What’s the Difference Between a Flute and a Piccolo?

Written by Catherine Perkins on April 23, 2021. Posted in Woodwinds. 2 Comments on What’s the Difference Between a Flute and a Piccolo?

Think the piccolo is just a pint-sized version of a flute? Think again. While the flute and piccolo look similar, there are numerous differences that make these two instruments unique and give them their own distinct character and sound.

Before we jump into the details, though, let’s take a brief look at their long and intertwined past.

From Reeds and Bones

Dating back to the Paleolithic era, the earliest forms of the flute were made from bone and reeds and featured a small number of finger holes. The term “flute” was initially used to describe a wide variety of pipe wind instruments, including those held vertically (like a recorder) and horizontally (like today’s flute).

The Baroque era of the 17th century marked the start of development of the modern flute with the introduction of the first key and tapered body shape. A smaller version was developed in tandem, eventually becoming the piccolo we know today. Over the next century, parts for flauto piccolo (“piccolo” is Italian for “small”) started to appear in orchestra scores.

By the 19th century, flute engineering reached a pivotal point under wind instrument manufacturer Theobald Boehm, who is known as the father of the modern-day flute. Boehm introduced a metal instrument that had many keys and an evenly cylindrical shape, which he accommodated by adding a lip plate and riser. These revolutionary enhancements enabled greater pitch control and tonal stability.

The Flute’s Mini-Me

The two instruments have many things in common. Both are woodwinds, both are held the same way and both have a similar playing technique: sound is created by blowing air over an embouchure hole in the mouthpiece and notes are selected by pressing various keys or key combinations on the body of the instrument. They also utilize many of the same fingerings, and are both pitched in the key of C.

Closeup of a flute. — *Yamaha YFL-482H flute.*

Small flutelike instrument with black finish and sliver keys. — *Yamaha YPC-87R piccolo.*

Additionally, the flute and piccolo share similarities in the way they are maintained. A slim, fuzzy cleaning rod that looks like an oversized pipe cleaner is used to wick away condensation on the inside of the tubing. In addition, regular use and polishing with a soft cloth help to keep the metal keys and tubing shiny and safe from discoloration.

The Devil’s in the Details … and High Notes!

The main differences between the two instruments lie in their size, construction and note range. The flute is about 26 inches in length and is assembled from three separate pieces: the headjoint, body, and foot joint. The standard concert flute has 16 tone holes and wider tubing than the piccolo, with a diameter of about three quarters of an inch on the inside. The flute’s larger design allows for a deeper sound and broader range of notes that covers three octaves, starting at middle C.

The piccolo is half as long, measuring approximately 13 inches. The inside of the tubing is only about half an inch wide — that is, a quarter-inch narrower than the flute — and tapers at the end. (The piccolo body also retains the subtly tapered design of the Baroque flute.) With only headjoint and body pieces, the piccolo is missing some of the key work found on the foot joint of the flute. Therefore, the piccolo is pitched nearly an octave higher than the flute. The tone holes and keys are also smaller in size and placed closer together, which may make fingering easier for some players.

Graphic illustrating the range of a picolo versus a flute.

Although a smaller volume of air is needed to play the piccolo, players must use a faster stream of air to support each note, especially the higher ones. Due to the difficulty of sustaining tones on the piccolo, playing notes in tune is more challenging on the piccolo than on the flute.

Flutes are most often crafted in a variety of metals such as alloyed nickel, silver, and even gold, while piccolos tend to be made from wood with metal keys, although there are also plastic-bodied piccolos such as the Yamaha YPC-32. These types of instruments are not quite as bright in sound as metal piccolos, but they are less expensive and more durable against the outdoor elements, making them a popular choice for students and marching ensembles.

Black and silver plastic flutelike instrument. — *Yamaha YPC-32 plastic piccolo.*

Interestingly, and less commonly, flutes have even been made of all glass, but these instruments typically serve more specialized roles in folk or period music.

Sonic Qualities

For centuries, the flute and piccolo have played significant roles in the magic of storytelling through music. The flute is known for its graceful, celestial sound — a gentle tonality that blends well with other instruments. Like the violins in an orchestra, flutes are often heard playing the melody. From love themes to flowing rivers and birdsong, the dazzling flourishes and trills that are characteristic of the flute have been used by composers for centuries to evoke passionate emotions and the sounds of nature.

The piccolo is renowned for its capabilities in the highest register. Like an excited younger sibling, the piccolo likes to imitate its older flute brother or sister in the way it looks and acts, but with more energy and a much more piercing voice. And even though the piccolo has become a mainstay of many orchestral woodwind sections, where it is primarily used to produce tension and excitement (as well as, on occasion, humor), its unique tonal qualities make it a great fit for marching bands too. John Philip Sousa’s The Stars and Stripes Forever is an iconic example of the infectious energy that the piccolo can add to a march.

Getting Started

Learning how to play these instruments is a great place to begin your musical journey and spark your imagination. Yamaha has a great “how to” guide on the basics of playing the flute as well as a resource for parents on starting to play in school band.

While flute and piccolo can be played fairly interchangeably, it’s generally best to start with the flute. This will give you a great foundation to work from and will help you build endurance as you learn a broad range of notes and hone your technique. When you move on to learning how to play the piccolo, you will fine-tune your ear and build confidence. (Piccolos are not instruments for the shy!) And if you join a marching band, don’t be surprised if the tuba players give you envious looks at your pocket-sized instrument.

Whether you want to get lost in the sounds of nature, feel love in the air or get energized by the beat of a march, the flute and piccolo have much to offer.

Check out this related blog article: Genealogy of the Flute Family

Click here for more information about Yamaha flutes.

Click here for more information about Yamaha piccolos.

Joliet Central High School band rehearsal

Case Study: Practice Not Required

Written by Don Stinson on April 22, 2021. Posted in Case Studies.

Yes, you read the title of this article correctly — please proceed with caution because this topic may offend most music teachers.

I teach at Joliet Central High School, a low-income, high-needs population school and serve as the ensemble director, chamber ensemble director, general music teacher and even applied instructor. It’s a lot to handle.

Many of my students live in rented homes or in apartments, and their landlords may not allow them to play loud instruments. Students often share bedrooms with siblings and cannot practice in the common areas of the house. Other students share an instrument and cannot take the instrument home. And many of my students work outside of school. Playing instruments or singing after school or on weekends is not an option for most.

That’s why I have worked to build a program that does not require practice outside of school. I am aware of the limitations this presents, and I’m continually seeking ways to adjust the program curriculum and requirements, but right now, this is our reality.

When people learn about my “practice-not-required” philosophy, they have asked some pointed questions, including the ones below.

Are the upper-middle class and wealthier students actually practicing more?

Anecdotally, I don’t think they are. In my experience and discussions with teachers in these areas, I think a few other elements are in place. Suburban schools may have lower instances of mobility and chronic absenteeism than a low-income area school. Less movement means that more suburban students go through an entire school system from kindergarten through high school compared to their low-income area counterparts. Wealthier students are also in the classroom more.

Other influences may contribute to a perception that more affluent students practice more, including a more extensive music staff and private lessons, both on- and off-site. I’m the only band director at Joliet Central High School. The only time we get additional help from a musician is when I host a student-teacher. Other schools with an assistant or a small staff may be able to work out homogenous groupings or instrument/voice specific sessions that allow smaller groups to learn about particular voice or instrumental techniques.

I’m not saying that suburban or wealthier schools don’t deal with a lack of practicing. This perception is just amplified in a low-income area.

Do students really need to practice outside of school?

It depends on your schedule, but if your groups meet every day or close to every day, I don’t think it’s necessary. And, I don’t think my students have time to practice. Furthermore, the minute we tell kids to practice, we turn music-making into a chore. Singing or playing their instruments is something that students have to do instead of something they get to do.

Here’s an example of the “chore” of practicing from my childhood.

I remember that I hated practicing when I was a kid. It didn’t seem to have any goals, and it was never-ending. After three years in the band, I made little progress, so my mother made me practice. My band director, Mr. Russell, recommended practicing 30 minutes a day. My mom set a timer for 40 minutes because she knew I’d complain and mess around for 10 minutes. I worked through our band book and some band music, and I got better. I was second to last chair trumpet in 6th grade and came back in 7th grade to take the first chair spot.

I felt better when I played, and I kept practicing because I now had a goal of competition or a result. It was not because I liked playing the trumpet or liked band music.

Eventually, I decided I wanted to be a band director, so I kept practicing. I practiced for hours on weekends and even started making money by teaching lessons and playing trumpet for wedding ceremonies. I graduated high school and enrolled in college, where I also had to continue practicing for a grade and practical experience.

After getting my first job, I slowed down my practicing schedule. I played in some community bands, taught lessons and played the occasional wedding, but playing my instrument was no longer the priority that it used to be. After a few years, six months would go by without me touching my instrument. Christmas and Easter gigs and the occasional in-class demonstrations would get the dust off of the instrument. Does this sound familiar?

I do recognize and appreciate the discipline, consistency and opportunities that came from practicing my instrument. I wouldn’t be a very effective music teacher without those hours of practice.

Besides me, two other high school classmates went on to become music teachers. I know that the other students in band did not practice much, if at all, outside of the classroom. And you know what? They still sounded pretty good. I even see some of them at our alumni band events.

How could you say this? I thought you were one of us!

I say it very cautiously. I am one of you!

I believe that the idea of every child must practice is a Utopian concept that we may never achieve. Practice might not be necessary for most students. Students, teachers and families are busier today and dealing with more stress. I firmly believe that schools should be resources for their community, but I also don’t think that we should infiltrate or force ourselves into people’s homes. We can undoubtedly give students the option and provide supplementary resources for those who ask for them. Still, when I’m physically at home, I want to be available for my family or pursue other personal interests. My students should have that same opportunity.

I also believe that the students who want to practice will find ways to make it happen. Exhibiting control only through what we have direct influence and impact on can reduce stress on all of us while still maintaining high learning standards.

How do we expect student musicians to get better?

We can give students the skills to practice if they want to or have the time to practice. Explain your practice techniques and goals during a class. If your students haven’t heard you play, perform for them. I’m happy to say that I’ve had a resurgence in playing my instrument in recent years. I use it almost daily in class for a demonstration or to sit in the band when a student conducts.

Perform the highest quality and most engaging and connected music that you and your group can agree on. Students will play music that they like. How many band directors have heard unprovoked outbursts of “Seven Nation Army” at the beginning or end of rehearsals? Save the pedagogy and concert literature for the classroom. If you want students to play outside of class, give them music that they know and like, which will have a higher chance of getting the instrument out of the case. I don’t know of many students or parents who want to repeatedly listen to a third trumpet part or a two-note alto part with no context. However, a solo they pick or even a melody from a pop song may encourage one of those students who cannot practice at home to be creative.

We can also avoid generic practice and reading logs. These become assignments for parents or an exercise in shared deception. Inaccurate times may be unintentional; my wife and I have had our fair share of forgetting to log our children’s 20 minutes of reading every day and then guessing the night before the reading log is due.

Consider individual and group goals and break down the necessary steps to achieve these goals. Involve the students in this process. For example, our decision to eliminate a practice requirement forced us to make a choice as a group — did we want to focus primarily on individual skills to develop soloists, or on making the best collective ensembles that we could have? Of course, we wanted both, but the students and I chose to focus on the group effort.

I am aware of the limitations of this, and I’m continually seeking ways to adjust the program curriculum and requirements, but right now, this is our reality.

Pack your class sessions and rehearsals with content from bell to bell. When meeting in person, alter the classroom environment and materials to resemble what a student might see in a private or small group lesson. Many method books and literature offer adaptable parts for various instruments.

You can also get creative with some existing methods. For example, alternate parts so all students, not just the top musicians, are experiencing a variety of challenges. In the case of technique, plan exercises that simultaneously hit multiple areas. I routinely use an articulation exercise, but I altered it to tune chords over fundamentals at the same time. I also utilize exercises that provide lip slurs for brass, chromatics for woodwinds and rudiments for percussion at the same time.

These ideas can lead to developing a practical, comprehensive routine for your ensemble.

After reflecting on your situation, consider developing a method that can help provide comprehensive performance-based music education for your students who are unable (or unwilling) to practice outside of ensemble rehearsal.

What are the elements of your routine?

It’s important to find materials or method books that fit your needs. I use Dan Moore’s “Important Ingredients,” Richard Williams and Jeff King’s “Foundation for Superior Performance” (affectionately known as the Blue Book), and the Bravo Winds Series Publications’ “Basic Training for Concert Band,” “Sonority for Concert Band” and “Harmony Training for the Ensemble.”

** Budget Tip: Check with your school to see if the music department can get in on money allocated for textbooks, saving you money in your budget.

** Slightly Related Budget Tip: If you have a pep band, see if your athletic department will purchase pep band music for use at athletic events, saving you even more money or freeing up cash for other sheet music or methods.

Every rehearsal includes exercises to improve airflow, tone production, articulation, intonation, technique, endurance and musical fluency. Most rehearsals include exercises to develop rhythm, sight-reading, theory and transposition. Some rehearsals include activities to address special techniques on specific instruments, such as percussion rudiments or stopped horn.

From the methods above, I designed a routine that hits most musical elements while avoiding monotony. We mix and match exercises and often work to combine tasks to save time. Note: percussion is on keyboards by default for all routine tasks unless specific parts are available, such as in “Foundations for Superior Performance.”

Here is a sample of my ensemble routine.

Here is a sample of my rehearsal plan.

Although most of our students will not play their instruments outside of a class or concert, the exercises and techniques included in our routine help create and improve beginning and intermediate individual musicians while improving the ensemble as a whole. I work with students who reach advanced levels on a case-by-case basis and provide them additional opportunities such as performing as soloists with the band.

A final thought: Focus on what is realistic for your group. Students can achieve technical prowess, but it may not be what a group excels in right away. Starting with the development of a good tone and a basic to intermediate sense of intonation can open many doors for a student and performance ensemble.

What do your groups sound like if they don’t practice?

Quality and opinions are always subjective, but what I can tell you is that our group received more opportunities by streamlining our goals and focusing on what we could do during classroom time to achieve those goals.

When I first started this approach, I noticed a decline in participation in solo and ensemble contests. Participation in our district and state music education conferences remained the same, but we also had few students qualify for this over the past 20 years. However, our group performances increased in both quality and quantity. State festival invitations started coming in. College bands began inviting us to perform on stage with them, and we were even accepted into two national-level performances.

Smaller sections of the band started to break off on their own to form smaller chamber groups. All of a sudden, our students were playing about 75 gigs a year in the community as flute ensembles, brass duets, jazz combos, etc.

I stuck to the no-practice concept. I let those small groups rehearse during the large band rehearsal. Those small groups kept going, and after a couple of years, I noticed that more students were starting to participate in solo and ensemble festivals again. We still have few students doing actual solos, but two years ago, we had a 20-year high for student participation. I also started providing opportunities for senior soloists, which has increased the level and quantity of student solo work.

Are you surprised by this twist ending?

By not requiring practicing, our students may have been inclined to practice more. The reasons vary. For some students, the success of the larger ensemble provided them with the drive to take their own performance seriously. They found time before, after and during school to get in a few repetitions of a difficult passage. Other students did not technically practice more but could use their time more productively in the ensemble. Other students were just defiant! If an adult told them to do something, they naturally would not want to do it. Once they were told that they didn’t have to practice, they were more inclined to let their intrinsic motivation take over, which sometimes led to playing the horn or singing outside of class.

For most students, the opportunity to perform in chamber groups with music they were able to choose was enough to increase the time spent playing and their performance ability.

This content is from the book “High Needs, Monumental Successes: Teaching Music to Low-Income and Underserved Students” by Don Stinson. Copyright © 2021 GIA Publications, Inc. Reprinted with permission.

Upcycling

Written by Yamaha Corporation of America on April 22, 2021. Posted in Sustainability.

Upcycling is a trend that sees the creative reuse of products or materials as something entirely new. An initiative called Yamaha Cares Upcycle, part of the company’s employee-led Yamaha Cares program, is taking the lead by enabling musical instruments that are no longer fit for playing to be transformed into canvases for creative expression.

Yamaha recently donated more than 200 slightly blemished guitars, cellos and violins to four local not-for profit organizations: Able ARTS Work, Anaheim Elementary School District, Boys & Girls Club of Buena Park, and KatrinaKures/Children’s Hospital of Orange County. The organizations then collaborated with students, teachers, families, employees and local artists to turn the instruments into works of art. As shown in these illustrations, some chose to paint scenes on the front or back of the instruments, while others chose to repurpose them entirely into useful or decorative items such as lamps, spice racks and bird feeders.

Yamaha Cares Upcycle provides an innovative way for organizations to raise funds for their art and music programs. In addition, it reduces the amount of waste that ends up being sent to a land fill.

An exhibition of upcycled Yamaha instruments was recently held at the Able ARTS Work Gallery at 6420 E. Pacific Coast Highway in Long Beach. The students of Able ARTS Work received a 50 percent commission on pieces sold, with the other 50 percent supporting their “A Home of Our Own” campaign, which aims to purchase a permanent building and gallery for its adult day program for adults with disabilities. Artwork from the other three organizations received 100 percent of sale proceeds, with funds destined to enhance music programs and fund research for Type 1 Diabetes.

For more information about Yamaha Cares Upcycle, be sure to check out this video featuring artist Chariya Bissonette.

Photographs courtesy of Able ARTS Work, Anaheim Elementary School District, Boys & Girls Club of Buena Park, and KatrinaKures/Children’s Hospital of Orange County.

To learn more about the organizations involved, please visit:

Able ARTS Work Gallery: https://www.ableartswork.org/
Anaheim Elementary School District: https://anaheimelementary.org/
Boys & Girls Club of Buena Park: https://theplaceforkids.org/
KatrinaKures / Children’s Hospital of Orange County: https://for.choc.org/KatrinaKures2021

Click here for more information about the Yamaha Cares Program and to apply for a grant, product donation or upcycled instruments for your school or non-profit program.

Case Study: How Popular Music Education Transformed a Texas Program and School

Written by Steve Moreland on April 21, 2021. Posted in Case Studies.

When I started at St. Michael’s Catholic Academy in Austin, Texas, about 10 years ago, I was faced with two challenges: low student program participation and school size.

My vision for revamping and growing the music program centered on finding solutions to both, beginning with student recruitment.

Thinking Outside the Box: Recruitment and Retention

At the beginning of my tenure, less than six students were in the music program. The first step I took was to identify extracurricular music students and invite them and their friends to join the program, not only as musicians, but in a variety of associated roles. Today, approximately 25% to 30% of the student body — or 115 students — participate.

I was able to recruit over 20 students to join that first year. Basically, my approach was to identify that one student who could help. I also targeted freshmen and sophomores because I wanted them to becomae the long-term backbone of the program. I identified a “friend group” and convinced them to join as freshmen. Most of the students in this initial class had little to no experience with music, but they were all excited to be in a class with their friends. That first year focused on coming up with fun ways for them to enjoy music class together.

From there, the next step was to make joining the music program fun and interesting for all students. As a small school, we were not equipped to compete in the usual marching band or orchestral arenas. Being in Austin, Texas, we were minutes away from large schools with successful marching bands the size of our entire student body. Most of our students played guitar, piano and strings — not brass, woodwinds and percussion, so we just didn’t have the instrumentation to go the marching band route.

By this time, I had already developed an affinity for the “popular music education” movement and wanted to explore that approach to make studying music more attractive and relatable to prospective students.

During the first year, I focused on student retention, and I reached out to students individually to find out what they didn’t like at their previous school that deterred them from joining music class at St. Michael’s. Most of their answers revolved around “it wasn’t fun” or “we didn’t play music that I liked.” Coming from a traditional music education background myself, I knew exactly how to build and maintain a competitive marching band or orchestra program, but it was clear that my students were not enthusiastic. Many wanted to learn guitar or piano so they could play with their friends in social settings. They also wanted to play music that they listened to on a regular basis. I decided to start a beginner guitar and drum set class the following year hoping that would pique student interest, which it did.

I was encouraged by St. Michael’s administration to think outside the box, so I began to envision a program unlike any other in Austin. School administrators gave me the green light to move forward because they saw this new program concept as an opportunity to offer something truly unique that was not available at other area private or public schools. Luckily, our investment needs were not extensive, and we gradually accumulated materials, ancillary staffing, equipment and software over time.

I had a limited budget at the onset and purchased a simple drum set and two amplifiers to go along with a basic PA system that was already at the school.

Football Game Performances

In Texas, high school football games are community events. Clearly, I needed an alternative solution to a marching band to get the same community buy-in for St. Michael’s. The answer: A drumline with all of our music students that would perform in the stands during the game. Initially, it was a volunteer student spirit group that eventually became completely led and run by students.

To address the halftime entertainment dilemma, I went with a Super Bowl™-style halftime show that featured our rock bands. This effort entailed procuring custom-made equipment carts to mobilize all the gear. The following year, we started performing at halftime with our rock/country/pop bands. Because the program was steadily growing, and the students were so excited to perform, we also built a wooden stage outside the stadium for tailgate concerts before the games. Today our football game atmosphere reflects a school-wide festival with pregame concerts, barbecues as well as cheerleader and dance team performances.

We were able to purchase all the gear, equipment and supplies necessary to do this for under $10,000, which is a fraction of what it would have cost to start a marching band program.

Growth and Creating Curriculum

By the third year it was clear that our program was very different, and I embraced this new direction wholeheartedly. Participation went from 4, 24 to 50+ in the first three years, and it kept steadily growing. At the end of the fourth year, I had my first graduating class of musicians, most of whom comprised the group of 20 students I convinced to join the program as freshmen.

The biggest challenge for maintaining the program was finding the curriculum, which was virtually nonexistent. So, I began to create my own. I had operated a music entertainment company in Austin for several years and worked with and hired professional musicians, so I made a list of the attributes that I liked in the musicians I would hire. I spoke with countless musicians and asked them, “What do you wish you had learned in music class when you were in high school?” With that inventory of knowledge, I developed a curriculum to teach those skills, which led me to the idea of creating a non-profit organization called Modern Band Lab, whose goal is to help provide a place for educators to go to find resources and materials for transforming their music classrooms.

During my journey I discovered other educators and organizations who held similar views that music education did not have to exist only in the traditional band/choir/orchestra world.

How It Works

Integration: The popular music education approach is applied not only across all the different music bands — Varsity Symphony, Crusader Bands, Praise Band, Drumline — but it is also integrated with other fine arts programs, such as film, dance and visual arts.

The Varsity Symphony fuses elements of popular music and technology. Crusader Bands (or CruBands) perform at home football games (including the pregame tailgate), pep rallies and other school functions. Their halftime shows are done in collaboration with the drill team and cheerleaders, who excite the crowd with choreographed routines. Chapel services feature the Praise Band, and students in the Tech Crew use professional sound equipment to enhance musical performances of all the bands.

The new focus of the music program has transformed the campus with music becoming a part of everyday school life. The music room was reconfigured to be more student-centric. Instead of walking in and seeing rows of chairs, the room is set up like a live music studio with all the equipment hooked up and ready to provide an atmosphere where students can walk in and begin playing. Seating is set up in a circular fashion where everyone can look at each other and efficiently communicate during rehearsals and easily walk between stations. The idea is that everyone’s part is just as important as the other, and for music to come alive, everyone needs to do their part.

The overarching goal is to help students become comfortable being around technology and equipment that they will likely encounter outside of the classroom and to encourage experimentation. All components are wired up and connected to a computer so that students can instantly record any idea they happen upon during rehearsal. Every student in our program knows how to set up, operate and break down a basic PA system with microphones, in addition to knowing how to hook up their instrument to a laptop.

Posters of legendary artists and album artwork cover the walls to help inspire the students. There is an upright piano in the entrance of the room to encourage students to come in and start playing. Inexpensive LED wall lights are placed around the room to give a cool vibe so that the music room is the coolest place on campus, which makes students visit more often; in doing so, they almost always find time to play or practice, further instilling the lifelong passion for music.

Music students also host “Music-On-The-Deck,” an open-mic performance on the outdoor stage during lunchtime on Fridays during which anyone on campus may perform. Students bring blankets and picnic while listening to their peers play and sing.

Leadership: Our vibrant and active Music Leadership Team comprises between 10 to 15 students each year. Students who are interested go through an interview process with me and then are elected by their peers. These student leaders help plan, organize and host on-campus concerts using project-management skills and creativity. They also play an integral role in our halftime performances.

St. Michael’s is blessed to have strong parental support, and we benefit greatly from their involvement in performances and donations of all kinds. We even have a dad band, and our dads play a huge part in our pregame tailgate activities by barbecuing and helping set up the grounds for each football game. Several of them began playing music with their kids on stage, which eventually led to assembling a band of their own.

Cross-Collaboration: Collaboration is key within the music program and among the other fine arts programs.

We began collaborating with our film department by creating one music video a year. Film and music students work together in creating the overall appearance and storyline of the music video. Students may recreate a famous video or produce an entirely original creation, sometimes showing how music can be a catalyst for significant social change and progress.

In cooperation with our dance department, bands play music for dance choreography routines. If halftime band performances call for backup dancers, then they would join forces. Our visual art students help design posters and album covers for our student bands in addition to providing an art gallery reception at all performances. In addition, theater department students help with lights and emcee duties for shows.

Modern Band Lab

A popular outgrowth of our music program was the creation of the Modern Band Lab. The lab involves nine student bands, and one of its more ambitious goals is to create a student-run record label. Students learn how to take an idea from conception and work all the way through to distribution.

I developed an entire Modern Band Lab curriculum, for which St. Michael’s is the flagship school. The course curriculum itself has become part of a nonprofit company, which is also called Modern Band Lab, as a resource for other schools that are interested in starting Popular Music Education and Modern Band Lab at their schools.

Additionally, we’ve cultivated an environment where students are hungry to create and record. In our intense January three-week “Record Your Own Song” class, students learn the entire process of collaborating, recording and producing a song with other students. They are exposed to everything from tracking, editing, mixing, mastering and publishing (or sharing their music with others). Their music is then posted to our SoundCloud account, and recently, our more experienced students have posted their music on Spotify and Apple Music.

Teaching During the Pandemic

We successfully adapted our music program to distance learning at the beginning of the pandemic (we received coverage from the Associated Press and local NBC affiliate KXAN) because students were already using online and collaborative tools. I engage with students on Discussions (in Blackboard) where I ask questions and students post their answers for everyone to see. Students send me videos of themselves performing, and I usually post these on Fridays. I discuss lessons and answer questions during Zoom classes, and I often upload lessons on YouTube. In Google Classroom, weekly assignments are broken down into different tracks based on students’ interests or instruments. Many of these assignments require student collaboration, so even though they aren’t physically in a classroom, students work together. Examples of weekly assignments include:

guided listening (where students listen to an album with commentary from me telling them what to listen for)
music technology (students use online music tools like Soundtrap)
drums (students learn some famous drumbeats and record themselves playing along with a track)
fingerpicking on acoustic guitar
creating a music podcast

You can get an inside glimpse into our program in this video.

Looking to the Future

Future plans for St. Michael’s music program include developing the nonprofit Modern Band Lab company to bring this option to schools that may fall within the same framework as our own. I also plan to shoot some specialty videos as resources, such as setting up a music room and showcasing the music recording class while we work to formally launch the student-run record label.

The overarching goal is to cultivate students as lifelong music consumers and patrons, regardless of whether they ultimately choose music for college or career. I like to think the proof of our success is that I regularly get photos and videos from St. Michael’s alumni showing them enjoying music in many different settings — whether it’s a family gathering, a gig or releasing an album. That’s the lifelong music patron we strive to encourage. Of course, we have students getting into top-tier music schools, such as Belmont University, Berklee School of Music and Eastman School of Music, or majoring in music technology and music business. We have received many accolades from students and parents about the impact the St. Michael’s music program has had on their lives and education.

We will continue to think outside the box and look for further opportunities to promote the arts in our students’ lives in and out of the classroom.

How to Host a Virtual Watch Party

Written by Lisa Montgomery on April 21, 2021. Posted in TV & Movies.

If we’ve learned anything from the events of 2020, it’s that the party doesn’t have to stop just because we’re keeping our distance from one another.

Technology has unleashed all kinds of interesting ways to stay connected and entertained. We’ve all gotten used to conducting business meetings, celebrating birthdays, touring vacation spots and experiencing a whole new way of looking at the world virtually, through the screens of our computers. Popular streaming services like Netflix^®, Amazon Prime, Hulu™ and Vudu^® have done their part by offering a huge amount of digital content to consume instantly in the comfort of our homes.

Virtual watch party extensions and apps turn an otherwise solitary pastime — viewing TV shows and movies — into a fun, engaging social event. Not only are they a great source of real human engagement, they’ve become one of the hottest and safest ways to spend quality time with friends and family.

Here’s what you need to know to get the party started.

Choose a Theme

Just as you would when hosting an old-fashioned, face-to-to face party at your home, start by choosing a theme and build your guest list around it. Is there a new rom-com on your radar? Invite people who dig this genre, too. Live sporting events and action flicks might appeal to a completely different set of friends. Music lovers in your social circle might enjoy watching a concert together, while parents of young children will gather for a family-friendly film. Think beyond movies, too. Viewing a mini-series or TV sitcom can become a weekly event, and watching awards shows with others will certainly stir up some lively commentary.

Find a Common Platform

As the host, it’s up to you to choose the viewing platform. Consider your audience when you do this. You might be comfortable installing a third-party extension to your Netflix account. Grandma? Maybe not. At any rate, your watch party guests may have a little pre-party preparation to do; at a minimum, they’ll all need to subscribe to the streaming service that you select.

You’ll also want to consider just how interactive you want your party to be. For example, the Netflix Party and Hulu Watch Party apps let you and your guests text each other as you watch, while Scener offers a live video chat feature and TwoSeven supports both audio and video chat for sharing reactions in real time, as does the Metastream app, which allows you to watch videos on a wide range of platforms, including Netflix, YouTube™ and Hulu, as well as niche platforms Twitch and Crunchyroll. When you’ve settled on a show or movie as well as a platform and viewing time and day, send your invitations. They’ll arrive in your guests’ email inbox with all the particulars.

Pre-Show Housekeeping

If you and your guests engage in audible conversations during the watch party, know that, depending on the size of your gathering, things could get chaotic. For this reason, it may be wise as the party host to ask guests to save their remarks until the show or movie has ended, or until it’s paused for an intermission. (Some extensions let you handle this through a virtual remote, which often provides other controls as well.) You might also want to decide early on to mute everyone’s computer microphones during the viewing and leave the chatter until the show ends.

Direct the Dialog

The whole point of a virtual watch party is being able to immerse yourself in the on-screen action while also engaging with your attendees. Conversations flow smoothly and movies sound better when you can clearly hear the audio, so make sure your computer is up to the task. Solid, reliable, internet connectivity is critical to both audio and video clarity. Adding a sound bar like the Yamaha SR-C20A or high-quality speakers (go for a surround setup if possible) can make a world of difference too.

Closeup of a sound bar under a computer screen on a desk. — *Yamaha SR-C20A sound bar.*

Another option that’s helpful if your viewing environment suffers from a lot of background noise is donning a pair of headphones. This will allow you to block out ambient sound in the room. Consider opting for a wireless design like the Yamaha YH-E700A so you can stay connected to the conversation even if you need to run into the kitchen to grab a snack.

Closeup of woman wearing headphones. — *Yamaha YH-E700A wireless headphones.*

Set the Stage

A brief show-and-tell before the movie or show begins is always good for setting a tone for the event and prompting lively conversation (as moderator, be sure to give all your virtual guests a chance to chime in). Asking guests to wear costumes is another way to get the conversation started. Their attire can follow the theme of the video, emulate a favorite character of a sitcom … really, anything at all. These kinds of extra touches just may be what it takes to make your virtual watch party a standout event that friends and family will talk about long after the final credits roll.

Click here for more information about the Yamaha SR-C20A sound bar.

Click here for more information about Yamaha YH-E700A wireless headphones.

A Musician’s Guide to Getting Your Work Out There, Part 2

Written by Jake Uitti on April 19, 2021. Posted in Creativity. 1 Comment on A Musician’s Guide to Getting Your Work Out There, Part 2

As described in Part 1 of this two-part series, being a musician today often means you’re also a small business owner, requiring that you undertake hours of promotion, marketing and administrative work to get a leg up.

In Part 1, we provided tips for getting your music played on the radio, placed in TV spots, featured online and in livestreams, as well as offering some common-sense approaches for getting publicity and finding a manager.

In this installment, we’ll talk about how to distribute your music (including getting it pressed on vinyl) and land it on prestigious playlists, along with getting exposure on social media. Last, but by no means least, we’ll discuss how you can protect your work and advance your career by finding a qualified entertainment attorney.

Distribution: Plan Ahead

With everything it takes to write, record, finish and promote a new album (even just a new single), it can be hard to remember all the important-though-small steps required along the way for a successful campaign. One of those often-forgotten steps is distribution: that is, getting your record into music stores (both digital and physical) so your audience can buy it. This is a necessity if you’re unsigned, yet it’s something that unfortunately comes to many artist’s minds only when it’s too late. Connecting listeners with your work takes time. So to best serve both yourself and your audience, you need to plan ahead, usually many months in advance.

Man in an outdoor setting. He's wearing sunglasses and a t-shirt with the words "Commercial Records Astoria Oregon" on the front of shirt. — *Skip Werner.*

Skip Werner, vice president of Burnside Distribution in Portland, Oregon, says that this kind of approach can be key when trying to reach a broad audience. “Coming up with a game plan to schedule releases gives you a much better opportunity for success. Having goals in mind [and a] history of past successes is also helpful.”

Models for modern music distribution evolve often. As a result, Werner recommends creating and cementing a personal relationship with your chosen distribution company. That way, if there is a problem or necessary change, the distributor can work with the artist to find a nimble solution.

Vinyl Album Pressing: Know Your Audience

Increasingly, we live in a digital world, which means our audience largely engages with music digitally too. But there are still those who enjoy listening to and owning their music in physical formats. Whether they are audiophiles who appreciate the difference in audio quality of a vinyl album versus an MP3, or they simply like to collect records rather than store music on the Cloud, it’s to your benefit to offer your music in tangible ways.

The most important thing to remember when committing your recording to vinyl is to understand who might be buying your albums once they are pressed. Are they into collectables, multi-colored vinyl albums, elaborate cover artwork? Are they concerned with audio quality only and not visual aesthetics?

“Vinyl is not inexpensive to make,” points out Matt Earley, vice president of sales and marketing for Gotta Groove Records in Cleveland, Ohio. “All of these considerations will help guide a band into what type of vinyl package they may want to consider and at what budget.”

Young man with facial hair smiling. — *Matt Earley.*

Earley also cautions that, when preparing to commit your music to vinyl, you should have the best audio quality source (properly mixed and mastered) ready for the company doing the pressing. Be prepared and don’t cut important corners.

Landing on a Playlist: Connections Make a Difference

Mark Diamond.

It’s no secret that getting your songs on a prestigious Spotify^® playlist can go a long way towards gaining new fans and increasing revenue. But how is this done? Is there a Spotify email to reach out to? Well, not exactly. Oftentimes, landing music on a playlist means doing the legwork to meet, talk and engage with curators behind the scenes.

While it can be very tough to get a song placed on a famous playlist like the Spotify “New Music Friday” mix, there is hope. Bear in mind that there are also myriad other playlists outside the most trafficked ones. Sometimes casting a wide net is best.

Pacific Northwest musician Mark Diamond has had the good fortune of landing many of his songs on online playlists; in fact, for the past three years, he has been making a modest living doing so. “Real connections are totally underrated,” he says. “Not just with people who work at Spotify, but the people who can add you to their independent playlists. Make sure to reach out and thank as many of them as you can. They’ll remember you for that. Streaming and playlisting can always be taken away, but true connections with fans cannot.”

Social Media Marketing: Persistence is Key

As a musician and music writer, one of the challenges I hear most is how vexing it can be to manage artist social media accounts. On one hand, it seems so simple: just post interesting things! But in another, more nuanced way, the job is much harder, requiring a great deal of time and dedication. My recommendation? If you’re not into social media, hire someone who is.

Young woman in a white pant suit with black blouse and glasses. — *Ellie Vann.*

Ellie Vann is a freelance social media manager for a number of bands in the Pacific Northwest. She’s also worked on social media campaigns for organizations like the Seattle Theatre Group and Seattle Secret Shows. Her initial aim for each of her clients is to grow their accounts by at least 50%, which could mean an increase in dozens, hundreds or even thousands of followers. More followers means more engagement, which can often mean more income for an artist, too.

Vann’s top tips for expanding social media reach are:

– Use hashtags. They’re an effective means of introducing your content to new people and can significantly increase engagement. Even adding a #music or #localmusic can go a long way.

– Spend 20-30 minutes per day “liking” and commenting on other posts that use your same hashtags. This engenders follows from those accounts. In addition, make sure to reply to comments people make on your posts.

– If you post on one of the “big three” social media giants (Instagram, Facebook, Twitter), be sure to also share it to the other two.

– Use Instagram’s story highlights feature. Presentation is key and this is a great way to accentuate the content you post.

Finding an Entertainment Lawyer: Get Recommendations

Looking for the right lawyer to represent you may seem intimidating, but it can be important to start the search early in your career. And when I say “right” lawyer, I mean specifically an entertainment attorney. Entertainment law is quite different from real estate law or estate planning; the local attorney your family uses most likely does not have the skill set required to practice this kind of specialty. Worse yet, they may not be forthright enough to admit to their lack of knowledge in that specialized field if it means turning down a fee or retainer.

The best way to find the right attorney is to seek recommendations from trusted friends and colleagues. You may not know a famous or even semi-famous musician yourself, but the Six Degrees of Separation dictum says that you probably know someone who knows someone who does. You need good, trustworthy people in all positions on your team, and the lawyer is no exception. In fact, he or she may be the key member.

“I honestly think,” says Austin Santiago, founder of the artist management agency Build Strong, “that a good entertainment lawyer is a more important early member of the artist’s team than even a manager. In fact, they probably know some good managers who might take you further than you could imagine!”

Man with facial hair with water in background. — *Austin Santiago.*

New musicians may say to themselves, “I haven’t even released a record yet, so why would I need a lawyer?” The answer is, because when a record release opportunity presents itself, you want to be prepared; you may not be given a whole lot of time to review and/or negotiate a contract when lightning strikes. For that reason, locating an entertainment lawyer can be crucial in the beginning stages of artist development.

Time to go out and start building a career! The ride may be bumpy at times, but the rewards can be well worth it.

Photographs courtesy of the contributors and Aleigh Michelle.

Check out “A Musician’s Guide to Getting Your Work Out There, Part 1.”

Note: Yamaha does not endorse any of the individuals or companies named in this article.

Finding (and Funding) a Way for Music

Written by Christopher Ferrell on April 19, 2021. Posted in Funding.

We can all agree that the conditions surrounding the COVID-19 pandemic have been challenging in ways no one could have anticipated. These circumstances have brought about new processes, new thoughts, new connections and new obstacles.

No matter what, music educators like us have always found a way to keep the success and health of our students at the forefront of everything we do. Providing students with the best possible musical experiences is our primary goal. Finding ways to help students achieve requires high-quality instruction, appropriate facilities, and quality instruments and equipment. All of these components have a common need: funding.

The “Fun” in Funding?

Acquiring and maintaining proper funding for school music programs has been and always will be a principal concern for music educators at every level and in every state. Many programs rely on a combination of district and fundraising dollars to provide for their students. Sometimes, and unfortunately, programs rely entirely on monies provided by outside sources. Often, music programs find themselves far short of their actual needs.

Music educators must balance their professional fundraising and marketing skills and teach a little music here and there. Even school systems with tremendous community support and significant financial resources find themselves with unanticipated or additional needs at various times through the years.

ESSA and Title IV-A: A Winning Combo

Currently, there are some special grant programs for education that are part of larger COVID relief packages that you can read about here. In this article, I’m focused on funding that is tied to the Every Student Succeeds Act (ESSA), which passed in 2015. ESSA’s hallmark for music educators and our students is its provision for a “well-rounded” education for all students, which means that the arts are now an essential part of every student’s academic experience. Of course, music educators have always known this, but now everyone else does too!

One of the most exciting and impactful provisions of ESSA is the availability of Title IV-A funds. These grants are provided to states to provide students with additional educational opportunities, courses, healthy and safe schools, as well as teacher training, equipment and supplies.

