pjwenner@sde.idaho.gov, H343-7438, W332-6949 e NAfME Exec. Director Michael Butera, 1806 Robert Fulton Drive, Reston, VA 22091; 800-336-3768 Toll-free/793-860-4000 e Sean Ambrose, NW President, Cheyenne, Wyoming e Camille Blackburn, NW President-elect, Idaho Falls, Idaho e Nancy Ditmer, NAfME President, Wooster, Ohio e Scott Schuler, NAfME Past-Pres.: Simsbury, Connecticut Idaho Music Notes Official Publication of the Idaho Music Educators Association A State Unit of NAfME: The National Association for Music Education Winter 2013 Volume 53, Number 2 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, JANUARY 1 & APRIL 1; RATES ON REQUEST. EDITOR & MANAGER TED HADLEY, 824 Northview Drive, Twin Falls, Idaho 83301 208-733-1079 H / 208-732-7555 ext 4377 W / 208-732-7556 FAX / thadley@cableone.net NAfME: The National Association for Music Education and Idaho Music Educators Association are voluntary, nonprofit organizations representing all phases of music education in schools, colleges, universities, and teacher-education institutions. Second class postage is paid at Twin Falls, Idaho 83301. Postmaster: Send address changes to Idaho Music Notes, 824 Northview Drive, Twin Falls, ID 83301. 2013 Idaho Music Educators Association Contents President s Page...6 New NW NAfME President Camille Blackburn...6 Session Proposals Wanted...6 IMEA Institutional Members...7 Specialist s Space: Idaho Sesquicentennial...8 What s New in Music Technology...1o David Burger inducted into the IMEA HOF...12 The Double Reeds: Should I go there?...14 Scherzo! Humor for the Music Educator...16 www.idahomusiced.org www.nafme.org 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 Aaron Gordon Sandpoint HS, 410 S Division St., Sandpoint, ID 83864 aaron.gordon@lposd.org; Phone: 263-3034/Fax: 263-5321 e District II President Joel Pals Moscow HS, 402 E. 5th St., Moscow, ID 83843 palsj@msd281.org; Home: 301-8809; School: 882-2591; Fax: 892-1136 e District III President Marty Worthington 8055 Goddard Rd., Boise, ID 83704, districtiii@idahomusiced.org; marty.worthington@boiseschools.org; School: 854-4490; FAX: 322-3773 e District III Vice-President Dawn Sandmeyer P.O. Box 340, Marsing, ID 83639 districtiii@idahomusiced.org; Home: ; Phone: 896-4111 ext 297; Fax: 896-4457 e District IV President Jeff Collier 300 W. Highway 25, Rupert, ID 83350 districtiv@idahomusiced.org; Home: 430-6438; Fax: 436-3266 e District V President Greg Goodworth Bear Lake HS, 330 Boise, Montpelier, ID 83254 ggoodworth@blsd.net; Phone: 847-0294; Fax: 847-0144 e District VI President Susan Christensen 935 N. 5th E., Driggs, ID 83422, schristensen@d401.k12.id.us; Home: 705.5053; School: 354-2971; Fax: 354-8685 e Gemstate District President Steve Dresen Bonneville High School, 3165 E. Iona Rd., Idaho Falls, ID 83401 (208) 525-4406; dresens@d93.k12.id.us e 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...8 Blue Rider Music...13 Brigham Young University...17 BYU-Idaho...19 Chesbro Music...14 College of Southern Idaho...16 Greif s Music...8 Idaho State University...9 NW Nazarene University...12 Synthesis/Midi Workshop...11 Treasure Valley Community College...16 University of Idaho...5,11 University of Portland...18 Willamette University...8 Yamaha...back cover Editor s Desktop Hope you re on the way to accomplishing all those New Year s resolutions about teaching! This issue features interesting articles, information, a call for session proposals for our 2014 Inservice Conference, and information from our sponsors. Good luck with your year-end goals. Ted Hadley, Editor & Manager Idaho Music Notes 4
Idaho Music Notes 5
President s Page Curt Griffiths It was great to see so many of our Idaho IMEA members attending the Northwest Conference in Portland this February. The Portland Convention Center is a fabulous facility, offering a wide variety of meeting spaces and concert venues all under one roof. Our Northwest Division organizers secured some of the best educators in the profession to present sessions and direct the honor groups, not just nationally recognized individuals from the around the country, but also many from our Northwest states. The richness of experience and expertise that our clinicians and conductors brought to the conference was truly remarkable. Because of the combination of clinics, sessions and concerts, the networking, re-connecting with colleagues and sharing of ideas, I believe that the conference is the single most important and invigorating event of the school year. National headliners at the conference included John Feierabend (Hartt School of Music), representing general music; Allan MacMurray (University of Colorado), band; Andre' Thomas (Florida State