Of course, one of the essential elements of any instrumental music program is access to instruments. There is simply no substitute for having the ability to provide quality and reliable equipment

Success! Now for the “Fun”

Located in metropolitan Atlanta, the Cobb County School District is the 23rd largest school system in the United States. With over 107,000 students in 111 schools, we are the second largest school district in the state of Georgia.

In grades K-5, all students receive music instruction from a certified music teacher as a part of their school day. In grades 6-12, each of our 25 middle schools and 16 high schools offer band, chorus and orchestra classes. All told, over 70,000 students participate in our music programs each and every year.

Our music education programs are incredibly fortunate to enjoy incredible community support year in and year out. Our families consistently rank participation in fine arts programs as a top priority in their students’ educational experience. The Cobb County School District’s leadership understands the value that the arts have in the lives of every student and work tirelessly to provide the teachers, facilities and equipment necessary to increase student success.

As a result, our fine a rts department was given access to $150,000 in Title IV-A funds this school year. As a department, we decided to distribute funds among our music, theatre, dance and visual arts programs.

For instrumental music, we provided band and orchestra instruments for programs with the greatest need. The school district provides funding yearly for larger and more costly instruments and equipment, including low-brass instruments, double reeds, low saxophones, percussion, cellos and basses. Other instruments like violins, violas, flutes, clarinets, trumpets and alto saxophones are usually provided by the students themselves

Recently increased student enrollment in many of our band and orchestra programs have produced a need to help provide these smaller instruments and equipment so that any student who wishes to participate can do so without financial concerns as a possible barrier

We provided this rationale to our Office of Support and Student Services, which administers Title IV-A funding for our district, and we were approved immediately. We were then able to provide many instruments to schools for distribution to our students to grow with and enjoy.

Looking Ahead

Going forward, we intend to continue to provide instruments and equipment, including updated technology for our music programs. There are numerous possibilities for this renewable funding source, and it can indeed alter the trajectory of music education in every school district.

Create a win-win situation for your students, district and community. Learn how your district distributes and uses Title IV-A funds. Run, don’t walk! You can help provide a significant positive impact on student lives TODAY.

Yamaha is an active advocate for music education, and we want to empower music educators to strengthen their programs in any way we can. Please register for the Yamaha Educator newsletter to read up on advocacy, professional development, information about instruments, resources, partnerships in education and more. Join the Yamaha Music Educator Community on Facebook or email us at educators@yamaha.com.

Closeup of someone's hand adjusting the controls of an electronic drum kit.

DTX6 Deep Dive, Part 3: Training Tools

Written by Steve La Cerra on April 16, 2021. Posted in Electronic Drums. 2 Comments on DTX6 Deep Dive, Part 3: Training Tools

Yamaha DTX6 Series drum kits are much more than just great-sounding electronic drums. The DTX-PRO module furnished with all DTX6 Series kits also has a Training Mode with exercises that make practicing fun and productive. In this article, we’ll explore how these training exercises can help you become a better drummer, whether you’re just starting out or are an experienced player.

Entering Training Mode

The front panel of the DTX-PRO has a dedicated button (circled in red in the illustration below) that takes you straight into Training Mode:

View of electronic drum module control panel with button circled. — *The DTX-PRO Training button.*

The +/- rotary control and +/- buttons scroll through the different options. All training exercises allow you to use the volume knobs on DTX-PRO to balance levels between the live drums, audio and the click.

Training Songs

The DTX-PRO module has a built-in library of 37 “training songs” in varying tempos and musical genres. Simply listen to the reference drums and play along, either by ear or by following drum scores (available for download in PDF form here). The reference drums and click can be turned on or off, and the tempo can be varied from 30 to 300 BPM. This is a valuable tool for both beginners and experienced players who want to master different types of grooves.

Part Mute

Part Mute training offers a different way of playing along with the training songs, using a setting called Auto Mute. When Auto Mute is on, the reference drum track plays until you start hitting the pads. If you strike only one pad (snare, for example), that instrument mutes, but the other instruments in the kit continue to sound. If you play all the pads, all the instruments in the reference drum track are muted. If Auto Mute is turned off, the complete reference drum track plays along with your pad strokes.

Part Mute also gives you the ability to mute any of the following instruments in the reference track: hi-hat, snare, kick, toms, cymbals, bass or “other” (which mutes all the instruments except drums and bass).

Screenshot. — *Part Mute allows you to choose which instruments to mute.*

Muting “other” enables you to isolate the bass and lock in with it — a fantastic practice tool for players at any level. Also, muting selected instruments in the reference drums can make it easier to concentrate on learning one part of the kit, which is especially useful when playing a new genre of music for the first time.

As we explained in Part 2 of this series, the DTX-PRO USB-TO-HOST port can be connected to a computer for recording to DAW software such as Steinberg Cubase AI (which comes bundled with the DTX-PRO). Recording a Part Mute (or any training session, for that matter) and listening back is a great way to objectively evaluate your playing and monitor your progress. In addition, the click can be turned on while using Part Mute, so you can record with it and judge your timing accuracy.

Song Part Gate and Song Score Gate

Training songs 1 through 10 offer two special features called Song Part Gate and Song Score Gate.

Song Part Gate breaks up the song into small sections, giving you the ability to learn just one segment at a time. A section is played repeatedly over a user-specified period of time (up to 3 minutes in 30-second increments, or for 5, 8 or 10 minutes) — just choose the setting that gives you sufficient time to comfortably learn and then play the part.

Auto Mute is employed here too, so you’ll hear reference drums until you start playing the DTX6 pads. In addition, playing a pad out of time causes that instrument to mute, so you’ll know right away if you’re locked into the track. While you’re playing, the screen on the DTX-PRO displays an accuracy rating based on one of four training levels that you can choose. Higher levels require more accurate playing; when you’ve nailed the part, you’ll score 100%. Additional parameters that can be adjusted for Song Part Gate include click on/off and ignore timing for selected instruments.

Song Score Gate is similar, except that you play through an entire song instead of one section at a time. I suggest you work through Song Part Gate before attempting Song Score Gate because trying to learn all the sections at once could be overwhelming.

Rhythm Gate and Rhythm Gate Triplet

These exercises are designed to improve your timing. They can be played to a click or to any of the training songs.

When using Rhythm Gate, you strike pads along with the click. If the strokes are in time, you’ll hear them, but if they’re not, the gate will mute them. Higher difficulty levels require more accurate strokes. A timing indicator on the DTX-PRO screen (shown below) has separate meters for hi-hat, snare, kick, toms, and cymbals, so you can see whether you are rushing or dragging on a particular instrument. If you do rush or drag, the sound will be muted.

The beauty of both Rhythm Gate and Rhythm Gate Triplet is that you can use them with patterns as simple or as difficult as your level of playing permits. Beginning drummers, for example, can start with a simple pattern like this:

Musical annotation. — *A basic pattern for Rhythm Gate training.*

Intermediate or advanced players can work with more complex patterns like this one:

Both Rhythm Gate trainings offer a timer, as well as the option to mute the reference drums, turn click on/off, and ignore training for individual instruments. I suggest you use Rhythm Gate for practicing eighth and sixteenth notes, and Rhythm Gate Triplet to practice triplets or any of the songs that have a shuffle feel, such as Song 09 (“Jazz”), 04 (“Rock2”) or 12 (“PopShuffle”).

Dynamic Gate

Dynamics are an important skill for any musician, and Dynamic Gate develops your control over loudness and softness by ensuring that your strokes are played at a consistent level. Whenever you strike a pad with the correct dynamic, the drum will sound, but if you hit it with the wrong dynamic, the drum will be muted.

You can set thresholds between light and medium strokes, or between medium and hard strokes. Dynamic Gate can be played with or without the click; using it with the click ensures that you don’t speed up when playing louder — a common problem with beginners.

Measure Break

Measure Break gives you a way of working on the accuracy of your internal metronome. Here, the click alternates between on and off. You choose the length of the exercise (from 2 to 10 measures) and the number of measures (from 1 to 9) during which the click is heard. When the click stops, simply continue playing; if your timing is steady, you’ll still be in time when the click resumes. Record this to DAW software and play back the results for a quality-control check on your internal clock!

Change Up

If you like the idea of shifting between different rhythms while maintaining a steady tempo, you’ll love Change Up training, where you’re presented with a variety of rhythms ranging from half notes to sixteenth note triplets; you then select which ones to play. The rhythms can be looped one, two or four bars, and strokes played out of time will be muted.

Beginning drummers may find it easier to start with either the straight or the triplet rhythms, while advanced players can challenge themselves by mixing the different rhythms. Once you’re familiar with the various rhythms, you can mute the reference track and play to only the click.

Fast Blast

How fast can you play? Fast Blast counts the number of strokes played in a given amount of time ranging from 30 seconds to 10 minutes. It records the number of strokes on each instrument and remembers your high score even after the DTX-PRO is powered down. It’s a great tool for monitoring the progress of your speed, as well as for increasing stamina.

Rec’n’Share

One of the most fun ways to practice on DTX6 drums is by using the free Yamaha Rec’n’Share app, available for both iOS and Android™ devices. This is an especially important practice tool because it lets you record audio and video of your performances.

Rec’n’Share allows you to import music files and automatically creates a click track for them, making it easier to play along with the song. Playback speed can be slowed down, and you can loop any section of the song — helpful for learning complex drum parts.

When you’re ready for a take, you can overdub your drums to the song while recording to your smart device. During playback, you have separate control over the volume of the music and the drum track.

Once you’re satisfied with the performance, you can edit the start and end of the file, then email it to your teacher for instant feedback, upload it to a file-sharing app or post it to social media. Watching videos of your own performance will also help you see if you are playing with proper technique and posture.

Ready to learn more about the training features of the DTX-PRO? Check out this video:

Check out the other installments of our five-part “DTX6 Deep Dive” series:

Part 1: The Kit Modifier

Part 2: Recording Options

Part 4: Customizing, Importing and Layering Sounds

Part 5: A New Level of Playability

Click here for more information about Yamaha DTX6 Series electronic drum kits.

The Modern Mixtape

Written by Tara Mahadevan on April 15, 2021. Posted in Music and Streaming.

Back in the day, mixtapes — whether compiled on CDs or cassette tapes — were used as a tool for community and as a means for musical exploration. They provided a way to share the music that’s special to you with others and allowed you to celebrate special events (such as weddings, anniversaries, Sweet Sixteens, pool parties, whatever) and/or convey your feelings (for everything from a promising first date to a devastating breakup). Today, we have streaming services to help facilitate that concept, with considerably more functionality and arguably greater effectiveness.

Technology has allowed music to become more accessible to the current Generation Z than any previous age groups. In this article, we’ll explore the means for making modern mixtapes using streaming playlists. First, though, let’s take a look at the Bad Old Days.

Cassette and CD Limitations

Audio cassette with a label handwritten with the words "mix tape".

Mix CDs and cassette tapes were limiting because they’re static. Once you burn a CD, there’s no going back; once you record a cassette tape, the tunes can only be played back in that same order. True, you could skip around during CD playback, but this could result in noticeable delays that interrupt the vibe. Besides, the mixes you’d created usually had a particular flow in mind, so playing the tracks out of order defeated the purpose.

Both media also imposed restrictions on the length by only having room for a certain number of minutes — in the case of CDs, usually a maximum of 74; in the case of cassettes, a practical limit of 45 minutes per side. That said, there were special CDs that could accommodate up to 80 minutes, at the expense of some audio fidelity, and there were also 120-minute cassettes offering an hour per side, but the tape was so thin they were prone to breakage and so were definitely not something you’d want to play often.

Before the 1990s, music collections lived largely on vinyl (happily, that’s the case today too, thanks to a recent resurgence in sales). Soon thereafter, CDs started to rule the world and collections shifted to the small metal discs, often assembled in massive CD binders that weren’t quite as heavy as lugging around stacks of vinyl, but hefty nonetheless.

File-Sharing

Then came file-sharing services like Napster^®, which freed the world from the necessity of tying music to any form of physical media. These services allowed you to acquire a digital version of an album or single after its release by transferring MP3s and zip files over dial-up or broadband internet connections — ripping tracks just because you could. It would take hours to download entire albums onto the computer, and if you were lucky, you had a separate line for the internet and didn’t tie up the phone. Luckier still if you didn’t accidentally download a virus.

The next inevitable step was to take your favorite songs and carefully burn a mix of them to CD to give to a friend or bring to a party — a task that peer-to-peer file sharing services like Napster, Limewire and Kazaa made easier since you could download individual MP3s rather than sifting through full albums. (Unfortunately, the latter two — and other, similar services — were eventually shut down when they were hit with lawsuits.) It was a step in the right direction … but you were still stuck with the limitations of CD, as described above.

Modern Streaming Services

The earliest file-sharing services were soon replaced by iTunes^®, and now streaming services like Spotify^®, Pandora^®, Apple Music^®, Amazon Music, TIDAL, Qobuz and Deezer have taken over, their vast libraries containing almost every song you could ever want.

By shifting the focus to playlists, these services have brought the concept of the mixtape into the digital age, as well as enabling mass-sharing of a set of songs. Through these platforms, the listener can listen to official song collections or custom-create their own playlists, share them with friends, and make them private or public — the latter option opening them up to collaboration.

Spotify, for example, has flagship entities like Rap Caviar and Today’s Top Hits, but the platform also creates special Daily Mixes based on who you listen to — an easy route for musical exploration. Similarly, Apple Music creates stations based on artists you’ve listened to before. Both services additionally boost the user experience with features like lyrics and music videos that appear when songs play.

Unlike mixtapes created on physical media, playlists can last for many hours, and while they can be crafted in a certain order, many are meant to be played on shuffle as a way to keep things fresh. Best of all, playlists make it easy to be creative, and to better cater to specific moods, seasons, or marking special moments. Ultimately, playlists on streaming platforms are ever-moving and ever-changing, and so can easily adapt to the shifting musical landscape.

Gen Z and future generations may never quite understand the pain and patience of pocketing your allowance and saving up money to buy an album — or of working to find, gather and curate a mix. It was fun while it lasted … but with the emergence of playlists, there’s no question that we’ve moved on to a better way of doing things.

Photograph courtesy of Vandidcam.

Check out this related blog post: Inspirational Playlists

Yamaha MusicCast, which is built into many of the company’s home audio products and is compatible with all major streaming services, makes it easy to distribute your favorite playlists wirelessly over all the speakers in your house — even those out on your patio! Click here for a list of MusicCast-enabled products.

Click here for more information about Yamaha AV products.

Scales, Shapes and Contours

Written by Robbie Calvo on April 14, 2021. Posted in Electric Guitars. 2 Comments on Scales, Shapes and Contours

In a recent blog posting, I explored the value of a music education and the career opportunities it can provide.

Of course, it takes much more than an education to forge a pathway to superstardom. Diversity, tenacity, creativity and consistency (as well as good social skills) will also need to be a part of your personal repertoire.

For example, guitar players know that when you learn a new chord, you also need to learn alternative shapes, inversions and alterations of the same chord along the entire fretboard. Similarly, in addition to memorizing harmonic note clusters, you should also know which scale they are derived from, as well as the scale position they occupy. Multiple fingerings of the same scales will also need to be burnt into your muscle memory before you can even start to weave interesting melodic lines and employ the plethora of expressive techniques available to you.

Did I mention that learning the guitar is a lot of hard work?

Trust me, it’s worth it, because these kinds of deep understandings will open up a whole new musical world just waiting to be explored. In this article, we’ll take a look at a few of them.

Scales

Scales can be defined as a series of single notes organized into a specific order of intervals. The seven tones of the major scale, for example, adhere to the following formula:

whole tone – whole tone – semitone – whole tone – whole tone – whole tone – semitone

This formula allows us to replicate the same scale in all 12 keys. I view scales as the “tools” we use to create our melodies and improvisations.

Shapes

Scales can be inverted along the fretboard to create new shapes. Each of these shapes contain all the same notes; however, the fingerings change to accommodate the specific interval formula. For example, the first pattern of the G major pentatonic scale starts with the note G at the third fret, as shown in the illustration below. The second pattern, however, starts on the note A at the fifth fret and has a completely different shape. These varying shapes offer new possibilities and creative ideas.

Interestingly, even if we know all the possible scale patterns needed to play a particular melody, our fingers and creative sensibilities often favor certain shapes when we create lead lines and improvise solos.

Contours

I definitely have my favorite shapes of the pentatonic and major scale modes. Within these go-to favorites, I find contours that I like and use these “shapes within shapes” to begin the search for motifs (short melodic phrases) that I then develop into longer solos or guitar hooks.

Sometimes these same contours can be found within the other scale patterns. As luck would have it, this gives us alternate note choices. In effect, we get the same rhythmic motif with a fresh set of tones.

I employ this approach much of the time, and it’s definitely become an integral part of my sound and style.

Arpeggios

Arpeggios can be found within scale shapes too, which means you’ll be able to identify chord-tone resolution points within your scales. These triad or seventh-chord arpeggios are also excellent sources of melodic nutrition and will provide the strongest consonant resolutions.

Adding a Ninth

I’ve developed a way of adding the ninth (i.e., the major second an octave higher) to my chord arpeggios in order to create two-notes per string arpeggio patterns that are similar in layout to pentatonic scales. The ninth isn’t necessarily a chord-tone resolution, but it allows me to create the contours I’m looking for.

For example, as shown in the illustration below, an E7 arpeggio will often produce patterns with only one note on each of the strings. Adding a ninth to these creates two-notes per string patterns. These are not dissimilar to major and minor pentatonic scales shapes, and therefore allow us to create licks that are reminiscent of pentatonic scales, but with more chord-tone resolutions.

Chromatic Magic

Connecting chord tones with chromatics (notes between the scale or chord tones) adds an air of tension before resolving each phrase. These “flavor” tones will also give your fingers a smooth way of flowing through and connecting multiple scale patterns. Just remember: Chromatic notes are passing tones, so don’t try to stop there for any amount of time!

String-Skipping

If you ever find yourself playing linear scale runs that seem to go nowhere and have little or no character, try skipping a string within your patterns to widen the intervals. This may take a little practice if you’ve never tried it, but the results can be distinctive and musically delicious.

I look for intervallic contours too. Design with your eyes and re-model the shapes you see into new licks and phrases.

The Video

In this video, I’m playing four-bar phrases from within all five patterns of the D blues scale, using many of the techniques and principles described above. I’m also leaving four measures of space for you to jam along between the riffs so you can develop solid phrasing concepts of your own.

Think of this as a musical conversation: Listen carefully to my phrases and try to respond rather than react. Package each phrase so that it resolves without stepping on my licks.

Note that all the guitar tones for this video were created with the Line 6 Helix modeling processor and recorded directly to my computer software.

The Guitar

The (now discontinued) Yamaha Revstar 720B used in this video is one of those guitars that works for most musical styles. It can be smooth when you’re playing jazz and blues, yet it really rocks when you want it to. The traditional, time-tested mahogany and flame-maple tonewoods add warmth and sustain to every note and its Filtertron-style humbuckers are the perfect conduit for noise-free, expressive delivery.

Electric guitar. — *Yamaha Revstar 720B.*

The Revstar range of guitars are also available with P90 pickups and a wrap-around bridge as an alternative to the supplied Filtertrons and Bigsby tremolo.

The Wrap-Up

Take some time to explore the landscape of your scales, shapes and patterns, and you’ll be rewarded with new horizons and exotic vistas for your digits (as well as your musical creativity) to explore. Take it from me: it’s an endeavor well worth pursuing!

Check out Robbie’s other postings.

Click here for more information about Yamaha Revstar guitars.

Click here for more information about the Line 6 Helix guitar processor.

Celebrate Your Musical Heritage with the PSR-A5000

Written by Heratch Touresian on April 13, 2021. Posted in Keyboards.

The United States is a country that has a uniquely diverse ethnic population, with many different cultures blending together to make the proverbial “melting pot” that so defines us. Wherever you travel in this vast nation, you can’t help but experience the cultural influences of each region: The food is amazing, the hospitality is warm, and the music is melodic, fun and energetic.

Enter the new Yamaha PSR-A5000, which gives you the ability to celebrate your heritage and the flexibility to perform music from all over the world.

More than just an ordinary Arranger Workstation, this is an instrument that inspires. In addition to providing the sound of standard instruments such as piano, guitar, organ and drums, it offers over a thousand high-quality authentic Voices from countries such as Morocco, Tunisia, Turkey, Iran, Egypt, Lebanon and many more, all recorded in professional studios. There’s also expanded drum kit functionality that allows you to play 128 mapped instruments optimized for World Music finger drumming on a keyboard — even exclusive key-off sample technology for percussion instruments such as the Riq and Darbooka.

In addition, the PSR-A5000 offers a wide variety of special features, including:

– A real-time scale tuner with 12 scale types and five instantly recallable memories

– Velocity-sensitive crossfade portamento, allowing smooth, expressive transitions between successive notes

– A new responsive key-bed action

– The ability to utilize multiple time signatures within a single Style

– Plenty of memory so you can load optional regional expansion packs from countries such as Iraq, Mexico and India

– A Chord Looper that lets you prerecord a chord sequence, freeing your left hand from playing chords during live performance

– A Style Section Reset function that allows you to instantly jump back to the downbeat — a real lifesaver in live performance when a vocalist or other instrumentalist wanders off-beat!

The PSR-A5000 includes built-in speakers, a dedicated mic/instrument input (great for karoake!), hundreds of high-quality onboard effects, a joystick controller and a large full-color screen display that makes navigation easy. Composers will find it inspiring, live performers will be able to make that wedding extra special, and families at home can gather around and experience the songs from their ancestral countries.

It’s human nature to want to maintain ties with your heritage, and a big part of that is the culture of your people … especially the music. The PSR-A5000 is truly a world instrument that’s capable of bringing us all a little closer together.

On a personal note, be sure to check out the WahdaKabira Style (a dance rhythm from my native country of Jordan) in the Shami category, shown below. I created this, along with many other PSR-A5000 Styles.

Ready to learn more? Check out the video:

Click here for more information about the PSR-A5000.

Graphic of woman sleeping on her side with head on pillow and in the background is a fantastical sky with moon and planets and stars.

Collaborating with Your Dreams

Written by Shelly Peiken on April 12, 2021. Posted in Creativity.

Have you ever conceived a song inside a dream? Or at least stumbled on the essence of a lyric or melody that had been eluding you for weeks?

If the answer is yes, I’m not surprised.

You may be familiar with Paul McCartney’s recollection of how “Yesterday” came to him in golden slumber. It was originally called “Scrambled Eggs” — not exactly a sizzling title, but the right number of syllables and the beginning of an epic song’s evolution.

Recently I was intrigued by an online article about “lucid” dreaming — the state in which a dreamer is aware that they’re dreaming. Recent findings show it’s actually possible for the dreamer to influence the outcome of a lucid dream by taking control of the narrative or the characters — metaphorically grabbing the steering wheel — if they’re mindful enough to initiate the action.

There’s no guarantee you’re going to lucid dream, of course. However, apparently you can be trained to “go there” by receiving a signal during your slumber that was established beforehand, while you were awake. A beep. A finger snap. The dreamer can then twitch or move their eyes in response to the cue, signaling they heard it and that it registered.

So if this kind of subconscious cueing can manipulate behavior in our dreams — that is, give us the power to shoo away a nightmare or say the words we’ve longed to say to a dearly departed loved one — I wonder if it could free up creativity as well, like it did for Sir Paul.

It appears so. In fact, as one researcher puts it, “People often use lucid dreaming … for a kind of artistic, creative inspiration.” In a Psychology Today article entitled “Do Lucid Dreams Promote Creativity?” author Patrick McNamara adds, “People who learn to ‘incubate’ a problem in their dreams are often able to reliably dream up a solution — one that may not always solve the problem immediately, but that they later judge to have been significantly helpful in devising a ‘real’ solution. Lucid dreaming, in particular, has been positively linked both with creativity and with problem-solving successes.”

I consider sleep a valuable collaborator. I have yet to pen a “Yesterday,” but I’ve noticed that if I doze off while obsessing over a lyric I often continue the quest into my dream life … even without being prompted. In the morning (or perhaps later in the afternoon), it occurs to me that the words on the tip of my tongue were born in that fuzzy vignette.

Imagine how much more productive my dreams and I would be as a team with some direction!

Taking things a step further, couldn’t the power of suggestion during a state of clarity yield deeper truths? This is an ingredient that’s not always as accessible as a songwriter might hope. There’s all sorts of baggage that separates us from it. Yes, it can be a painful place to go, but sometimes it’s a place we need to go. From authenticity come the songs that make eyes widen, cars pull over, hearts beat faster. We can do it. It’s just that we may need a little help now and then — an accomplice’s voice encouraging us to grab the wheel.

With the help of an awake person, it could be possible to combine the logical advantages of being conscious with the creative world revealed in our dreams. What a powerful combination!

Perhaps you have a “sleep partner” who’d be willing to participate in some experimental songwriter dream-therapy with you — someone who would wait until you’re very still and breathing deeply and then whisper into your ear: “What are you really trying to say in your new song?” “Do you feel something that makes you uncomfortable?” “Is there a tonal range you’re neglecting to explore?” As songwriters, these are all questions we should be asking ourselves.

Oh, did I mention that the iconic opening riff to the Stones’ “Satisfaction” revealed itself to Keith Richards in a dream?

It did.

I think I feel a nap coming on.

Check out Shelly’s other postings.

Cult Classics, Part 2: Vintage Yamaha Gear of the 1980s

Written by Phil Shea on April 9, 2021. Posted in History. 2 Comments on Cult Classics, Part 2: Vintage Yamaha Gear of the 1980s

It was a decade of decadence. With iconic albums like Thriller, classic films like Back to the Future and pop-culture trends like spandex, mullets and arcades, the metaphorical sports car trunk of the 1980s was filled to the brim with a unique brand of creativity. The audio gear was no exception.

If the 1970s were considered the golden age of Hi-Fi, the 1980s were more of a transitional period with regard to home audio. Yamaha continued to improve traditional analog audio devices, but more importantly, the technical innovations of those years laid the foundation to bring us into the age of digital audio.

PX-1 / PX-2 Turntables (1978, 1980)

Yamaha broke with conventional turntable design with the PX series of turntables. The flagship PX-1 was only sold overseas but the PX-2 drew a lot of attention here in the U.S.

The linear tracking mechanism employed by PX models conquered the long-standing problem of tracking error. By copying the linear characteristic of vinyl cutting lathes, the stylus was always perfectly perpendicular to the record groove across the entire album. The +/- 0.15 degrees or less of error was 20 times more accurate than a modern S-type tonearm. In addition, the tracking servo used LED opto-coupler light-sensing modules, which were very new at the time. These touchless sensors sent tracking position signals to the motor drive system for perfect alignment.

Notice there is no finger lift on the head shell. The tonearm position control was electrically controlled from buttons on the top of the turntable. The controls, labeled UP and DOWN, LEFT and RIGHT, made placing the needle on the record kind of like driving a spaceship. It was a very cool way to impress your friends!

CD-1 CD Player (1982)

Closeup of CD player with drawer open. — *Yamaha CD-1 CD player.*

The dream of digital audio became a reality with this first-generation CD player. Instead of bringing the disc to the motor mechanism, a single press of a button brought the entire playback system out to the user with a Star Wars-like motorized transport system.

A second motorized drawer revealed an impressive number of programming buttons: Yes, you could program which order to play the songs on a disc! A primitive method for making playlists, for sure, but very advanced technology for the time.

CD-1 owners had to pay some $1,400 (over $4,000 in today’s currency) for all this cutting-edge technology. And with the unit weighing in at almost 30 lbs., there was no question that you were buying a very substantial piece of audiophile gear.

B-6 Power Amplifier (1981)

Pyramid shaped electronic item. — *Yamaha B-6 power amplifier.*

The 1980s saw many advancements in power amplifier technologies, and the 200 watts per channel B-6 was loaded with innovation — most notably an X-Power supply and X-Amplifier circuitry.

Instead of regulating the power after it was converted inside the unit, X-Power modulated the amount of current going into the unit itself. The B-6 was fully capable of blowing household circuit breakers if it needed extra power, i.e., blasting music for a party.

The X-Amplifier circuitry monitored the audio signal for high amplitude transients and activated a secondary high voltage power supply to pass extremely high dynamics. These circuit designs were crucial to the amplifier’s very high efficiency and allowed it to be housed in a unique chassis without the need for huge cooling heatsinks.

Unsubstantiated rumors suggest the mythical healing powers of the pyramid were employed to achieve the extremely low 0.003% THD distortion level. Even if not true, the look of the B-6 was truly eye-catching.

K-1000 Cassette Deck (1982)

Closeup of the control panel. — *Yamaha K-1000 cassette deck.*

Cassettes were the most common recording format in the 1980s because of their simplicity. Unfortunately, the cassette system was originally developed for voice dictation and not intended for high-fidelity music. However, the consumer audio industry was full of bright engineers who were determined to fit a square peg into a round hole. The three-head (record, playback and erase) K-1000 did a pretty good job by incorporating Dolby and dbx noise reduction. But the cassette mechanism itself was the masterpiece of this deck; dual capstans were used to precisely tension and track the tape across the heads while maintaining exact speed though the entire tape. This sophisticated mechanism was employed in several generations that followed. Why mess with perfection?

CD-X1 CD Player (1984)

View of CD player with drawer open. — *Yamaha CD-X1 CD player.*

The high cost of early CD players kept them out of the hands of the general population. Yamaha saw a need and proceeded to meet it. The CD-X1 was the industry’s first under-$500 CD player. For the first time, digital music was available to the masses.

During the 1980s, Yamaha was expanding their proprietary Large-Scale Integrated Circuit (LSI) manufacturing capabilities. The YM3511 CD controller and the YM2201 demodulator became industry standards as many manufactures integrated these chips into their own products.

The YM3511 was responsible for laser focus, tracking servos, tracking motors and spindle motor disc speed. The signal generated from the laser was then sent to the YM2201 for processing and demodulation to usable digital audio. These two chips replaced multiple densely packed circuit boards, achieving lower production costs and greatly improved reliability.

M-80 Power Amplifier (1984)

The monster M-80 is still recognized today for its distinctive LED bar graph power meter display, which practically begged the user to crank it up fully — something that left no doubt as to how much power was being pushed to the speakers. But behind the mesmerizing display was an absolute beast of an amplifier.

The amp boasted a whopping 250 watts per channel and a tracking power supply that engaged when high power dynamics were needed. Different from a switching power supply, which shifts to maximum voltage when triggered, this tracking supply followed the output signal and always maintained a several volt distance from the signal for very efficient high-power generation. Two large transformers were required to supply all this power.

The M-80 was actually more than just about muscle. An Auto-Class A switch re-biased it for 30 watts of pure class-A power, and if the input needed more than the 30 watts (for example, to light up the meters to full-scale) the circuit would seamlessly switch to a Class-A/B operation. This was the best of both worlds: audiophile nuance and big-time power.

DSP-1 Sound-field Processor (1986)

Photo of the front panel and the remote. — *Yamaha DSP-1 sound-field processor.*

Most would agree that the DSP-1 was the most significant Yamaha product of the decade. This unique processor was able to transform the acoustics of your listening room to that of a world-famous venue. This was a true acoustic recreation, too — not merely a simulation of a sound designers’ perception of what a concert hall should sound like.

In creating the DSP-1, Yamaha sent engineers to some of the world’s most iconic performance venues to capture their acoustic signatures. The parameters of frequency response, along with reverberation and decay times, were all captured in three dimensions, using specialized hand-built equipment. The data was then integrated with the newly developed YM3804 digital processing chip. The final result was called Digital Sound-field Processing.

By overlaying the acoustic blueprint of a selected performance venue, your listening room was sonically transformed into the environment where you would expect your favorite artist to perform. Listening was no longer constricted to the fixed acoustics of your home.

Although it was originally created for two-channel listening (home surround sound hadn’t been developed yet), the DSP-1 led the way for modern Yamaha technologies such as Surround:AI, which uses artificial intelligence to contour DSP parameters in real-time.

Centennial Series (1987)

View of unit and remote. — *Yamaha CX-10000 preamplifier.*

View of unit. — *Yamaha CDX-10000 CD player.*

View of unit from above. — *Yamaha MX-10000 power amplifier.*

1987 marked the 100-year anniversary of Yamaha, and to commemorate the event, the company’s engineers were freed from all budget constraints to create a very special line of separate audio components called the Centennial Series.

This system was noteworthy for its all-out disregard of having to hit a pre-determined price point — a design engineer’s dream. There were so many innovations incorporated into these components, it’s hard to list them all. Their price and weight alone should give you an idea of the build quality of these beauties:

– CX-10000 preamplifier: $7,500 (approx. $17,000 in today’s dollars), 55 lbs.

– CDX-10000 CD player: $3,000 (approx. $7,000 in today’s dollars), 65 lbs.

– MX-10000 power amplifier: $7,000 (approx. $16,000 in today’s dollars), 94 lbs.

Very limited numbers of each were brought into the U.S. market, making them quite rare. When they do show up on the secondhand market, they typically sell quickly. If you are lucky enough to locate one, be prepared to pay in the $15,000 range for the amplifier itself. Luxury never goes out of style!

R-9 Receiver (1986)

View of control panel. — *Yamaha R-9 receiver.*

The R-9 was the first Yamaha receiver with video switching, making it the precursor of the modern AV receiver. There were three composite video source inputs: Two were labeled VCR, with input and output switching for video tape recording and dubbing.

But the R-9 was more than just a video switcher: It was equipped with an Auto Class-A circuit that could output up to 5 watts of pure Class-A amplification before switching to standard Class-A/B for higher power needs.

RX-1130 AV Receiver (1989)

Closeup of front panel. — *RX-1130 AV receiver.*

Finishing up the decade, Yamaha launched their first surround sound AV receiver: the RX-1130. This forward-thinking product had four built-in amplifiers and Dolby^® surround decoding. (This was before the introduction of Dolby^® Pro Logic^® with its center channel capability.) It packed a punch, too, with 125 watts to the front speakers and 30 watts per channel to the rears (plenty since Dolby surround sound offered limited bandwidth for the rear speakers). The addition of S-video switching made the RX-1130 highly desirable to not only audiophiles but the videophiles of the day as well.

While the 1970s refined the boundaries of two-channel listening, the 1980s expanded on that foundation and sprinkled in some groundbreaking digital technologies we rely on to this very day. If it wasn’t for the innovations of the ’80s, digital music, surround sound decoding and video integration as we know it today would never have happened.

Check out these related blog articles:

Cult Classics Part 1: Vintage Yamaha Gear of the 1970s

Cult Classics Part 3: Vintage Yamaha Gear of the 1990s

The History of Hi-Fi

What is an Integrated Amplifier?

Click here for more information about Yamaha AV receivers.

Click here for more information about Yamaha Hi-Fi components.

Click here for more information about Yamaha speakers.

Launching a Music Business Program at Your High School

Written by Warren G. Mize on April 8, 2021. Posted in Teaching Tips.

Many students dream of becoming performers, but because it is so highly competitive, that world can be brutal and disheartening.

Others choose to follow in the footsteps of their favorite music teacher and pursue a degree in music education. There are others who love music but are just not interested in either of these two careers and, of course, as much as all of these young people might enjoy music-making, some just do not possess the skillset to establish a career that requires an advanced level of performance abilities.

Interestingly enough however, there is a plethora of careers in the music field that current students may know nothing about that could be “just the ticket” to allow them to discover a rewarding career by combining their love of music with the business of music. In fact, there are undoubtedly a number of other students who have not chosen (or been able) to participate in the existing music program who would still love to learn more about these possibilities. It can certainly be agreed upon that performers and educators have careers that are focused on actual music-making, but can one also have a career in music yet not be a practicing musician as part of their day-to-day responsibilities? The answer is a resounding YES!

East Central High School: How It Started

There is a growing industry which includes marketing, promotion, technology, law and general music business that is a wide-open job field for our students. When an objective look was taken at the music programs at East Central High School (ECHS) in San Antonio, Texas, it became clear that a music business program could be designed that would meet the needs of the music students and at the same time, reach out to a significant segment of our campus population to those who longed to learn about music, but who were not musicians.

It all started when a group of students approached me to ask if they could use the choir room for what would eventually become the afterschool Musician’s Club. In the process of agreement, I became the sponsor of this fledgling group of garage band musicians. Each Thursday, we met for an hour after school. These students were passionate about the music industry.

Before too long, I started to notice that these students were sharing PowerPoint presentations on how to get a gig, what to do when negotiating money for performing, how to travel with the gear and many other topics pertinent to music business. Eventually, the students planned a weeklong music festival that took place each morning before school. It featured a variety of bands and solo artists representative of a myriad of diverse styles. The choir room became the performance venue, which was packed for five full days, and the music emanating from “the scene” was mostly original material written by the members of the Musicians’ Club.

Attending UTSA’s Music Biz Day Conference

The students were ecstatic when the University of Texas at San Antonio (UTSA) invited us to their Music Biz Day Conference. This event became the catalyst for accelerated conversation on the subject of developing a high school curriculum for Music Business and Entrepreneurship. This was when I fully realized how much our students were hungry for structured classes such as these. Each ECHS student who attended the conference wrote a reflection on their experiences. One particular student summed it up best when he wrote:

Getting to hear from so many people who have a passion for music and who have had success in a career they love was amazing, especially because a lot of times pursuing a career in music is discouraged. Plenty of times, I’ve heard people say that I would have more success in another field, but hearing about how through passion, dedication and hard work, finding success in this field is possible. It’s made me even more excited about the possibilities in my future.

ECHS’s Music Business and Entrepreneurship Program — A Success!

Subsequently, I invited Dr. Stan Renard, coordinator of the UTSA Music Marketing Program to help us kick off the newly designed music business course that would begin the very next school year. Nearly 400 ECHS students expressed a high interest in taking the class. It was settled! After going through the necessary administrative hurdles to put a new class on the list of course offerings, the program was launched!

In these few short years, we have seen our program bring in students from throughout the entire campus. Today, the ECHS Music Business and Entrepreneurship program continues to expand, even in the unique climate of the past year. We are continuing to add new classes to supplement our two-year music business curriculum and still, the students keep coming. Many of our graduates have entered the music industry directly from high school and others have chosen to continue their music business studies in college.

Music business education is adaptable to any demographic profile and molds to meet existing needs in a school or district. In addition, music business education is cross-curricular and also addresses the skillsets taught in the STEM pathway. Finally, remote learning is probably here to stay — at least in part. Music business education works on a digital platform just as easily as in person. Unlike a traditional music class where directors have scrambled to create a way to teach and assess a performance-based class virtually, music business is interactive and frees the teacher to design lessons that can be assimilated through a variety of mediums.

Moreover, what if such a program could not only become an enhancement to any music program, but also serve as an attractive option to students and thus bring into the fold the very group of students who otherwise would never have been part of the more traditional music coursework? Any student who is savvy in music or production, creates music on a laptop, plays in a garage band or has the desire to learn these skills, would now have a home in a much more comprehensive music program that will lead to a mosaic of experiences for all.

Reimagining the Vibraphone

Written by Troy C. Wollwage on April 8, 2021. Posted in Percussion. 1 Comment on Reimagining the Vibraphone

The vibraphone (sometimes known simply as “vibes”) has only been around since the early 1900s, so it’s a relatively new instrument. Nonetheless, it had a major impact on the sound of music during the mid-20th century, and is still commonly used in jazz, where it often plays a featured role.

While the instrument resembles a marimba or xylophone, a vibraphone employs metal tone bars made of alloy that are suspended over a resonator with a motor-driven fan at the top of each resonator tube that creates a vibrato effect — hence the name vibraphone.

The vibraphone also has a sustain pedal similar to the one found in a piano. The pedal operates a felt-covered damper bar, which moves up and down against the tone bars. When the pedal is up, the damper touches the tone bars to produce a muted sound. When the pedal is down, the damper is pushed away, and the tone bars ring out (i.e., sustain) for a few seconds or until they’re muted by the damper being released by the pedal. (Click here for more information about the components of a vibraphone.)

The growth of school music programs in the 1950s sparked by the post-war baby boom caused greater demand for musical instruments in general, including mallet percussion instruments such as the vibraphone. Over time, the vibraphone was incorporated into collegiate-level percussion performance education. It is now a standard member of the modern percussion section for orchestras and concert bands at all levels of instruction.

Early models of Yamaha vibraphones included several unique features for young players, including height-adjustment capability, non-graduated bars, a variable speed motor and silver matte bars. After several years in development, the YV-2030MS and YV-3030MS models introduce new innovations to make the musical journey of young percussionists a more meaningful experience. These models offer a level of performance that satisfies a broad spectrum of users, from beginning band to high school students.

Here are some of their main features:

Gas Spring Height Adjustment

Both the YV-2030MS and YV-3030MS incorporate a gas spring height adjustment mechanism, making it easier for players of any stature to set the instrument to the ideal height.

View from side showing the three different height options.

Previous models used a sliding height-adjustment mechanism that required a coordinated effort by two people. In contrast, the gas spring height-adjustment mechanism only requires one person for safe, easy height adjustment. The improved operation of this system also allows for quick adjustment from player to player during a concert or rehearsal.

In addition, there are two vibration-damping rubber joints mounted below each side frame, circled in red in the illustration below. These components make height adjustment even easier by eliminating the need to keep the instrument level while adjusting its height. They also reduce floor noise that can occur when the instrument is played.

Side view of vibraphone with height adjustment mechanism indicated.

Damper Belt

On previous models, the damper bar and pedal were linked by a metal rod that could be accidentally bent if a user attempted to adjust the instrument’s height without first loosening the rod’s wing bolts. In the YV-2030MS and YV-3030MS models, the metal rod has been replaced by a belt to eliminate this problem — an innovation inspired by the design of Yamaha drum set pedals. Since the wing bolts are replaced by a buckle, there is no chance they will be misplaced or lost. The use of a belt also ensures that slippage cannot occur when the damper pedal is pressed.

Damper Bar

Compared to conventional damper mechanisms that use a pivoting damper arm, the redesigned mechanism used in the YV-2030MS and YV-3030MS models allows the damper bar to move perpendicularly to the natural and accidental tone bars. This allows all the bars to have an even damper and release at the same time. In addition, since there is no longer a damper arm, there is no danger of getting fingers caught in the damper arm mechanism.

Bar Material

A consistent touch in vibraphones not only enables a larger dynamic range, but also imparts a warmth to the tonality. The new bar material employed by the YV-2030MS and YV-3030MS produces an even gentler tone that blends well with other instruments in ensembles. These bars are made of the same aluminum alloy used in Yamaha celestas.

Side-by-side closeup of vibraphone bars on left and a piano looking instrument on right.

Variable Speed Driver

A common problem with vibraphone motors is that they can be quite loud; over time, they can even create an unwanted noise. YV-2030MS and YV-3030MS motor noise has been reduced by approximately 25% compared to previous models. This has been accomplished by using an ABS plastic material for the motor box rather than steel.

Additionally, the vibraphone variable-speed driver for the YV-3030MS includes a pause memory feature previously available only on high-end models, significantly enhancing the overall value of the instrument. This allows the fans to always stop at the memorized position when paused for non-vibrato playing, ensuring that consistent volume is maintained even when the driver is stopped and started multiple times.

This level of detail in Yamaha vibraphones leads to a greater level of playability, more consistent quality of sound and the removal of unwanted frame and motor noise — important benefits for both students and music educators alike.

Check out these related blog articles:

Reimagining Chimes

Anatomy of a Vibraphone

What’s the Difference Between Vibraphone, Glockenspiel and Chimes?

Click here for more information about Yamaha vibraphones.

The Importance of Archiving and Backup

Written by Mike Levine on April 7, 2021. Posted in Recording. 1 Comment on The Importance of Archiving and Backup

Okay, you’ve spent days, weeks — even months — carefully crafting, recording and producing a song you think is pretty great. After innumerable overdubs, mixes and remixes you’re almost done.

Then one morning you go to open the project file to give it one last listen … only to discover that the hard drive you stored it on has crashed.

Yikes!

There are two endings to this tale, one happy, one tragic. In the happy ending, you’ve been regularly backing up your data, so you can easily open the file from another drive.

Unfortunately, it’s the tragic ending that happens way more often, and it goes something like this: the crashed drive contained the only copy of your song, and all the painstaking work that went into recording it is probably gone forever. OK, perhaps you can go to a data recovery service to try to salvage what was on the drive, but there’s no guarantee that it will work, and it will likely cost you hundreds of dollars to even make the attempt.

IT professionals know that it’s not a matter of if a hard drive will fail, it’s a matter of when. And compromised hard drives are not the only way to lose data, either. Accidental erasure is another potential problem, as are files that for some reason have gotten corrupted and won’t open.

Most home recordists (in fact, most computer users in general) don’t start backing up regularly until after they’ve gone through the misery of losing some important data. Don’t be one of them. Instead, do yourself a favor by implementing a backup strategy now. The only way to avoid data disaster is to be proactive.

In this article, we’ll provide suggestions for backing up your DAW data, along with best practices for saving while recording and mixing, as well as a how-to for archiving completed projects.

It Pays to Save (As)

Data pros use what’s called the “3-2-1 rule” when developing their backup strategies. That means the goal is to have three copies: the original file and two backups, one of which is stored offsite, either in a physically different location, or on a cloud-based service such as Dropbox™ or Google Drive™.

If that sounds like overkill, you can keep your data reasonably secure with a “2-1” strategy instead; that is, two total copies of your project — the original file and one that’s stored offsite or in the cloud.

To make that latter strategy work, it’s best to follow certain procedures for saving your DAW projects. Most importantly, save multiple copies of your project file (within the same folder) as you go, using the “Save As” (not the Save) command. That will create a digital “paper trail” of the progress of your project over time. Not only does this effectively protect your music from drive crashes and data corruption, but also from yourself.

What do we mean by that? Well, if you only ever work on one copy of your song and you make changes or mix decisions that you regret, you have no easy way to revert to the way it was before. But if you save incremental versions using “Save As…” — preferably at least a couple of times every time you’re working on the song — you’ll always be able to retrace your steps and find the version you saved before you introduced the problem.

As an alternative to manual saves, many DAWs also offer automatic backup (“Auto Save”) options that create copies of your file as you go. For example, Steinberg Cubase lets you choose how often to make a backup and how many backups to keep. The backed-up files show up in your Project folder with the .bak file extension and an incremented number.

In addition to periodically saving new versions, you should also use your DAW’s plain vanilla Save command often. There are few things more frustrating than doing a great take or coming up with an inspiring new patch on your soft synth, only to have your computer crash before you’ve had a chance to save it.

Got Your Back?

The “2-1” strategy also requires that you copy the entire project folder for your song to a cloud-based storage service (or to a thumb drive or portable hard drive that you take to another location) at the end of every working session.

Cubase makes this process easy with the File menu “Back up Project” command. When selected, it lets you choose a destination and then opens the Back up Project options dialog, shown below. At this stage, simply uncheck all the boxes and give your backup a name that includes an incremental number or date.

If you’re using a DAW that doesn’t have a similar feature, you can manually copy your entire project folder (which includes both the project file and audio files) to your backup drive. Start by just copying it to the main directory of your backup drive. Don’t put it in the specific song folder until after you’ve renamed it with an incremental number or date after the song name. This way, after your first backup, subsequent backups won’t have the same name inside the same folder.

Depending on how many times you reopen the project before you complete it, you’ll end up with several copies of your project folder, including the project data and the associated audio files. Yes, you’ll use up a lot of disk space, but as we’ll see shortly, you’ll be able to erase most of the folders when you’re ready to archive the project, thus freeing the disk space for future use.

If you want to be “3-2-1 rule”-compliant,” also make a local copy of the project folder to a local drive that’s not the one you record to, using the same folder-naming structure as you used for the backup drive. If you later need to access your backup for whatever reason, simply choose the most recent of the project folders on the drive.

Save It for Later

Once you’re finished with your project (including mixing and mastering), it’s time to archive it. Create a special folder for this purpose on your cloud-based service (as well as on your local backup drive if you’re using one). Your DAW should have a feature that allows you to save a copy and keep only the active audio files from the project. That can save you a lot of space, wherever you’re archiving to.

Cubase users can once again use the “Back up Project” feature. This time, check the Minimize Audio Files, Make Direct Offline Permanent and Remove Unused Files options, as shown below:

Make sure that your final mix and any mastered files are in the archive. Once they’ve been archived, you can delete all the incrementally saved project folders on your backup drive, which will free up a lot of space.

If you want to really future-proof your archive, you can also do bounces of each individual track, including effects, panning and automation. This is accomplished by soloing each track and then bouncing it to disk — just make sure any send effects are also soloed. The Audio Export function in Cubase can do a batch export of multiple tracks with or without processing, taking a lot of the tedium out of this, but even if you have to do your bounces one track at a time, you’ll receive a major benefit: If for some reason you need to reopen the project down the road and you no longer have access to your DAW or plug-ins, you’ll still be able to recreate the mix.

It’s essential to keep one local copy of your archive, because there’s always the chance that you’ll decide to stop paying for the cloud-based service or possibly that it will go out of business. In either case, you could lose access to your data.

A No-Lose Scenario

So far, we’ve only discussed backing up individual music projects, but you should also regularly back up your entire recording drive — something that can easily be done with automated backup software like Chronosync. Also consider making a bootable backup of your system drive, where your programs reside.

However you choose to go about it, be sure to set up a backup system that’s relatively easy to execute while providing you with the necessary level of data security. Although it might seem a little onerous at first, you’ll soon get into a routine, and it won’t seem like a burden. And you’ll be able to sleep better at night knowing that your data is protected!

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

DTX6 Deep Dive, Part 2: Recording Options

Written by Steve La Cerra on April 2, 2021. Posted in Electronic Drums.

Recording acoustic drums can be a challenging process that not only requires a lot of expensive gear such as microphones, preamplifiers and processors, but also a physical space built for that purpose. Yamaha DTX6 Series electronic drums make it easy to create great recordings because the DTX-PRO module (furnished with all DTX6 kits) is already loaded with a library of expertly-recorded drum sounds. Using the DTX6, you’ll be able to record with professional results and concentrate on making music. Let’s look at the different ways that DTX6 drums can be recorded.

1. Internal Recording

The DTX-PRO provides a built-in recorder, accessed by pressing the button of the same name on the front panel:

Photo of control panel. — *The DTX-PRO module, with the Recorder button circled in red.*

Once that button has been pressed, the DTX-PRO enters Recorder Mode; pressing the F1 function button directly below (the button marked “•”) initiates recording.

There are numerous options regarding what sound sources are recorded. The drums, of course, are always recorded but, in addition, you can also choose whether or not to record the internal click, audio fed into the DTX-PRO AUX IN jack (from a smartphone, for example) and/or audio coming from a computer via the rear-panel USB TO HOST jack:

Recording along with the click is a great way to work on your timing — when you play back the recording, you’ll easily be able to hear if you are in sync with the click. You can also change the playback speed over a range of +/- 50% — another great practice tool.

Up to 90 seconds of audio can be recorded into the DTX-PRO internal memory. However, this memory is volatile (meaning that the recording will be lost when the DTX-PRO is powered off), so you’ll want to be sure to save your recording to a USB flash drive connected to the rear-panel USB TO DEVICE port before turning off the unit. (A list of compatible USB devices can be found here.)

Plugging in a USB flash drive automatically increases recording time to 90 minutes, plus it allows you to name, store and recall your recordings. It also adds some interesting recording and practice options — for example, if you load your favorite songs or accompaniment files onto the flash drive as stereo WAV files, you can listen to them on connected speakers or headphones and play along with them. The DTX-PRO recorder even permits simultaneous recording and playback, so you can overdub your drums to the song while recording to a new audio file, and then play it back — a great way to monitor your progress when you’re learning a new song.

It’s worth noting that the level of the drums in the recorded file remains consistent regardless of the DTX-PRO Master Volume knob, while the level of the song being recorded can be set using the DTX-PRO Audio Volume knob.

2. Record to a Computer

The aforementioned rear-panel USB TO HOST port also allows you to connect the DTX-PRO to a computer using a standard USB Type B cable. Making this connection enables the DTX-PRO to stream audio and MIDI to and from any DAW (Digital Audio Workstation) software without the need for any additional hardware. The DTX-PRO even comes bundled with Steinberg Cubase AI music production software, so you’ll be able to quickly record, play and edit your drum performances and songs.

There are several ways to record in Cubase using the DTX-PRO: You can record MIDI data, audio files, or both at the same time. Recording MIDI data gives you powerful editing options such as quantization, which can align your performance to the click. Listen to this audio clip, and you’ll hear a MIDI recording of DTX-PRO drums as they were originally played. The performance is OK, but it’s not perfectly locked to the click track.

Compare that to the next audio clip, where the MIDI track has been quantized:

You can hear that the performance is now locked to the click. If you’re worried that quantizing might make the drums sound robotic or stiff, Cubase offers “soft quantize” and “groove quantize” features that correct the performance without making it sound mechanical.

Another powerful option that’s available when you record MIDI drum data is that you can easily go back and change the sound of your DTX-PRO kit to fit the production … and without having to redo your performance. For example, this audio clip was recorded using DTX-PRO preset kit P006 (“VintNashville”):

Since MIDI was recorded along with the audio, the MIDI track can be used to trigger a different kit. Here is the same exact performance, only this time the DTX-PRO is playing kit P008 (“Black Vinyl”):

In addition, the cut, copy and paste functions in Cubase make it possible to change the arrangement of a song at any time without needing to re-record the drums.

3. Use Rec’n’Share

One of the most exciting ways to record and practice with the DTX6 (or any Yamaha DTX Series drum kit, as well as the Yamaha EAD10 Electronic Acoustic Drum Module) is using the free Yamaha Rec’n’Share app, which records audio and video of your performance to any iOS or Android™ device.

Rec’n’Share can import a music file, analyze it for tempo and then generate a click track that you can play along with. Playback speed of the audio can be slowed down, and any section of audio can be looped — which is a tremendous help when you’re learning complicated music.

When you’re ready to record, Rec’n’Share lets you overdub your drums to the song while recording the audio and video to your smart device. You can then play back the recording and separately control the volume levels of the drum track and the music. Once you have a performance you’re happy with, you can edit the beginning and end of the file, then upload it to a file-sharing app, post your performance to social media or email it to your friends for instant feedback.

(Note that the DTX-PRO connects to your smart device via the USB TO HOST port, so you’ll need a cable that has a USB Type B connector at one end and an appropriate connector for your phone at the other end.)

4. Use the Analog Outputs

The rear panel of the DTX-PRO provides a pair of standard 1/4″ L/R audio outputs that can be connected to any recording device that has analog audio inputs. The downside to this “plain vanilla” approach is that it doesn’t take advantage of the many advanced capabilities described above. On the other hand, it does allow you to record your drumming to just about anything out there, from a vintage analog tape recorder to the most advanced digital system.

Ready to learn more about the recording features of the DTX-PRO? Check out this video:

Check out the other installments of our five-part “DTX6 Deep Dive” series:

Part 1: The Kit Modifier

Part 3: Training Tools

Part 4: Customizing, Importing and Layering Sounds

Part 5: A New Level of Playability

Click here for more information about Yamaha DTX6 Series electronic drum kits.

Fix It: Snare Drum Rolls Teaching Tips

Written by Dr. Paul Buyer on March 31, 2021. Posted in Percussion.

Close your eyes for a moment and imagine a time when you were conducting on the podium and cued a much anticipated, exposed and important snare drum roll. What did it sound like?

Perhaps it was smooth, expressive and confident — maybe the result of assigning your best snare drummer to the part. Or perhaps it was choppy, crushed or uneven, leaving your student deflated or even unaware of what a good roll should sound like.

The goal of this article is simple: To help your students become more confident playing buzz/multiple bounce/concert rolls on snare drum. While this goal might sound simple, it certainly is not easy because mastering the snare drum roll is a lifelong quest for even the most seasoned professionals.

One of the things that makes the snare drum and snare drummers special is the capacity and responsibility to lead. Whether laying down a powerful backbeat on drum set, executing a delicate passage in orchestra or cleaning a showstopping feature in drumline, the snare drum acts as the “nucleus” of percussion — the center from which everything else derives.

So much of what our students learn from snare drum study — technique, tone, touch, control, speed, rudiments and reading skills — can be applied to other percussion instruments. This is called “transfer value.” For example, matched grip snare drum technique and hand motion, with slight modifications, can be applied to two-mallet keyboard, multi-percussion, drum set, timpani, steelpan, marching tenors and bass drum, concert bass drum, suspended cymbal, temple blocks, castanets, congas, djembe, cajon and others.

Yamaha Instrument Care Guide for Drums and Percussion

Download this Yamaha Drums and Percussion Care Checklist for Students now!

As we know, rolls are a percussionist’s way of sustaining sound on snare drum. In my experience, students struggle with playing good rolls because of four common problems. As you work with your students to address these problems, their confidence will grow and their rolls will improve, even before the sticks touch the drumhead.

READ: Enhance Snare Drum Performance with Instrument Selection, Preparation and Tuning

Fix It: Unclear Concept of Sound

The first problem students encounter is that they simply don’t know what a good roll is supposed to sound like. They don’t have a concept of sound in their minds and ears. I learned this concept from Gary Cook, my professor at the University of Arizona. He gave cymbal clinics and emphasized that to play cymbals well and execute a good crash, you first had to know what a good crash sounded like. You had to have a concept of sound in your mind. He encouraged us to listen to recordings of great orchestral cymbal players, attend live concerts and record ourselves in the practice room. Over time, we developed our “ear chops” and awareness for what a quality cymbal crash sounded and felt like. We had an ideal standard and a goal to strive for.

The same process can be applied to rolls. Encourage your students to listen to recordings, watch videos, record themselves and attend concerts by professional symphony orchestras, wind ensembles, concert bands, percussion ensembles and percussion soloists. Encourage them to take private lessons and watch and listen to their teacher demonstrate and model an excellent snare drum roll.

One resource I use and recommend for developing a concept of sound on snare drum is Rob Knopper’s Delécluse: Douze Études for Snare Drum. In 2014, Knopper, a percussionist for New York’s Metropolitan Opera Orchestra, recorded all 12 of the Delécluse Études for the orchestra’s 50th anniversary and interviewed Delécluse before he passed away in 2015. Although these etudes are advanced, they provide wonderful input for listening and developing a concept of sound.

By listening to a variety of orchestral/concert snare drummers, both past and present, your students will become more confident knowing what a great snare drum roll sounds like, leading directly to a higher standard and expectation of what they are working toward.

READ: Pick the Right Drumsticks and Mallets

Fix It: Unnecessary Tension

Another issue that is common among young players, especially when they roll, is unnecessary tension. Tension can appear in the hands, wrists, arms and shoulders, or even the back, neck and face. Tension in these areas grow without trust in one’s technique. Too much tension when playing rolls will lead to a choppy, crushed and uneven sound.

One of the best mindsets I have come across for staying relaxed and alleviating tension is “letting the sticks do the work.” To use our cymbal analogy again, this is the mindset I use to teach crash cymbals by letting the cymbals do the work. Young cymbal players tend to overplay, opting for an excessive, forceful or aggressive approach.

Another analogy I use is the “bird grip,” borrowed from legendary jazz drummer, Jim Chapin, who was a student of Gus Moeller, creator of the Moeller Technique. The technique develops relaxed movement, flow and efficiency when drumming. In the instructional video, “Speed, Power, Control, Endurance,” Chapin says of the grip, “Think about holding a fledgling bird in your hand, a bird that would escape if it flies or moves around too much, but you don’t want to hurt it.”

To improve your students’ confidence as well as the quality of their rolls, start by introducing them to these two concepts — letting the sticks do the work and the bird grip. Then, give them a fundamental buzz exercise like Four or Eight on a Hand.

In the video, “4 Steps to Build a Smooth Buzz Roll,” Knopper says, “Step one is to work on the individual buzzes [and] start focusing into the quality of the buzzes.”

For young players, start with one hand at a time by dropping the stick on the head, allowing it to bounce multiple times. Use the arm to provide weight behind the dropping motion, rather than using the wrist (more about arm in “Unused Arms” below). Keep the dynamic level at a mezzo forte or softer for now. With a comfortable and secure fulcrum, experiment with your grip using a scale of 1 to 5, with 5 being the most relaxed.

Remember to let the sticks do the work and try to get as many bounces as possible from each hand. As you practice, be aware of density (how many bounces) and shape (volume consistency of bounces) with each stroke.

Going back to the video, Knopper says, “Step two is to make sure your right hand buzzes and your left hand buzzes sound the same.”

He goes on to say that “step three is the transition from right to left and left to right. You want it to be seamless so you can’t tell when one buzz stops and the other starts. …Work on right to left and repeat it, and work on left to right and repeat it.”

Step four is “building it back into the roll,” Knopper says.

After practicing single-handed buzzes, start alternating and overlapping two buzzes (RL), three buzzes (RLR), four buzzes (RLRL), etc. until a smooth slow roll is achieved.

READ: Anatomy of a Snare Drum

Fix It: Unused Arms

Another issue young players run into when playing rolls is using their wrists instead of their arms. Without question, this idea is counterintuitive, as the majority of snare drum technique involves the wrist as the primary “lever.” By moving the sticks up and down with the wrists, they become perpendicular to the drumhead, allowing them to rebound when playing full/legato/rebound/free/piston strokes. In contrast, using the arm as the primary lever keeps the sticks flatter, lower and more parallel to the drumhead, allowing them to strike the head at an angle more conducive to multiple bounces. Because the arms are a larger muscle group than the wrists, their additional weight will improve stamina, power and endurance, especially for loud and fast rolls. According to St. Louis Symphony Orchestra principal percussionist Will James in his book, “The Modern Concert Snare Drum Roll.”

Using the arm to create the roll stroke is probably the hardest aspect of the concert roll to understand because for years we have been taught that the wrist controls the snare drum stroke. This is absolutely true for individual, single strokes! However, when multiple strokes are desired, the wrist becomes much less effective and efficient. Many players suffer from tendinitis and sore wrists and hands. A large part of their pain can be traced back to abuse of their wrists by trying to execute a snare drum roll using the wrists as the catalyst…The stroke to create a single stroke and the stroke to create a multiple bounce stroke are entirely different because the energy needed to create a multiple bounce stroke is significantly greater.

The best analogy I have found for using the arms when rolling is called “The Chicken Wing Technique” by Ted Atkatz, former principal percussionist of the Chicago Symphony Orchestra. The idea behind the Chicken Wing is to use your arms, elbows and even shoulders in a way that mimics a chicken flapping its wings. This arm motion becomes the primary lever and allows the player to relax and avoid tension and fatigue resulting from playing primarily with the wrist.

In his book, “The Regimen,” Shaun Tilburg, principal percussionist of the Phoenix Symphony Orchestra, writes, “Rely heavily on your arm for the stroke, minimizing any wrist break. This will facilitate consistency as well as tension free speed.” This technique has served me well playing rolls at all dynamics and tempos and has become my default approach.

Fix It: Undefined Roll Bases

The final problem that can affect a young player’s confidence playing rolls is not having a grasp of roll bases. Roll bases are also known as “skeleton rhythms” and refer to the underlying rhythm or “skeleton” within a roll. The skeleton is similar to a check pattern, where a basic rhythm is played first before anything else like flams, diddles or, in this case, buzzes are added.

For rolls to begin and end in time and sound smooth, expressive and confident, students must decide on a roll base. A good question to ask is, “What roll base will sound best given the tempo and dynamics of the music?” The two most common roll bases are 16th note and triplet bases. One of the two will usually work, depending on the tempo and dynamics called for. However, odd roll bases such as 5s and 7s are also good options, especially for more advanced players in order to “balance the hands” and remove any strong-hand dominant pulses in the roll.

In his book, “Dr. Throwdown’s Rudimental Remedies,” John Wooton, professor of percussion at the University of Southern Mississippi, writes, “Try to end on the opposite hand that you start with when playing orchestral rolls. This gives the illusion of no pulsation because it is hard for the listener to detect the odd number.”

In general, the softer you play, the slower your roll base and the more bounces you need per hand. The louder you play, the faster your roll base and the fewer bounces you need per hand. Check out some examples from the video “Shaun Tilburg’s Regimen: Fundamental Roll Techniques.”

One of the most effective strategies I have found to develop my skills as a percussionist is to practice slowly. In fact, a quote I share with all my students is: “Slow practice equals fast progress. Fast practice equals slow progress. No practice equals no progress.” Snare drum rolls especially benefit from and respond to slow practice because it’s easy to “hide” buzz quality and length when rolling fast.

The Best Roll Exercise

Hands down, the best roll exercise I have come across in my 25+ years of teaching percussion was published in the Percussive Arts Society digital publication Rhythm! Scene (which is now PAS’ official blog). The exercise, “The Silky Smooth Soft Roll” by Phillip O’Banion, director of percussion studies at Temple University, takes you through half note, quarter note, eighth note, triplet, 16th note and quintuple roll bases at a soft dynamic level.

To me, “Silky Smooth” is pure gold because it works and allows me to focus on my concept of sound, unnecessary tension, the Chicken Wing technique and roll bases separately as well as together.

Advice for Music Educators

Many years ago, I attended the National Conference on Percussion Pedagogy and heard a quote by Dr. Dennis Fisher from the University of North Texas that changed how I play and teach. He said “40% of the music is written down, 60% is not.”

When I share this quote with my students, I hold up a printed part and tell them, “This isn’t music. This is just a piece of paper with black notes on it. Music is what comes out of your instrument, and more importantly, what comes out of you as a player.”

I then ask them what 40% will earn them on a test or assignment and watch the dots connect. Uncovering and discovering more of the 60% — the music that is not written down — is their new job.

What is the 60%? Phrasing, dynamics, touch, expression, musicianship, interpretation and sound quality — all attributes that go beyond just playing the right notes and rhythms.

It is important to communicate to your students that it is okay to go beyond playing the notes in front of them, sometimes referred to as “playing the ink.” After all, learning the notes is the first step, not the last. While many young players might think they are “finished” when they learn the part on the page (the 40%), this is only the starting point.

The 40-60 mindset can be applied to any instrument, piece of music or technique, including snare drum rolls. By addressing an unclear concept of sound, unnecessary tension, unused arms and undefined roll bases, your students’ confidence will begin to soar, but only with practice.

“Prove to your hands that you’re serious,” I tell them. “If you want to improve, you have to practice consistently. Aim for 6 days a week, with one day off to rest, recharge and recover, like an athlete.”

To inspire your students, ask them to prove to their hands that they’re serious by earning the confidence that inevitably comes from commitment, sacrifice and preparation. And the next time you are conducting and cue a snare drum roll, trust their technique and aim for the 60%!

References

Atkatz, Ted. “The Chicken Wing Technique.” Vic Firth Fundamentals 2. vicfirth.com. 2009.
Buyer, Paul. “Drumline Gold.” Meredith Music Publications. 2020.
James, Will. “The Modern Concert Snare Drum Roll.” Meredith Music Publications. 2014.
Knopper, Rob. Delécluse: Douze Études for Snare Drum. 2014.
Knopper, Rob. “4 Steps to Build a Buzz Roll.” robknopper.com. 2016.
O’Banion, Phillip. “The Silky Smooth Soft Roll.” Rhythm! Scene. February 2018.
Tilburg, Shaun. “The Regimen: Fundamental Roll Techniques.” vicfirth.com. 2017.
Tilburg, Shawn. “The Regimen.” Self-published. 2015.
Wooton, John. “Dr. Throwdown’s Rudimental Remedies.” Row-Loff Productions. 2010.

Enhance Snare Drum Performance with Instrument Selection, Preparation and Tuning

Written by Jason Baker on March 31, 2021. Posted in Percussion.

I clearly remember the first time I heard – or rather, felt – a snare drum. It was during the annual Memorial Day parade in my hometown of Montville, Connecticut, and I was no more than 5 years old.

As the parade floats passed by my family, I could hear something rumbling and sensed a quickening of energy from just over the hill to our left. It was the high school marching band! As the students emerged before us, the crisp, throaty timbre of early 1980s marching snare drums resonated to a fever pitch throughout my entire body. I’ve been chasing this feeling ever since.

The snare drum occupies a unique place in Western music in that it exists in a variety of styles: concert band, orchestra, traditional rudimental drumming, contemporary marching percussion, percussion ensemble and all of the styles relating to drum set. It often serves as the technical foundation for young percussionists before they branch off to other instruments. Even as percussionists are often separated by specializations and stylistic interests, most of us have at least the snare drum in common.

As there is no shortage of articles written on snare drum playing techniques, grips and methods for the developing young player, I would like to discuss how instrument selection, preparation and tuning work together to enhance a performer’s sound and how sound can be changed to suit different playing situations. Although the technical control of the snare drum rests in the hands of the percussionist, the creativity and fun of playing this instrument is increased when the ears and mind are trained as well.

Download this Yamaha Drums and Percussion Care Checklist for Students now!

Instrument Selection

If your school music room or band/orchestra hall has more than one snare drum, you have a choice! Listen to each drum and imagine what style of music it would best serve. If you’re not sure, listen to recordings and watch videos of others playing the same music.

Take note of the size of the drum and the material from which the shell is constructed. Typically, a drum with a metal shell will produce a brash, resonant sound – appropriate for a large orchestra or band passage (think “Star Spangled Banner” or Shostakovich’s “Symphony No. 10”). On the other hand, a drum with a wooden shell is more subdued, mellow and perhaps articulate (Gould’s “American Salute”).

The standard snare drum size is 14 inches wide and 6 inches deep – with a shallower piccolo-sized drum creating a higher pitch and a deeper field drum dimension creating more of a roar that would be appropriate for a Sousa march.

Instrument Preparation

While the shell and dimensions of a drum are unchangeable, many variables in how a drum can be prepared (specifically drumheads, snare and muffling preparations) can greatly affect its sound. In fact, a less expensive snare drum can often be transformed into a quality-sounding instrument if these factors are carefully considered.

For concert band and orchestra playing, a coated batter (top) head will give an appropriate balance of articulation and resonance, while clear plastic is more appropriate for concert toms. A clear plastic snare side head often works well on the bottom of the snare drum, allowing the snares to resonate and the drum to sing.

Snare selection also greatly affects the characteristic sound of the instrument. Wire snares allow a resonant, washy sound, while cable or gut snares produce a crisp, articulate effect.

Once snares have been installed on the drum, experiment with the tension to achieve the desired response and sound.

MC-9600 Series Field Corps Marching Carriers Built to Withstand the Rigors of Drum Corps

External dampening can be used to change the sound of a snare drum. These are available commercially, often as gels that stick to the batter head or materials that can be placed on the instrument. I find that a standard handkerchief provides a low-cost option for dampening. It can be folded and placed on various spots on the drumhead to achieve a variety of options that balance articulation and resonance. For example, a handkerchief folded into a small square and placed on the back edge of the drum will produce a different effect than one spread out across a wider portion of the playing surface. A simple binder clip can be used to fasten the cloth to the rim of the drum, preventing it from sliding around while playing. This is a great option if you only have access to one instrument but want to create a variety of different sounds.

Tuning

Tuning matters! Even in a beginning band or orchestra class, wind and string students are reminded of the importance of pitch and work to achieve proper tuning. Although a practice drum pad is a portable, quiet and cost-effective resource for percussionists, it does not require students to learn about the importance of proper tuning. Have your students perform, at least part of the time, on actual drums!

Snare drum tuning is not an exact science, but two main concepts should be explored: articulation and resonance. If a drum is lacking articulation and crispness, try tuning the bottom head a half-step higher than the top head. This is particularly relevant with deeper-shell drums, such as marching snare drums and concert field drums. Pitches A and B-flat are good starting points but use your ear to experiment and find the combination that works best. If you desire a lot of resonance, especially from a shallower-shell drum, try using the same pitch for both top and bottom heads. Consider using unison A pitches. The sympathetic vibration of the unison pitches will allow greater resonance. Again, the key is to use these ideas as a starting point and experiment because factors such as shell depth and thickness, snare selection and head thickness factor greatly into drum response.

Drum selection, preparation and tuning are relevant throughout percussion students’ careers — from their first experience in the school’s band or orchestra to more advanced studies when they acquire more instruments and branch out into more performing situations and styles. As music educators, we must teach students how to create the best possible sounds, but we must also open their minds to the creativity and experimentation that makes percussion instruments fun!

Check out these videos about Yamaha concert snare drums:

Fix It: Bass Drum Teaching Tips

Written by James Campbell on March 31, 2021. Posted in Percussion.

I recently reached out to a small group of my University of Kentucky alumni, who teach band and orchestra in public schools.
I wanted advice from educators who are in the trenches every day, so I asked them: “What are common problems that beginner and intermediate student musicians encounter regarding the bass drum?”

It’s easy for directors to overlook the significance of having an experienced, competent student musician playing a bass drum part, especially in the middle school band setting. Often, directors assign the best “note readers” to mallet instruments, students with the best “chops” to snare, students with the best “ear” to timpani and then assign everyone else to accessory instruments.

Download this Yamaha Drums and Percussion Care Checklist for Students now!

It turns out that one of the least-experienced percussionists will often be assigned to play the bass drum. And why not? After all, the density of the music is fairly low on the bass drum part. However, the reality is, if the pulse and/or impact moments on the bass drum part are not precise, the entire ensemble sound output can become unfocused.

Why is the bass drum player special? They are a soloist!

Fix It: Bass Drum Placement in the Ensemble

The percussion section is normally the farthest section from the conductor. The low instruments, such as timpani and bass drum, should be placed in the rear center of the band/orchestra, with the timpani placed closest to the low brass. I like to place the cymbals and gong closest to the bass drum to make unison attacks easier to execute and balance.

Think of the bass drum heads as searchlights — the sound projects best in the direction they are pointed. However, the direct sound of the bass drum heads when pointed at the audience can be too articulate and harsh. I recommend that the bass drum shell be vertical with the heads facing the “wings” (perpendicular to the front of the audience). This gives the bass drum a warmer tone and makes it easier to blend with the ensemble. Some composers have asked that the bass drum shell be positioned on a horizontal angle with the playing head facing the ceiling. This scenario should be used sparingly to create a special dramatic effect or where the bass drum is a solo part.

Fix It: Stay in Time

In the band/orchestra, sound travels from the back to the front. It’s difficult for student musicians to listen “forward” to synchronize with others because of the nature of sound traveling in the direction the instruments are pointed. If you listen to another musician playing in front of you, you are receiving their sound after they played it — the longer the distance between players, the wider the sound lag.

Tempo and pulse control can begin to fluctuate in large ensembles if the player listens to the wind players in front of them for precision. In these situations, it’s best to focus on the conductor’s movement and rely on his or her communication of the pulse. The bass drummer should focus his or her awareness of the movement of the bass drum beater and move to mimic the conductor’s actions. Your arms will keep you steady and your body motion will help you keep time.

Fix It: Where to Strike the Head for the Best Tone

Choose a specific playing area and use this as a reference point for achieving the desired sound. Aim for the correct playing area, not just the correct note. Achieving consistency in the playing area is the first step toward playing with consistent, quality tone.

Think of the bass drum head as a three-ring target. The outer ring is closest to the rim and should be used when performing a sustained roll. This playing area offers the most resonance. Players can experiment to find the best “sweet spot” that produces the proper, sustained tone.

The center “bulls-eye” is reserved for creating special effects. This playing area offers the darkest sound with the least resonance. Experiment with mallet choices to produce effects like “thunder,” “cannon shots” and other secco notated sounds.

The middle ring is reserved for most general playing. This playing area offers a balance of sustained and full tone. Moving the mallet toward the center yields a darker tone — move away from the center for a brighter tone.

THE YAMAHA EDUCATOR NEWSLETTER: Sign up to receive real-world advice, tips and instrument guides!

Fix It: Stop the Bass Drum from Ringing

Composers always notate when to start the sound of a percussion instrument, but rarely when to stop the sound. Choose to dampen the bass drum only when appropriate. Because percussion instruments have a natural decay, they should normally be allowed to sustain. Students should be flexible when interpreting note values and rests on percussion instruments. Rests are often used to make percussion rhythms clearer and easier to read and do not always indicate note length or when to dampen the sound. I use a lambswool car wash mitt for dampening — it doesn’t make any extraneous contact sound. I hold the mallet in one hand and the mitt in the other.

Let the bass drum vibrate freely if it’s supporting a melodic line or if it connects musical ideas.
Dampen the head to mirror the note lengths of other instruments. Partial dampening can provide extra clarity to an active part. Drape a towel, mute or soft cloth over the head to achieve a drier tone quality.
Leave only the last note of a phrase sounding along with the rest of the band/orchestra. You may have to reach out and give both heads a “hug” to stop all the sound.
Avoid “choking” a note by dampening too quickly. Allow the tone of the instrument to fully blossom before dampening.

As music educators, you can teach your students to play drum rudiments and scales, but it’s not always easy to teach internal pulse and musical awareness. Student assigned to play the bass drum have a lot of interpretation decisions to make to produce the proper sound in any given situation.

The bass drum is unique in that it offers frequencies lower than nearly every other instrument in the ensemble. It provides “body” to the overall sound as well as rhythmic pulse and foundation. The players who perform on bass drum are responsible for being the heartbeat, the impact, the pulse and low-end timbre for the entire ensemble. With proper instruction, they can become a vital asset that you can’t beat!

Man smiling for camera with home studio in background.

Mark Roos

Written by Yamaha Corporation of America on March 31, 2021. Posted in Pro Audio Artists.

Mark Roos has written music for many of today’s top TV shows, including The Blacklist, Murder One, Keeping Up with the Kardashians and Jerry Seinfeld’s Comedians in Cars Getting Coffee. His tools of choice are Steinberg Cubase and WaveLab, paired with UR824, UR44 and UR22 audio interfaces. In this video, he explains why this all-Steinberg chain helps spark his creativity and facilitate his workflow, and also demonstrates a couple of his favorite production tricks.

Inspired by famed film composer Hans Zimmer, Roos began using Cubase in 2006. “I use it for all my audio recording and all my MIDI, then I [import the files] into WaveLab,” he explains. “I have mastering presets there that I use on everything.”

“The Steinberg engine sounds amazing,” Roos enthuses. “There is an audible difference between the Steinberg sound and [that of] other DAWs. I can actually tell what DAW has been used [on a score], based off of just the sound. My clients notice the difference too. There’s no boominess to the bass, nothing brittle about the way the highs are sounding — something that can be truly atrocious in digital — so, really, Steinberg products are my secret weapon.”

Because he does a great deal of field recording, Roos has amassed a library of over 300,000 custom samples, all meticulously organized in MediaBay. This allows him to freely import any of his sounds directly into the Cubase Project window or via the Steinberg Padshop granular/spectral synthesizer plug-in or Caleidoscope sample library.

Roos attributes the speed of his workflow to the seamless integration between Steinberg software and hardware. “It means that I’m able to focus on creating and delivering the very best product to my clients,” he says. “Steinberg is an integral part of my sound, and they are the reason why [clients] keep coming back.”

Check out our other Steinberg Stories.

Click here to learn more about Steinberg Cubase.

Click here to learn more about Steinberg Wavelab.

Click here to learn more about Steinberg interfaces.

Young woman playing her vinyl collection at home.

10 Hip-Hop Albums That Sound Great on Vinyl

Written by Tara Mahadevan on March 30, 2021. Posted in Vinyl. 1 Comment on 10 Hip-Hop Albums That Sound Great on Vinyl

Vinyl sales are enjoying a resurgence, and that’s great news for us listeners because it gives artists a great reason to continue to release their albums in the long-playing format. And, as any audiophile will tell you, vinyl provides a much more engaging listening experience than streaming, with a warmth and a fidelity that digital simply can’t deliver, especially when the record is being spun on a quality turntable.

Here’s a list — in no particular order — of ten must-have hip-hop LPs that showcase the best of the genre.

1. Donuts – J Dilla

The late hip-hop producer J Dilla created Donuts while suffering from ongoing health issues, recording 29 of these 31 tracks from his hospital bed. The project illuminated his keen ability to piece together a collection of chopped-up vocal and instrumental samples, pushing the outer limits of instrumental hip-hop and providing aspiring beatmakers with a blueprint on how to create something on their own. It also showed the depths of Dilla’s artistry and how he was able to express emotion without ever saying a word. A prime example is the track “Don’t Cry,” which sounds particularly inspiring on the 7-inch vinyl release. The song begins with an homage to ’60s soul crooners Blue Magic before shifting gears to show off Dilla’s modern approach with layered vocal and beat samples.

2. The Low End Theory – A Tribe Called Quest

In the opening moments of The Low End Theory, Quest rapper Q-Tip notes the parallels his father once made between hip-hop and bebop by calling out how things go in cycles. Along with fellow group members Phife Dawg and Ali Shaheed Muhammad, he uses the next 48 minutes to intensify the connection between the two genres. With their acknowledgment of jazz and those who laid the groundwork — with a guest appearance from iconic jazz bassist Ron Carter — Tribe ultimately ushered in a fruitful era of jazz-influenced rap. This is especially notable on tracks like the double bass-led “Buggin’ Out,” the hopeful and forward-thinking “Vibes and Stuff” and the hip-hop classic “Scenario.”