University), choral; and Richard Meyer (Arcadia, California), orchestra. NAfME national president Nancy Ditmer and executive director Michael Butera will both spoke and were involved in workshops. Two special pre-conference workshops on Thursday were great opportunities not only for teachers, but also (especially) for parents, booster groups and advocacy coalitions. These involved legal issues impacting nonprofit organizations as well as advocacy training. Due to new tax laws and IRS requirements, non-profit organizations are accountable to file information in far greater detail than in the past. Additionally, there are greater legal requirements and responsibilities of these organizations, as well as their leaders and officers. The advocacy of music education is a vital part of our responsibilities, so the second workshop session on Advocacy was led by John Menham, author of Music Advocacy: Moving from Survival to Vision. I want to personally congratulate the Performing Ensembles that performed at the Northwest Conference from the State of Idaho: Boise High School Chamber Orchestra directed by Wendy Hartman and Rigby High School Troylairs Choir. I am especially proud that the University of Idaho Vandaleers Concert Choir under the direction of Dr. Michael Murphy was selected to perform, as my daughter Erica is a soprano in the group! Our Young Teachers Attending conferences, participating in regional in-service opportunities and attending regional meetings are all instrumental to growing and thriving as educators. Sometimes it is too easy to neglect our young and newer teachers. Often younger, less experienced teachers, even those with great skills and ideas can become overwhelmed with the size of their workload. All of us have an obligation to stay connected with those new to our profession. Make every effort to communicate and assist younger teachers, and help them be a part of our community. Encourage them to find ways to get to conferences, introduce them to people within your network, invite them to come along with you as you attend sessions, concerts and simply socialize. Let them know about performance opportunities for them personally within your communities. We will all benefit from this shared effort to help our young teachers be a part of our community of educators. Call for Sessions for our April 2014 Inservice Conference! A call for sessions for our 2014 State Conference is online now! Do you want to present a session? Do you have a topic you want to learn about? Do you have a presenter you would like to see? Proposals will be accepted through September 15th, 2013 To submit session proposals, click on the link at www.idahomusic ed.org or go to http://imea.seainternet.com/proposal.aspx All session proposals will be submitted online through this link housed at the WMEA office, same one that was used for the NW conference proposals. If you have any questions, feel free to contact Ginny at ginny@wmea.org, 425.712.9632/800.324.9632. Curt Griffths, IMEA President Congratulations to our new Northwest NAfME President-elect, Camille Blackburn! 32nd Biennial Inservice Conference & AS Honor Groups Northwest Nazarene University Nampa, April 17-19, 2014 Go to idahomusiced.org to submit session proposals! Idaho Music Notes 6
2012-2013 IMEA Institutional Members Please support our Institutional Members Their membership shows their support for us! University Of Idaho Lionel Hampton School Of Music Dr. Susan Hess, Asst Director P.O. Box 444015, University of Idaho, Moscow, ID 83844-4015 Phone: 208-885-6232/Fax: 208-885-7254 Email: music@uidaho.edu shess@uidaho.edu Web: http://music.uidaho.edu Idaho State University Music Department Dr. Randy Earles, Chairman 921 S 8th Avenue 8099, Pocatello, ID 83209-8099 Phone/Fax: 208-282-3636 Email: music@isu.edu Web: www.isu.edu/music Treasure Valley Community College Performing Arts Department Robert D. Armstrong, Contact 650 College Blvd., Ontario, OR 97914 Phone: 541-881-5950/Fax 541-881-5518 Email: barmstro@tvcc.cc Web: www.tvcc.cc Brigham Young University-Idaho Department of Music Kevin Call, Chairman Rexburg, ID 83460-1210 Phone: 208-496-4950/Fax: 208-496-4953 Email: callk@byui.edu robertsl@byui.edu Web: www.byui.edu/music J.W. Pepper Music Wendy McKee, Regional Marketing Manager 7611 S. 180th Street, Kent, WA 98032 Phone: 425-291-9400; 800-345-6296 Fax: 800-260-1482 wmckee@jwpepper.com www.jwpepper.com www.pianoatpepper.com www.facebook.com/jwpepperwa Northwest Nazarene University Music Department Dr. Barry Swanson, Chairman, Nampa, Idaho 83686 Phone: (208) 467-8413 Email: bwswanson@nnu.edu Web: www.nnu.edu/music Chesbro Music Company Gary Christensen, Manager 257 N Second E, Rexburg, Idaho 