3. Bizarre Ride II the Pharcyde – The Pharcyde

Following A Tribe Called Quest’s lead, The Pharcyde emerged as one of the first West Coast rap groups with a jazz aesthetic. This was their debut cypher-style album, framed by uninhibited, comedic storytelling. Mostly produced by J-Swift, Bizarre Ride II sees the four MCs — Imani, Bootie Brown, Slimkid3 and Fatlip — shooting the breeze as they recount past adventures and misdeeds, all while lobbing “Yo Mama” jokes at the listener. The group’s high energy is enough to keep you hooked, but the layered use of sound effects, sampled instruments, record scratches and drum grooves (check out “Officer”) offers a rich and deeply textured listening experience. The album also includes one of the group’s biggest hits, “Passin’ Me By.”

4. The Miseducation of Lauryn Hill – Lauryn Hill

The Miseducation of Lauryn Hill signaled Hill’s deep plunge into her identity as she broached a number of themes, including heartbreak, motherhood, oppression and spirituality. This was her solo debut following Fugees’ disbanding, where she coupled her sublime vocals and heady raps with a discerning blend of hip-hop, R&B, reggae and pop. Miseducation remains a juggernaut to this day, an album teeming with real-world vignettes and sharp prose that peaked at No. 1 on multiple charts, went multi-platinum, and landed Hill five Grammys. Highlights include guest appearances by Carlos Santana (“To Zion”) and Mary J. Blige (“I Used to Love Him”), as well as one of her biggest hits, “Doo Wop (That Thing),” a crisp merging of horns, piano, and classic vocal stylings that really pop when you listen on vinyl.

5. Madvillainy – Madvillain

MF DOOM and Madlib make up Madvillain, with this, their only album, often touted as the crème de la crème of DOOM’s catalog. The 22-song project — largely comprised of tracks that clock in at around the two-minute mark — takes the listener on a surreal madcap ride through deeply dug samples that establish shapeshifting grooves. “Accordion,” for example, is built upon a dreamlike foundation, while “Bistro” incorporates harp, strings and a sampled voice that bounces between left and right speakers — an effect that really comes to life on vinyl. The closing song, “Rhinestone Cowboy,” even offers a lyrical nod to fans’ frenetic anticipation for the album, when unfinished bootlegs surfaced before Madvillainy’s arrival.

6. Supa Dupa Fly – Missy Elliott

Missy “Misdemeanor” Elliott’s debut album Supa Dupa Fly lives in near-myth, a record she and childhood friend Timbaland created in just two weeks. Though she was an established songwriter, Missy didn’t intend to become a solo artist, but this seminal album showed her unquestionable talent as a vocalist and musical visionary. And while it arrived around the same time as influential works from 2Pac, Biggie, Fugees, A Tribe Called Quest, Lil’ Kim and more, Supa Dupa Fly stood out for its snapping bass, grandiose horns, boom-bap beats and raw electric energy, which meld into a cohesive and compelling sound on vinyl. Standout tracks include “Beep Me 911,” “Sock It 2 Me (feat. Da Brat)” and “Izzy Izzy Ahh.”

7. Reachin’ (A New Refutation of Time and Space) – Digable Planets

Digable Planets filters their jazz and funk-laden hip-hop through an intuitive flair for world-building. With Reachin’, the MC trio — Butterfly, Ladybug Mecca and Doodlebug — focuses on the minutiae of New York, setting their magical realm against a backdrop of an ever-moving place, resulting in an album defined by its free-spirited lack of overanalyzing. One track that represents this mood perfectly is “Pacifics (Sdtrk “N.Y. Is Red Hot”),” which makes powerful use of percussion elements like a repeating pitched bell hitting twice every measure and a percussive synthesizer that takes over towards the end of the track, bouncing between the speakers as the other parts fade away.

8. Whack World – Tierra Whack

Composed of 15 one-minute songs, Tierra Whack’s intricate and dreamlike debut swarms with imagination, as she briefly replaces our realities with her own. While the tracks cycle through themes like death, self-care, grief and insecurities, we’re given a moment to quickly reflect before she moves on, though it isn’t nearly long enough. Between Tierra’s lyrical agility, captivating hooks and kaleidoscopic melodies, there’s a lot to digest in Whack World, and the album’s brevity (which allowed it to be cut LOUD) makes it an especially captivating listen on vinyl.

9. Laila’s Wisdom – Rapsody

Laila’s Wisdom was framed as a dedication to Rapsody’s late maternal grandmother, Laila, but also to the rapper’s outlook as a modern Black woman, addressing subjects like police brutality, social media, toxic love and more. It took two years to meticulously craft this record, and it shows, in the carefully curated, high-profile features starring Kendrick Lamar, Black Thought and others — and in the consummate blend of soulful samples (“Pay Up”) and luminous instrumentation (“Nobody”), largely handled by Rapsody’s mentor, 9th Wonder.

10. Telefone – Noname

Prior to the arrival of Noname’s debut mixtape Telefone, we only caught glimpses of the Chicago rapper’s flair for spoken word lyricism on her guest spots with Chance the Rapper, Saba and Mick Jenkins. But here, Noname fully unravels her joy and grief as she gives the listener an intimate look at her hometown. This is a recording that hinges on tender pianos, xylophones, wind instruments and Noname’s often somber wordplay, all of which coalesce on vinyl for a hypnotizing listen.

Check out these related blog posts:

Top 10 Vinyl Albums for Audiophiles

Here’s What You Need to Know About Vinyl

Appreciating Vinyl Records … and the Best Way to Enjoy Them

Five Reasons Vinyl Is Making a Comeback

Spotlight on Vinyl Subscription Services

Click here for more information about Yamaha turntables.

Reharmonizing Songs, Part 2

Written by Jerry Kovarsky on March 29, 2021. Posted in Keyboard How-to.

In Part 1 of this three-part series, we covered functional harmony and traditional concepts for making a song more sophisticated. In this installment, we’ll explore harmony as color, without worrying about function or even staying within a key center.

Anything Is Possible

Start with an understanding that any given note can be treated with a wide selection of possibilities when it comes to making it a part of a chord.

To illustrate, here are some ideas for how a C can be incorporated. In this first example, it’s serving as the root. (Note: A low bass note has been added to this and the following six audio clips to help you hear the chord qualities more clearly.)

Now let’s think of a C as being the third of a chord. This gives us the choice of either an A minor or A-flat major chord quality:

Or we can treat it as the fifth of a chord, which gives us these possibilities:

If we think of it as the sixth (or 13th) of a chord we get these options:

If we use it as the seventh of a chord, it will be some type of D or D-flat chord type:

If it is the ninth (or a second) of a chord it will be some sort of B-flat, B Dominant 7th or A Dominant 7th chord:

Finally, if it is used as the fourth or the 11th of a chord, we get these choices:

For many people, this is a mind-blowing array of possibilities — I’ve listed almost 70 choices! Given so much latitude, it can be difficult to know what to do. So it helps to start with some guiding principle to help you to explore this newfound freedom.

Creating Structure Within Chaos

A good place to start is to choose one particular chord quality and then use it for every subsequent chord change. To illustrate, let’s use a melody that I employed in Part 1:

In this example, I’ll be using all minor chords, but note that the melody can be any part of the chord, from the root all the way to color tones like the 9th and 11th:

Here are the same harmonies, but with jazzier voicings:

Because you’re not clearly in any given key, the sound is open and floating; I especially like the “lift” that the last chord provides.

Of course, there’s always another way to do things, so here’s a different set of options:

Or, using more advanced chord voicings:

This exercise is a great place to start since you don’t have to worry about choosing from so many possibilities — you know that all your chords are going to have the same quality, so you can just search for a sound that supports the melody.

Finally, let’s try to change the chords more often, using some advanced voicings:

It’s good to try different chord qualities, so here’s a version based on all major seventh chords, including the use of the sharp-11th color tone:

Note that I often added 9ths and 13ths to my voicings — I even “cheated” by using a 6/9 chord in Bar 3.

Here are another set of choices:

The G-flat chord voicing in Bar 3 is a bit unusual: I think of it as an A-flat triad over a G-flat triad, even though I left out the D-flat of the lower triad.

Admittedly, these have been some of the most complex examples I’ve offered in any “Well-Rounded Keyboardist,” so take your time going through them. Click here for the final installment in this three-part series, where we continue exploring ideas for giving structure to your playing by using non-functional harmonic ideas to add color.

All audio played on a Yamaha P-515.

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

Closeup of two electric bass guitar necks.

A Guide to Bass Fingerboards

Written by Michael Gelfand on March 26, 2021. Posted in Bass. 1 Comment on A Guide to Bass Fingerboards

Just about everyone has heard the phrase, “where the rubber meets the road.” It refers to the critical moment of truth where an idea or theory is tested or where an effort translates into a result. In the context of playing the bass, this happens when you press a string down on the fingerboard so that a note sounds when that same string is plucked, picked or slapped with your other hand.

Whether fretted or fretless, the fingerboard is where the action is. It makes sense, therefore, that the materials chosen for the fingerboard — usually a wood such as rosewood, maple or ebony, or possibly even a synthetic material — play a big role in the sonics, as well as the look and feel of the bass.

In this article, we’ll take a quick look at some of the materials used to make bass fingerboards. We’ll start with the big three — the most popular and common choices — then quickly run through a handful of more exotic and synthetic options. Finally, we’ll examine how fingerboards interact with the neck materials to influence the sound of the bass.

The Big Three

Rosewood

Rosewood is a porous, oily wood renowned for its warm, rich tonal character that mellows out strident highs, which is probably the reason why it’s the most popular choice for bass fingerboards. It has a distinctive, earthy color too — dark brown, like chocolate, with some redness to it — and there are mainly two types: Indian rosewood and Brazilian. (The latter is harder and denser, but more rare, and therefore much more expensive.) Rosewood is the fingerboard material of choice for most Yamaha BB Series basses.

Electric bass guitar. — *Yamaha BB734A bass.*

Maple

This popular light-colored sustainable wood is hard and typically has a tight grain pattern, but fancier cuts can come with a beautiful flame, curly or birdseye grain. Maple fingerboards lends basses a very bright, sparkling tonal quality, with lots of sustain. However, unlike rosewood, maple doesn’t have a high oil content, so it requires a gloss or satin finish. When the finish wears away over time, the wood in those naked spots turns a weathered grey. The Yamaha Billy Sheehan Attitude 30th Anniversary bass is a shining, scalloped example of maple’s vibrant glory.

Ebony

Close up of an electric bass fingerboard.

There are two type of ebony you’ll typically see on basses — Indian and Macassar. Usually a deep, dark brown or even completely black, ebony delivers snappy highs and beefy lows. Hard, heavy and dense, it withstands string wear better than most other woods. The Yamaha Nathan East Signature BBNE2 bass features a distinctive all-ebony fingerboard inlaid with figured abalone, as shown in the illustration on the right.

The Other Contenders

Laurel

A great alternative to rosewood, laurel has a slightly more pronounced grain structure and a similar tonal quality. Laurel fingerboards are found on some Yamaha RBX Series basses.

Cocobolo

This tropical hardwood is similar to rosewood in both tone and oil content, and is available in a wide variety of colors. It has a straight grain pattern and is harder than ebony, which makes it a great choice to resist the grinding string wear of roundwound strings. Incredibly dense and hard, it is known to dull saw blades quickly, and like ebony, is quite expensive.

Pau ferro

The import/export regulations in place for rosewood to keep it from being overharvested have helped to elevate pau ferro’s popularity as a suitable and inexpensive substitute. To my ear, it’s a relatively neutral-sounding wood with a bit of snap, landing somewhere between rosewood and maple.

Walnut

Revered by furniture makers for its beautiful, undulating grain pattern and rich, chocolate color, walnut has a warmth to its sound, but it’s an expensive material and probably more of an aesthetic choice than a sonic one.

Wenge

This looks like a chic version of rosewood — in a good way — and sounds a lot like it too, with an earthy tone.

Synthetics

Ebanol

Essentially the same material used to make bowling balls, this looks and feels a lot like ebony, but is smoother and harder.

Phenolic

This synthetic is created from glass, cotton and/or paper fabric heated under pressure with resin to create a highly durable material. Naysayers accuse it of sounding like plastic — whatever that means — but I’d say it’s maple-esque, with tight, pronounced highs.

Richlite

Manufactured from resin-infused paper and phenolic (see above), richlite is often touted as a synthetic replacement for ebony and boasts similar sonic qualities.

Rocklite

These man-made synthetic wood products with their own “grain” patterns also look, feel and sound very similar to ebony.

Neck Materials Accentuate the Positive

While the fingerboard makes a big impact on your bass’s sound, so do the materials used to make the neck (usually wood, but sometimes synthetics like carbon graphite or metals like aluminum). The neck’s main job is to provide stiffness that can withstand the constant pressure of your strings, but it also adds to the sonic character of the bass. Keep in mind that the fingerboard is bonded to the neck, so different combinations of materials will influence the sound in different ways. A good way to illustrate these nuances is to compare the various Yamaha Signature model basses:

– The Billy Sheehan Attitude 30th (as well as its older relative, the Attitude Limited 3), has both a maple fingerboard and a maple neck. This all-maple sandwich helps deliver a full-bodied, aggressive tone with tight lows, growling mids and brights that sizzle, along with gobs of sustain.

– The Peter Hook Signature BBPH features a rosewood fingerboard married to a 5-piece maple and mahogany neck. Upper register lines sing sweetly on the rosewood, while the mahogany accentuates the harmonic mids and blends them with the maple’s innate brightness.

– The Nathan East Signature BBNE2 employs a 5-piece maple/mahogany neck with an ebony fingerboard that helps give it snap and tonal consistency.

– The John Patitucci TRBJP2 fuses a three-piece maple neck with an ebony fingerboard for clear, glistening articulation.

Each of these basses sound, look, and play great, but the choice of fingerboard, neck and body materials made by these Signature artists helps give their namesake basses their unique sound and appeal. There’s an important lesson to be learned there!

Check out Michael’s other blog posts.

Click here for more information about Yamaha basses.

Tower of Power Celebrates Their 50th Anniversary

Written by Yamaha Corporation of America on March 25, 2021. Posted in Artists, Winds Artists. 2 Comments on Tower of Power Celebrates Their 50th Anniversary

The year was 1968. The music scene was exploding, and kids were starting bands in garages everywhere.

One of those kids was a Bay Area tenor sax player by the name of Emilio Castillo, and when he met baritone saxophonist Stephen “Doc” Kupka that summer, there was an immediate synergy.

Emilio Castillo.

Stephen “Doc” Kupka.

A couple of years later, fortified by the addition of drummer David Garibaldi and several other musicians, they formed the legendary band Tower of Power … and they’ve been going strong ever since.

Man sitting at drum kit flashing the peace sign. — *David Garibaldi.*

Garibaldi is still amazed at the amount of musical diversity that was going on at the time. “There was music of every possible type in your ears at all times,” he says. “There was funk. There was jazz. There was Latin. There was world music. There was classical music. And the Bay Area musicians were this mix of all of this.”

“With Tower of Power, it was all in,” he adds. “Music all the time. We’d rehearse every day. We were making it up as we go along — kind of like what we do now!”

“We all hung out together,” says Castillo. “We were all friends and we partied together, but we were all out there trying to outdo each other.”

All these years later, Tower of Power is still together, celebrating their 50th anniversary and still trying to outdo one another every time they take the stage or enter the recording studio.

Musical Roots

“They say that we don’t pick music, music picks us,” says trumpeter Sal Cracchiolo, who joined the band in 2011. “My parents said I used to sing all the time when I was a newborn. Both of [them] were music teachers and they [started] me on piano at 4 years old. I learned how to read music before the alphabet.” Nonetheless, he soon decided that piano was not the instrument for him … and neither was accordion, or violin or drums. Someone with a lesser musical inclination might have given up at that point. But not Cracchiolo, who discovered the trumpet when he was 12 years old and quickly fell in love with the sound of the instrument.

Man blowing a trumpet onstage. — *Sal Cracchiolo.*

A number of other ToP members report starting out on a different instrument than the one they’re best known for. Kupka, for example, started on oboe but switched over to baritone sax in his college years because he wanted to play rhythm and blues. Garibaldi initially wanted to play trumpet, but found himself practicing violin instead because his elementary school band had run out of trumpets to give out. It was only when that didn’t work out that he discovered the joy of drumming.

Trumpeter Adolfo Acosta is actually one of the few bandmembers who started out on the instrument he plays in the group. “I was in 4th grade and we [were given] the opportunity to play an instrument,” he recalls. “We got to choose one and I wanted the trumpet because it looked easy: just three valves. It wasn’t easy and it still isn’t easy! But it was fun, and I really enjoyed it. When I got to 7th grade, I heard the junior high jazz band at assembly. I had no idea what jazz was, but that changed my life. I got fired up. All through high school [I was playing] in a jazz band, listening to jazz and other types of music with horns and horn sections.”

Man blowing a trumpet. — *Adolfo Acosta.*

Developing a Cohesive Sound

“One thing about this band is that, even if someone isn’t feeling up to snuff, it doesn’t matter,” says keyboardist Roger Smith, who has been with the group since 1998. “You gun up, you get on stage, and you put it out. Everybody wants to bring their A-game to help the collective and that’s all the time. We can be on the road 150 days a year and every night we try to bang it out hard, try to bring it.”

“We’ve played together for so long, it’s [become] intuitive,” Castillo explains. “All the horn players know when we’re going to cut off so we all go together. If they’re holding [a note], we all do that together [too].”

“[Another] important factor is that we really enjoy each other as people,” adds Garibaldi. “To me, that really makes the music terrific. We came up in the era when you had a band, you wrote songs together, you did all your music together, so … we have a collective sort of mentality. Everybody takes a lot of pride in what they do and it’s awesome to be able to [make music] with a bunch of people who have a really high standard. When you come to see us play, you’re seeing a really good team; people who really know their role, yet everybody does their thing. Everybody stays in their lane, but we do it together. That’s not always easy, but that’s what we do and I think we do it really well.”

The Yamaha Relationship

Another big part of Tower of Power’s cohesive sound is the fact that many of the musicians — including the entire horn section — use Yamaha instruments, thanks to a decades-long relationship with the company. Garibaldi, for example, has been playing Yamaha drums since 1982.

“I don’t think of myself as a great saxophone player,” explains Castillo. “But just playing a Yamaha saxophone, immediately I was more in tune … which was invaluable! Immediately the sax section was fatter and nailing things harder.”

Man playing saxophone. — *Tom Politzer.*

“Because we are all playing instruments that are easy to play in tune, [we] have great chord sounds from the bottom to the top of the horns,” adds saxophonist Tom Politzer. It’s a sentiment shared by trumpeter Cracchiolo. “It’s nice to have everyone playing a Yamaha,” he says, “because the timbre of the horns blend together a lot better.”

Adolfo Acosta has been playing a Yamaha Bobby Shew model 6310 trumpet since 1989, at a time when he was studying with the legendary jazz trumpeter. Sal Cracchiolo, who also studied with Shew, plays a second-generation Yamaha Bobby Shew YTR-8310Z trumpet. “It makes my life and my job easier,” he enthuses. “It sounds great, it plays in tune and it’s a quality instrument. At this point in my life, I can afford to play anything, but you want to play something that is going to help you produce the sound that you hear in your head. Trumpets are known as the ‘coil of toil,’ but you don’t want it to fight you. And the people at Yamaha have been very gracious. They’ve treated all of us like family.”

Politzer agrees. “The thing I love about the company is their desire to make the best horns in the world,” he says. “I’m honored to play their instruments. Their flutes are ridiculous. Their clarinets are awesome. Everything they make is first quality.”

Making it All Worthwhile

When asked what keeps Tower of Power motivated, Cracchiolo says, simply, “The opportunity to make music. [Considering] all the years that you dedicate your life [to this], when you get to this point, it’s the payoff. There’s no feeling like when all of a sudden the magic happens; it’s indescribable. You work and you sacrifice everything for those moments when you get to play. It really is special.”

“[It’s] the honor and privilege of walking in front of a packed house that’s there to see you,” adds Politzer. “You hit the stage and you see everybody looking up at you and it sort of transforms you.”

Current and Future Projects

Gauging from the obvious level of enthusiasm coming from all the bandmembers even after all these years, it seems certain that Tower of Power will continue to be an important part of the musical landscape for the foreseeable future. They hope to resume touring once conditions allow, and their latest album, 50 Years of Funk & Soul: Live at the Fox Theater has just been released, available as a 3-LP set, a 2-CD/1-DVD package or single DVD, as well as via digital streaming.

“That was a really special gig,” says Castillo. “We had (former ToP member and Saturday Night Live Band musical director) Lenny Pickett playing sax with us, with Chester Thompson on organ. There was a seven-piece horn section and two extra background vocalists. It was a phenomenal night.”

Asked to sum up his experience with Tower of Power, David Garibaldi says, simply, “There was nothing like it and there’s still nothing like it anywhere.”

Adds Castillo with a laugh, “People come up to me at clinics and they say, ‘Do you have any advice [for musicians starting out]?’ I say, ‘Yeah, start a trio.’ Logistically, a 10-piece band is very difficult, but it’s who we are, and we are very proud of it.”

Large band on stage. — *Tower of Power take the main stage at the 2020 NAMM show.*

Photographs courtesy of Robert Steshetz/Steve Leiken/Yamaha.

For more information, visit towerofpower.com

What’s the Difference Between a Trumpet and a Cornet?

Written by Jake Uitti on March 23, 2021. Posted in Brass. 3 Comments on What’s the Difference Between a Trumpet and a Cornet?

At first glance, trumpets and cornets appear to be very similar. But they actually have some significant differences, as well as slightly divergent lineages. Let’s take a closer look at these two distinctive brass instruments.

Origins

Horns have been used throughout history, for everything from battles to birthday parties. Rudimentary horns were made from many different materials, including wood, clay and even human bone. Examples date back to 1500 B.C. in Egypt, China and Scandinavia. The Moche people of ancient Peru painted images of trumpets as far back as 300 A.D. In the ancient Greek and Roman eras, metallic trumpets were used for marching in wartime. Eventually, almost all European royalty had trumpet bands that played military fanfares, although it wasn’t until the seventeenth century that the trumpet came to be used in musical ensembles.

Drawing of an early trumpet. — *Ancient trumpet made of clay, found in Peru.*

Early trumpets had a very simple shape, with a flared bell at the end. The trumpeter could produce only a very limited number of notes by varying his lip movement and the speed of his breath. When it was necessary to play songs in different keys, differently tuned horns had to be used. For the trumpeters of the era, looking after all these instruments and carrying them around was very troublesome.

All this changed when, in around 1810, the valve was invented. By changing the path taken by the trumpeter’s breath, a valve serves to alter the length of the instrument’s interior, limiting how far air has to travel inside the “bore” and resulting in a greater number of possible notes. Valves made it easy to change the length of the tube, thereby enabling chromatic scales to be played on the trumpet.

The makers of trumpets were, however, slow to implement valves, which led to the development of the cornet in the 1820s. For many years, composers wrote separate musical parts for the two instruments. The trumpet would simply play blaring flourishes while the cornet, with its system of valves, would handle the more delicate, nuanced melodic requirements.

Today, there are two types of valves: piston and rotary. The two function differently and therefore produce different tones. Piston valves, which are more responsive, help to create a quicker, brighter sound compared to the rounder tone produced by rotary valves.

Closeup of someone's hands as they play trumpet. — *Piston valves.*

In the jazz bands of the early 20th century, the cornet was initially preferred to the trumpet. One of the earliest practitioners of the genre, Charles “Buddy” Bolden, was a cornetist, and the legendary Louis Armstrong also began on the cornet before switching permanently to the trumpet in 1926, when its brighter, more pronounced sound started to become more popular. Other famous and influential trumpeters who have stretched the boundaries of the instrument include Miles Davis and Dizzy Gillespie.

Similarities Between the Trumpet and Cornet

Beyond the fact that both trumpet and cornet are brass instruments, they are also played in a similar fashion. Sound is created in each by buzzing one’s lips into a metal mouthpiece. A player can produce different notes by subtly tightening or loosening their lips, facial muscles and/or jaw (that is, their embouchure), as well as by pressing different valve combinations (see below). Higher notes are produced by tighter contractions and lower notes by looser ones.

Yamaha YTR-9335CHS trumpet.

Yamaha YCR-8335 cornet.

Modern trumpets and cornets have three valves. As described previously, valves effectively alter the length of the instrument’s interior, making it possible to play every note in each musical scale. The note played is determined by the specific combination of valves the player presses on the horn, along with the embouchure. If the player doesn’t press any valves, the instrument is said to be in “open position,” in which case the aperture of the embouchure (that is, the shape and size of the opening in the lips) is the sole factor in determining the note that is sounded.

Differences Between the Trumpet and Cornet

While both instruments look generally similar, a cornet is smaller than a trumpet, and often rounder in shape. Another big difference is the size and shape of each instrument’s interior chamber, known as its bore.

A trumpet has a cylindrical bore, which results in a bright, piercing sound, while a cornet has a continuously conical bore, which provides a warmer sound. (Their larger-sized brass instrument cousin, the flugelhorn, offers an even softer tone due to its larger, rounder and even more conical bore.)

“As with all wind instruments,” explains Yamaha Product Specialist Austin Snowden, “everything affects everything. For example, a large bore trumpet versus a medium bore trumpet is going to feel different. The large bore will require more air to fill up the tubes and that can sometimes drastically change how a player uses their energy with the instrument.”

In addition, cornet mouthpieces are deeper than most trumpet mouthpieces, which also contributes to that instrument’s warmer, less piercing sound, making the cornet better suited for some brass ensembles. The cutting sound of trumpets, in contrast, make them suitable for use in a wide range of musical genres, from jazz to orchestral.

Instrument Keys and Types

There are several different types of trumpet and cornet, including the smaller piccolo trumpet and the soprano cornet. The piccolo trumpet is half the size of a normal trumpet and is pitched an octave higher. Piccolo trumpets are also commonly made with four piston valves, not three, as with standard trumpets.

B-flat is by far the most common key for trumpets. “These kinds of trumpets can be seen in all types of genres and ensembles,” says Snowden. “C trumpets may be the second most common; they are more often used in orchestral settings or if a wind ensemble piece calls for it specifically. These trumpets have a slightly different sound characteristic than a B-flat one, which is usually thought of as brighter. All the other key variations (i.e., D, E-flat, E, low F, and G) are typically specialty instruments.”

Cornets are also most often in the key of B-flat. However, E-flat cornets are sometimes used in brass band settings. Specialty cornets are also occasionally made in the key of C.

So next time you see what you think is a trumpeter playing a trumpet, look (and listen) a little more closely. What you actually may be seeing is a cornetist playing a cornet … or vice versa!

Yamaha offers a wide range of trumpets and cornets, from beginner-level to expert, for use in brass ensembles, jazz bands and orchestra.

Click here for more information about Yamaha trumpets.

Click here for more information about Yamaha cornets.

Click here to find a Yamaha trumpet or cornet dealer near you.

A woman playing saxophone and using a tablet.

DTX6 Deep Dive, Part 1: The Kit Modifier

Written by Steve La Cerra on March 19, 2021. Posted in Electronic Drums. 2 Comments on DTX6 Deep Dive, Part 1: The Kit Modifier

One of the great things about playing electronic drums is that you can change sounds more easily than you can on acoustic drums. Unlike an acoustic drum set (where you’d need to retune the drums, change the heads and/or adjust muffling, etc.), the sound of an electronic kit can be altered with the push of some buttons.

The Kit Modifier section of the Yamaha DTX-PRO module (furnished with all DTX6 Series and DTX8 Series electronic drum kits) makes this sonic transformation easier and faster than ever before — all you have to do is turn just three knobs to dial in the sound you want! In this article, we’ll take a deep dive into how this unique feature works.

Closeup of control panel. — *DTX-PRO with the Kit Modifier highlighted.*

Easy Access, Instant Visual Feedback

The Kit Modifier enables you to personalize the sound of the 40 preset kits, and also provides a way for you to build new kits that inspire creativity. (Up to 200 user kits can be stored in memory.) It’s comprised of three controls: Ambience, Comp (compression) and Effect, all prominently featured on the front panel of the DTX-PRO, so you always have fast access to them. There are also LED rings around each knob, giving you instant visual feedback. The three controls can be used individually or in combination with one another, and their settings are stored along with the drum kit you’re modifying or creating.

Ambience

Let’s start with the Ambience control on the far left. There are two options available, called “Ambi” and “RealAmbi.” We’ll talk about both in detail shortly, but whichever you choose, the Ambience knob sets the overall depth (that is, amount) of the ambience, which can be added to an entire kit or to each Inst (instrument) in the kit independently — for example, if you want to apply it to the snare but not the kick drum.

For most DTX-PRO preset kits, turning up the Ambience Kit Modifier knob adds only the RealAmbi effect (in increasing amounts) until the knob reaches the 12 o’clock position; as you turn the knob past 12 o’clock, the Ambi effect takes over to produce longer reverb times and larger spaces. There’s even an edit menu parameter called Curve, which allows you to create custom transitions between RealAmbi and Ambi as you turn the knob, but the bottom line is this: lower settings give you more room sound, while higher settings give you more radical reverbs and special effects. You’ll quickly find the setting that works best for you as you cycle through different kits.

RealAmbi

The DTX-PRO module offers more than 700 new drum, cymbal and percussion sounds, all recorded by experienced engineers in some of the world’s finest recording studios. For many of these samples, the actual room acoustics were also recorded (in stereo) at the same time. These RealAmbi room acoustics are added to the direct sound of the samples for a high level of realism and a natural playing experience.

Graphic of drum with annotations. — *Many DTX-PRO drum sounds were recorded with real room ambience.*

Here are some audio clips that let you hear how RealAmbi room acoustics add to the sound of two different DTX-PRO drum kits. First, here’s preset kit P001 (“AbsoHybMaple”) with the Ambience Kit Modifier turned all the way down:

Compare that to the sound of the same kit with the RealAmbi room acoustics added:

Preset kit P020 (“Engraved”) also incorporates RealAmbi room acoustics. Here’s how it sounds with the Ambience Kit Modifier turned all the way down:

And here’s how it sounds with RealAmbi:

Ambi

Ambi offers a variety of reverbs such as Hall, Room, Plate, Stage and Space Simulator. Since they are generated using DSP (Digital Signal Processing), it’s possible to create bigger spaces than those provided by RealAmbi.

To hear how this sounds, let’s start by listening to preset kit P005 (“SwedishMetal”) with no Ambience Kit Modifier:

Here’s how it sounds with the Room 1 Ambi effect added:

And here’s the same kit with Hall1 Ambi:

Quite a difference!

DSP also makes it possible for Ambi to generate combinations such as Reverb+Gate, Reverb+Chorus, Reverb+Phaser, Reverb+Flanger, Reverb+Harmonic and Reverb+Ringmod. These all permit editing of reverb time, as well as low and high EQ, plus modulation where applicable.

Check out preset kit P002 (“Steel Ring”), with no Ambi added:

When Reverb+Gate is added using the Ambience Kit Modifier, it sounds like this:

Pretty extreme, I know … but you get the point.

Changing the Ambi effect to Reverb+Flanger creates a Led Zeppelin-like “swishy” sound:

And Reverb+RingMod can be used to create a clangy, metallic effect that sounds like this:

Compression

Compression is something that’s used (sometimes overused!) on just about every modern recording, and it’s often applied to drums. It smooths out the overall volume level by making loud sounds softer, so that no instrument “sticks out” as being noticeably louder than the others. Once the louder sounds have been made softer, the overall volume level is usually decreased, so most compressors add “make-up gain” to restore the lost level. That’s how the DTX-PRO Compression Kit Modifier (the knob in the center) can make drums sound louder.

In the following audio clip, you’ll hear preset kit P013 (“ModrnCountry”) with the Compression Kit Modifier turned down all the way (no compression):

Here’s how that same kit sounds with the Compression Kit Modifier at 12 o’clock:

Compare that to the sound of the next clip, where the Compression Kit Modifier has been turned all the way up:

When drums are compressed, they sit in a mix at a more consistent level. The Compression Kit Modifier also emphasizes the attack of each drum, helping them punch through a busy mix. It can also bring out the resonance in toms, making them sound fuller and rounder.

Effects

The Effect Kit Modifier (the knob on the right) provides simultaneous control over three separate effects, labeled MFX, FX1 and FX2.

MFX

Short for Master FX, these effects are applied to the entire drum kit. There are more than 20 different types of MFX, including Analog Delays, Flangers, Phasers, Lo-Fi, Dynamic RingMod, Presence and Harmonic Enhancer. Some of the DTX-PRO preset drum kits already have an MFX enabled, but you can easily add or change the type of effect.

The Effect Kit Modifier knob generally controls the depth of the MFX, but for some types of effects, it instead changes a different parameter. For example, if you set the MFX to “Analog Delay 2,” the knob changes the delay time; for some of the modulation effects such as “2 Modulator” and “SPX Chorus,” the knob changes the modulation speed. An MFX effect can be bypassed by setting its Type to “Thru.”

FX1 and FX2

Also under the control of the Effect Kit Modifier are two additional effects, labeled FX1 (Effect 1) and FX2 (Effect 2). Options here include Gated Reverb, Reverse Reverb, Early Reflections, Tempo Delays, Chorus, Modulation, a variety of Flangers, Detune, Phase, Wah, Ring Modulation, Auto Synths and Pitch Change.

Unlike MFX, these effects can be applied to individual instruments with the use of the DTX-PRO internal mixer. For example, let’s say you set FX1 to “Tempo Delay 8th” and FX2 to “Classic Flanger.” You can then send the toms to FX1 and the cymbals to FX2. The Effect Kit Modifier knob will control the overall amount of both, plus the MFX, if there is one. In this case, the DTX-PRO Tempo knob will control the delay time for “Tempo Delay 8th,” giving you fast access to both depth and timing.

Let’s listen to how effects are used in some DTX-PRO preset kits. Here’s the sound of preset kit P015 (“OldenDays”) with the Effect Kit Modifier knob turned all the way down (fully counterclockwise):

Notice that there’s no delay. Compare that to this next audio clip, where the Effect Kit Modifier knob has been turned up so you can hear the delay:

As the Effect Kit Modifier is turned up, the intensity of the delay increases.

Here’s another example. Preset kit P021 (“Filter Smack”) sounds pretty normal when the Effect Kit Modifier is turned down:

But when you turn up the Effect Kit Modifier, it’s transformed into a spacey, synth-like drum kit:

Sometimes, turning the Effect Kit Modifier down changes the sound of a preset kit dramatically. For example, the Effects Kit Modifier for preset kit P023 (“RadioDark”) controls a filter. When the kit is recalled, the Effect Kit Modifier is turned up almost all the way, resulting in this low-fi sound:

However, if you decrease the Effect Kit Modifier by turning it counterclockwise, the filter opens, making the kit sound more hi-fi:

A World of Possibilities

Don’t forget that you can use any or all of the DTX-PRO Kit Modifier controls in any combination. Together or separately, they open up a world of possibilities for you to create distinctive-sounding drum kits on the fly.

Ready to learn more about the Kit Modifiers? Check out this video:

Check out the other installments of our five-part “DTX6 Deep Dive” series:

Part 2: Recording Options

Part 3: Training Tools

Part 4: Customizing, Importing and Layering Sounds

Part 5: A New Level of Playability

Click here for more information about Yamaha DTX6 Series electronic drum kits.

Closeup showing someone's hand with a soft cloth cleaning the vents on a piece of audio equipment.

Spring Cleaning Special: How to Dust and Clean Your Audio Gear

Written by Lisa Montgomery on March 18, 2021. Posted in Audio How-to.

Unfortunately, there’s no way around it. Like everything else in your home, audio gear gets dirty over time.

And as the days grow longer and the sun shines brighter, the layer of dust that’s accumulated on your home electronics equipment becomes more noticeable — and smudges and fingerprints on dials, knobs, and faceplates make things even more unsightly. Just like lamps, artwork, upholstery, windowpanes and other interior elements, your audio devices have gone through a long, hard winter and deserve a thorough cleaning. It’s good for their well-being, and yours.

Beyond the aesthetic improvement, clean AV receivers, amplifiers, turntables, speakers and other equipment work optimally and enjoy a longer life. At the same time, the removal of dust and dirt from those devices contributes to a healthier home environment — something that’s especially important these days. After all, you can’t avoid touching the gear or their remotes, so it’s wise to regularly disinfect them to help prevent the spread of germs.

Last but not least, when you take the time to restore the original luster and gleaming front panels of your AV products, the entire room just looks and feels better. It’s like having that fresh, new-car smell after your vehicle has been detailed — you can’t wait to get behind the wheel and take it for a spin. When your audio gear is clean, using it is a more pleasurable experience.

How Dirty is Your Audio Equipment?

Given that the average U.S. home collects 40 pounds of dust each year, odds are that your AV equipment is getting a good coating of it. Worse yet, dust can stay suspended in the air for days, so even doors can’t stop the microscopic particles from floating inside equipment cabinets and depositing in every nook and cranny.

It’s easy to spot this build-up on the exposed portions of gear, but don’t forget about rear panels and cabling — those areas accumulate plenty of dirt and dust that can be easily overlooked. Unfortunately, dust and dirt will attract moisture and form a corrosive layer of material that can eventually degrade the sound and be damaging to exposed connectors, relays and switches — even internal electronic circuitry.

When and What to Clean

A yearly spring cleaning of your audio gear should usually suffice, as long as it’s thorough. Of course, weekly wipe-downs with a microfiber cloth or feather duster are never a bad idea. But for that annual deep clean, you’ll want to disconnect and dismantle everything to get at all the places you can’t ordinarily reach. Disassembling also gives you a chance to reorganize components if necessary, untangle cabling, and refamiliarize yourself with the various parts of your overall system. And who knows: Once you are able to see what’s at the back of the rack, the lack of a particular input or a dent in a side panel might be all the inspiration you need to treat yourself to a new piece of equipment. Your car gets a yearly tune-up, so why not your audio system too?

Don’t forget to include the speakers while you’re cleaning your audio system. Even small, unobtrusive ones like the Yamaha MusicCast 20, MusicCast 50, NS-SW050 subwoofer or SR-C20A sound bar can gather significant dust over time. Be aware that grille material is delicate and can be easily damaged if you press too hard on it while cleaning, so it’s best to remove the grille covers from the speaker housing and clean them separately, laid out on a flat surface.

And while the shelves, cabinets and other storage spots are empty, take advantage by running a vacuum hose and/or a damp cloth over them — you might even want to apply some touch-up paint or stain if necessary. Dust bunnies thrive on solid surfaces and corners, so this may be the messiest part of your cleaning project. But don’t neglect to include those areas, as the last thing you want to do is return nice, clean audio equipment to a dirty environment.

How to Clean

Start by gathering the following supplies:

– Mild liquid cleanser diluted with water in a spray bottle

– Microfiber cloth

– Cotton swabs

– Lint roller or brush

– Vacuum with a soft brush cleaning attachment

– A compressed air canister

– Alcohol-based disinfectant wipes

– Two small sponges

– A soft cotton towel

Avoid using materials that are coarse and abrasive like paper towels and harsh ammonia-based solutions.

Once you’ve got your cleaning supplies in hand, here are some pro tips for how to use them:

– First and foremost, always unplug your gear from AC power when doing any kind of deep cleaning!

– To rid surfaces of dust and fingerprints, apply a light spritz of cleaning solution onto a slightly damp microfiber towel and then use it to wipe the surfaces gently.

– To remove dust from around dials, knobs, terminals and connectors, use a cotton swab.

– To eliminate dust and debris from vents and fans, try a blast of compressed air or a swipe of a soft vacuum brush.

– As a final touch, apply a disinfectant wipe across all remote controls, as these are what get handled the most. Removing the accumulation of oils and dirt will make them feel like new again.

Speakers require some special treatment. After removing their grilles, gently pass a lint roller or a soft vacuum brush over the fabric to remove the dust. Be careful! The goal here is to clean the fabric without stretching it. If the speaker has a removable metal or plastic grille, it can be cleaned with a soapy sponge, rinsed with a second sponge that’s holding clean water and then dried with a soft cotton towel.

Closeup of someone's hand with soft cloth cleaning a speaker grill. — *Remove your speaker grilles and clean and dry them separately.*

An Afternoon Well Spent

Dust and dirt are not just an aesthetic issue. They can actually be real detriments to the performance of your audio and AV system, and while an occasional pass of a duster is helpful, doing a periodic deep clean can do a world of good. If you want to get the most out of your gear, I suggest you add the chore to your annual spring-cleaning routine. Trust me: It will be an afternoon well spent!

Click here for more information about Yamaha AV products.

Strong Bonds: The Value of Teacher-Student Connections

Written by Kathryn Drury Wagner on March 17, 2021. Posted in Self-Care.

“I remember that guy!” My husband was on vacation with his best friend since 1st grade, and they were laughing and reminiscing about a terrific teacher they’d had 40 years ago.

Did this teacher set them up for better mental and physical health later? According to the research, the answer is yes.

We often think about the sweet power of friendship between children, and the intense friendships that form between adolescents. But close, positive bonds with teachers are also important and can have long lasting effects on health.

Research published by the American Psychological Association in the journal School Psychology looked at the relationship between warm, supportive teachers and how healthy their students later turned out to be. It looked at data from 20,000 participants in the United States, following them longitudinally for 13 years from 7th grade into early adulthood.

Researchers assessed the physical health of the subjects, measuring quantitative factors such as blood pressure and body mass index. They also asked them about their mental health. And they asked questions such as: “How often have you had trouble getting along with your teachers?” and “How much do you agree your teachers care about you?”

Participants who had reported good relationships with their peers and teachers in middle school and high school had better health outcomes in their early 20s. But interestingly, because the study also included 3,400 pairs of siblings, the researchers could study whether family background was a factor. Once family background was accounted for, only the link between good teacher relationships and adult health remained significant.

The Ramifications

“This research suggests that improving students’ relationships with teachers could have important, positive and long-lasting effects beyond just academic success,” the author of the study, Jinho Kim, Ph.D., wrote. Kim is an assistant professor in the Department of Health Policy and Management at Korea University. “It could also have important health implications in the long run.”

As a music educator, you already know the power of inspiration and how important teachers are. The study’s results suggest that teacher relationships are even more important than previously realized and that schools should invest in training teachers on how to build warm and supportive relationships with their students, according to Kim. He observes, “This is not something that most teachers receive much training in, but it should be.”

Little Ways to Build Positive Relationships with Students

Let’s start with the little details — the most basic ways to build a positive relationship with your music students.

Ensure you are pronouncing students’ names correctly, and not using any nicknames without expressly checking first. If there are multiple students in the class with the same name, discuss how they would like to be referred to, instead of just assuming one person will be Samantha but the second Samantha will be Sam. The wrong name can really chafe.
If possible, stand at the music room door to greet students as they come in for class.
Make sure all students can hear you. Speak clearly and move around the room to engage with everyone.
Provide clear communication, with plenty of advance notice of any musical performances, recitals or audition opportunities. Remember the adage “some people don’t read and some people don’t listen,” so verbal and written information are both valuable.

Big Ways to Foster Meaningful Teacher-Student Bonds

Then there are the bigger-picture ways of encouraging participation, self-expression and a sense of community within your student groups. These take more effort, but lead to lasting positive relationships. A good resource for creating defining, unforgettable moments is the book “The Power of Moments,” by Chip and Dan Heath.

Provide ways for students to touch base outside of the classroom. This might be holding regular office hours and encouraging drop-ins, or you could have a classroom “Talk to Me” box, where students can drop in their thoughts.
Ask students about the music they are listening to. Encourage them to bring in new sounds and ideas from their personal experience. Which artists do they like? Can some of these artists become topics of research or fodder for performance?
Provide opportunities for students to take excursions to live local performances, with a variety of settings and genres.
Flip the script by having students teach a portion of a lesson. They might, for example, open the class by giving a short presentation on a historical period or a famous musician. Plan some lessons that involve collaboration between students, working in small groups, to foster collaboration.
Mix up the type of instruction for multisensory appeal. Some music students do well with tactile experiences like coloring different notes with bright hues, while others might respond best to watching a funny video, and still others might enjoy a “game show” style quiz to encourage memorization.
Lastly, look for students who seem to be acting out — oftentimes they need positive attention, but aren’t sure how to go about getting it. Dr. Chawanna Chambers reflects that choosing authenticity, valuing students’ voices in the classroom and empathizing with their experiences is key when working with all students, and especially so-called “tough” students. She shares more insights here.

Every student needs a champion, and you might be just the person for that role!

Person in silhouette on top of a mountain peak with an electric guitar and raising fist to the sky.

A Musician’s Guide to Getting Your Work Out There, Part 1

Written by Jake Uitti on March 15, 2021. Posted in Creativity.

Today, being a musician often means you’re also a small business owner. It requires that you undertake hours of press, promotion, marketing, fundraising and administrative work to get a leg up. And when your job is a being a songwriter, you have more responsibilities than just plucking a guitar or penning a chorus. But fear not — we’re here to help.

In this two-part series, we’ll explore avenues for artists that may seem too difficult to traverse alone. Consider this your guide through the potential pitfalls of your progress. You have your songs in hand, but now what? How can you showcase them? How can you get your music played on the radio, placed in TV spots, featured online and in livestreams? How do you get publicity, find a manager?

We’ve asked the professionals these questions — everyone from radio DJs to publishers of blogs — so that you can get the answers you need. Armed with this information, coupled with some perseverance and a little bit of luck, you’ll be able to take your career to the next level and get your work out into the world.

Getting Your Music on the Radio: Keep It Simple

There are many kinds of radio stations, from college to commercial. So, the first question is: Where do you want your music played? One way to get your music on radio is to pay someone to promote your work, though that can be a very expensive undertaking. What if you don’t have a big budget? In that case, the first place you should look to are radio stations that have an established policy of giving exposure to independent musicians. For example, KEXP 90.3 FM in Seattle, Washington is both accessible and far-reaching; people tune in from all over the world to listen to the handpicked music the station plays.

Young woman wearing headphones and speaking into a microphone with the call sign of KEXP on it. — *Eva Walker.*

While KEXP is known for indie rock, the station plays everything from jazz to country, soul to electronic. For DJ Eva Walker, who hosts both specialty and drive-time weekday shows, it’s not about the numbers of followers. It’s about authenticity of art.

“Honestly,” she says, “if the song sounds like nothing I’ve ever heard before, it has a good chance to be played. I skim through press releases and sob stories because I just want to hear the product. I want something that stands out, that makes my stomach drop.”

Walker also points out that there are some more effective ways of communicating than others. “Make sure I can stream the song on something other than Spotify^®, like SoundCloud or Bandcamp. And make sure your email isn’t too long. Give me a quick introduction. I don’t need a memoir.”

Television, Movie and Ad Placement: It’s About Fit

Young woman looking over her shoulder smiling at camera. — *Shayna Casey*

The best thing an artist can do to try and get their music placed in television, movies or ads — something that generally requires a music publisher — is to first do some research. If you do the appropriate background work, you may find a publisher that you click with; in fact, you may be just the fit they need on their roster.

“Ultimately,” says Shayna Casey, creative director of L.A.’s Modern Works Music Publishing, “you want to find a team that’s going to work best for you and vice versa.” When deciding whether or not to take on a new client, she says a band with buzz can be enticing, but much more than that, it’s about synergy. “I’m pretty honest and upfront. If I don’t feel confident that I would be able to deliver what an artist is looking for, then it’s probably not the right fit for either party.”

Last but not least, artists should always keep their worth in mind and their brand uncompromised. In other words, don’t simply make exposure the ultimate goal: It’s important to stay true to yourself.

Livestreams: Make the Most of Them

Man with short hair and close-cropped facial hair smiling into camera. — *Gordon Brown.*

Livestreams likely won’t ever replace playing on stage, but they are an acceptable substitute well worth pursuing, especially these days. His company has helped hundreds of bands reach their audiences over the past year.

Gordon Brown, founder and chief executive of LoudSwell.com, reports that his company has received “countless messages from viewers who tell us that watching a livestream of their favorite band made them forget, if only just for a moment, about all of the chaos in the world. That is an enormous benefit.”

When undertaking a livestream, Brown suggests the following:

– Don’t livestream for free; ask your fans to kindly tip.

– Don’t take a set break. An internet audience has a shorter attention span than audiences in clubs or other venues, and there’s a better chance they’ll leave.

– Strive for high quality but don’t break the bank for it.

– Aim to make your livestream more of a show. Involve a Q&A or tell a story.

– Promote it days in advance, if possible.

For more about livestreaming, check out our blog “Top Ten Tips for Livestreaming Your Music.”

Getting Exposure Online: Building Trust

Man in glasses holding a camera. Appears to be taking this picture of himself via a mirror. — *Mark Redfern.*

If you’re seeking exposure online, it can be a good option to hire a publicist. Just make sure you choose someone who has an existing relationship with major media outlets. Yes, it can be costly, but if you hire the right person (again, do your due diligence!) it really can help.

Mark Redfern runs the tastemaker music and entertainment web site Under The Radar. As an established outlet, they’re often inundated with requests from artists. While it can be hard to say what any particular outlet looks for in a band, a common mistake that artists make is not understanding what the publication is fundamentally all about. “We’re an indie rock magazine,” explains Redfern. “When a nu metal band or straight-ahead country artist submits music saying they are ‘perfect for [us],’ it’s easy to ignore that email.”

How To Get Publicity: Talking Points

If you don’t hire a press representative to help get your music exposure, don’t fret. There are other ways to form relationships with the media. The first step is to identify writers who seem partial to your genre, then read their work and become familiar with the outlets they write for. Everyone wants media exposure, but when you’re starting out, it’s best to send your music to outlets that you are familiar with and are a good match. That way when a connection is made, it’s an authentic one. It’s fine to follow up with a writer or editor a week or so after your initial correspondence, but remember, these folks receive tons of emails every day, so be professional and courteous. There’s a fine line between perserverance and being a pest!

Once you’ve made that connection and someone is interested in featuring your work in their publication, they might also ask you for an interview. This can be daunting at first, but after you do one or two of them, you’ll find that they become second nature. Here are some important tips to keep in mind from someone (me!) who has interviewed hundreds of artists and even taught classes on the subject:

– Try to think of three to five “points of interest” that are unique to you and don’t feel bad about steering the conversation toward them at any time.

– Writers are interested in finding a good story. Do your best to give them one!

– Be kind, professional and on time.

Finding Management: Making the Right Connection

Man in coat, cap and sunglasses faces the camera. — *DeVon Manier.*

Bands often say they want management. But management comes in many forms, from the buttoned-up executive to a more casual roadie — even a trusted relative who may have little or no experience. At the end of the day, an artist must look in the mirror and consider what is needed to advance and maintain their career.

DeVon Manier is a manager who has worked in the music industry for decade; he knows what it takes to grow a group from grass-roots, from the ground up. But for Manier, the effort can’t be applied to just anyone. There has to be a relationship and potential for growth.

“To me,” he says, “the most important thing is good music, and music or personalities that can form a meaningful connection to fans. This stuff is priceless. The rest is mostly sales and marketing.”

So in your search for a manager, there’s one thing to keep in mind above all else: dialogue. “Communicate, communicate, communicate,” Manier advises. “It’s the key to success.”

Click here for Part 2, in which we discuss distribution, vinyl/CD pressing, getting and maintaining an online presence, and more.

Photographs courtesy of the contributors.

Note: Yamaha does not endorse any of the individuals or companies named in this article.

Attractive bald male musician with a guitarist in the background an a wall of framed gold albums smiles for camera.

Music Direction in the Digital Age

Written by Jerry Kovarsky on March 12, 2021. Posted in Artists, Keyboard Artists.

The concept of the TV talk show with a house band has been around since the 1950s, but technology has enabled the bands of today to do things never before imagined. Leading the way in these forward-thinking methods is Grammy^®-winning Yamaha Artist Jason Halbert, music director for The Kelly Clarkson Show.

Halbert is a keyboardist who honed his chops on the road, working for acts such as Lady Gaga, Billy Ray Cyrus, Reba McEntire, Clay Aiken, Justin Guarini and most importantly, Kelly Clarkson. His touring duties have taught him all aspects of the business: not just playing and leading a band, but related skills such as synthesizer programming and creative use of computer software.

A Gateway to Success

It was a chance backstage meeting with then-American Idol judge Randy Jackson while Halbert was on tour with Nick Carter of the Backstreet Boys that proved to be a gateway to success. Nine months later, Randy called out of the blue and offered Jason the job of putting together and leading the band for the winner (Kelly) and runner-up (Justin Guarini) of Idol’s first year competition. “That one call really changed my life,” recalls Halbert. “I’ve been with Kelly for every show since that first tour: it’s been quite a journey.”

Jackson became an important mentor to Jason. “Randy taught me the power of staying in your lane and serving the music and the artist,” Halbert recalls. “He taught me to find the joy in picking the right musicians, finding the right parts for the song and for the artist, and not holding your own musical tastes as so precious.”

A Fresh Challenge

After years of touring, recording, songwriting and production, Jason found himself with a fresh challenge: assembling a band for the TV talk show that Clarkson launched in 2019. Being a new and untested show, the production had to start small, so Halbert was limited to using just a four-piece ensemble — keys, guitar, bass and drums — but his extensive technology chops aided him in putting together backing tracks to augment the sound when needed.

As Halbert notes, the demands of preparing and delivering a TV show are daunting. “When you’re touring, you have four to six weeks to put a two-hour show together, and then you go out and play that for a year or more,” he says. “Television is a whole different medium because of the workflow and time constraints. It’s all about time management, fast learning, quick improvisations and knowing a huge variety of genres and styles. On tour, whatever happens on any given night is a momentary thing. On TV, your performance lasts forever, so you want to deliver the best quality within those really tough time limitations.”

The pressure is even more intense when doing a TV program that airs daily, as Clarkson’s does. “We’re doing 180 shows a season, we’re taping six shows a week — two a day — and I get one four- to six-hour rehearsal with the band every Monday,” Halbert explains. “During that session we have to learn six new songs for Kelly to perform, plus 12 bumpers [short clips of music used to transition in and out of commercial breaks – Ed.] per episode, so you’re looking at 80 pieces of music per week.”

Creating so much music with so little rehearsal requires a great deal of organization and adaptability. The process starts with Jason writing the bumpers — usually just eight bars going into the break and four bars coming out — but he strives to make each one musically meaningful. He mocks them up using computer software and sends them out for the band to listen to. The on-set audio system allows them to quickly preview each cue in their in-ear monitors right before they need to play it, as a quick refresher, and to establish the tempo. This also allows Jason to rapidly shift gears if there’s a change in mood during the talk segments and he needs to call up a more appropriate cue.

For the songs that Kelly performs, Halbert works with the show’s vocal director beforehand to pick the right key for her and work up an arrangement, at which time he also puts together a quick recording with guide vocals. The band members learn their parts, go over them at the weekly rehearsal, and then, just before taping, they get together with Clarkson for a quick run-through. “This works for us because we’ve been together for 18 years now, [so] at this point I know what [Kelly] likes,” Jason explains. “There have only been a handful of times where she listens to my arrangement and says, ‘You’ve cut out my favorite section!’”

A Change in Workflow

Of course, the events of the past year caused a significant change in the workflow. After taking a short hiatus, the show decided to come back with everyone working remotely from home. The amount of weekly prep and music remained the same, but now the band had to record their parts individually, using their smartphones to capture their performances. Kelly Clarkson too would be performing from her home in Montana, recording into a smartphone as she monitored the band’s backing track via earbuds. “It amazes me the quality of sound and performance we got from Kelly that way,” Halbert says. “We learned to do a little bit of processing to get rid of noise and some of the room sound.… It worked surprisingly well.”

Thankfully, that only lasted two months, and then Jason and the musicians returned to the TV studio, where they all had enough space to perform while socially distanced from one another. Kelly remained at home, but at least now the band could play live together, which gave a new level of energy to their (and Kelly’s) performances. At some point, the producers came up with the idea of having screens placed in the seats so the band could have a live-but-virtual audience again. When Halbert saw how well that worked, he asked if the same approach could be taken to add some extra players when needed: horns, strings, even background vocalists. The producers quickly agreed, and so another level of pre-production fell on Jason’s shoulders; now, not only would he have to arrange the tunes for the expanded lineup but the extra players would have to record their parts at home (both sound and visuals), and then the band would play live along with those pre-recorded parts for a fuller and more visually appealing presentation. This innovative approach reached a peak for the show’s 2020 Christmas specials, where the band was supplemented by as many as 11 additional players.

Yamaha Instruments Play an Important Role

Jason’s main show rig includes a classic tonewheel organ and a Yamaha MONTAGE synthesizer, as well as a Clavinova piano. “I have a MONTAGE in my office where I do all my arranging / pre-production work,” he says. “I use it for literally everything except organ, and I love the Live Set feature: I use it to run my whole show setup.”

“Not only does the MONTAGE have great [presets],” he adds, “but I’ve been taking advantage of their sound-sharing site (Soundmondo) for when we are doing ’80s and ’90s tunes. It takes me no time to go there, type in the song name, and bam! — there’s a perfect recreation of the sound. All the bread-and-butter keyboard sounds I need are so perfectly dialed in that I’m just pulling up presets. I’d love to be that guy that tells you I am crafting these amazing custom sounds, but I’m not, and I don’t need to be.”

Attractive young bald male musician with a guitarist in the background and a wall of framed gold albums smiles for camera.

Playing for the Screens

Looking ahead, Jason says this: “We’ve hit a good stride, and things are running smoothly. Of course we want to get back to having a live audience and the energy that brings, but we’re happy to be playing for the screens until then.” And so too are the millions of people who watch The Kelly Clarkson Show.

Photo credit: NBCU/Weiss Eubanks.

For more information about Jason Halbert, visit www.jason-halbert.com.

Reimagining Chimes

Written by Troy C. Wollwage on March 11, 2021. Posted in Percussion.

The instrument known as chimes (sometimes referred to as tubular chimes or orchestral bells) is not that old, having first appeared in England around 1886. Orchestras needed something to replicate the sound of church bells. It was determined that hanging a variety of tuned metal tubes not only offered greater rhythmic precision than a flat set of box bells, but also provided a clearer tone with fewer high harmonics.

As the popularity of the instrument grew, with it often being used in 20th century American music and film scores, demand also increased, especially with school band and orchestra programs. However, over time, these instruments became quite large and unwieldy, making them difficult to transport. It was also a challenge to keep them in tune and difficult for students to play with confidence since more schools were taking chimes out onto the field for marching band performances. Enter the Yamaha redesign featured in the company’s YCH Series chimes.

Refined Design

To command a presence onstage, an instrument not only has to sound good, it should be visually appealing. While a grand piano takes up horizontal space, chimes take up a lot of vertical space. Chimes will be seen from the far reaches of any musical venue, and once played, will immediately call attention to the percussionist. YCH model chimes follow the design aesthetic of a Yamaha grand piano. An instrument that looks great will not only inspire the musician but will reward the audience with the enjoyment of watching the player.

Two pictures of instruments. On left, a photo of two sets of tubular bells and on the right, the view of the strings of a grand piano as viewed from above.

Improved Sound

Yamaha YCH Series chimes have longer sustain than previous models. By using acoustical analysis, the design team found that the second and fourth harmonics in previous models were decaying at a faster rate than other harmonics, as shown below. A means was found to lengthen this decay. This was accomplished by changing the shape of the head cap, changing the application of the plating on the tubes and ensuring the raw material was more consistent in shape and thickness. These alterations worked together to enhance the volume and provide more pitch clarity. They also helped to ensure that any slight cyclic variation or “warble” in the individual harmonics of previous models was eliminated.

Graphics representing cyclic variation of warble in instruments.

Improved Playability

Several new ideas were brought to the table to make chimes easier to play:

– A redesigned head cap. This provides a wider sweet spot, so it is easier to for a younger player to produce optimum tone (see the illustration below). In addition, the redesigned head caps are silver-colored, contrasting nicely with the gold-colored tubes for an easier visual reference.

– Improvements to casters. It’s important for chimes to be both stable and level during use. A swivel prevention caster was therefore added to prevent any side-to-side movement of the frame. The Yamaha YCH-7018 casters also offer height adjustment. This is important because, if the chime tubes are not properly centered in the damper box due to an uneven playing surface, the tubes can touch the damper felt, thereby reducing sustain and deadening the tone. Adjustable-height casters make it easy to level the instrument so the chime tubes hang away from the damper felt.

Graphic demonstrating above description.

– Improved damper function. In previous Yamaha model chimes, the damper box moves side-to-side. The revised damper box moves front-to-back instead — the opposite direction from how the tubes move when struck. By aligning damper movement with the front-to-back motion, the damping response is notably improved. This makes it easier for the percussionist to stop the extended sustain of the redesigned chime tubes at the most musically appropriate time.

– Redesigned hanger. The distance between the natural and accidental (sharp/flat) chime tubes has been reduced to make playing fast passages easier, especially for younger players. This allows players to strike each chime cap with greater accuracy and confidence.

– Lower playing position. The overall height of the instrument has been reduced, thereby lowering the playing position for players of smaller stature. Additionally, the accidental chime tubes on the YCH-6018 are 13 centimeters lower than previous Yamaha models. This allows younger players to reach them with greater ease.

Image with graphic overlay demonstrating above description.

Improved Handling

As every band director knows, the process of hanging chime tubes requires time and care. Most chimes attach tubes using a plastic-covered wire, which can make it difficult to adjust the wire length, so the tubes are perfectly horizontal. If they are not aligned correctly, less-experienced players have a greater chance of striking an incorrect note.

Yamaha YCH models feature a system with wires that have ball ends that simply hook into slots on the hanger, making it much quicker and easier to hang the tubes. With these chimes, it’s easy to achieve a perfectly horizontal tube alignment for optimum playability:

Closeup image and graphic displaying detail for how the individual pieces are wired together.

Closeup images with graphic overlay demonstrating action described above.

Additional Improvements

– Damper rod clamp. The damper rod clamp system has been redesigned for greater clamping strength and a more secure hold that prevents slippage when the damper pedal is pressed.

Graphic demonstrating what is described above.

– Floor noise reduction. The hanger unit is now connected to the side frames via vibration-damping rubber, which reduces the effects of floor noise while performing.

Closeup with specific items described above identified.

– A flexible tube arrangement. A full complement of damper holes is provided in the sharp/flat chime tube row, allowing any arrangement of chime tubes to be used. All available spaces can be used for a total of 21 tubes if desired. Since the position of the low C tube is not predetermined, complete freedom in terms of layout is provided, even when special-order chime tubes are used.

Want to learn more? Check out the video:

Check out these related blog articles:

Anatomy of Chimes

Seven Things About Chimes You May Not Know

What’s the Difference Between Vibraphone, Glockenspiel and Chimes?

Click here for more information about Yamaha chimes.

Meet Yamaha Master Educator Mirian Conti

Written by Yamaha Staff on March 9, 2021. Posted in Master Educator Collective.

Mirian Conti is a concert pianist and a faculty member of of the Evening Division of The Juilliard School in New York City.

Her passion for helping young pianists across the world inspired her involvement in education, and she integrates new technology including the Disklavier in her teaching. Conti approaches keyboard pedagogy by teaching how to play the piano while always discussing the work itself and its historical context. Her extensive career as a solo piano artist has helped craft a practical, hands-on approach for students.

Referencing her own performance experience, Conti tells students that to succeed as a solo pianist they must be ready to perform at any moment. Her main priority is helping students achieve technical proficiency and better interpretative skills while observing a strict approach to the composers’ instructions.

When speaking to educators, Conti describes the piano as a centuries-old friend who’s been there through the happy and nostalgic moments, always filling us with emotion. Understanding the importance of keyboard pedagogy for the future of music education, she says, “Scientifically speaking, learning the piano — and music in general — helps to develop the parts of the child’s brain that pertain to the functions of coordination, speed and sensitivity, thus speeding up the learning process.”

Conti’s understanding of community and the need for a support system is ingrained into her work with educators and students alike. “Always be grateful to those who helped you start your life and career,” she says. “We cannot do this alone. We need each other. The solo pianist needs family, friends, sponsors, teachers, an audience. We become successful because of all the help and support we received throughout our life. We must be always grateful for that.”

Conti speaks from personal experience to prepare students for the journey ahead, thankful for her “thoughtful and supportive” husband who understood the sacrifices and struggles that can accompany a successful performance career.

Some of Mirian Conti’s session titles are:

Chopin Complete Mazurkas, a two-day session of the Chopin Mazurkas, a must in every classical pianist’s repertoire
The Americas, a selection of North and South American piano literature from the 18th to 21st centuries
Unusual Spanish and Latin American Classical piano music
Various piano literature courses that can be produced on demand or custom made for different levels of students: baroque, classical, romantic and contemporary piano repertoire.

To learn more about clinics by Mirian Conti, please contact Jalissa Gascho at jgascho@yamaha.com.
Photo by Grendel Foto, Argentina

Meet Yamaha Master Educator Frederic Chiu

Written by Yamaha Staff on March 9, 2021. Posted in Master Educator Collective.

Frederic Chiu is an Assistant Professor of Piano at Carnegie Mellon University in Pittsburgh, Pennsylvania.

He believes that piano playing embodies the best of humanity and sees the world of keyboard pedagogy through a lens of “Body/Mind/Heart.” Chiu embraces what at first glance may appear to be nontraditional techniques, including cooking and meditation, but these practices perfectly integrate into the overall wellness of the student.

Chiu explains to educators that he looks for “piano-playing solutions outside of music, and for life solutions in piano playing.” For his cooking class series, he designed the menu to support various techniques that students learn through experience and then apply to their playing. The result is an interactive, fun experience that highlights a holistic approach to piano playing.

“My priorities with students involve giving them a constant reminder that the solution they are looking for very often does not lie in the playing, but more often in the thinking or the feeling that they need to generate,” says Chiu. “If I can teach my students to have a perspective of observing themselves, then I think they can solve their own problems more and more.”

Chiu is an expert at learning to adjust the recipe when needed, remembering back to a period when he didn’t have access to a piano and had to find inventive ways to learn without an instrument. During that time, he discovered that looking at a situation from a different perspective leads to more creativity, passion and curiosity. He is now able to apply this knowledge to the classroom, offering educators and students a truly unique approach to studying music.

Inspired by projects that bring a new perspective to something known, Chiu sees himself as a bridge from the known to the unknown and seeks to bring students and educators into this amazing world of possibility.

Some of Frederic Chiu’s session titles are:

New Pedal Techniques: Rethinking Basic Pedal Usage
Meditation for Pianists: The Other Half of Mental Practicing
Disklavier: Uses in the Teaching Studio and on the Traditional Concert Stage
Learning Without the Instrument
Emotional Practicing
Stage Fright: A Practitioner’s Perspective
One for All: The Essence of Playing the Piano

To learn more about clinics by Frederic Chiu, please contact Jalissa Gascho at jgascho@yamaha.com.

Photo by Chris Craymer

Person running on a city street while it is raining.

What Is an IPX Rating and What Does it Mean for Headphones?

Written by Mike Levine on March 9, 2021. Posted in Music and Streaming. 3 Comments on What Is an IPX Rating and What Does it Mean for Headphones?

Have you seen the term “IPX rating” when shopping for personal electronics? It’s a measure of how water-resistant a device is. Particularly if you’re shopping for headphones or earbuds, a product’s IPX rating can be a significant factor in deciding what to buy.

All in a Name

Technically, an IPX rating is called an IP Code, which stands for “Ingress Protection Code.” We’ll explain how the “X” got there and what it means shortly, but first, a little background.

The IP rating standards are published and maintained by an organization called the International Electrotechnical Commission. In addition to quantifying “liquid-ingress protection” (in English, water resistance), IP codes also quantify the amount of “solid-particle ingress,” which is tech-speak for dust resistance.

The format of an IP Code rating is simple. It starts with the letters “IP,” followed by two digits. The first digit is for dust resistance; it ranges from 0 to 6. The second is for water resistance, and it ranges from 0 to 8. The higher the number, the greater the protection. IP34 or IP68 would be examples of IP Codes that cover both types of ingress, the latter being the highest rating possible.

The X Factor

Now, let’s bring the “X” into the equation. Consumer products, for the most part, don’t have dust-resistance ratings. (More commonly, this is applied to industrial products.) When no rating is available, the IP format calls for an “X” to replace the number. So, for example, a rating of IPX4 would indicate that no dust-resistance information is available, but there’s a water-resistance rating of 4.

Because of the lack of dust-resistance information for consumer products, their ratings almost all begin with IPX. As a result, IPX has become the colloquially accepted prefix for water resistance only.

What’s in a Number?

Now that we’ve gotten that out of the way, let’s talk about what the water-resistance numbers mean. Here are the basic definitions for each level, shortened and paraphrased for clarity:

IPX0: Has no special protection from water.

IPX1: Protects against dripping water falling vertically.

IPX2: Protects against dripping water falling vertically with the product tilted by as much as 15 degrees.

IPX3: Protects against water sprayed at any angle, up to 60 degrees vertically on either side.

IPX4: Protects against splashing water from any direction.

IPX5: Protects against jetting water from any direction.

IPX6: Protects against powerful jetting water from any direction.

IPX7: Protects against temporary immersion in water. (Up to 30 minutes at a maximum depth of 1 meter.)

IPX8: Protects against continuous immersion in water.

How High the Rating?

When you research IPX ratings online, you’ll find a variety of opinions regarding the specific protection level you need for various situations. Probably the best way to evaluate which IPX level will work for you is to think about how you may encounter water when wearing your headphones or earbuds. Look at the descriptions of the IPX ratings and decide which offers you the protection you need.

For example, if you only use your earbuds when you’re going to sleep, you’d probably be fine with IPX1. Or if the only moisture that might hit your wireless headphones or earbuds is water spraying from the sink when you’re washing dishes, then an IPX3-rated product should suffice.

On the other hand, if you wear your earbuds outdoors, rain or shine, you may want to go for at least an IPX5-rated product such as Yamaha TW-E7B, TW-E5B or TW-E3C true wireless earbuds because hard rain can actually be very similar to jetting water.

A pair of earbuds. — *Yamaha TW-E7B earbuds offer IPX5 protection.*

Runners and others who wear earphones during workouts also have to factor in sweat. And then there are people who can’t be without their tunes even when swimming. If that’s you, you might want an IPX7- or higher-rated product. Yamaha TW-ES5A true wireless sports earbuds have an IPX7 rating and are suitable for pretty much every activity, including swimming.

For more on shopping for wireless headphones, check out this blog.

Butterfingers

Higher IPX ratings don’t always equate to higher prices. A lot has to do with the quality of the product beyond its ability to resist water.

If you’re going to buy a pricey pair of headphones or earbuds, you might consider getting a product with a higher IPX rating than you need. Think of it as an insurance policy. Even if you only use your earbuds in the house, you might accidentally drop them into a sink or bathtub full of water, in which case that IPX7 or 8 rating will save you.

One complication you’ll probably encounter is that not all products have IPX ratings at all. Some may come with manufacturer claims of “water-resistant” or “waterproof,” but those terms are vague and not quantifiable. If you want the comfort of knowing how much protection your earbuds or headphones have, shop only for IPX-rated products.

There is certainly no shortage of them on the market. To get a sense for the variety, try searching online for “IPX5 wireless earbuds,” or “IPX8 headphones,” etc. (or whatever level of water resistance you want). You might be surprised at the range of choices you’ll be presented with.

Without question, IPX ratings are beneficial when you’re in the market for new headphones or earbuds. Understanding their meaning makes you a more savvy shopper and helps ensure that the products you buy have the appropriate water protection for the activities you engage in.

Learn more about Yamaha true wireless earbuds.

Black and white image of a young girl smiling while resting her arm and head on her piano keys.

Remember Me

Written by Shelly Peiken on March 8, 2021. Posted in Creativity.

They carried me into her house when she was just 10 years old — a gift from her parents. They felt it was time to graduate from the tiny plastic toy piano they had given her for her fifth birthday, and I was the graduation present.

They paid $150 for me and maybe that’s more than I was worth at the time. After all, I was used and rickety and old. And I was odd looking. See, most pianos are black or walnut or white. But not me. My surface was neither satin nor shiny but a chalky stucco-like texture, with splotches of black lacquer splattered about — a real ugly duckling.

She didn’t care. She was excited to have me. I was excited, too. I had a new human and I would do my best to make her happy. Though my ivories were loose (come to think of it, so were my ebonies) and tuning me was a bit of a challenge, we bonded from the moment we first met.

With her fingers on my keys she created her first original melodies and words to go with them. She called them songs. I felt purposeful and appreciated for being able to give her musical explorations a more grown-up sound than that silly plastic toy could muster.

She played me in the morning before she went to school and as soon as she came home. She loved me unconditionally.

Her mom arranged for piano lessons but I knew she was happiest (an instrument can feel their human’s energy) doing her own thing: absorbing the creations of Burt Bacharach and The Beatles by playing their records over and over again and then forming tunes of her own by trying different combinations of my keys until she heard something she liked.

Her parents left us alone, undisturbed in that little alcove on the bottom floor of their split-level home. They let a young songwriter discover herself without interjecting their opinions. It was a good decision. It let her be unselfconscious and free.

Oh, once in a while her mom would call down from the kitchen, “That’s a nice one, honey!” or “Did you write that one, Shell?” I could tell that my human took pride in knowing that her mom was listening. Her dad was listening too, even though he didn’t usually say much.

My human has since grown up and written lots of songs — even a few you might recognize. (I take some credit for that!) And when she had a daughter of her own who showed an interest in art, she let her little girl discover herself too, maybe chiming in once in a while about how much she loved a stick figure on a chalk board, but giving no direction, making no suggestions. That’s when I remember hearing my human tell a friend, “There’s no need for a critic at the very beginning of anyone’s creative journey. There’s time for that.”

Those seem like really good words to me.

Years later, after both of my human’s parents had passed away, I was carried out of that house the same way I was carried in. Little by little, people, some of them strangers, came to claim desks and lamps and … finally, me. My human was so sad about the loss of her Mom and Dad and the sale of the house in which she grew up, we never had a proper goodbye.

But that’s okay. I know she loved me. Memories count for a lot.

Pianos have souls. Guitars and violins too — whatever instrument it was that ushered you toward your calling, whether it was your first or your last or somewhere in-between. I hope you remember them as fondly as you would a childhood friend or pet. They were, after all, half of the relationship you had with one of the most important loves of your life: Music.

Shelly’s memories of her first piano can be found in her blog post “Your Instrument Is Your Inspiration.”

Check out Shelly’s other postings.

View of a gaming controller and remote control on a table top with an AV receiver in the background.

How to Configure an AV Receiver for Gaming

Written by Ted Goslin on March 5, 2021. Posted in Audio How-to. 1 Comment on How to Configure an AV Receiver for Gaming

Every retro gamer remembers it well: your first video game console. You went to the store, waited in line, paid, went home, unboxed the console, plugged it in and turned on the TV. That was it — all you needed to enjoy gaming at its finest, right out of the box. Today, thanks to technological innovations and way more features, there’s a bit more required to create the most realistic gaming experience possible.

Modern consoles require some basic knowledge to connect to a TV, but on top of that, they require another step that some might not consider critical: configuring your audio setup for maximum impact. This is especially important considering the multitude of new gaming features available on modern consoles for you to enjoy.

To achieve this, you’ll need some quality audio gear. A sound bar can be a great place to start for setup simplicity. But if you have the space and want to unleash the full capabilities that your favorite video games can throw at you — from footsteps to explosions — an AV receiver (“AVR”) is highly recommended.

There are plenty of audio configurations you can use to enjoy games, but the ideal starting point is a 5.1-channel setup, which includes an AVR, a center channel speaker, two front channel left/right speakers, two rear surround sound speakers (also left/right) and one subwoofer (the “.1” in the “5.1”). In this article, we’ll show you how to configure an AV receiver specifically for gaming.

Making the Connections

We recommend using Ultra High-Speed HDMI^® cables for all connections to your TV and gaming console(s) to ensure you capture the best audio quality and all available features; this will also allow you to be ready for the future. To walk you through the setup process, we’ll use the Yamaha RX-V4A AV receiver, a great multi-purpose unit.

View of front of electronic unit. — *Yamaha RX-V4A AV receiver.*

Simply follow these easy steps:

1. Unplug your AV receiver.

2. Using high-quality speaker cables, connect your speakers to the receiver.

3. Connect your gaming console (or consoles) to the HDMI inputs on the rear of the receiver. (The HDMI connectors for the RX-V4A are shown below.)

View of the back panel of the unit with the connectors indicated. — *RX-V4A HDMI connectors.*

4. Connect the receiver’s HDMI Out to your TV’s HDMI input. If your TV has an HDMI port that includes the word “ARC,” use it for this purpose. ARC stands for Audio Return Channel, and it offers the important benefit of reducing the number of cables between your TV and AV receiver. It also improves the sound quality and latency of the audio signal much more accurately than other methods, allowing a full high-resolution multichannel audio signal to be distributed to your speakers via the AVR without downmixing to conserve bandwidth. Also be sure to check which HDMI input on your AVR supports the type of TV you have. If you have an 8K TV, for example, your AV receiver may not support it. For further help, download the Yamaha AV Setup Guide app here.

5. Finally, plug your receiver’s power cable back in.

Now you’re ready to test your connections. First, turn on your gaming console, followed by the AV receiver and the TV. Then, using the TV remote, cycle through the Input buttons to select the connected input, at which point you’ll see your console’s home screen. Your AVR’s display should also show the name of your gaming console.

Playing with Sound

Before you can enjoy the full potential of your favorite games, you’ll need to make sure your AV receiver and speakers are calibrated. Many Yamaha AVRs support a technology called YPAO™ (short for “Yamaha Parametric room Acoustic Optimizer”) and come supplied with an auto-calibration microphone. To calibrate your audio system, simply plug it into the input on the front of the receiver and follow the on-screen instructions. (Click here for more information.)

Image of microphone and its cable/connector. — *Yamaha YPAO auto-calibration microphone.*

Closeup of the remote control with the specific buttons circled. — *Yamaha remote Program buttons.*

Next comes the fun part. Start up your favorite game. Initially, your receiver will be in Straight mode, which is the standard starting mode. To alter the output you hear over your speakers, start cycling through the Program buttons on your remote control as you play. These take you through various DSP (Digital Signal Processing) modes; in Yamaha AVRs, these are created via a proprietary technology called Cinema DSP 3D, which combines measured soundfield data with digital signal processing to create more realistic soundscapes.

The RX-V4A offers 17 different DSP modes to choose from, including nine in the MOVIE category that you can use for games, such as Action Game, Roleplaying Game, Spectacle and Adventure. There are also several modes optimized for music (i.e., Hall in Munich, Chamber, Cellar Club, etc.). Don’t let the name of the mode fool you — go ahead and try each mode on any game and see what fits best. You never know what you’ll find!

The discovery process doesn’t end there, either. There are individual audio enhancers as well, such as Dialog Level Adjustment, Extra Bass mode, and for those without the space to place surround speakers behind the listening position, Virtual CINEMA Front, which gives you 5-channel surround sound with all speakers lined up in the front of the room. You can also customize your own DSP by fine-tuning various parameters, such as delay and reverb level.

If you’re looking for a little extra out of your surround speakers, you can alter their levels to your liking; simply go to the speaker settings menu and adjust each speaker manually. When doing so, make sure that Adaptive DRC, which automatically adjusts the dynamic range (that is, the difference between the loudest and softest sounds) is set to ON. This will ensure that, whatever game you’re playing, the volume doesn’t exceed an optimal listening level during the loudest moments. Keep in mind that every receiver is different and you should consult your receiver’s manual for more details before adjusting speaker volumes (you can read and download the RX-V4A user guide and other support materials here).

To capitalize on the kinds of realistic soundscapes that developers are creating in games like Gears 5, it’s important to be aware of the full range of features your AV receiver has. For example, a number of exciting new HDMI 2.1 features have been added to Yamaha AVRs such as the RX-V4A. These include enhanced eARC, Auto Low Latency Mode, Quick Media Switching and HDR10+, as well as a video upgrade for 4K/120 and 8K/60 video resolution. These features are particularly important due to the capabilities of current consoles like the Microsoft Xbox™ Series X, which offers all of these and more.