83440 Phone: 208-359-1900 Fax: 208-359-1901 Email: gary@chesbromusic.com Monica Craig, Manager 327 Broadway, Idaho Falls, Idaho 83402 Phone: 208-932-1230 Fax: 208-522-8712 Email: retailpm@chesbromusic.com Web: chesbromusicretail.com Boise State University Music Department Mark R. Hansen, DMA, Chair & Professor 1910 University Drive, Boise, ID 83725-156 Phone: 208-426-1773; Fax: 208-426-1771 Email: markrhansen@boisestate.edu Web: www.boisestate.edu/music Meadowlark Melodies Bill Dugger, Mark Sherry, Partners 3430 MeadowLark Drive, Lewiston, Idaho 83501 Phone: 208-743-8748 Email: ms@meadowlarkmelodies.com Online store: www.meadowlarkmelodies.com The College of Idaho Department of Music Dr. Paul Moulton, Chair 2122 Cleveland Blvd, Caldwell, ID 83605 Phone: 208-459-5275 Fax: 208-459-5885 Email: pmoulton@collegeofidaho.edu or eearl@collegeofidaho.edu Web: www.collegeofidaho.edu/academics/music Blue Rider Music & Instrument Repair Chris Britt, Manager 595 W. Ustick, Meridian, ID 83646 Phone & Fax: 208-888-6238 Sun Valley Summer Symphony Kim Gasenica, Educational Programs Director P.O. Box 3956, Hailey, Idaho 83333 Phone/Fax: (208) 788-4616 Email: gasenica@mindspring.com Website: www.svsummersymphony.org or www.svsseducationprograms.org John William Jackson Fund (in The Idaho Community Foundation) P.O. Box 4711, Boise, Idaho 83711-4711 Website: www.johnwilliamjacksonfund.org Phone: 208-890-8503 A music education advocate for Idaho school children Brigham Young University School of Music Dr. Ron Brough, C-550 HFAC, Provo, UT 84602 Email: mark_ammons@byu.edu Web: music.byu.edu Phone: 801-422-3320 FAX: 801-422-0533 Great Basin Jazz Camp Mike Allen, Camp Founder, Executive & Artistic Director P.O. Box 187, Elko, NV 89803-0187 Email: greatbasinjazzcamp@earthlink.net Web: www.greatbasinjazzcamp.com 7th Annual Great Basin Jazz Camp @ Treasure Valley Community College July 8-12, 2013, Ontario, Oregon Visit us on Facebook: The Great Basin Jazz Camp Idaho Music Notes 7
Specialist s Space Peggy Wenner Fine Arts Specialist, Idaho State Department of Education Idaho Celebrates 2013 Sesquicentennial Many events are planned to mark the celebration of Idaho becoming a territory, the work of Abraham Lincoln. The kickoff event was held at the state capitol in early March and the following week coincided with our annual Rotunda Week concerts. Isn t it interesting that music is a necessary part of almost any celebration you can imagine? People realize the importance of music when we have events. Music education is the backdrop of every one of these events. People love to hear the music, but they need to know about the early morning rehearsals, the fund raising events to allow groups to travel, and the never ending schedules music educators keep up, just to ensure our students are receiving what they need to understand how to produce, perform, and entertain people of all ages. How we present to the world is a major part of many students' education. During the holiday season I was able to attend the choir concert of a young music teacher whom I have known since she was born. How uplifting to see the next generation of music educators in the precise movement of her hands, the confident announcement of selections, and the fact that every girl in choir was in perfect unison and dressed immaculately. Every attention to detail that music directors seek was not lost on me, even though my mind wandered back to days when this now professional woman toddled to Sunday school in fancy dresses. Kendra could have chosen any major, but she chose music and she chose music education. As you celebrate in multiple events this year, please take a moment to recall that first concert you directed, and the fear, the excitement, and the pleasure it brought you. The world awaits our productions, even if it does not always understand our preparation. I look forward to hearing from many of you this spring as we celebrate and create memories young people will have for a lifetime. SERVING THE TREASURE VALLEY SINCE 1948 WE RENT TO OWN BAND INSTRUMENTS Instruction Available On Most Instruments SALES SERVICE RENTALS 541-889-2844 45 S. OREGON - ONTARIO, OREGON Band Instruments Guitars & Amplifiers Pianos Keyboards Drums Sound Systems Violins Banjos Mandolins Music Methods All Accessories Photo Credit: Matt Standal / KTVB Students and staff from Horizon Elementary in Boise performed for the Idaho at 150 ceremony on Monday, March 4, 2013. Idaho Music Notes 8
Idaho Music Notes 9