View of console and the controller unit. — *Xbox Series X video game console.*

The beauty of using an AV receiver that’s been configured for gaming is that, with only a few simple tweaks, you can make any video game sound much closer to what the designers intended. And once you’ve configured the audio to your liking, you can make further choices about audio gear. For larger systems, like 7-channel, 9-channel, 11-channel and beyond, you’ll need more speakers and an AV receiver capable of handling those extra speakers (such as the Yamaha RX-V6A, which supports up to 7.2 channels and offers advanced technologies like Dolby Atmos and DTS:X™). When it comes to great audio for gaming, more speakers and additional AV receiver features are always better!

Check out these related blog articles:

Three Reasons to Upgrade Your System for Modern Gaming

New Gaming Features You Can Enjoy in Your Home Theater

How to Calibrate Your AV Receiver with YPAO

Gaming in Dolby Atmos^®: An Interview with Josh Osiris

How to Connect Nintendo Switch™ to Your TV, Sound Bar or AV Receiver

Raiders of the Lost eARC

Click here for more information about Yamaha AV receivers.

How School Service Music Stores Can Help Music Teachers Access ESSER Funds

Written by Yamaha Staff on March 3, 2021. Posted in Funding. 1 Comment on How School Service Music Stores Can Help Music Teachers Access ESSER Funds

As one of the closest partners in music education, a school service music store can provide invaluable help to teachers navigating Elementary and Secondary School Emergency Relief (ESSER) funding requests.

From helping to complete a needs assessment to adding a supportive voice in lobbying administrators to sharing what is working for other teachers, the educational rep from a local music store can be a subject-matter expert, a shoulder to lean on and a sherpa, all rolled into one!

What are ESSER Funds?

If you’re unfamiliar with ESSER funds, check out our updated overview of the CARES Act.

ESSER funds are allocated to local educational agencies (LEAs) that then disperse them to individual schools to provide support for emergency relief funds to support continued learning for K-12 students. These funds — more than $67 billion — come with a deadline —they are for immediate use and must be spent within one year.

The National Federation of State High School Associations (NFHS) put out this fact sheet about available funding from the CARES Act.

_______________________________

“…now is the time to plan with school administrators about how this funding can support arts education. Reach out to your building principal to discuss the resources that are necessary to conduct arts classes safely in-person. The principal will either have spending authority on the funds or will be able to help submit a request for arts-related purchases at the district level.”

— ArtsEdNJ, CARES Act Funding Guidance for
Schools/Districts Supporting Arts Education

_______________________________

Ask for Help

Navigating a process that changes from district to district and state to state can be challenging for professionals with all the time in the world to unravel it. For busy teachers, finding the most efficient route from “need” to “money” is even more critical. Your local educational rep will have experience working with other teachers and can share key insights or tips on how to move quickly to claim your share of the funds for your students.

How Dealers Can Help Teachers

The National Association of School Music Dealers hosted a webinar and panel on March 4, 2021, to help school music store staff prepare and mobilize to help teachers submit requests for use of ESSER funding.

Give a Note Foundation posted this blog about How to Get ESSER Funds for Your Music Program.

Educator Success Stories

More Resources Coming

Bookmark this page. We’ll continue to add video interviews with teachers just like you who have navigated their local system to find and access ESSER funds. You can hear directly from them about what worked — and what didn’t — to help you maximize the benefit of ESSER funds for your program.

Have you already successfully accessed ESSER funds for your program? Email us at educators@yamaha.com so we can share your story!

View from behind of a man putting his hands where his headset would be and is seated in front of a mixing board.

Home Studio Troubleshooting Tips, Part 2: Computers and Software

Written by Mike Levine on March 3, 2021. Posted in Recording. 1 Comment on Home Studio Troubleshooting Tips, Part 2: Computers and Software

Digital recording gives us massive power to record, edit, and manipulate audio. But with all that power comes the instability inherent when using a computer and software. We have to learn to navigate the crashes, corrupted files and other gremlins that are an annoying but inevitable part of the process.

In Part 1 of this two-part series, we talked mainly about troubleshooting issues with your audio gear. This time around, we’ll focus on how to navigate problems with your DAW and the platform it’s running on.

Troubling Results

Just like with audio hardware, it helps to use troubleshooting techniques to narrow down the possible causes of computer- and software-related issues. For example, let’s say you’ve opened an existing project in your DAW. When you hit play, the transport and meters — including the main output — are moving, but you hear no sound.

Here’s a step-by-step approach to identifying the cause of this common problem:

1. Confirm that your speakers and audio interface are powered up and connected.

2. Assuming they are, try opening a different audio app on your computer, like an editor or even Spotify. Do you hear audio now? If you do, you’ve eliminated your computer, speakers and interface as being the cause of your trouble. You can therefore deduce that the problem is in your DAW.

3. Check your DAW’s output assignments and make sure that you’ve selected your interface as the active one.

4. Check to see if perhaps you’re sending the audio to the wrong output(s).

5. If you still haven’t found the problem, try opening another project. Does it play back normally? If it does, then there’s something specific to the original project file that’s causing your troubles.

The All-Purpose Fixer

If you’re working in your DAW and it starts acting glitchy, try these steps:

1. Save the session and quit the program. Then reopen them both. Sometimes restarting the application is all you need to fix your glitch.

2. If you’re still having issues, the next thing to try is rebooting your computer by selecting Restart. It’s amazing how many problems, both big and small, completely disappear with a reboot.

Glitchy performance often happens after you’ve been running your computer for awhile and have been opening and closing lots of applications. Sometimes, after you close them, programs or utilities fail to free up the RAM they’ve been using (RAM stands for Random Access Memory, which is the short-term data storage your computer needs to run any applications). That failure causes what’s referred to as a “memory leak,” and your computer stops functioning at 100%. Rebooting restores the memory to its default state and wipes away problems related to memory leaks.

After you’ve rebooted and everything’s running normally, minimize the number of applications you have open when using your DAW. That will leave more RAM available for it.

Plug and Not Play

If you’re experiencing frequent crashes when using your DAW (or perhaps are unable to open a particular project file), the problem likely stems from a conflict between your DAW and a third-party plug-in (or plug-ins). Try these steps:

1. Update your DAW and plug-ins. Sometimes problems happen when you haven’t updated some component of your software for awhile.

2. Also check with the developers’ websites to see if new versions are available. Depending upon the operating system of your computer, you may find greatly improved performance when running newer software.

3. Ensure the firmware and driver software of your audio interface is up-to-date (on Mac computers, most USB interfaces are class-compliant and don’t need drivers).

In the case of a project that crashes when you attempt to open it, try this:

1. Open an older version or backup of the project, starting with the most recent one.

2. If it doesn’t open, try the next oldest until you find a version that will open.

3. When you find a version that opens, think about whether you’ve installed any new plug-ins after that version was created. There’s a reasonable chance one or more of the new plug-ins could be the culprit.

4. Make sure your DAW and plug-ins are updated to the latest version.

5. If that doesn’t help, consult the plug-in’s manual to see how to temporarily uninstall it, and do so.

6. If the project now opens, the plug-in was the issue.

Freeze, Unfreeze

Another issue that DAW users face is maxing out their CPU. This can occur from having too many tracks, virtual instruments and/or plug-ins open. It’s not a glitch, as such, but it means you’re overusing your processing resources. If that’s happening to you, here’s what to do:

1. Increase the size of the audio buffer. Lower buffer settings give you less latency (delay) when recording but tax your CPU more. If your CPU is getting overwhelmed, it can degrade the quality of the digital audio, or the transport might stop altogether and display an error message.

2. As a general rule, use a low buffer setting when you’re recording and a higher one when you mix. In Steinberg Cubase, you can access the buffer setting by opening the Studio menu and then choosing Studio Setup. When the window opens, press the Control Panel button, and you’ll see a pull-down for setting the buffer size, as shown in the illustration below:

3. If you’re still having CPU issues after increasing the size of the audio buffer, try freezing some of the tracks. This option, which is available in most DAWs, temporarily renders the track as an audio file that includes the processing of any plug-ins that were on it. You get the CPU savings because it disables the plug-ins.

Once a track is frozen, you can still change its volume and panning, but you can’t edit it or change the plug-in settings. A frozen track uses only a fraction of the CPU that it did in its unfrozen state. If you need to edit it later, you can always unfreeze it.

In Cubase, when you freeze an Instrument Track, you have the option of freezing the entire track or just the instrument. You can still adjust processing plug-ins on its channel if you do the latter, but not the instrument itself.

Above All, Stay Calm

The tips offered in this two-part series should help you handle some of the most common technical issues you’re likely to face in your studio.

Of course, there are countless other potential gremlins specific to the particular combination of gear and software you have in your setup. Whatever the issue, the most important thing is to stay calm and assess your problem logically.

If you’ve followed the troubleshooting suggestions above and are still stumped, it’s time to do some online research, starting with FAQs from your software and/or computer manufacturer. Also be sure to check out the many online forums out there, where you can find out if other users are having the same problems you’re experiencing and what the solutions might be. (Steinberg maintains forums for all of its products — just click here.) If all else fails, you can always call or email tech support for your DAW or computer manufacturer. In some cases, that process can be tedious and/or time-consuming, but sometimes it’s the only option. But the bottom line is this: If you’re patient, careful and methodical, you can fix most problems that you’ll encounter.

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

A Brief Guide to Electric Guitar Tonewoods

Written by Mac Randall on February 26, 2021. Posted in Electric Guitars. 1 Comment on A Brief Guide to Electric Guitar Tonewoods

Even people who don’t know a whole lot about guitars generally understand that the tonewoods used when building an acoustic model are essential to its sound. (That’s a subject you can find treated in greater depth here).

When it comes to electric guitars, though, the waters get a bit murkier. Because the central contributors to the tone of solid-body electric guitars are its pickups, you might think that such instruments could be constructed out of just about any material and still sound good. So why even bother with wood in the first place? And if there’s a reason, does it really matter what woods you use?

The answer to the first question is this: Wood is used in solid-body electric guitars primarily because qualities like feel, weight and look can be just as important to guitarists as tone. In addition, even though an electric guitar isn’t designed to project a sound out to an audience without amplification, the resonant properties of its woods — particularly the ones used in its body — still have a significant impact on the way it sustains a note.

As to the second question, the answer is: It does matter, because due to their particular blend of the qualities mentioned above, some woods just plain work better for electric guitars.

Here’s a primer on the woods most commonly used in modern electric guitars, broken down into the three core parts of the instrument — body, neck and fingerboard — each requiring different characteristics from the wood used in its construction.

Bodies

The way a wooden body resonates in response to strings vibrating is a key factor in the sound of any type of guitar, acoustic or electric. That’s why, for example, rosewood in all its varieties is treasured by luthiers; it resonates with great warmth, generating lots of overtones. However, because rosewood is classified internationally as an endangered species, its trade is restricted, so building a guitar entirely out of it is a pricey undertaking. It’s also a tough proposition for your back and shoulders, as a solid block of rosewood is mighty heavy!

That’s why makers of solid-body electric guitars tend to look for woods that combine good tonal properties with reasonable weight and affordability. From lightest to heaviest, the woods most commonly used for electric guitar bodies are:

– American ash

– South American alder

– Asian or South Pacific agathis

– American or Canadian maple

– African mahogany

Mahogany is second only to rosewood in both its tonal richness and its weight; the African variety is one of the few mahoganies not currently classified as endangered. Agathis is tonally similar to mahogany but not as heavy.

The original Yamaha REVSTAR Series of solid-body electrics (like the RSP20CR model shown above) had maple/mahogany or flame maple (a more dramatically grained type of maple) bodies; current REVSTAR Series guitars have chambered bodies that utilize similar tonewoods. Most models in the Yamaha Pacifica Series have bodies of maple, alder, flame maple, or some combination thereof — the sole exceptions are the PAC1611MS Mike Stern signature model, which has a body of light ash, and the PAC012, which sports an all-mahogany body.

For hollow-body electric guitars, the luthier’s calculations change somewhat. Here, the tonal properties of a wood become more important, and weight is less of a consideration. The Yamaha SA2200 hollow-body electric utilizes laminated sycamore, with a center block of softer maple to help with resonance and stability.

Necks

The weight of a guitar neck, though significant, is less crucial to a player than the way it responds to the hand. Necks need to be hard enough to remain stable and withstand years of use, but they also need to be soft enough to feel comfortable. American and Canadian maple provide a happy medium here and are frequently employed for electric guitar necks, along with African mahogany and nato, a softer type of hardwood from Indonesia.

Most Yamaha REVSTAR guitars have mahogany necks (the exception being the RS320 and RS420 models, which optionally are available with nato necks), while Pacifica instruments all have maple necks; the SA2200 hollow-body has an all-mahogany neck.

Fingerboards

Of an electric guitar’s three principal wood components, the fingerboard suffers the most daily wear and tear. It’s therefore important to use a type of wood that’s as hard and durable as possible. Prime contemporary candidates include:

– Palisander (a variation of Indian rosewood, now primarily harvested from Africa due to international restrictions)

– American and Canadian maple (flame maple being the most common, but the more elaborately grained bird’s-eye and quilted maple getting frequent use as well)

– African and Southeast Asian ebony

The Yamaha SA2200 hollow-body electric guitar sports an ebony fingerboard, while all Yamaha solid-bodies opt for rosewood with two exceptions: the Pacifica PAC112VM, which has a maple fingerboard, and the Pacifica PAC012, which is available with either a rosewood or walnut fingerboard.

In the end, of course, a lot of the considerations about electric guitars — including the woods they’re made of — are matters of personal taste. If you prefer a heavier body or a harder neck, you’re not making the “wrong” choice, as there is no such thing. Nonetheless, it’s helpful to have some basic knowledge of the kinds of wood that go into most electric guitars. That way, you’ll be informed enough to make the right choice … for you.

Click here for more information about Yamaha electric guitars.

Reflections on Black History in Music

Written by Jessica Kariisa on February 25, 2021. Posted in Artists.

In commemoration of Black History Month, I recently had the opportunity to speak with celebrated Yamaha artists Dan Rouse, Lara Downes and Terri Lyne Carrington about the legacy of Black music via their personal musical influences. They also offered their hopes for the music industry going forward — to not only recognize the past, but build toward a more equitable future.

Looking to The Past

Terri Lyne Carrington.

In a career spanning forty years, acclaimed jazz drummer, composer, activist and educator Terri Lyne Carrington has earned the rare distinction of playing alongside some of the most influential jazz musicians, including Dizzy Gillespie and Herbie Hancock. Carrington was formally mentored by jazz greats Jack DeJohnette and Wayne Shorter, but hesitates to offer up just one or two names as influences. “It’s all a continuum,” she says. “It’s about building on the things and the people that came before you, and it encompasses all of these other people, including people who weren’t famous.”

As a multifaceted artist, Carrington has looked to many individuals to inform her work as an educator as well as a gender justice activist. “When I started teaching 15 years ago, Roy Haynes was a big influence, because I realized how important he was in the modernization of jazz drumming,” she explains. In addition, her close friendship with Angela Davis and encountering the music of Sweet Honey In The Rock^® as a teenager opened her up to the ways social justice could guide her own work. “[Sweet Honey In The Rock and its founder Bernice Johnson Reagon] were big influences on me because it was the first time I really connected with some of these subject matters that I hadn’t been thinking about before. The power of putting this type of subject matter in songs is so important and impactful.”

For musical director and keyboardist Dan Rouse, an early love of Stevie Wonder has been a constant source of inspiration. “Growing up in a very Christian Black home, we couldn’t really watch or listen to much other than gospel, but Stevie Wonder was one of the exceptions,” he remembers. Rouse’s love of Stevie Wonder has served to influence his approach to music when working with artists such as Patti LaBelle and the Village People. “He really shaped how I think as far as being new and fresh with my sound,” Rouse says. “I’m always trying to be creative and think outside the box.”

Smiling man with brown skin wearing orange sweater on stage at a synthesizer keyboard. — *Dan Rouse.*

Black Composers Overlooked

For centuries, the contributions of Black composers in Western classical music have been overlooked. Pianist Lara Downes recalls, “As a classically trained artist I literally had no role models or mentors or teachers in my actual, physical life who were of color. The only person that I had any contact with was Andre Watts, who was touring extensively.” This lack of representation galvanized Downes to do her own research and find ways to shine a light on unsung composers of color. “That’s the motivation I’ve had to seek out my connections with this lineage and legacy of Black composers, because it just felt so alienating and isolating to be making my musical way [with a canon that] didn’t reflect me at all.”

Woman in a black dress and suede boots seated casually with her legs crossed an her head resting lightly on her hand on a piano bench with a grand piano open behind her. — *Lara Downes.*

Discovering a piece by Florence Price around 15 years ago changed the course of Downes’ career. “I found one piece of hers and I started playing it a lot and experiencing a really intense response to it. It’s a piece that takes the spiritual ‘Sinner, Please Don’t Let This Harvest Pass’ and turns it into a very romantic piano showpiece. Years later, lots of her music was found in an abandoned house outside Chicago and I started going into those manuscripts. Just last year I put out an album of her piano works. The most meaningful thing to me is that she was [a Black woman] operating in this totally white male world, and yet the sound of her music remains authentic to herself.”

Living Legacies

The works of the great musicians that influenced Carrington, Rouse and Downes have also shaped how they consider the legacy that they themselves will leave. For Carrington, it’s less about stature as one of the top drummers in the world and more about what she can offer in working toward a just society as both an artist and educator. “I feel like I’m just getting started. Once I embraced gender justice in music, everything else opened up. The universe supported me to dedicate myself to this work. That’s how I know I’m doing the right thing.”

Similarly, Downes hopes that her presence can offer support to future generations of classical artists. “[I want my legacy to be] just that I was here, so that the next generation of little brown and Black kids who might want to make a way in music don’t have to look hard to find someone who looks like them — that they don’t have to dig in archives and bang on doors, and can just live their lives and make their music in a space that acknowledges them and honors them — a space where they belong.”

For Rouse, daring creativity is the key to the legacy he hopes to leave behind. “I want to be remembered as someone who explored. There were times where we were looking at music and saying we got it all figured out, and then jazz comes [along], then rock. All these genres came about from someone taking the time to explore. In my years of playing, I feel like I’ve been getting closer to finding a sound that’s new and fresh, and that’s what really inspires me. I want to be known as someone who introduced something to the world.”

A Look Ahead

The global events of the past year have had significant impact upon the livelihoods of many artists and musicians around the world. For the fortunate musicians who have been able to maintain their artistic output — or even in some cases increase it — this moment has also been a time to reflect on how the industry can change for the better. Carrington hopes that these events have been a wake-up call for everyone, especially as it pertains to the values we want to uphold. “We have to look at how we’ve invested in or benefited from a racist and sexist culture. Everybody has to look at that, starting with themselves,” she says.

Downes is hopeful that in the near future, the world will include more care, justice and representation in a way that moves beyond cosmetic fixes and is anchored in real change. “I hope that we hold onto the lessons that we’ve learned about balance, respect, and redefining what we mean by audience and community,” she says. “I’ve seen artists be so innovative and courageous this year. The conversations that I’m having with institutions are about building long-term relationships and about really serving local communities. Diversity is not just a box that you check. It’s an actual piece of your work that you do every day.”

Photograph of Terri Lyne Carrington © Tracy Love; photograph of Dan Rouse © Beth Saravo; photograph of Lara Downes © Jacob Blickenstaff.

Want to learn more about the works of Black composers? Be sure to check out Rising Sun Music and follow their Spotify^® playlist.

For more information, visit:

www.terrilynecarrington.com

www.laradownes.com

https://danrousemusic.github.io/danrousemusic/

Try this Creative Composition Activity

Written by Dr. Dave Gerhart on February 25, 2021. Posted in Teaching Tips. 2 Comments on Try this Creative Composition Activity

Ignite creativity in your musical classroom with a new activity.

I developed this lesson for teaching composing and arranging while also giving students an opportunity to work on sight reading. Download the worksheets below and try this activity in your classroom. This activity will spark imagination and, as an added bonus, it’s aligned with the National Core Arts Standards.

THE YAMAHA EDUCATOR NEWSLETTER: Join to receive a round-up of our latest articles and programs!

Activity

Download the activity sheets. There are three sheets depending on the level of your students.
- Level One: Eighth and Quarter Notes and Rests
- Level Two: Eighth, Quarter and 16th Notes and Rests
- Level Three: Eighth, Quarter, Triplet and 16th Notes and Rests
Each sheet is split into 12 musical snippets. Pick a sheet and print (or write out) the music examples. Cut out each musical example to create 12 separate snippets.
Put the cut-up snippets into a paper bag. You can also lay them out on a desk or table with the notation facing down (similar to the game Memory).
Pull one piece of paper out of the bag (or turn it over) and place it face up on a table or music stand. Continue until you have six snippets.
Count and clap through the arrangement of rhythms. [NOTE: There are over 479 million combinations!]
Place the snippets back in the bag (or face down on the table), mix them up and repeat the process.

Watch this video to see how this activity works!

Application

There are many creative applications for this activity. I have successfully used this process with my percussion students. Here are some suggestions to use this activity for in-person and virtual teaching.

Play scales with the resulting rhythms.
Use breakout rooms and have students perform their arrangements for each other.
Teachers can create an arrangement, take a photo with their smartphone, screen-share and then ask students to perform for the entire class.
Have four students each create a 4-measure arrangement. Then have them perform this four-part arrangement for the class. They can also record their arrangement on an app like Acapella and share with their friends and families.
Using a 4- or 8-measure arrangement, have students perform it as a round.
Use these rhythms as the basis for composition. Students can use a major scale and write a melody using the rhythms that were created by this exercise.

This activity is not limited to rhythms. You can create short melodic snippets and use the same process. If you are teaching a percussion class, use the 40 Percussive Arts Society International Drum Rudiments, cut out various rudiments and put them together into a composition. These are just a few suggestions that I have come up with. If there are other applications, please email me and I will add them to the list above with the appropriate credit.

Creation

These worksheets were created using Dorico. If you are new to Dorico, download a free 30-day trial and check out the worksheet handout in the Quick Start Guide.

If you would like the Dorico template for the level 1 creative composition activity, please email me. By using this template, you can change the rhythms and add melodic notation. This is a great activity for the “Creating” standard in the National Core Arts Standards — the possibilities are endless. Get out there and create!

Please send me your worksheets, and I will add them below.

Cult Classics, Part 1: Vintage Yamaha Gear of the 1970s

Written by Phil Shea on February 25, 2021. Posted in History. 1 Comment on Cult Classics, Part 1: Vintage Yamaha Gear of the 1970s

From bellbottoms, feathered hair and discos to eight track players, leisure suits and the pet rock, the 1970s left its mark as an unforgettable part of the 20th century’s pop culture zeitgeist. But the ’70s were also considered the golden age of Hi-Fi. Before home computing, mobile phones, CDs and digital audio, wide-screen TV, VCRs and the internet, if you had a little extra money to spend for home entertainment, pretty much your only choice was Hi-Fi audio gear. The focal point of many living rooms was the audio rack, and much pride was taken in how your audio system compared to that of your friends.

For Yamaha, this Hi-Fi boom was a great time to jump into the home audio arena in the U.S. Being known primarily as a musical instrument manufacturer, Yamaha wanted to offer products to complete the entire cycle of music creation, performance and ultimately playback — everything you need to enjoy music.

The U.S. Hi-Fi market was already filled with many established companies producing great products. Yamaha understood this and knew they had to make their first impressions stand out in order to be successful for the long run.

In this article, we’ll look at some of the many iconic Yamaha products from that decade and see how the company earned its reputation for quality Hi-Fi gear.

CA-1000 Integrated Amplifier (1973)

1970's era stereo component. — *Yamaha CA-1000 integrated amplifier.*

The CA-1000 integrated amp was the product that put Yamaha on the map. This beauty was loaded with cutting-edge features that included:

1. A Class A operation switch that changed the biasing of the output stage. When in class A mode, the amp’s output power was rated at 10W. Although the power is lower, enthusiasts appreciated having this audiophile capability. For high-power-needs, all users had to do was to flip the switch to A/B mode.

2. A continuous variable loudness control, which was much more flexible than the industry’s common “loudness” on-off switch. Continuously variable loudness remains a popular feature in Yamaha products today, almost 50 years since its introduction.

3. Flexible input and output connectivity, which are the big reasons for choosing an integrated amplifier. The CA-1000 had two phono inputs and selectable MC or MM phono preamps. In addition, tape recording was very popular in the 1970s, so there were connections for two tape decks as well as left and right microphone inputs with specialized high-performance preamp stages.

4. Three sets of speaker terminals, allowing the user to select between individual speaker pairs or combine the 2nd or 3rd pairs with the main speakers for additional sound output.

B-1/C-1 Components (1974)

Two amplifiers stacked on top of each other. — *Yamaha B-1 basic amplifier and C-1 control amplifier.*

In order to be considered a legitimate player in the Hi-Fi market, Yamaha had to appeal to the separate component enthusiast. The B-1 basic amplifier and the C-1 control amplifier were up to the task. Instead of buying off-the-shelf components to build these, Yamaha went all-in. The B-1 used a proprietary Yamaha SIT Vertical Field effect transistor (V-FET), the first commercial application of this type of semiconductor. The V-FET sound characteristics closely matched that of the triode vacuum tube, with all its sonic warmth and musicality.

While the B-1 was the star of this stack of separates, the C-1 was a worthy companion with a multitude of audio innovations. For one thing, its all-FET signal path was the perfect sonic match for the B-1. What’s more, the impressive-looking front panel, with its comprehensive array of controls, gave the hobbyist bragging rights over their fellow audiophiles. Besides the great sound, who wouldn’t want all these buttons and controls at your fingertips?

There was also a third member of this family — the rarer UC-1 optional meter and speaker switching unit that could be attached to the front of the B-1 or set on a special wood tabletop stand with a special connection cable. The ability to switch between five different speaker systems, all with volume trim settings, made this unit popular with Hi-Fi dealers to help the customer audition and select the right pair of speakers to complete their system.

NS-1000M Speakers (1974)

Two speakers side by side. — *Yamaha NS-1000M speakers.*

Even if you only have a casual awareness of vintage Yamaha equipment, NS-1000M speakers should be familiar to you. These speakers are famous for their use of pure beryllium dome mid-range drivers and tweeters. Due to its physical properties of light weight, high rigidity and propagation velocity, beryllium was theorized to be an excellent material for speakers. Unfortunately, the brittle nature of the metal made it not commercially viable for manufacturing. Yamaha developed a unique vacuum deposition molding process that produced a diaphragm from 99.99% pure beryllium plasma. The NS-1000M continued in the Yamaha line-up through the late 1980s and they still have a strong following today.

CT-7000 FM Tuner (1975)

Building a legacy of world-class audio products requires designing products for all listening platforms. Yamaha engineers were determined to create something special with the CT-7000 FM tuner. Remember, there was no internet, no streaming services and no compact discs yet, so the available sources of the era had to be maximized for performance. Today, the CT-7000 is considered one of the finest FM tuners ever.

Notable features included:

1. Touch-sensitive Auto Fine Tuning. When the user touched the tuning knob, the AFC (Automatic Frequency Control) was disabled, allowing for manual tuning to the desired station. Upon releasing the knob, the AFC circuitry would automatically engage to keep the tuner centered on the station’s frequency. This was pretty advanced stuff at the time!

2. A multi-path signal output on the back panel that could be connected to an oscilloscope to get the user’s directional antenna positioned precisely toward the broadcasting station for the best possible sound. If you didn’t have an oscilloscope handy, there was a meter switch that changed the signal strength meter to a multi-path indicator. Not as cool as the oscilloscope but very effective nonetheless.

3. A forward-thinking IF (Intermediate Frequency) output on the back panel. This is where you could connect a Quadraphonic decoder for 4-channel listening. This technology never really made it past the experimental stage and into prime time, but if it did, the CT-7000 was ready.

4. The inside was even more impressive than all the specs put together. Besides having a first-ever seven-stage gang tuning capacitor, every stage of the FM signal path was individually shielded from all the other stages with stainless steel covers.

Cover removed from an FM tuner. — *An inside view of the Yamaha CT-7000.*

TC-800GL Cassette Deck (1976)

Slant front unit with buttons and knobs. — *Yamaha TC-800GL cassette deck.*

This mid-1970s cassette deck was noteworthy on several levels. The most obvious is the look of the unit itself. Yamaha teamed up with renowned Italian architect/designer Mario Bellini for this radical departure from the more common top-loading decks of the day, which also put the impressive array of controls at an angle for better visibility and usability. Thanks to its looks, the TC-800GL served as the focal point of many home audio systems, but underneath the edge-cutting design was a high-performance recording machine. This deck was often used for recording live events because of its left and right microphone inputs and the ability to run on nine C-cell batteries, providing two hours of recording time (there were no lithium batteries back then). It’s a good thing it ran on AC as well!

YP-800/1000 Turntable (1976)

Turntable with clear hinged lid open — *Yamaha YP-800/1000 turntable.*

This full-featured direct-drive turntable is still highly collectable today. To maintain a stylish, clean look, the integrated strobe light was mounted under a flush-mounted glass window, revealing a mirror for viewing the strobe marks etched underneath the platter. What’s more, an onboard bubble level made it easy to dial in the adjustable feet for perfect leveling.

A powerful 12-pole brushless DC-Servo direct-drive motor provided precise speed control, and there were separate speed trims for 33 and 45 RPM (revolutions per minute) play. The static balanced S-type tone tonearm was selected for the lowest possible tracing distortion. There was even an ultra-smooth oil-damped cueing mechanism, which provided an elegant feel when dropping the needle onto vinyl.

HP-1 Headphones (1976)

Over the head wired headphones with large ear pads. — *Yamaha HP-1 headphones.*

The HP-1 represented the company’s first entry into the headphone market. Like many Yamaha audio products introduced in the U.S. in the 1970s, these had many unique features. The creative skills of Mario Bellini were once again tapped to design the look and feel of these headphones. Their open headband and fabric head strap made them light and comfortable, good for hours of non-stop listening. It’s a good thing, too, because the sound from the orthodynamic diaphragms (known today as planar magnetic diaphragms) was extraordinary. Yamaha engineers developed a manufacturing method to sandwich a very thin polyester diaphragm imbedded with a thin copper conductor in-between two specially designed magnet structures. Similar in concept to the electrostatic speakers being experimented with at the time, the sound was open, full range and very musical.

CR-2020 Stereo Receiver (1977)

Large 1970's era stereo receiver. — *Yamaha CR-2020 stereo receiver.*

Just a few short years after entering the U.S. Hi-Fi market, Yamaha upped their game with the introduction of this still highly-prized second-generation stereo receiver. Building on the success of the CA-1000 integrated amplifier (see above), the CR-2020 added three meters — one of them a multi-function display. With a button press, the second meter switched to a FM signal Q meter for fine tuning. After tuning in the station, the user would press the button again and the meter would resume indicating amplifier power. Different from the more commonly seen signal strength meters of the day, “Q” displayed the measured noise of the intermediate frequency (IF) stage in the tuner circuit before the FM signal was converted to audio. While signal strength and quality are not necessarily interchangeable, Yamaha focused on quality, which is a better method for receiving the best possible audio performance.

NS-10M Speakers (1978)

Side by side speakers. — *Yamaha NS-10M speakers.*

Expanding on the growing reputation of the NS-1000M, the NS-10M began its legacy as an affordable monitor-style speaker that any audio enthusiast could afford to own. Built primarily for home use, its sonic qualities quickly became desired by recording studios and permeated the recording industry. More than four decades later, NS-10Ms, with their recognizable white spruce cones, are still a common sight in recording studios around the world, and in recognition of their popularity, Yamaha received a Technical Grammy Award in 2007 for outstanding technical significance to the recording field. Although the company ceased manufacturing the NS-10M in 2001, there is still a vibrant second-hand market and a dedicated fan base for these humble little speakers.

There’s More to Come!

In the 1970s, Yamaha laid an impressive foundation for success in the U.S. Hi-Fi market with a wide range of products marked by innovation, usability, reliability and, of course, sound quality. Many of those early products are considered classics and are considered must-haves for collectors of vintage audio equipment from the golden age of Hi-Fi.

But it was only the beginning. Technologies will always evolve, and Yamaha intends to remain a vital part of the Hi-Fi community well into the future. Who knows? Maybe in 40 or 50 years we’ll be talking about a few models in today’s current lineup.

Check out these related blog articles:

Cult Classics, Part 2: Vintage Yamaha Gear of the 1980s

Cult Classics, Part 3: Vintage Yamaha Gear of the 1990s

The History of Hi-Fi

What is an Integrated Amplifier?

Click here for more information about Yamaha Hi-Fi components.

Click here for more information about Yamaha speakers.

Ian Kirkpatrick

Written by Yamaha Corporation of America on February 24, 2021. Posted in Pro Audio Artists.

LA-based Ian Kirkpatrick writes and produces songs for some of the biggest names in the pop world, including Dua Lipa, Jason Derulo, Selena Gomez, David Guetta, Justin Bieber and Britney Spears. In this video, shot in his home studio, he talks about how important Steinberg Cubase is to his creative process and describes some of his distinctive production techniques.

Looking back on his introduction to Cubase more than a decade ago, Ian says, “I stumbled around a lot of DAWs for awhile, looking for one [that allowed me to] do the things that I was hearing and imagining. I ended up with Cubase because it was the only DAW where I could move as fast as I was thinking.”

In particular, he relies heavily on Cubase’s MediaBay feature to help speed his workflow, as it enables him to quickly and easily search through the more than 300 gigabytes of samples and loops he has collected through the years. “I don’t know how anyone works without something like MediaBay!” he says emphatically. “It’s essential for me as a starting point.”

Kirkpatrick’s Mac-based software rig is supplemented by a Steinberg AXR4 interface and a MIDI keyboard, and not much else. “All of my favorite production tricks are things I do in Cubase,” he explains, which accounts for his minimalist setup, with little in the way of outboard gear.

Ian is an especially big fan of Cubase’s editing features, as evidenced by the way his face lights up when he talks about his work on Jason Derulo’s hit “Want To Want Me.” “If you look at the session file, the edits are all lined up perfectly,” he enthuses. “There are a lot of acoustic guitar stabs in there, and I would use the real-time Time Stretch feature to extend the notes to the point where I would get these artifacts — it was as if Cubase was trying to make sense out of me stretching the notes so much. The sustain of the guitar notes would then change, too, and I would blend that in with regular guitars and synths. That’s what made those stabs sound unique, like one unit.”

Cubase played an equally big role in Kirkpatrick’s production of “New Rules” by Dua Lipa. “Going into the drop of the chorus for that song, there’s a chop that’s made up of a loop that I don’t think I would have been able to do without Cubase” — specifically the way the Slip function allowed him to look inside the loop and transpose tiny parts of it in real time, with rapid changes in pitch that made for a compelling sonic tapestry.

“If you can’t work as fast as your ideas come to you, you’re really selling yourself short,” he says. “If you can’t properly execute your ideas as fast as you’re coming up with them, you’re not using the right DAW.” Clearly, Cubase is the right DAW for Ian.

Check out these related articles.

Click here to learn more about Steinberg Cubase.

Meet Yamaha Master Educator Andrea McAlister

Written by Yamaha Staff on February 24, 2021. Posted in Master Educator Collective. 2 Comments on Meet Yamaha Master Educator Andrea McAlister

Andrea McAlister is Professor of Piano Pedagogy at Oberlin College and Conservatory in Ohio and embraces the magic of communicating through music and cherishes the opportunity to help students learn to play piano. She engages her students’ curiosity and guides them through the learning process by drawing them into the music and giving them the tools not only to reproduce a piece, but also to create. She encourages her students to use their imagination freely, experiment and push boundaries in interpreting music and composing.

During her sessions and workshops for educators, McAlister emphasizes the importance of group learning because it demands accountability and requires students to work together to achieve a common goal. Relationship-building and establishing trust are key elements of McAlister’s teaching style. Agreeing with a favorite quote by Frances Clark, McAlister believes that educators “teach the student first, the music second and the piano third.”

McAlister always seeks to show up and give students her best, even on “off days.” She tells educators, “I need to bring my best because that’s what my students need. In addition to being their piano teacher, they may need me to be a good listener, a strong shoulder to cry on, someone to offer advice. They deserve my best day, every day.”

At 10 years old, McAlister knew that she was destined to follow in her parents’ footsteps and become a teacher. She understands that music educators have a special relationship with their students, and credits two meaningful professors with nurturing her and helping shape her own path into keyboard pedagogy: applied instructor Richard Morris and pedagogy professor Michelle Conda from the University of Cincinnati College-Conservatory of Music. She now seeks to recognize those early “sparks” in her students and help to nudge them in the right direction.

Some of Andrea McAlister’s session titles are:

The Language of Praise and Feedback
Lesson Planning with the Brain in Mind: Proven Ways to Stimulate and Motivate
The Art of Questioning: How to Ask the Right Question at the Right Time
Teaching with Technology

To learn more about clinics by Andrea McAlister, please contact Jalissa Gascho at jgascho@yamana.com.

Reharmonizing Songs, Part 1

Written by Jerry Kovarsky on February 22, 2021. Posted in Keyboard How-to.

Throughout various “Well-Rounded Keyboardist” postings I’ve presented ideas about functional harmony and passing chords that can be used to add color and sophistication to your playing. Let’s pull all that together with some additional concepts to expand your chordal vocabulary.

A Quick Review

The most important concept of functional harmony is based on the “pull” of a dominant-seventh chord wanting to resolve, since it occurs as a V7 chord in a key and wants to resolve back to its root (the I chord).

This same harmonic “pull” occurs in minor keys as well:

We can use this harmonic “expectation” to set up any chord by preceding it with a Dominant seventh chord a fifth higher than it. This example takes each scale-tone chord and does just that, with a little added melodic movement for color:

There is another chord type that offers the same type of expected resolution: the diminished-seventh chord, found on the seventh step of the Harmonic minor scale chords. This chord can resolve back equally well into a minor or major chord.

Listening to this sound, it is very close to a V7 chord with an added flat-ninth: it shares all the upper notes of that chord without the bass note:

We can use diminished chords to set up each of the scale tone chords like this:

In Part 2 of my “Functional Harmony” blog, we discussed the common chord progression called the ii – V – I, which makes up an important part of the jazz harmonic vocabulary, and has been used for countless open-ended jams:

Note: In bars 3 – 4, I play a comping figure for soloing on a ii – V progression. Countless rock and jam bands have been known to play for hours on this!

We’ve also discussed the idea of using scale tone chords as passing chords between two existing chords in a progression, as in this example, where a G triad is used to connect between a C and an A minor chord:

There’s no rule that says a chord can only be played over its root tone — as you can see from the above example, I put the G over its 3rd, the B note. Using the 3rd, or the 5th, or even the 7th is a great way to keep the bass line moving in step-wise motion, rather than always jumping around to the root notes.

Putting It All To Use

Armed with this vocabulary of harmonic devices, you can start taking a song and making it more your own by adding some simple reharmonizations. For example, here’s a common four-chord progression with a basic melody:

Using some simple chord voicings, you might play it like this:

Now let’s add some Dominant 7th chords to set up a few of the existing chords:

In the first bar, I added the C Dominant 7th to set up the F major chord in bar 2. Notice how I labeled it as a V7 of IV (“V7/IV”) to show how it functions in relationship to the F chord. Similarly, I added the E Dominant 7th in bar 2 to set up the coming A minor, and the D Dominant 9th to set up the G chord in bar 4. While these all work, it’s generally more effective to mix up the approaches to adding more harmony instead of using only one device over and over.

That brings us to this example:

Here, I still use the C Dominant to set up the F, but I play the 3rd of the chord in the bass for some movement, and added the 9th tone to my voicing. To set up the A minor in bar 3, I preceded it with the G-sharp diminished chord for a different color, along with a nice bass line climb. Then, thinking of how to travel to the G chord, I decided to move my bass line back downward and added some extra chords, delaying the arrival to the G. So the C triad over the G is a good scale tone chord choice, and on the way to the F6 (also a scale tone chord) I slipped in a little bit of chromaticism with the F-sharp half-diminished chord (F-sharp minor 7th with a flatted 5th). I chose that chord quality because, other than the F-sharp note, all the other notes come from the scale of C major.

This next version starts by using the concept of the ii – V chord to set up the F, so we have a G minor 7th that also needs to include the melody note, which is the 4th, or the 11th of the chord (we call it the 11th since there already is a 7th in the voicing):

The melody makes the C Dominant 7th a 9th chord, and then for the F chord I added a 2nd to the voicing for a nice color, continuing the sophistication of the preceding chords. I also decided I wanted the bass to climb up to the A minor, so I got fancy and used the D Dominant 7th to precede the G bass note so that neither chord is using roots for the bass notes. This sound is used often in gospel and church hymnal music, and should sound familiar to your ears. Finally, I set up the G chord with its V7 (D-Dominant 7th) and used a colorful suspended 4th to 3rd resolution for the G to keep the harmony moving a bit.

This next approach explores the use of mostly scale-tone chords, with an ascending bass line up through the whole C scale:

The only non-scale color is the F-sharp, which I again use to climb into the G, but this time I use that F-sharp half-diminished chord to climb into the C with the G in the bass.

Next up is another approach based on bass line movement, but this time we’re going to descend, and go further outside of the scale tone choices.

The second chord in bar 1 is the C Dominant 7th, which wants to resolve to the F chord, but the voicing is fancier, putting the flatted 7th in the bass, and resolving into the 3rd of the F chord. Then I slip chromatically through an A-flat (making the F chord a minor) to get to that same C over G in the bass. Just as I did two examples ago, I then use the F-sharp half-diminished to go into the F, but that is followed by two scale-tone chords, with nice color from the melody notes making them minor 11th voicings. My reason for doing so was to balance out the more elaborate travels away from the key center in the first half of the progression.

Finally, let’s wrap things up with this decidedly jazzy approach:

This whole example makes use of the concept of tri-tone substitutions for the usual Dominant 7th chords that would be normally be employed to set up each chord in the original progression. (See the “Let’s Get Fancy” section at the end of that blog for further explanation). The “fancy” F-sharp Dominant chord is a substitute for the usual C Dominant 7th, just as the B-flat Dominant is a substitute for the usual E Dominant. And the A-flat Dominant acts in place of a D Dominant to set up the G in the last bar. To change up the movement, I climb up from the G to head back to the inevitable C (the I chord); this also serves to make the chord choices a bit more interesting.

We covered a lot of ground here — all of it based on functional harmonic ideas. Click here for Part 2, where we go into some more advanced territory.

All audio played on a Yamaha P-515.

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

A woodwind instrument with a long body and a bend at the neck leading to mouthpiece.

The Bass Recorder Takes Center Stage

Written by Rich Tozzoli on February 18, 2021. Posted in Woodwinds. 2 Comments on The Bass Recorder Takes Center Stage

If you’ve watched Disney Plus’ live-action Star Wars™ series The Mandalorian and heard the show’s otherworldly-sounding theme song, you might be hard-pressed to identify the instrument playing those haunting opening notes.

Guess what? It’s a bass recorder. And while you may think that this is an instrument you’ve never heard before, you may be in for a surprise when you find out some of the hit songs and other soundtracks in which recorders have played an integral role.

First, though, a few facts about this fascinating instrument.

What Is a Bass Recorder?

The recorder that you (and countless students) probably played in elementary school was most likely a soprano recorder, which is actually one of the smallest instruments in a whole family of recorders. (There’s also a smaller version, called the sopranino recorder.) Next in size is the alto (sometimes called the “treble”) recorder, followed by the tenor recorder and the bass recorder, which plays a full octave below the alto recorder (its lowest note is F3). There are even larger versions — the “great” bass recorder and the contrabass (sub-bass) recorder — though these instruments are rarely used.

“Recorder predecessors go back many thousands of years,” notes Matt Kerns, Yamaha Marketing Manager for Winds and Strings Accessories. “Archeologists have found artifacts that they believe are vertical flutes, so they are really kind of fundamental to human nature.”

The recorder evolved into its current state during the Middle Ages in Europe, starting in the second half of the 15th century Renaissance. Its “golden age” is considered to be the 17th to mid-18th century, during the Baroque period, and even though the instrument continued to be used well into the early 19th century classical period, it eventually faded in popularity. The bass recorder seems to have first appeared in the early 17th century.

Popular Usage

They may have fallen out of favor in classical music, but recorders are often used in contemporary rock music as well as movie soundtracks. Songs like Led Zeppelin’s “Stairway To Heaven,” the Rolling Stones’ “Ruby Tuesday” or the Beatles’ “The Fool On The Hill” are dominated by the instrument, and, thanks largely to composer Ennio Morricone, recorders came to define the sound of spaghetti westerns such as “The Good, the Bad and the Ugly,” which has one of the most recognizable and influential soundtracks in history.

“People may think of the recorder as a kids’ instrument because it’s what they start on in elementary school,” says Kerns, “but they have a very ethereal, mystical sound to them. The bass recorder in particular has a certain unique quality to it and I think that’s why it ends up being used as a special effect so frequently.

Tall woodwind instrument with mouthpiece at an angle from rest of body. — *Yamaha YRB-302B bass recorder.*

The Bass Recorder Steps Into the Spotlight

For the opening melody to The Mandalorian theme song, Oscar^® and GRAMMY^®-winning composer Ludwig Göransson decided to feature a bass recorder. Other than having played a child’s recorder as a young boy in school, Göransson had no previous experience with the instrument. In one fascinating YouTube interview, he says that, since he didn’t know how to play the bass recorder, he spent hours experimenting with it free-form, connecting with his “inner child.” As he sat practicing, in what he describes as an almost meditative state, one simple phrase kept coming back to him over and over again. That melody ended up serving as the memorable opening notes to the show; they not only usher in every episode, but are sprinkled throughout the soundtrack.

Modern Recorder Design and Digital Emulation

Image of a digital saxophone. — *Yamaha YDS-150 digital saxophone.*

Up until the mid-20th century, recorders were traditionally made from wood, but technological advancements have allowed them to be made from plastic as well. These instruments (like the one used on the show) deliver a similar sound but are more affordable than their wood counterparts, making them accessible to more people.

Recorders have entered the modern digital age, too. For example, the Yamaha YDS-150 digital saxophone offers a wide range of voicings, including some that can be customized to emulate the sound of a bass recorder with the use of a companion app. The YDS-150 offers many non-saxophone sounds such as pan pipes, harmonica and shakuhachi, as well as 73 different soprano, alto, tenor and baritone sax sounds.

Try to listen for the sound of the bass recorder in other songs and soundtracks. You might find yourself so inspired that one day you’ll want to play one yourself or incorporate it in your own recordings!

Check out these related blog postings:

The Recorder: It’s an Instrument, Not a Toy

Recorders: Baroque vs. German

Eco-Friendly Plastics from Plants

What’s the Difference Between an Acoustic Saxophone and the YDS-150 Digital Saxophone?

Click here for more information about Yamaha recorders.

Click here for more information about the Yamaha YRB-302B bass recorder.

Click here for more information about the Yamaha YDS-150 digital saxophone.

Test

Written by Super User on February 17, 2021. Posted in Uncategorised.

test

Tips for First-Year Music Teachers from the 2021 “40 Under 40” Educators

Written by Yamaha Staff on February 16, 2021. Posted in Teaching Tips. 1 Comment on Tips for First-Year Music Teachers from the 2021 “40 Under 40” Educators

Starting a new job is always stressful.

As a first-year music educator, you must familiarize yourself with your new school, administrators, staff and fellow faculty members, not to mention your students and parents. Then there’s concerts, competitions, lesson plans, assessments — the list is long.

We asked our 2021 “40 Under 40” educators what three tips they would offer to first-year music educators. Heed their advice as you start your career, and remember that as demanding as the work may be, the rewards are limitless, especially when you consider the lifelong impact you will have on a generation of music students.

Matthew Martindale, the Director of Bands at Shelby County High School and Columbiana Middle School in Columbiana, Alabama, says to:

1. Don’t rush the process. Very early in my teaching career, I was always focused on the next thing, the next concert, the next year — and the list goes on. Take each day for what it is. If the students are learning how to play concert D, don’t worry about concert E flat.
2. Collaborate with colleagues. Early on you will probably be in a situation where you are the only musical option in town, or even in your entire system. Talk with other directors close by. Call your high school band director. I still talk to my high school band directors. You will be amazed at the knowledge you can gain from them.
3. Take time to get to know your students. If they have your trust, you can do amazing things musically.

Willie Snipes Jr., Director of College Bands at Miles College in Fairfield, Alabama, offers these three tips:

1. Never make a decision without seeking God.
2. Hang around successful music educators.
3. Never sacrifice music education for personal gain.

Jenn Bock, Assistant Band Director and Marching Band Director at Highland High School in Gilbert, Arizona, advises new teachers to:

1. Find a mentor. It may be from your student teaching, a current colleague or someone else in the field you admire.
2. Ask questions. If you don’t know the answer to something, find someone who does. Reach out to others in the field who are experts in the areas that you need to grow.
3. Learn your secondary instruments. Early in my career, I chose a new secondary instrument to focus on each year. I would warm-up with the kids in class on it, practice it and at least be able to play it at their level, so I could model good tone production on every instrument for them.

EJ Villanueva, General and Instrumental Music Teacher at Orange Grove Elementary School in Anaheim, California, says to:

1. Find a mentor/support system that understands what you do (for example, a veteran music teacher).
2. Connect with your students and care for their interests.
3. It is okay to make mistakes — be honest about them and learn from them. Your students and fellow staff will respect you for it.

Javier Alcantara-Rojas, Director of Instrumental Music at Granite Hills High School and Director of the GREAT Academy in Apple Valley, California, says, “My three tips for first-year music educators is to learn, learn, learn.”

1. Learn from your students and community. Find out about their interest and weaknesses.
2. Learn from your colleagues. Talk to other amazing directors and ask for advice.
3. Learn from yourself. Do what you can, it is enough.

Aaron Zeilinger, Director of Instrumental Music at Orange Lutheran High School in Orange, California, offers these three tips:

1. Listen to fantastic ensembles as often as you can. I find that if I can attune my ears to spectacular musicians, I keep my aural image focused on something I can strive for.
2. Connect with colleagues often. This does not always have to be other music directors; engage with other teachers and discuss teaching. I find that good teaching is universal, and I am constantly inspired by excellent teachers in other departments.
3. Remember that your students are just that — students. They are dealing with many items in their life that drastically shape their future. A superior festival rating or a 1st-place trophy will not be as impactful as a supportive and safe environment. Focus on the students and everything else will fall in line.

Becky Paschke, Instrumental Music Director at D’Evelyn Junior/Senior High School in Denver, Colorado, says:

1. Always remember to be kind.
2. Everyone has their own teaching style. It is ok to emulate master teachers, but you need to develop your own style and be authentic.
3. This past year, we have all learned not to take anything for granted. Approach every single day with passion and enthusiasm.

Tiffany Cox, Director of Bands at Lake Worth Community High School in Lake Worth Beach, Florida, advises new teachers to:

1. Stay true to yourself. In education, it can feel as if you have to create a personality that aligns with being the “perfect educator.” While it is important to be professional, you will be a far more effective teacher if you use your natural personality in your teaching. Be quirky, be nerdy, be funny — but be yourself!
2. Invest in your students, not the program. People talk all the time about successful programs and the ratings they get at festivals or the legacy of the band director. But that’s not the important stuff. You’re creating the leaders of tomorrow in your band room. Make sure that they are encouraged and supported in their passions (musical and non-musical).
3. Find a mentor. Through my research, I’ve found an incredible amount of evidence that a mentor can make or break the first few years of teaching. No one can do this job on their own — you’re going to need help. Don’t be afraid to reach out to other directors and if you feel awkward doing that, send me an email or find me on social media and I’ll be happy to help you out!

Megan Sahely, Director of Orchestras at Leon High School and Raa Middle School in Tallahassee, Florida, recommends that first-year educators:

1. Recognize that music means something different for each of your students. Not every kid wants to be a professional musician or teacher, and your class may not be the central identity factor for many of your students. That’s ok. You can strive to create a culture of musical excellence that still welcomes students who have a more casual relationship with their instrument. This is one of the keys to creating lifelong music lovers. Students who graduate from this program may not pursue music professionally, but they will always look back fondly on the memories, relationships and music that they made as a part of your program.
2. Find allies amongst your colleagues and treat everyone that you encounter with respect. With the support of your school secretary, custodial staff, hall monitors, accountant and administrators, your program can grow and thrive.
3. Your to-do list will never be completed, so learn when to be done for the day. Setting boundaries that protect your personal time and personal life will create long-term mental health benefits by protecting you from overwork and burnout.

Andrew Gibb-Clark, Director of Choral Activities and Fine Arts Department Chair at Highland High School in Highland, Illinois, points to these three keys:

1. Be flexible, adapt and improvise.
2. Always focus all your efforts on the students, fight for and do what is best for them, always!
3. Don’t take things personally and be willing to be there for your students for more that just what they are doing in your classroom. Building strong caring student relationships is the most important!

Christine Adelmann, Band Director at Gompers Junior High School in Joliet, Illinois, recommends that first-year teachers:

1. Make the effort to familiarize yourself with your students’ cultures, home lives, interests and overall value as individuals — not just as music students. Making genuine connections is how we as educators provide safe learning environments where students can make mistakes, learn and grow.
2. Remember that all kids are good kids. Approach your students with empathy by trying to understand their perspectives. Provide them with opportunities to show good character.
3. Don’t be afraid to admit when you are wrong. Respect your students enough to own your mistakes.

Don Stinson, Director of Bands at Joliet Central High School in Joliet, Illinois, says:

1. Don’t be afraid to have your mentors/teachers watch you teach. I waited too long because I was intimidated.
2. Every rehearsal/class session should include insistence, consistency and persistence from the classroom leaders.
3. We can’t do this alone. Seek help when needed but offer as much help as you seek.

Chris Kaflik, Director of Bands at Brownsburg High School in Brownsburg, Indiana, offers these three tips to new teachers:

1. Go out and observe other teachers. It does not have to be someone “famous.” Almost every teacher has a new trick that you can add to your toolbox. Even after you’ve been teaching for years, observe others. Then, take what you learned and apply it to your teaching style. Don’t try to be somebody else as a teacher, be you. But you can use elements of the approach you have observed in others.
2. In terms of being a band director, don’t think of it as a job. It is a lifestyle. That does not mean you have to live and breathe your program in any unhealthy way, but it’s not a “9-to-5” job. The more you invest in your students, staff and program, the more you will get out of them.
3. Don’t be afraid to get out of your comfort zone — I mean that in a number of ways. Learn and play instruments that you are not great at, try different/new teaching techniques/strategies, be willing to have a personality in front of students that is not your “default” everyday “self” if they need that.

Megan Cooney, Director of Athletic Bands and Associate Director of Bands at St. Ambrose University, Davenport, Iowa, says to:

1. Make sure you thoroughly develop your own teaching, artistic and musical values before you lead a group of people. You cannot lead others before you spend time with yourself.
2. Always advocate for what is best for your students, the program and yourself even if it is not widely accepted.
3. Know how to hustle and be a good hang. So much of our job, whether it be playing gigs, recruiting for our ensembles, fostering great relationships with parents and/or administration is dependent upon our ability to relate and talk with people. People can decipher whether you are genuine and really know your stuff very quickly.

David Bechard, Director of Instrumental Music at Wahlert Catholic High School, Dubuque, Iowa, says the keys to success are:

1. Music selection: Do less, better. Select quality literature that your students will be able to play well. Success is good for recruitment and retention.
2. Make friends with the custodial crew. When you need things on concert day (or any day), they will be saviors.
3. It’s not about YOU — it’s about the kids.

Jennifer Antonetti, Instrumental Music Teacher at Topeka High School, Robinson Middle School, Meadows Elementary School in Topeka, Kansas, tells first-year music educators to:

1. Ask questions! Mentor teachers, your co-teachers and administrators are here to help you, but we don’t know what you don’t know or what you need help with.
2. Keep good records of your inventories like instruments, uniforms, equipment, lockers, finances, music library, etc. You need to know what you have and what you need for budget purposes, and you don’t want to use your budget to pay for something again that was lost when you didn’t have a record of it.
3. Keep a “smile file” of all of the sweet notes that people write to you and all of the cute pictures that students draw for you. The smile file is a great resource for you to be able to look at and read when you have a “down” day.
Bonus: Keep a small bag on hand with things that you might need for a personal emergency in your classroom.

Lydia Cox, Chorus and Digital Music Teacher at Crosby Middle School in Louisville, Kentucky, says to:

1. Prioritize building relationships.
2. Give your students a voice.
3. Remember that every educator has been a first-year teacher! We have all experienced the tremendous learning curve that comes with being a new teacher but investing in your students and showing them that you care is vital in creating a successful and lasting classroom culture!

Cory Zilisch, Director of Orchestras at Westport Middle School in Louisville, Kentucky, offers these tips to new educators:

1. Be creative. Don’t be afraid to try new things and venture off the beaten path.
2. Don’t forget why you were drawn to music. Try to create that opportunity for your students.
3. Ask for help! The best educators are the ones who constantly ask for help, or learn new things to perfect their teaching.

David Matchim, Director of Bands at Centennial High School in Ellicott City, Maryland, recommends that first-year music educators:

1. Work as hard as you can, be the person you want your students to be and celebrate the small things.
2. Keep your focus on making your students the best people and musicians they can be, and the rest will fall into place.
3. Don’t make it about you.

Doug Schaffer, Director of Bands at Mark Twain Junior/Senior High School in Center, Missouri, offers these three tips:

1. Be a part of your community. Go to the games. Chaperone the dances. There’s no better feeling than knowing that your community knows a) you’re the band guy and b) you care.
2. Find a mentor. There’s always something you don’t know. Find someone who knows it. There’s always someone who is willing to help, be it literature suggestions, clinics or to just have general conversations.
3. Put in the time to build something. It takes time.

Tyler Swick, Elementary Music Educator at Robert and Sandy Ellis Elementary School in Henderson, Nevada, says:

1. I would tell a first-year educator to understand that they are completely unprepared for the job that they are about to take on. You may be a fantastic musician and have a heart of gold, but no one can teach you how to be ready to teach, relate to and nurture the next generation of students. Their successes and failures are constantly shifting, and as soon as we understand how to teach them, they grow up and the next generation shows up.
2. The second tip is that aural theory is as important as your college professors told you it is, and we should all be sorry we blew that class off.
3. Lastly, the landscape of education will only become more digitized, and your skills as a beginning educator will be enhanced by your vast experience with technology. Lean into your comfort with computers, videos, audio and all things digital because the students need that from you going forward.

David Irish, Director of Orchestras and Associate Director of Concert Bands at Palo Verde High School in Las Vegas, Nevada, recommends that first-year teachers:

1. Get master educators in front of your group and learn from them.
2. Prioritize your physical and mental health.
3. Each year gets easier with experience. It’s a marathon, not a sprint.

Vincent Vicchiariello, Director of Bands at Nutley High School in Nutley, New Jersey, says essential things to keep in mind are:

1. Be dedicated — the hours are long and it is one of the hardest jobs, bust it is also the MOST rewarding.
2. Don’t be afraid to ask for help. Everyone in the music world wants to help one another.
3. Be yourself. Students want you to be human and see who you are.

Phil Nagy, Music Teacher at McVey Innovative Learning Center (part of Hilliard City Schools) in Hilliard, Ohio, offers this advice:

1. Give yourself grace! You won’t have time to do everything you want to do.
2. Take care of yourself. Like the airplane safety routine, secure your own oxygen mask before helping others. You can’t give of yourself to your students if you are not well.
3. Become really good friends with the custodians and secretaries, they can singlehandedly make your job easier!

Jason Sleppy, Band Director at Mason Middle School and Marching Band Director at Mason High School in Mason, Ohio, says:

1. You cannot do it alone. You will have many demands for your time during your first year, but don’t underestimate the energy you need to invest in forming relationships and teams. Seek out mentors to bounce ideas off of and develop great relationships with the individuals you work with. Essentially, team up with your parent booster group. They will be absolutely essential in creating rewarding experiences for students.
2. Gratitude: It is easy to get caught up in things you think aren’t going right. A school day is a constant onslaught of challenges from parents, students and faculty. Don’t forget about everything that is going well and let that fuel your motivation to continue.
3. Patience: The first year will be bumpy, and if we are being honest, most educators don’t feel like they “know what they are doing” for 10 years (or ever!). Use every situation to learn what works and what doesn’t. Look in the mirror often, as that is where the problems and solutions lie. The second year will be immensely easier.

Carmen Fields, Choir and General Music Teachers at Edgewood Middle School in Trenton, Ohio, offers these encouraging words:

1. Teach what you love. When you teach from your heart students can tell. So, if you’re passionate about opera or the oboe, find a way to tie it into your curriculum. Don’t be afraid to have fun.
2. Show where you came from. I love showing old videos, some good, some not so good, of me performing, as well as doing non-musical things like riding ATVs or driving Corvettes. I have seen huge payoffs and connections with students.
3. It will get better. The first year is overwhelming for everyone. You can do this!

Tim Walck, Director of Music at Austin Area School District in Austin, Pennsylvania, recommends that first-year teachers:

1. Be authentic and genuine.
2. Set goals, and then processes to achieve those goals for yourself, and your students.
3. Budget time for yourself to recharge and refresh. In order to care for others, you must first care for yourself.

Erin Busch, Executive Director of Young Women Composers in Philadelphia, Pennsylvania, says:

1. First, don’t be too hard on yourself! Constructive criticism is a good thing and helps to strengthen your work over time, so don’t take it personally when things don’t go perfectly.
2. Next, create a game plan but don’t be afraid to deviate from it. Improvising isn’t just something that happens on stage; it happens in the classroom, too, and can be often better than what was planned.
3. Finally, disrupt the canon! Mozart, Beethoven and Brahms are all important composers, but there is so much more out there that students need to hear.

Celina Velez, Music Director at Cayuga Elementary School in Philadelphia, Pennsylvania, offers these tips:

1. Be ready and then be ready to improvise. Be prepared and decide ahead of time to enjoy creatively solving the problems that will pop up.
2. Celebrate everything. Celebrate all your students’ musical and academic achievements and celebrate every possible holiday/feast/community event. These occasions give students more performance opportunities and introduce them to a diversity of musical styles.
3. No one can compare. Do not compare yourself to the previous music teacher or even your own musical upbringing. Look at your students, get to know them and decide to bring them two steps farther down this musical road than what they think they can do.

Michael Gamon, Fine and Performing Arts Chair and Center for Creative Arts Director at Harrisburg Academy in Wormleysburg, Pennsylvania, offers these three tips:

1. If you want to instill a love of learning in your students, be ecstatic about how much you love to learn.
2. What makes a great musician makes a great teacher. Be flexible, detail-oriented and positive under pressure.
3. Performance, music and art are more powerful as acts of giving than as acts of self-expression.

Jacob Campos, Director of Bands at Franklin High School in Franklin, Tennessee, recommends that first-year educators:

1. Put your ego aside and keep it there forever. Ask questions without any shame. Find the best teachers in your area, state and nationally, and email or call them with questions. Every good teacher likes to help the next generation because they remember what it was like to get started as a music educator.
2. Find your weaknesses, accept them and study. Read articles and books, and ask about pedagogy and strategies in all the areas you feel uncomfortable.
3. Remind yourself why you teach daily. Start with: “What good shall I do today?” And remember it’s about the students not the subject. You can perform way more elite works when you are attentive to your students; interested in their lives, hopes and dreams; and actively working to build those relationships.

Willie Garfield, CEO of Garfield Institute of Music in Memphis, Tennessee, says to:

1. Perfect your skills and knowledge in music education as much as you can.
2. Learn the business side of music education — grants, state licensing and local funding.
3. Remember that you’re not only a music educator but a role model, and you will change lives.

Steve Moreland, Director of Fine Arts at St. Michael’s Catholic Academy in Austin, Texas, says the keys to a successful first year is:

1. Creativity is the prerequisite for innovation. Think outside the box and don’t be afraid to take risks.
2. Sometimes it’s best to just learn the hard way about what works and what doesn’t because those lessons seem to stick with you longer.
3. Take care of your behind-the-scenes teams such as the facilities, cafeteria and office workers. These people are just as important to the success of your program as anything else, and they are often the most overlooked.

Brian Teed, Director of Percussion and Associate Director of Bands at Wakeland High School in Frisco, Texas, offers the following advice:

1. Take a breath. First-year music educators are often so eager to make an impact on a program that they often focus their energy toward tasks or situations that they do not need to focus on just yet. You do not need to transform the entire program in your first year.Show up every day with a consistent welcoming personality toward your students and your co-workers and everything else will fall into place. Don’t try to change too much your first year, give it time and see why things are the way they are before you implement change.
2. Constantly learn.Open your perspective as to what the music classroom can be. Make the realization and be okay with the fact that there are many different ways to approach teaching and conveying our passion to our students. The best in our field will present a tailored combination of everyone else’s style and approach but with their own personal ambitions.
3. Find your community.We have all been where you are. We have all had the same thoughts you have. We all want you to be successful and for your students to have an enjoyable experience with music. The world is getting smaller and smaller, so it is easier to find people to talk with, don’t be afraid to post your questions to a group page or walk into your co-worker’s office down the hall. Build your community and grow your support system. You are not alone.

Matthew Moore, Associate Band Director and Director of Percussion at V.R. Eaton High School in Haslet, Texas, recommends that first-year educators:

1. Be transparent. Making mistakes is the gateway to growth in life and music. When you acknowledge your mistakes, your kids are more likely to grow through theirs.
2. Every group of kids is different. Your teaching style, curriculum and approach might land perfectly with some classes of students but not others. Young teachers may have self-doubt when everything doesn’t go according to plan. Make adjustments as necessary, but don’t lose your confidence.
3. Take time for yourself and your family. Our jobs can sometimes feel like everything else must be sacrificed, but you can still be an amazing educator while striving to live with balance. This will help you feel fresh and ready for more for years of music education.

Eric Jimenez, Assistant Director of Bands at Prairie View A&M University in Prairie View, Texas, says:

1. In this profession, you need someone to help guide you. My first recommendation would be to find a mentor with experience in the areas you need the most assistance. Areas of need could be specific to who you are as a person or the population you are serving.
2. Secondly, structure your daily tasks and responsibilities to have time for yourself, family and friends. This organization will help create longevity in this career.
3, Lastly, relationship building with your students should be a primary teaching strategy. Your students will enjoy making music with someone they trust, respect and enjoy.

Jarrett Lipman, Director of Bands at Claudia Taylor “Lady Bird” Johnson High School in San Antonio, Texas, offers these wise words:

1. On your hardest days, and you will have hard days, always remember why you got into teaching. Think about what and who inspired you and try to instill that same passion into your students.
2. Remember, band is your life, it is not necessarily your students’ life. Push them hard on the clock, but respect their time and consider what they have going on both on and off campus outside of band.
3. Magical musical moments last a lifetime. Make a point to soak up every moment and encourage your students to do the same. Time flies and you don’t want to look back and wish you had enjoyed moments that you allowed yourself to stress over.

Giselle Vento Banda, Music Specialist at Parkdale Elementary School in Waco, Texas, offers these recommendations:

1. When I was teaching in Italy, I learned that emotions generate learning. My first tip is to develop a humanistic relationship with your students, or scholars as I like to call them.
2. My second tip is to remember to honor your mental and physical health. It is not necessary to give everything you have, leaving nothing for yourself.
3. Finally, it is imperative that we educate others about the value of our profession.

Christopher DiMassimo, Assistant Director of Bands at Rachel Carson Middle School in Herndon, Virginia, says to:

1. Develop a routine to make your life manageable — get up early, set up a budget, meal prep and plan, plan, plan!
2. Build relationships! Get to know the office staff, custodial staff and non-arts teachers. Go to school sporting events and after-school activities, so you can cheer your students on and show your face outside of class.
3. Observe other music teachers and ask questions! Get into the mind of other music teachers and figure out HOW they think.

Kevin Cooley, High School Band, AP Music Theory and Digital Audio Production Instructor at Platteville High School in Platteville, Wisconsin, tells first-year teachers:

1. You do not need to reinvent the wheel! Most teachers are happy to share their content with you if you ask.
2. Work hard for your students but also carve out time for your personal life by setting boundaries between your work and home life.
3. Every teacher has moments of doubt and it’s okay to feel frustrated from time to time, but don’t let those moments trick you into thinking that you aren’t making a difference in the lives of your students.

Check out tips for first-year music teachers from the 2025 “40 Under 40,” 2024 “40 Under 40,” 2023 “40 Under 40” and 2022 “40 Under 40” educators for more invaluable advice!

New Direct-to-Digital Releases for 2021

Written by Mike Levine on February 16, 2021. Posted in TV & Movies.

The events of the past year have impacted many aspects of our lives, including the way we watch movies. During 2020, with box office receipts tanking, movie ticket sales dropped by a whopping 80 percent. As a result, studios started releasing movies directly to streaming services rather than waiting until sometime after theatrical release, as had been the custom previously. In 2021, that trend seems to be accelerating.

With so much great content becoming available for home viewing, now is an opportune time to upgrade your home theater setup. Obviously, picture quality is a huge part of the experience, but we’ll be focusing on sound in this article.

Let’s start by looking at some of the first-run movie content that’s coming your way direct-to-digital this year.

Netflix^®

You probably won’t be surprised to know that Netflix, whose business model is based around delivering streaming content, will be the most prolific provider of original movies in 2021, with plans to release 70 original films. And that’s in addition to all of its streaming series, both new and returning.

Because it contracts with other studios to produce many of its movies and binge-worthy shows, Netflix can put out a prodigious amount of content. However, as of this writing, the company has only announced specific movie release dates through mid-March. Some highlights include Malcolm and Marie, (February 5), Space Sweepers (also February 5), To All the Boys: Always and Forever (February 12), Pelé (February 23) and Yes Day (March 12). Many of the most anticipated Netflix movies scheduled to debut this year don’t yet have release dates. These include Don’t Look Up, Army of the Dead, Red Notice and Tick, Tick, Boom.

Netflix supports 5.1 compatible content through Dolby Digital Plus™, the established home theater surround standard. If you have a Netflix Premium membership, you can stream the audio in Dolby Atmos^®, assuming that:

a) your streaming device and sound system support it, and

b) the movie or show offers it.

An Atmos system is like a surround setup on steroids. Not only does it spread the sound among speakers placed around the room, but it also features overhead speakers to provide the added dimension of height. (For more information, check out this blog.)

HBO Max™

The big news out of HBO is that, following on the heels of its recent, and extremely successful release of Wonder Woman 1984, HBO’s parent company Warner Brothers is releasing all of its 2021 movies on HBO Max (now justs Max) the same day they go to theaters. However, the films will only be available for streaming for 31 days after their release date.

Some of the high-profile movies with firm release dates include The Little Things (January 29), Judas and the Black Messiah (February 12), Tom and Jerry (February 26), The Many Saints of Newark (a Sopranos prequel, coming March 12), Godzilla vs. Kong (March 26), Mortal Kombat (April 16), The Conjuring: The Devil Made Me Do It (June 4) and Space Jam (July 16). Several other films have “expected release dates” rather than firm ones. These include In the Heights (June 18), Dune (October 1) and The Matrix 4 (December 22).

HBO Max is now broadcasting in 4K and supports Dolby^® Digital 5.1 surround and Dolby Digital Plus (which can handle 7.1 channels). The service did offer Wonder Woman 1984 in Dolby Atmos, so wider Atmos support seems likely in the months ahead.

Amazon Prime Video

In 2021, Amazon Prime will also be entering the direct-to-digital arena. The highlight so far will be Coming 2 America (March 5), with Eddie Murphy reprising his role from the original 1988 film of almost the same name.

Amazon Prime supports Dolby Digital Plus and Dolby Atmos.

Are You Ready?

One of the prerequisites for a having truly cinematic experience in your home theater is a surround sound system. With one, you’ll be able to get a lot more enjoyment from streamed content, including the direct-to-digital releases listed here. What’s more, you don’t necessarily need surround sound to be Dolby Atmos-capable … although that would be the ultimate.

If you are thinking of upgrading to a surround system, it makes sense to use an AV receiver as the hub. Good choices here include the Yamaha RX-A2A, RX-V6A or RX-V4A, all of which provide the ability to receive, amplify and output multichannel audio.

Front and right corner of an AV Receiver. It looks like a small black box with small legs and a dial on front. — *Yamaha RX-A2A AV receiver.*

The 7.2-channel RX-A2A, for example, supports Dolby Atmos, DTS:X™ and Yamaha Cinema DSP, among other formats. It also lets you stream music over Bluetooth^® — you can even connect a turntable if you want to spin some vinyl between movies.

Remember that your ability to stream high-quality multichannel audio depends not only on your sound system but also on whether your streaming device or smart TV — and the movie or show you want to watch — supports the particular audio format. You could have a super tricked-out Dolby Atmos setup, but if your smart TV doesn’t support it, or the movie doesn’t offer it; you’ll have to listen in a less immersive format.

Go to a Bar

Even if you don’t have the budget or space to put in a multi-speaker surround system, you can still improve your audio experience significantly over what’s being delivered by your TV speakers by adding a sound bar, which is typically mounted right under the TV.

For example, the Yamaha SR-B20A is equipped with two woofers, two tweeters and two subwoofers. It will provide a much fuller sound, with tons more bass than you’ll get from TV speakers. If you don’t have a lot of space, consider the compact Yamaha SR-C20A, which is just a shade under 24″ wide.

Long thin speaker on a table. — *Yamaha SR-B20A sound bar.*

The SR-B20A supports DTS^® Virtual:X™, which creates a virtual 3D surround experience from 5.1-channel, 7.1-channel and even stereo signals. For the latter, it “upmixes” the stereo audio to simulate a surround mix and spreads the sound around the room with its multiple speakers and some creative digital signal processing (DSP). Many sound bars also let you stream Bluetooth audio to them from your mobile device, giving you another way to listen to music.

For more details on buying a surround system for home theater, check out our blog How to Shop for a Surround Sound System and watch this video.

No matter what audio setup you end up with, the plentiful releases planned for 2021 will provide you with a great opportunity to immerse yourself (pun intended) in first-run movie-watching experiences from the comfort of your home. Only time will tell whether the direct-to-digital movie trend will continue at this level going forward, but it’s certainly possible. In the meantime, enjoy your home theater!

Be sure to read our “Comparing Streaming Service Audio and Video Quality” blog for more information about the leading streaming services and the audio formats they support.

Also check out these related blog articles:

Home Theater Basics

Building the Ideal Home Theater

How to Recreate the Movie Theater Experience at Home

How to Maximize HBO Max™

How to Shop for a Sound Bar

There’s a Sound Bar for Every Space and Budget

Virtual Surround Sound and Yamaha Sound Bars

How to Connect a Sound Bar to a Computer

Introducing the SR-C20A Compact Sound Bar

Top Five AV Receiver Features

Click here for more information about Yamaha AV receivers.

Click here for more information about Yamaha sound bars.

Click here for more information about Yamaha speakers and subwoofers.

Modern living room with subwoofer on floor and a sound bar installed on wall below flat screen facing couch.

How to Connect a Subwoofer to a Sound Bar

Written by Rich Tozzoli on February 11, 2021. Posted in Audio How-to. 2 Comments on How to Connect a Subwoofer to a Sound Bar

Sure, a sound bar can fill your room with an amazing amount of pristine audio. But when you combine it with a subwoofer, its true potential is unleashed.

This sonic synergy happens because, while your sound bar can cover most of the spectrum of the audio being generated by your TV or video game console, it can only reproduce a certain amount of low bass. This is due in part to the size of the speakers in the sound bar, and in part to the size of its physical enclosure. A subwoofer, on the other hand, is a much bigger speaker capable of reproducing even the lowest lows — those rumbling sounds that we actually feel more than we hear — making it the perfect complement to a sound bar. With both, you get to hear the full range of sounds, as well as some added punch.

In this posting, we’ll explain how to make this essential connection, but first let’s take a closer look at the magic behind sound bars and subwoofers.

What’s Inside

Sound bars provide an immediate, convenient way to enjoy high-quality audio. Simply connect one to your television with a single HDMI cable, and you’re good to go.

Designed to be mounted on a wall or sit on a table beneath a TV, sound bars may appear unobtrusive, but they actually contain a number of small speakers (sometimes called drivers) in a compact enclosure that’s been acoustically optimized to deliver detailed audio. To enhance their bass output, most sound bars utilize what is called a passive radiator design. This helps the drivers better recreate lower frequencies, as if they were coming from bigger speakers in a larger enclosure. Small can be powerful!

That said, even a passive radiator design cannot match the in-your-chest thunder of a dedicated subwoofer (sometimes just called a “sub” for short). These large — or at least large-ish — speakers have one job, and one job only: to reproduce the very bottom of the audio spectrum. But they usually require sizable enclosures, and many environments don’t provide sufficient physical space to accommodate them, which is why some sound bars include built-in subwoofers. The Yamaha SR-B20A actually has two subs, powered by 60 watts of built-in amplification for plenty of punch. The end result is a rich, full sound consisting of a good blend of not only highs, mids and lows, but sub-bass too.

Long thin horizontal sound bar. — *Yamaha SR-B20A sound bar.*

By the way, if you think that sound bars are only for stereo audio, you should think again. Some sound bars, like the aforementioned SR-B20A, can take multichannel content from movies, TV shows and video games and deliver immersive 3D surround sound, complete with a sense of height. The SR-B20A can decode Dolby Audio, DTS Digital Surround and DTS Virtual:X formats, and also features HDMI ARC, which, when connected to a compatible TV, allows you to control the sound bar with your TV remote.

Making the Connection

Fortunately, it’s easy to gain the benefit of all the additional bass information that a subwoofer provides, as long as your sound bar offers a subwoofer output. (It’s always a good idea to check for this important feature before purchasing any sound bar, since it gives you the option of expanding your system.)

If you have limited space, consider adding a subwoofer like the compact Yamaha NS-SW050. It offers an 8-inch speaker, a Twisted Flare port and advanced YST II (Yamaha Active Servo Technology) design for clear and tight bass, plus 100 watts of dynamic power.

The process of connecting a sound bar to a subwoofer is simple. All you need is a monaural (mono) audio cable with the appropriate connectors on either end — an inexpensive item that’s readily available from both online and brick-and-mortar vendors. Once you have that in hand, just follow these three easy steps:

1. Locate the Subwoofer Out jack on your sound bar. As shown in the photograph of the SR-B20A below (circled in red), it’s usually located on the rear of the unit.

Closeup of back panel of a subwoofer with the out socket indicated.

2. Locate the input on your subwoofer. Again, as shown in the photograph of the NS-SW050 below (circled in red), it’s usually located in the rear of the unit.

3. Plug one end of the cable into the sound bar’s Subwoofer Out jack and the other end into the subwoofer’s Input jack.

That’s all there is to it! Once connected, your sound bar and subwoofer will work seamlessly with each other: the sound bar will reproduce most of the audio frequencies, while the subwoofer will handle the lowest bass and “rumble” frequencies.

As to where to place the subwoofer for best results, there are no hard and fast rules. Unlike full-range speakers, subwoofers can be placed pretty much anywhere in a room. That’s because the human ear isn’t able to discern low frequency sounds as coming from any particular place — in technical terms, their sound isn’t localized. So, with just a little trial and error to determine what sounds best in your room, you’ll be up and running … and you’ll discover that it’s with a sound bar and a subwoofer that the real sonic fun begins!

Need some more convincing? Check out this blog:

Three Reasons to Add a Subwoofer to Your Sound Bar

You might also want to read these postings:

What is a Subwoofer?

Home Theater Basics

How to Burn-In Speakers

Click here for more information about the Yamaha SR-B20A sound bar.

Click here for more information about the Yamaha NS-SW050 subwoofer.

Learning to Speak the Language of Music

Written by Robbie Calvo on February 10, 2021. Posted in Guitar Artists. 2 Comments on Learning to Speak the Language of Music

I started playing guitar at the age of thirteen. Two years later, I was performing live in local clubs.

I wasn’t all that interested in playing cover songs, but I knew I needed to learn the original guitar parts to keep those gigs, so I did the best I could, strictly by ear. My true passion was writing my own music. As a teen, I’d present my latest ideas at our weekly rehearsals, and my bandmates always seemed to like the songs I was composing.

I had an epiphany one evening when the bass player and second guitarist asked me to explain what I was playing. To my embarrassment and frustration, I realized that I didn’t really know how to convey my ideas. It was in that moment I decided to become fluent in the beautiful language we call music.

First Steps

The local library was my first resource. I began devouring books on classical composition and music theory. They gave me a clearer understanding of note values, key signatures and harmonic structures, but the text and diagrams didn’t allow me to hear the examples being presented and consequently left me uncertain about my comprehension of the core concepts.