What s New In Music Technology: A Report from NAMM 2013 By Mike Klinger It was snowing here in Carson, Washington, when I left for NAMM 2013 in Anaheim, California, on January 24th. I thought I could get away from the foul weather here but arrived to rain, thunder and lightning and of course snow. Nonetheless, the NAMM convention offered comfort inside and a few new and exciting things in music technology coming your way for 2013. Sibelius is alive and well and not going out of business! I had a 1.5 hour meeting with Bobby Lombardi Senior Manager/Product Management at Avid and Andy Cook Training Partner Program Manager. They assured me that Sibelius is here to stay, they have new programmers in place in California, planning an update to 7.5, and have started a Sibelius certification-training program of which I will be a part. No worries! ipad Software Apps The Apple ipad is definitely turning into a music-making device, and a lot of companies are offering some great new products for it. Thinkmusictechnology is coming up with a music notation app that will recognize music hand writing via a stylus, input using the on screen piano, or hook up a midi controller and just play it in. The product is being created by a start up company of 4 musicians and tech savvy people. It is scheduled to be released fall of 2013 and will cost $29.99. They are asking for contributions to help fund their project. Make sure to watch the videos on their website at www.thinkmusictechnology.com MakeMusic is bringing out SmartMusic for the ipad in the spring of 2013. Offering much of the functionality found in the desktop version of SmartMusic, the upcoming app includes quality practice tools, assessment and accompaniment features as well as access to the entire content library with a SmartMusic subscription. Chromatik is a free web platform with everything you need to practice, perform, and teach music. It is available for ipad and web. It allows the teacher to share music with students, make assessments and have everything synced in the Cloud. Upload your own sheet music or workbooks for free into the Cloud or purchase music thru their store. When I saw it at NAMM my first impression was a free SmartMusic. For more information go to www.chromatik.com ipad Hardware IK Multimedia has just about everything you will need as far as ipad music hardware. Their new irig Keys $99 is the first ultra-slim and highly portable universal MIDI controller keyboard for iphone, ipod touch, ipad and Mac/PC. irig KEYS connects directly to the ios device 30-pin dock connector or the USB port on your Mac/PC. The irig mic $59 is the first handheld, quality condenser microphone for iphone, ipod touch and ipad. Of course if you have your own mic, then go with the irig Pre $39which allows you to connect your XLR mic directly into the ipad and includes phantom power. Apogee is a definite step up in quality and has some wonderful hardware for the ipad ranging in price from $199-$799. The Duet $595 is a 2x2 audio interface, headphone amp, and midi interface. The Apogee Mic $199 is a USB Condenser Microphone with Cardioid Pickup Pattern, Adjustable Input Level, and Monitoring LED. Notable Keyboards I am very excited about the new M-Audio Axiom Air keyboard line coming in at $99, $299, $399, and $499 for the Mini, 25, 49, 61 note models. As a controller it is massively equipped with knobs, sliders, pads and switches to control the included Pro Tools Express ($49 value) and Ignite software that ships with the 25, 49, and 61 keyboard. I was really impressed with Ignite as it provides a refreshingly original and musician-centric way to quickly capture, combine, and arrange your musical ideas. Korg's new MS20 mini $599 made the show for me. For those of you old school synth players, this thing is a blast. In a nutshell it is an analog synthesizer featuring the original circuitry from 1978 with 2VCO / 2VCA / 2VCF / 2EG / 1LFO structure. Much fun! Notable Software Ilio introduced a new notation product called Score Cleaner $99 teacher/$69 student that I was really impressed with. This software is designed for those who just want to play in without a metronome with a midi keyboard and get great results. It amazes me how the software can interpret your key, your time signature, your phrasing, your quantization and artistic intent without ever having to pre set things up ahead of time. Just click and play and Score Cleaner will dictate your score with amazing accuracy. You can also save as XML to bring into Finale or Sibelius. The Garritan Ultimate Collection $449 contains a collection of 6 Garritan Sound Sets Including Instant Orchestra, Jazz & Big Band 3, World Instruments, Personal Orchestra 4, Classic Pipe Organs, Concert & Marching Band 2 - RTAS, VST, AU (Mac/PC). Need female background singers? Realivox -The Ladies $295 comes with 5 singers, with over 30 articulations and true sampled legato. Check out their website at www.realitone.com Digital Audio Steinberg introduced the new UR 22 USB 2.0 audio interface $149. This portable 2-in/2-out device with 24-bit/192 khz resolution is the perfect choice for mobile musicians, touring DJs Idaho Music Notes 10
and everyone in between. Acoustica and MXL Microphones have teamed up to create Mixcraft 6 Vocal Studio $169, a stream-lined software and hardware package that turns any PC into a powerful and easy-to-use recording studio. Packed with pro-quality effects, authentic virtual instruments, thousands of audio loops and sound effects, and a high-end versatile USB recording microphone, Mixcraft 6 Vocal Studio provides musicians with everything they need to create professional mixes with ease. Roland introduced the new STUDIO-CAPTURE $999 high-performance USB 2.0 audio interface for studio and mobile production. With 16 audio inputs, 12 premium-grade mic preamps (a first for a compact USB audio interface) and 10 audio outputs, the STUDIO-CAPTURE provides extensive connection capabilities for professional production needs - and will fit easily into a travel bag. You also get 24-bit/192 khz audio quality, comprehensive front-panel metering, XLR monitor outputs with dedicated level control, dual headphone outputs, rock-solid drivers with VS STREAMING technology, and much more. M-Audio introduced 3 new audio interfaces. The M-Track $99 is a simple two-channel Portable USB Audio/MIDI Interface and ships with Ignite software. The M-Track Plus $149 is a two-channel Portable USB Audio/MIDI Interface With Digital I/O and ships with both Pro Tools Express and Ignite software. The M-Track Quad $249 is a four-channel USB Audio/MIDI Interface and ships with both Pro Tools Express and Ignite software. Blue Mic introduced the all-new Nessie $99 the first adaptive USB mic. Nessie is plug-and-play compatible via USB with both PC and Mac with driverless installation. For mobile recording, you can connect to ipad using Apple's camera adapters (30-pin to USB or Lighting to USB), sold separately. The HK Lucas Nano 300 portable PA system $699 blew me away. At only 22 pounds, 230 watts, and a frequency response of 44-20khz, this powerhouse has the quality of much larger systems. Perfect for the music classroom. Just watch the video at http://www.youtube.com/watch?v=aegdwmmmrms Summer Workshops I will be offering a variety of face-to-face and online workshops this summer to include: Pro Tools 10, Sibelius 7, Teaching Music Using Technology in the Classroom, ipads in the Music Classroom 101, Music Technology Projects, and of course Private Study. Go to www.midiworkshop.com for more info. Mike Klinger is the owner of Synthesis Midi Workshop, Inc that specializes in music technology educational sales and training. www.midiworkshop.com (800) 248-9699. University of Idaho Hampton School of Music Summer Sessions 2013 Session 1 June 20-22, 2013 MUST 568 (CRN: 81371) Music Technology Camp Session 2 June 24-28, 2013 MUST 586 (CRN: 81372) Advanced Instrumental Methods MUSA 587 (CRN: 80976) Advanced Instrumental Conducting Courses are open for enrollment NOW! Idaho Music Notes 11
DAVID BURGER INDUCTED INTO THE IMEA HALL OF FAME Longtime Idaho Falls music educator David Burger, 59, passed away unexpectedly Friday, September 21, 2012, at his home. On December 7, 2012, he was inducted posthumously into the IMEA Hall of Fame. David was born May 5, 1953, in Evanston, Wyoming, and attended elementary schools in Salt Lake City, graduating from Beloit Memorial High School in Beloit, Wisconsin. After serving a full-time LDS mission in Venezuela, he continued his education at Brigham Young University, where he earned a bachelor s degree in music education. David then attended the University of Idaho, where he received his master s degree in music education. On December 20, 1976, he married Jilene Goodwin in the SLC LDS Temple. Together they raised two daughters, Criscell and Chalise. David worked as a music educator in Milford, Utah,and Idaho Falls. He was conductor of the Idaho Falls Youth Symphony, a music for and board member of the Idaho Falls Symphony Orchestra, a member of the Idaho Brass Quintet, and the music coordinator for School District 91 music department. He was conductor of the School District 91 music Cinderella and also conducted the Sounds Choir in The Sound of Music. His marching and jazz bands attended many festivals and competitions locally and as far away as Orlando, Florida, and Moscow, Idaho. Dave was an active member of the LDS church and served in many capacities, including bishop of the Parkwood Ward for five years. He enjoyed photography, model railroading, canoeing, river running, working on his truck, and spending time with his family, including five grandchildren. Idaho Music Notes 12
For Professional Repair & Quality Service Blue Rider Music & Instrument Repair Specializing in Brass & Woodwind Sales, Rental & Repair INSTRUMENTS King Armstrong Benge Fox Conn-Selmer Artley Pearl Drums ACCESSORIES Rico LaVoz VanDoren Humes & Berg Last Minute Festival Repairs! Call to set up Summer Repair Pickups! REPAIR 595 W. Ustick (208) 888-6238 Meridian, Idaho 83646 Idaho Music Notes 13
The Double Reeds: Should I Go There? Considerations for Adding Double Reeds to the Band By Dr. Lorie Enloe, University of Idaho, Hampton School of Music Before choosing prospective double reed players, a band director should seriously consider how the new double reed timbres can improve, or not, the tone and blend of the existing ensemble. One only need to hear a band with a struggling young oboe player to realize the impact of this decision. Oboe timbre cuts through the band like a hot knife through butter. Issues with reeds and technique will be obvious, and at times, painful for all. Peer ridicule is a reality when one is blessed with playing an instrument that sounds like migrating waterfowl. There are a number of factors to consider before adding double reeds to the ensemble. The first factor is access to good instruments. Oboes and bassoons are difficult to play for many reasons, however tone quality, intonation, and technical issues are preeminent. The quality of the instrument is a major factor in all three! If the school does not own quality, reliable oboes and bassoons, the best decision is to not add them. A list of suggested instruments is listed at the end of this chapter. Good double reed instruments are expensive for a reason, but the return on investment is worth the effort to find funding. Band directors also have to consider other factors such as finding the right student for the job, assuring that the student receives appropriate instruction making the transition to the new instrument, and ongoing support for success in the ensemble. Who gets to play the double reeds? It is often wise to avoid generalizations as there are always exceptions, but when approaching the issues related to playing double reed instruments, generalizing is pretty safe. Double reeds instruments are difficult to play and making arbitrary oboe and bassoon assignments is never a good idea: The double reed instruments are prone to intonation problems. The double reed instruments are challenging to play. The oboe player is omnipresent and cannot hide. The bassoon player is often lost in the ensemble until repertoire exposes their part. Band directors would be wise to spend time examining which students are the best double reed player prospects as a bad instrument switch will result in a band that sounds bad, lacks blend, balance, and plays out of tune,. Even worse, there is a significant chance that the new double reed player will quit in utter frustration: not just quit playing the new instrument, but quit band. The decision about who plays the double reeds should be made with these goals in mind: to assure that the student is successful on the new instrument and to assure the ensemble will benefit from the decision. As both instruments are very difficult to play in tune, the first factor any director should consider is whether the prospective double reed player plays his/her current instrument in tune. Is there evidence that the student is aware of personal intonation and continually adjusts the instrument to improve tuning? Let's face it, if the child cannot "hear thunder," switching that student to an oboe or bassoon is a very bad decision. Double reed players do not have to come from the woodwind section. Trombone players, with a critical ear, make wonderful double reed players; so do not narrow the pool solely to woodwind players. The double reed instruments are very difficult to play. Intelligence and coordination are important factors to consider. Another good attribute is curiosity, as being able to adjust and troubleshoot "on the fly" is part of the job of playing oboe and bassoon. Both instruments require techniques not regularly used in other sections. Oboe players have to develop a half-hole technique, which as critical technique for moving across a register break. And there are two different techniques for oboe half-holing. Bassoon players have to learn half-hole techniques as well, but they do not have the convenient half-hole platter on the instrument that oboe players enjoy. And it gets worse: bassoon players have three different half-hole "opening sizes" as they ascend or descend chromatically. Boehm did not improve the bassoon; therefore, the modern bassoon is essentially still the Baroque instrument, fraught with forked, awkward fingerings and resonance adjustments. The tone holes are not close together and the thumbs have to engage more than 10 individual keys on the backside of the instrument. Boehm did change the oboe, though beginner instruments without the modified conservatory key system still requires forked fingerings (another reason that buying a good instrument is important!). Oboe tone holes are even farther apart and when combined with the unusual weight of the oboe, oboe players are at risk for carpal tunnel and focal dystonia injuries. Reeds are a huge issue for double reed students. A bad reed can wreck ensemble intonation, tone, and blend and at the same time reduce the double reed player to a catatonic state. A bad reed eliminates confidence immediately and the student wants to disappear into the background, which is not going to happen for an oboe player. Reeds can be too hard, too soft, too long, or too short - all with disastrous results. Good reeds can go bad when a cold front blows through on festival day. A thunderstorm in the vicinity can make a double reed respond like a bowl of grits. The double reed player must be prepared with a plethora of reeds that perform in a variety of conditions and the forethought to watch The Weather Channel to anticipate any possible problems. The student must also be able to adjust on the fly as sometimes a good reed goes bad in the middle of a performance. The prospective double reed player should be a student who is exceptional. Let s face it: Idaho Music Notes 14
percussionists and trumpet players do not have these quirky problems! Oboes and bassoons are not instruments for students who want to be one in a cast of thousands. Double reed players have to be "individuals" and not afraid to be heard. Wind band repertoire above grade two often features the double reed timbres in tutti and solo passages; therefore, wallflowers need not apply. Double reed players cannot flee from exposure. Oboe players cannot hide: anything that they play will be heard. This does not mean that the director should look for the most extroverted diva in the ensemble to play oboe. Bassoons are large, unwieldy, and awkward instruments. They are difficult to maneuver and getting the correct playing position is not easy for a small player. Bassoonists also have to be a little more forceful as the bassoon timbre does not carry in a large ensemble. The double reed players have to be fearless and selfless - putting the best of the ensemble at the forefront. They have to continually consider the ramifications of their actions on the rest of the ensemble. Yes, the right students do exist. The director just has to make a wise decision to match the best student with the best double reed instrument. One way to assure failure for your new double reed player is to hand the child the instrument case, a book, and tell them to "go, figure it out." Getting a good start, with a focus on characteristic tone quality, for double reed players is no less important than it is for flute, clarinet, trumpet, or trombone players. In fact, it is vital for double reed players! It is always a good idea to develop an ongoing professional relationship with the closest college double reed faculty members. Professional double reed players are usually eager to share the joy of playing these unique instruments and they can be a valuable resource for band directors with bassoon and oboe students. If asked, they can come help start new players, provide good reeds for sale, and support the students as they develop new skills. They also have materials such as fingering charts and knowledge about good used instruments for sale as their college students upgrade to professional models. College faculty are charged with connecting with area schools to meet service requirements in academia and working with area students is the best kind of recruiting for their studios. Working with double reed faculty is a win-win situation for all Idaho Music Notes 15 concerned. If there is not a college music department nearby, more and more teachers are adopting web-based instruction. Contact the closest double reed faculty members and ask about the possibility of online instruction. Dr. Lorie Enloe is Associate Professor of Music Education in the Lionel Hampton School of Music at the University of Idaho. This article is an excerpt from her Teaching Beginning Woodwinds: The First Five Days text book due out this year from Sol-Ut Press in Chicago. Contact Dr. Enloe at 208-885-0157 or email lenloe@uidaho.edu.
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