My next step was to enroll in part-time study at the Guitar Institute of Technology in London. Those classes were instrumental (pun intended) in helping me apply harmony and theory in a creative way, and they inspired me to play in a variety of musical styles. I just loved the way chords could be inverted and extended to add an eloquence to an otherwise simple progression, and I think this may have been the first time I’d heard of slash chords (i.e., chords with a note other than the root in the bass).

A couple of years later, completely addicted to my new dialect, I moved to the U.S. and began attending the Musicians Institute in Hollywood, California. This proved to be one of the best years of my life, and I emerged from this immersive program with the knowledge and vernacular to communicate, collaborate and create with other musicians.

Why A Musical Education?

So, would I advocate to an aspiring guitar player the value of a music education over just learning by ear? I certainly would, and here are a few reasons why.

1. It Helps You Share

A comprehensive understanding of music allows you to share those skills with your peers and with students. One of the best ways to solidify your knowledge is to teach it to others. It’s also an honorable and fun way to make a living. YouTube allows us to present our lessons to the world, and I’ve been lucky enough to forge a career as an online guitar educator. The digital era has given us a means to share our musical concepts globally and build a wonderful community of like-minded individuals … all while accruing residual income streams over multiple platforms.

2. It Benefits Live Performance

Although I predominately perform as a solo artist, I often work with a band or with backing players. The ability to write legible charts is paramount if you want to get the best out of your teammates. But charts come in various formats, including standard musical notation, lead sheets and Nashville numbers. Having a handle on reading and writing these different musical roadmaps will literally put you all on the same page and save time in both rehearsal and performance.

3. It Benefits Studio Work

Studio session work, although on the decline, is still a viable outlet for both creativity and income streams. More often than not, the producer will hire you to bring your own special sound and musicality to the session. This means interpreting the chart to create memorable parts. Interpretation can mean anything from stylistic approach to knowing that an Ama7 chord can also be played as an Aadd2, if that’s what you’re hearing. Knowing inversions, extensions and chord fragments will help you express yourself within the context of a written arrangement.

5. It Helps with Songwriting

The studied musician brings a world of options to a creative endeavor like songwriting. Diatonic chord substitution, secondary dominants, pivot chord modulation, tritone substitutions and modal interchange all enhance the harmonic structure and therefore inform the melodic possibilities when crafting original music. A simple chord substitution can make all the difference to a song or composition.

By the way, when you compose a piece of music for a product launch or demo, the aim is not to write parts that show your physical or musical dexterity. Instead, the goal is to create parts that demonstrate the tone and attributes of the instrument being featured. In this scenario, I’m playing a supporting role to the product and brand, so I try to keep my musical cues short, sweet and compelling.

6. It Helps with Other Kinds of Writing, Too

Words, like music, have a natural flow, cadence, dynamic and rhythm. Spending seventeen years in Nashville gave me a wonderful education in the art of storytelling through lyric. Every word is part of the groove, the number of syllables play an important role, and verses are written to lead the listener towards the hook in the chorus and the message of the song. Don’t underestimate the value of rhythm within your studies: the pulse is just as important as the pitch!

In addition, writing prose — whether it be for a magazine, video script, teaching program or a blog like this one — is a viable avenue of income and a powerful way to convey your creativity to the world.

The Video

One of the most important things I learned in music school (and in all the years attending the College of Musical Knowledge since then) is the value of a quality instrument. I recorded all of the guitar parts for this video with the phenomenal Yamaha LS-TA TransAcoustic guitar, capturing its big, rich sound with a large diaphragm tube microphone. In terms of effects, I primarily employed the LS-TA’s onboard reverb and chorus, but also added a sprinkle of delay from an outboard signal processor to the lead guitar melodies.

The Guitar

I’ve been a fan of the LS-TA for a few years now. In my opinion, it’s the perfect size for ease of playability, plus it provides the acoustic volume necessary to support the singer/songwriter’s voice. And, as you can hear in this video, the onboard TransAcoustic effects — chorus, room reverb and hall reverb — can be blended and enjoyed even when the guitar is unplugged, allowing you to immerse yourself in that gorgeous ambience anywhere you go.

Aesthetically and tonally, the LS-TA is a stunning blend of old-world craftsmanship and modern technology. A solid rosewood back and sides joins a solid Engelmann spruce top via a maple and black binding, and the soundboard is treated with the unique Yamaha A.R.E. (Acoustic Resonance Enhancement) process, which uses a combination of moisture, heat and pressure to produce an exceptionally resonant top. The fingerboard and bridge are both ebony, and the neck is a robust and stable five-ply mahogany/rosewood construction … and the abalone rosette inlay (shown below) looks just as vibrant as the sound it produces.

The Wrap-Up

When we make a concerted effort to learn, practice and improve, we evolve into the musician we’ve always wanted to be. The pathway towards mastery begins when you apply and share those skills. My advice to musicians everywhere is this: Value your education, invest in a high-quality musical instrument and never compromise your craft. To me, those are the keys to success.

Photographs courtesy of the author.

Check out Robbie’s other postings.

Click here for more information about the Yamaha LS-TA TransAcoustic guitar.

Meet Yamaha Master Educator Phillip Keveren

Written by Yamaha Staff on February 9, 2021. Posted in Master Educator Collective.

World-renowned composer and pianist Phillip Keveren is the co-author of the “Hal Leonard Student Piano Library.”

The fundamental principle behind Keveren’s highly circulated educational piano music is “simple is best.” Striving to understand what students are hoping to feel in each piece, Keveren focuses on the educational experience behind the music he’s writing. To do this, he imagines himself as the student, reflecting on what excited him as a child. He then seeks to provide the student with a clean and clear composition so that musicians feel truthful in their performance.

Keveren regularly works with teachers to bring his unique perspective into how students connect with educational piano music. He dives into the psyche of the student: Why are they there? What are they looking for? What makes them excited and motivated?

Keveren was taught piano in a traditional, classic sense before discovering jazz and pop music. He tells music educators, “I understand what it’s like to feel like a square, and you’re trying to figure out what’s at the core of popular music,” he says.

Discovery is a common theme with Keveren — it wasn’t until college that he was exposed to elements of the music industry, such as composing and arranging, that opened the door to his current career path.

As is often true with creative individuals, Keveren feels the effects of “imposter syndrome,” which allows him to connect to both educators and students in a highly effective manner. Honest and curious, Keveren’s love for the world of keyboard pedagogy is as infectious as it is insightful. His writing continues to stretch the bar of possibility and drive the future of music education forward.

Some of Phillip Keveren’s session titles are:

Fueling Student Creativity: Fostering Improvisation and Composition Skills from the Beginning
Lessons with Dmitry & Friedrich: How Kabalevsky and Burgmüller Can Nurture the Creative Spirit

To learn more about clinics by Phillip Keveren, please contact Jalissa Gascho at jgascho@yamaha.com.

Graphic of a silhouette of a person sitting in a lotus position with a heart shaped mp3 player on their check leading up to wired headphones and a soundwave graphic in background.

Mind Over Music

Written by Shelly Peiken on February 8, 2021. Posted in Creativity.

I’ve always been a pretty hard-core “just do it” kind of gal — I set my mind to something and then just get it done. But last year when we were all faced with new obstacles for connecting with our joy (mine in the form of travel, performing live and being in the company of other humans), I felt anxious — desperate for anything that would help me be functional, productive, patient and positive. For what might have been the first time in my life, I couldn’t just snap to it and get it done.

After considering potential solutions, I decided that yoga might help me recognize that I had the capability to manifest changes in my attitudes. Ujjayi breathing alone showed me I could lower anxiety levels and block negative vibes.

So, thought I, if I can calm my nervous system by telling myself to slow down and breathe, couldn’t some positive self-suggestion reaffirm my reflection when I feel, well, invisible? More pragmatically, could it pull me out of my creative funk and remind me that I’ve achieved success before and am on the path to doing so again?

One such self-suggestion comes in the form of an affirmation: a short declaration that states a goal you want to achieve. The idea is that repeating these affirmations can transport them to the subconscious mind, prompting your subconsciousness to bring your goal into reality. For example, saying I am beautiful just the way I am repeatedly can actually give you self-confidence by making you believe you are beautiful just the way you are.

It sounds too good to be true, right? “I will win the lottery!” But “I will win the lottery” is not an affirmation. For affirmations to be effective, they need to be not only positive but personal and specific … and they need to be in the present tense. In other words, we’re not supposed to assert what we want for the future but rather state what we are now. Even if it’s currently not so, we must put it out there as if it is so, or at least in progress.

So, for example, while If I practice, I will reach a high G might be true, the correct way to affirm it would be: I can reach a high G. (Present tense)

Other examples:

I am becoming a successful film composer. (In progress)

Though I may not be as famous as other songwriters, I am special and unique in my own way. (Personal)

Ideas are all around me and my open heart is receiving them. (Specific)

The lyric (or melody) to the last phrase in that chorus is finding its way as I sit here and repeat this affirmation. (Very specific!)

Get the picture? Remember: positive, personal, specific and in present tense (or in progress).

The idea is to repeat these affirmations one at a time, in a quiet place when you’re feeling relaxed, and to do it continuously for about 10 minutes a day. Seems reasonable to me.

Does it actually work? Hard to say. Maybe it’s more like a placebo effect — the idea that a patient who believes they have been given a cure for what ails them is more inclined to feel better. In that sense, an affirmation may be a form of self-hypnosis. Or maybe it’s, as French psychologist Émile Coué would call it, “optimistic autosuggestion” — a technique he developed through which individuals can guide their own thoughts, feelings or behavior.

The power of self-validation, even if it requires a bit of magical thinking, can do wonders. Hey, we’re musicians. We survive on leaps of faith. We believe in the energy of our thoughts and imaginations. Personally, I find it comforting to know that if we temporarily lose our way, we have a means within us to manifest hope and find our way back. These days, I find myself leaving sticky notes on the inside of my medicine cabinet, on my car dash, on my refrigerator door, wherever, as a reminder to make the time to honor my declarations.

So, pick a time. Find your place. Take a deep breath and repeat after me:

“I am — [fill-in-the-blank]”

Check out Shelly’s other postings.

How to Install In-Wall Speakers

Written by Eric Thies on February 5, 2021. Posted in Audio How-to. 2 Comments on How to Install In-Wall Speakers

A living room is for living in, right? For many of us, that includes being able to listen to great music over a great audio system from the comfort of our sofa or favorite easy chair. But there are times when it’s simply not possible to add a pair of tower or bookshelf speakers to your living space, whether it’s due to space restrictions or spousal disapproval.

In those situations, the best solution might be to install a pair of in-wall speakers: speakers that literally disappear into the wall, making them essentially invisible. These will typically satisfy your listening requirements … and without interfering with the room’s interior design.

In this article, we’ll give you step-by-step directions for installing a pair of in-wall speakers, using Yamaha NS-IW960s as an example. These speakers offer dynamic sound and a number of unique features, including paintable grills and the ability to swivel the tweeter and midrange driver to aim high frequency sounds toward the main listening position.

First, gather the tools you will need:

– Floor covering / tarp

– Tape measure

– Stud finder

– Pencil

– Masking tape

– Level

– Drill

– Drywall saw

– Wire stripper

– Screwdriver

Now follow these simple steps:

1. Plan your placement. Your speakers should be positioned so as to give you great stereo sound in the spot where you do most of your listening. Ideally, they should be the same distance apart as the distance from each speaker to your listening area; in other words, if you were to draw lines between your listening position and each speaker, they would form an equilateral triangle. As far as height goes, try to position each speaker so that its tweeter is approximately 42″ off the floor. This is the typical height of your ear when sitting.

2. Mark your locations. Using a stud finder, locate the studs in the wall in the general area where the speakers will be placed. Try to identify two cavities (one for each speaker) that have some symmetry on your wall. Use your tape measure and masking tape to mark off each cavity.

3. Use your template. A nice feature of the Yamaha NS-IW960 is that it includes a template that is the exact opening size you will need to cut. Place that template on the wall in the area of the marked cavity, use your level to ensure that it’s straight, then trace around the template with your pencil.

Closeup of man with cardboard template measuring and marking on wall.

4. Cut your openings. Now that you have your opening marked out, grab your drill and drywall saw and get to work. To protect your walls, mask off the area immediately around the marked opening using masking tape. Keep in mind that you are going to make an enormous amount of dust, so be sure to protect your floors with tarp before you start cutting those holes.

Closeup of man removing a cutout piece of drywall.

5. Run your wires. Now that you have your openings cut, this is the perfect time to run wire back to your amp or receiver. Take advantage of your attic space if there is one over the room. Hopefully you are connecting to an AV receiver like the stellar Yamaha RX-V6A, which has a handy “Zone 2” feature that lets you fill an additional room with sound.

6. Make your connections. With your amp / receiver turned off, strip the conductors of your speaker cable and connect them to the speakers before you install them in the wall. Only expose enough copper to fit in the terminals. Any additional exposed copper leaves you susceptible to creating an electrical short and potentially damaging the amplifier.

Closeup showing the back of the speaker with wiring into wall.

7. Install your speakers. With the speaker wires connected, place the speaker into the opening and use a manual screwdriver to tighten the screws. (I recommend a manual screwdriver so that you don’t run the risk of over-tightening and damaging the drywall.) The Yamaha NS- IW960s have dogleg brackets that will grab the inside of the drywall and allow you to clamp the speaker in place by simply tightening the screws.

8. Put on the finishing touches. Now that the speakers are in place, add the finishing touch by putting on the grills. Be sure to clean off any fingerprints that you may have left on them.

Closeup of the grill being popped into place.

9. Turn the receiver on and enjoy your music! Here’s what the finished product should look like:

View of two speakers flanking a fireplace in a living room.

All photographs courtesy of the author.

Looking to install in-ceiling speakers instead? Check out this blog.

Click here for more information about Yamaha NS- IW960 in-wall speakers.

Click here for more information about the Yamaha RX-V6A AV receiver.

Home Studio Troubleshooting Tips, Part 1: Hardware

Written by Mike Levine on February 3, 2021. Posted in Recording.

One of the best aspects of having a home studio is that you’re the boss. You get to choose the gear, and you get to make the creative decisions. But with that freedom comes the responsibility of figuring out what’s wrong when you have a technical problem, which is an inevitable occurrence in any studio.

Fortunately, you don’t have to be a tech nerd to diagnose and fix many common gear and computer issues. Sometimes the cause is obvious, but other times it could be one of many possibilities. When the latter happens, it’s essential to stay calm and methodically troubleshoot the problem.

In this two-part series, I’ll show you some step-by-step examples of how to do just that. Here in Part 1, I’ll mainly deal with hardware-based problems. Next month I’ll focus on how to overcome DAW and other computer issues.

Follow the Signal Path

When your gear isn’t working right, put on your detective hat and use basic troubleshooting techniques to find the culprit. The idea is to use the process of elimination to systematically rule out various components in your signal chain as being responsible. Eventually, you’re left with only one possible explanation.

I’ll provide a few examples here. They’re not going to cover every potential problem, but by reading the steps, you’ll better understand the thought process that goes into troubleshooting, and you can apply it globally.

The Sound of Silence

For the first example, let’s say you’re getting ready to record a vocal. You plug a mic into your audio interface and … no sound! The first thing to do is to check the input meter (and/or signal-present LED) on your interface. No movement, no LEDs lighting? Well, since the signal isn’t getting past the input of your interface, you can deduce that the problem is at the input, or even before it (i.e., a problem with the mic or mic cable).

Here are the troubleshooting steps to follow in this circumstance:

1) Confirm that you plugged the mic cable in all the way and connected it to the correct input.

2) Make sure that channel’s input volume is turned up.

3) If you’re using a condenser mic, make sure you turned on the appropriate +48V phantom power switch on the interface — this kind of mic needs that voltage in order to operate. (Click here for more information.)

Closeup of the panel. — *If you’re using a condenser mic, make sure to switch the phantom power on.*

4) Still no sound? It might be the mic cable. Try swapping it out for another one. (Caution: Never plug or unplug anything when phantom power is on, or it could damage your gear. And after you switch phantom power on or off, always wait a few seconds for the device to finish powering up or down before you plug or unplug anything.)

5) If a new cable doesn’t help, the problem is most likely the microphone itself. Does the mic use a battery? If so, put in a new one. Does it have an on/off switch? If so, make sure it’s switched on. As a last resort, try a different mic altogether. If it works, then you’ll know for sure that the original mic has an issue.

Nothing There

Here’s a similar scenario, but let’s say that this time, you do see signal at the interface inputs when you talk into the mic. However, you’re still not hearing anything, and the meter’s not moving on the record channel in your DAW. In this case, try following these steps:

1) Make sure you’re monitoring the correct input channel in your DAW — that is, the one where your mic is plugged in. Also, make sure you correctly configured the input in your DAW’s I/O settings. (In Steinberg Cubase, it’s called the Audio Connections window.)

2) Assuming these are correctly set, check that the channel’s input monitoring is turned on.

3) If so, make sure the volume on the DAW input channel is turned up.

4) Still no sound? The next step is to confirm that your interface is selected in your DAW’s audio settings.

Let’s say you do see signal present in the DAW, yet you’re still not hearing anything. In that case, try the following:

1) Make sure the record channel and the master channel have the correct output assignments in your DAW.

2) If there’s a monitor or headphone gain knob on your audio interface, make sure it’s turned up.

3) If there’s still no sound, the problem could be with the speakers or the headphones. Are the speakers self-powered? If so, are they turned on? If you’re using headphones, try substituting a different pair.

All Mixed Up

If you have a mixing console in your studio, you may run into situations where you’re not getting any signal at its main and/or headphone outputs.

1) If you’re bringing a source like a mic or an instrument into a mixer, use the channel’s PFL (pre-fader listen) switch to listen to the signal before it gets to the fader. If you hear the sound when the PFL switch is pressed, the problem must be something internal in the mixer, between the fader and the outputs.

View of mixer panel with slides. — *A PFL switch lets you confirm that signal is arriving.*

2) Make sure the channel fader is up. (It’s not unheard of to accidentally push up the wrong one!)

3) Check the output assign switch for the channel to make sure you’re sending signal to the correct destination.

4) Make sure that you don’t accidentally have another channel in solo.

5) Check that you turned the monitor and/or headphone output levels up.

If you don’t hear the sound when the PFL switch is pressed, make sure that the channel is set for the right signal type (i.e., mic, line or Hi-Z). If it’s set correctly, then the problem has to be before the mixer: either the cable is bad, or there’s an issue with the mic or the instrument (perhaps its level is turned down?). Try swapping the cable first; not only is this the most likely cause, it’s the easiest fix too.

Buzz Off

Let’s troubleshoot another typical problem: You plug a guitar or bass into an amp and you hear the signal, but it has an audible hum or buzz. Here, the most likely culprit by far is a bad cable, so start by swapping it for another one. Still buzzing away? Try these steps:

1) Does the amp have a ground or ground-lift switch? If so, flip it.

Rear view of unit. — *Flipping an amp’s ground lift switch can sometimes eliminate hum or buzz.*

2) If that doesn’t work, try plugging the amp into a different AC circuit. The problem could be in the wall wiring.

3) If the amp is a stack (that is, if it’s connected to an external speaker), it’s possible that a defective speaker cable could be causing the buzz. Try replacing it.

4) If none of that fixes the problem, your amp may need to be serviced.

Buzz and hum problems can also occur when you connect mics or instruments to interfaces, mixers and outboard gear, or plug processors into your signal chain. The steps here are basically the same: Check the cables first, and switch the ground if that option is available on the device. (Be sure to use a DI (Direct Inject) box if you’re connecting an electric guitar, bass or keyboard; those instruments are not designed to be connected directly to line or mic inputs.) If that doesn’t help, try plugging the instrument into a different AC circuit.

The Stage is Set

Another issue to keep in mind is the concept of gain staging — setting levels throughout your signal chain correctly in order to give you healthy amounts of volume without overloading any inputs. Correct gain staging can help you avoid noise when a signal is too low, and distortion when a signal is too high.

If you’re using a mixer (either hardware or software), once you get sufficient input level from the mic or instrument into the channel, correct gain staging is a pretty straightforward process. But if you’re simply connecting multiple devices together (either hardware or software), it’s unfortunately easy to end up with levels that are too low or too high.

If the signal coming into device B from device A is too quiet:

1) Ensure that the output level of device A and the input level of device B are turned up sufficiently.

2) If you still can’t get enough level, check that you haven’t created a mismatch of signal levels. For example, if you tried plugging a microphone into a line-level input, you’d barely get any signal. Mic level is extremely low in comparison to line level, which is why a microphone’s output needs to go through a component called a mic preamp (these are available as standalone devices but are also built-in to most audio interfaces and mixing consoles) in order for its signal to be raised to the proper strength. Instrument level is typically lower than line level and higher than mic level, but also needs preamplification.

Conversely, if the signal coming from device B into device A is too loud and is causing distortion:

1) Turn down the output level of device A.

2) If that doesn’t help, check that both are compatible level-wise. You might have connected a line-level output into a mic input, which would cause distortion.

In Part 2, we’ll focus on troubleshooting DAW and computer-based problems, which are more common, and sometimes a lot harder to figure out than hardware issues.

Check out our other Recording Basics postings.

Click here for more information about Steinberg Cubase.

frustrated woman sitting in front of laptop

Zoomed Out? Solutions to Overcome Video-Conferencing Overload

Written by Kathryn Drury Wagner on February 1, 2021. Posted in Self-Care.

Once only used by remote work teams, video-conferencing services like Zoom, Skype, Google Meet and Microsoft Teams became lifelines for people in all walks of life during the pandemic.

Zoom, in particular, has been the go-to service during the lockdown. Grandmas and grandpas are on Zoom. Neighborhood board meetings are on Zoom. Cocktails and bar mitzvahs are done via Zoom. Bridal and baby showers are hosted on Zoom.

Schools have used video conferencing for everything from day-to-day teaching, to virtual school tours, to full-on musical productions.

But let’s face it, there’s only so much video conferencing you can take. You might start to resent signing in for video calls, dealing with problems focusing or suffering from dry eyes, headaches and other issues.

Why Are Video Calls so Exhausting?

There are several unnatural aspects to video calls, behavioral researchers say.

One important aspect is eye-contact overload. In a regular social situation, such as teaching in the classroom, “People normally keep eye contact 50% of the time when talking and 70% of the time when listening,” reports the SocialProNow blog. “It’s common to break eye contact every four to five seconds.^”

As an educator, you may have been taught to make sure you move your eyes around the classroom, ensuring you make contact with each student at some point. We’ve also been taught that too much eye contact comes off as aggressive and intense — hello, creepy! — while too little eye contact can be interpreted as submissive or avoidant.

With video calls, however, we are forced to endure far more eye contact than we would in face-to-face interactions, which causes “nonverbal overload,” according to researcher Jeremy Bailenson. He wrote in the Wall Street Journal that “behavior ordinarily reserved for close relationships — such as long stretches of direct eye gaze and faces seen close up — has suddenly become the way we interact with casual acquaintances, coworkers and even strangers.”

Simply looking at our own faces on the screen can be distracting and even anxiety-provoking. We start to notice our facial expressions, a new laugh line, our eye bags — everything and anything starts to feel a little awkward when stared at for too long.

That may be why online searches for skincare, hair and makeup rose dramatically starting in March 2020. And the BBC found that cosmetic doctors and plastic surgeons around the world have reported a huge increase in bookings for both surgical and nonsurgical treatments, something they are calling a “Zoom Boom.”

No need to make any drastic changes! There are a few easy ways to look and feel your best on a video call. One, keep the camera eye-level or higher to avoid double chins. Two, ensure lighting comes from the front, rather than the back. Opt for tops in solid colors, and if you want, throw on a little tinted moisturizer to even out skin tones. Voila!

Relocalize Your Relationships

Ian Marcus Corbin wrote about the need to practice our face-to-face social skills in a piece for the Washington Post. He notes, “To be sure, Zoom, smartphones and social media have allowed many to remain healthy, sane, employed and somewhat connected during the COVID-19 pandemic. But these nine months of tech dependency have also accelerated a less-welcome process long underway: the atrophy of our friend-making muscles. That has deeper implications than you might think.”

We have, Corbin posits, become a bit disembodied, lacking in relationships with people in our near proximity, such as our neighbors, fellow parents at our kid’s troop meeting or that dude who comes in every week to the same spinning class. Random, local relationships are a bit awkward — and that is the point. We are forced to mingle, and while it’s sometimes uncomfortable, that sense of friction is good, says Corbin. This is how we learn to trust the people surrounding us, and that sense of trust is necessary for a well-adjusted society.

Think about safe ways you can reconnect your local relationships. Perhaps you could text a colleague you’ve been meaning to catch up with and schedule a walk together, or even chat on the phone just to say hello to mix up the form of communication a bit.

Time Trade with Your Partner

Depending on who you are sharing your space with, there may be additional stress during a video call simply from trying to appear professional. We all remember that poor guy on the BBC whose news interview was crashed by his children and wife.

It’s one thing to teach, and another thing entirely to teach while hoping your child doesn’t crash through the room, wearing only one sock. Headphones can only block out so much chaos, and for working parents, the juggle is real.

If you have a partner and can “time trade” so that he or she is on kid or pet duty during your most important video calls, you’ll feel much less stressed. It’s not always possible, of course, but having one person designated to let out the dog/feed the toddler/answer the doorbell during vital moments can do wonders to improve focus for the Zooming partner.

Creative Warm-Ups

Before jumping onto your next scheduled video call, take a few minutes to warm up. Prep your tea or coffee, do a few stretches, listen to your favorite inspiring music. Educators are particularly prone to vocal-cord stress, so try these warm-up exercises for teachers.

Also be sure to follow the 20-20-20 rule, where you look up every 20 minutes, and for 20 seconds, focus on an object in the distance (about 20 feet away) rather than on your computer monitor. It helps to avoid eye strain.

Nurture Yourself with Meet-Ups

If you’re a music educator who has to spend the bulk of your week on video-chats, see if you can balance that with off-line activities during your free time.

Instead of meeting up for yet another online cocktail with friends, suggest a no- or low-contact, in-person option. How about a hike? Bocce in the park? Backyard bonfire? The Mayo Clinic has a list of activities that can be safely enjoyed, and points out that outdoor activities “offer an emotional boost and can help you feel less tense, stressed, angry or depressed. And sunlight can give your body vitamin D, too.”

It’s also okay to simply decline a social Zoom if you’re suffering from screen overload.

While we’ll soon be back to more in-person meetings and teaching schedules, video conferencing is likely to here to stay in some form, so learning how to adapt to it without straining our eyes — or brains — is definitely worth it.

YME Collective

Written by jkikuchi@yamaha.com on February 1, 2021. Posted in Master Educator Collective. 2 Comments on YME Collective

The Yamaha Master Educator Collective

You have a long list of goals when you enter the classroom each day: Be a better music educator. Help students succeed. Feel inspired and empowered.

We can help you achieve all of your goals with our Yamaha Master Educator Collective, a roster of 30 all-star educators. This esteemed group covers a range of school levels and topics, and offers music teachers mentorship, expert advice and tried-and-true tips that will support and enhance your music programs.

The Yamaha Master Educator Collective currently has three distinct groupings:

- Band and Orchestra is made up of instrumental conductors or educators who specialize in the advancement of instrumental music education. Each is celebrated in several areas of expertise including conducting technique, rehearsal strategy, student leadership, program building, retention and more.
- Keyboard Pedagogy comprises renowned and adept educators and composers who teach piano pedagogy, keyboard labs and keyboard methods in a K-12 or post-secondary setting. They are accomplished in many areas including virtual keyboard lab settings, adult learning, connecting the student to the music and more.
- Music Business and Entrepreneurship includes educators and career professionals who specialize in teaching music business and arts entrepreneurship in the modern music industry. They prepare students for a wide range of career paths in the music industry. Their mastery covers a variety of topics including income diversification, unlocking innovation, music copyright and more.

THE YAMAHA EDUCATOR NEWSLETTER: Join to receive a round-up of our latest articles and programs!

The Yamaha Master Educators are available to work on-site with music teachers during staff development, as well as speak and conduct appointments with state music education associations, district meetings for music teachers and fine arts departments, districtwide in-service days, and both virtual and in-person clinics for educators or students.

To learn more about the collective and to discuss which Yamaha Master Educator and topic will best meet your needs, please contact Jalissa Gascho at jgascho@yamaha.com.

View the Yamaha Master Educator Collective brochure.

Meet the Yamaha Master Educators

Yamaha Master Educator Dan Berard

Daniel Berard

BAND AND ORCHESTRA
Clinician and Education Consultant
Retired K-12 Music Educator

Frederic Chiu

KEYBOARD PEDAGOGY
Assistant Prof. of Piano
Carnegie Mellon University

Mirian Conti

KEYBOARD PEDAGOGY
Concert Pianist, Faculty of the Juilliard School Evening Division
The Juilliard School

Dr. Travis J. Cross

BAND AND ORCHESTRA
Professor of Music,
Director of Bands
University of California, Los Angeles

Yamaha Master Educator David Cutler

Dr. David Cutler

MUSIC BUSINESS
Distinguished Professor of Music Entrepreneurship and Innovation
University of South Carolina

Dr. Rodney Dorsey

BAND AND ORCHESTRA
Prof. of Music, Conductor of Wind Orchestra, Director of Graduate Wind Conducting Studies
Florida State University College of Music

Yamaha Master Educator Doug Droste

Douglas Droste

BAND AND ORCHESTRA
Dir. of Orchestral Studies
Baldwin Wallace University Conservatory of Music

Serona Elton

MUSIC BUSINESS
Director of the Music Industry Program,
Chair of the Music Industry Department / Head of Educational Partnerships
University of Miami, Frost School of Music
The Mechanical Licensing Collective

Yamaha Master Educator Cheryl Floyd

Cheryl Floyd

BAND AND ORCHESTRA
Hill Country MS Director of Bands (retired), Leander ISD flute instructor, music consultant and mentor
Hill Country Middle School, Leander ISD, Eanes ISD

Yamaha Master Educator Richard Floyd

Richard Floyd

BAND AND ORCHESTRA
Texas State Director of Music Emeritus
The University of Texas at Austin

Kevin Ford

BAND AND ORCHESTRA
Dir. of the Leadership Conservatory for the Arts
Tarpon Springs High School

Larry Gookin

BAND AND ORCHESTRA
Distinguished Prof. and Emeritus Prof. of Music
Central Washington University

Yamaha Master Educator Jeffrey Grogan

Jeffrey Grogan

BAND AND ORCHESTRA
Professor of Music, Director of Orchestral Studies / Artistic Director and Conductor
Oklahoma City University / Oklahoma Youth Orchestras

Yamaha Master Educator Donny Gruendler

Dr. Donny Gruendler

MUSIC BUSINESS
Faculty, Doctor of Education in Learning Technologies Program
Pepperdine University

Barry Houser

BAND AND ORCHESTRA
Associate Director of Bands, Director of the Marching Illini, Chair of the Conducting Area
University of illinois, Urbana-Champaign

Jerry Junkin

BAND AND ORCHESTRA
Director of Bands,
Prof. of Wind Conducting
The University of Texas at Austin

Phillip Keveren

KEYBOARD PEDAGOGY
Composer/Pianist
The Hal Leonard Student Piano Library

Craig Kirchhoff

BAND AND ORCHESTRA
Prof. of Music, Dir. Emeritus of University Bands
University of Minnesota

Gary Lewis

BAND AND ORCHESTRA
Dir. of Orchestral Studies, Bob and Judy Charles Professor of Conducting, Music Director of the West Texas Symphony Orchestra
University of Colorado Boulder

Yamaha Master Educator Dennis Llinás

Dr. Dennis Llinás

BAND AND ORCHESTRA
Director of Bands, Associate Professor of Conducting & Music
University of Oregon

Anthony Maiello

BAND AND ORCHESTRA
Distinguished University Professor
George Mason University

Andrea McAlister

KEYBOARD PEDAGOGY
Professor of Piano Pedagogy
Oberlin College and Conservatory

Yamaha Master Educator Sarah McKoin

Dr. Sarah McKoin

BAND AND ORCHESTRA
Director of Bands, Professor of Music
Texas Tech University

Yamaha Master Educator Marcia Neel

Marcia Neel

BAND AND ORCHESTRA
Senior Director of Education for Yamaha Corp. of America;
President of Music Education Consultants

Dr. Jeffrey Nytch

MUSIC BUSINESS
Professor of Composition,
Director of the Entrepreneurship Center for Music
University of Colorado Boulder

Pamela Pike

Dr. Pamela D. Pike

KEYBOARD PEDAGOGY
Herndon Spillman Professorship in Piano Pedagogy / Editor in Chief, Chief Content Director
Louisiana State University / Piano Magazine

Yamaha Master Educator Michael Pote

Michael Pote

BAND AND ORCHESTRA
Director of Bands
Carmel High School

Dr. Stan Renard

MUSIC BUSINESS
Assoc. Dean, Assoc. Prof. of Arts Management and Entrepreneurship, Dir. of the Arts Incubation Lab, The University of Oklahoma
Exec. Dir., Monteux School & Music Festival

Yamaha Master Educator Dana Sedatole

Dana Sedatole

BAND AND ORCHESTRA
Music Education Specialist / Past President
Michigan State University / Texas Music Educator Association

Dr. Kevin Sedatole

BAND AND ORCHESTRA
Prof. of Music, Dir. of Bands
Michigan State University

Omar Thomas

BAND AND ORCHESTRA
Assistant Professor of Composition
The University of Texas at Austin

Dr. Emily Threinen

BAND AND ORCHESTRA
Director of Bands,
Associate Prof. of Music
University of Minnesota

Marguerite Wilder

BAND AND ORCHESTRA
Middle School Conductor (retired), Clinician and Consultant

The History of Musical Genres, Part 5: Pop, Rock ’n’ Roll and Rock

Written by Marc Hopkins on February 1, 2021. Posted in History. 2 Comments on The History of Musical Genres, Part 5: Pop, Rock ’n’ Roll and Rock

The beginning of pop music — a genre that would lead to the creation of rock ’n’ roll and rock — started on an obscure block in New York City.

In the late 1800s, a cluster of residential and commercial spaces along West 28th Street between Fifth Avenue and Broadway became the epicenter of American popular music. Known as Tin Pan Alley from the near-constant din of composers banging away on pianos, songwriters turned their attention away from classical and sacred pursuits to focus on secular tunes.

The Rise of Pop: a King and a Prince

It was during this period that consumer demand increased for sheet music from vaudeville acts and ragtime, a piano-driven style characterized by syncopated melodies. At around the same time, lax copyright laws were strengthened, providing a lucrative environment for music publishers. The growing appetite for sheet music would continue through the early 20th century with the compositions of Irving Berlin, Cole Porter and George Gershwin.

In the 1920s, the rise of radio and recorded music would slow demand for sheet music and further entrench popular songs in American culture. In an online story entitled “The History Of Pop Music In 5 Defining Decades,” author Katherine Myers notes that the genre may have begun as a nod to songs that were popular during a given time, but that this has changed to the point where “pop music has grown into its own ever-evolving genre.”

Since the rise of radio, decades have often become defined by the music that fills the airwaves, and these are the songs that ultimately become the “pop music” of their era. Over time, pop as a distinct genre has come to embody a reliable formula. A 2014 story in the Washington Post by British scholar Joe Bennett summed it up this way: “Pop songs (generally) stay in one key, are in 4/4 time, last between three and five minutes, are organized into chunks of four or eight bars, have a repeating chorus played two to four times, include the title sung at least three times, and feature short melodic fragments that repeat a lot to help everyone to remember them.”

Most eras also have an artist or collection of artists that commercially and artistically dominate. The pop stars of the 1920s, 1930s and 1940s were primarily crooners (Rudy Vallee, Eddie Cantor, Al Jolson, Bing Crosby, Frank Sinatra) and big band leaders (Cab Calloway, Paul Whiteman, Benny Goodman, Tommy Dorsey, Glenn Miller). The next three decades were dominated by the follow-on genres of rock ‘n’ roll and rock music (see below), but in the early 1980s, chartbusting artist and former child prodigy Michael Jackson was crowned the “King of Pop” … and rightfully so. Record company executive Tommy Mottola stated in the pop star’s 2009 New York Times obituary that “[Jackson] bridged the gap between rhythm and blues and pop music and made it into a global culture.”

The musical IQ of Prince, who, like Jackson, also died an untimely death at an early age, was so expansive that it can’t be summed up in a single style. Upon his passing, Jon Pareles of the New York Times wrote, “Prince was a man bursting with music — a wildly prolific songwriter, a virtuoso on guitars, keyboards and drums and a master architect of funk, rock, R&B and pop, even as his music defied genres.”

Pop music, like most genres, is male-dominated, though there have been many important female pop artists. At the height of her powers, singer Whitney Houston had a range that spanned three octaves, noted Pareles and Adam Nagourney in their New York Times obituary, adding, “Her voice was plush, vibrant and often spectacular. She could pour on the exuberant flourishes of gospel or peal a simple pop chorus; she could sing sweetly or unleash a sultry rasp.” Notably, Houston also gave new life to Dolly Parton’s iconic country song “I Will Always Love You.”

Rock ’n’ Roll

In the early 1950s, another form of popular music began to emerge: rock ’n’ roll, which was fashioned by the confluence of gospel, jazz, rhythm and blues, and country music, along with other subgenres such as jump blues and boogie-woogie. The single “Rocket 88” (credited to Jackie Brenston and his Delta Cats although it was actually Ike Turner’s Kings of Rhythm) is considered the first rock ’n’ roll recording due to its distorted guitar and driving beat.

Despite this milestone, songwriter and innovative guitarist Chuck Berry — best known for his timeless hits “Johnny B. Goode” and “Maybellene” — is considered the real architect of rock ’n’ roll. When he was inducted into the Rock and Roll Hall of Fame in 1986, Berry was singled out for his contributions to the genre. “While no individual can be said to have invented rock and roll,” stated the organization, “Chuck Berry came the closest of any single figure to being the one who put all the essential pieces together.”

But Little Richard, the flamboyant pianist whose kick-out-the-jams concerts had a wild edge that mesmerized audiences, also laid claim to being the music’s originator. “I really feel from the bottom of my heart that I am the inventor,” he said in a 1990 Rolling Stone interview. “If there was somebody else, I didn’t know them, didn’t hear them, haven’t heard them. Not even to this day. So I say I’m the architect.” Some of Richard’s signature songs include “Tutti Frutti” and “Good Golly, Miss Molly” — recordings that capture the rawness of his live performances.

In 1956, moments before a then largely-unknown young singer named Elvis Presley took the stage on “The Ed Sullivan Show,” the host addressed the audience. “I don’t know what he does,” confessed Sullivan, “but it drives people crazy.” After teasing the crowd with the swivel of his hips, Presley launched into a rendition of “Hound Dog,” and in that moment rock ‘n’ roll entered the mainstream. Elvis’ artistic sensibilities were rooted in his Mississippi upbringing and his love of gospel, R&B and country music. “It was a synthesis so original and strong that radio stations did not know how to handle it,” noted music critic Robert Hilburn in a 1977 Los Angeles Times story. “Country music stations dismissed it initially as too “black” sounding. Black stations figured it was too country in tone. Pop stations … just ignored it.” Despite this, Presley became a pivotal figure during the rock ‘n’ roll era and in the cultural fabric of the nation throughout the two decades that followed. But Presley’s supremacy in the charts was to be challenged in the early 1960s by the coming of a British invasion and a new offspring of rock ’n’ roll called, simply, “rock.”

The Genesis of Rock Music

Music journalist Robert Christgau once suggested that “rock is rock ‘n’ roll made conscious of itself as an art form,” which evokes the influence of The Beatles on popular music in the 1960s and beyond.

Almost everything about The Beatles seemed fresh and new at the time, even though many of their early recordings were covers of early rock ‘n’ roll, R&B and Motown songs … albeit often lesser-known ones. But to those nuggets they added a youthful exuberance and a stomping, relentless beat, and that wasn’t the end of the story, for the band not only wrote their own songs (almost unheard of at the time), but had not just one but two skilled songwriters and lead singers in John Lennon and Paul McCartney, often joined in voice (and later in songwriting) by lead guitarist George Harrison. “They pulled off the rare feat of keeping a distinct voice through a remarkably diverse songbook that covers all types of genres, which is something incredibly rare,” wrote professor of musicology David Metzer in the Vancouver Sun. Though their career as a group spanned little more than a decade, they left behind an enormous legacy and hundreds of hit songs, from “I Want to Hold Your Hand” to “Let It Be.” What’s more, all four Beatles would craft successful solo careers after the band broke up.

In the 1960s, The Beatles had few peers, but one of them was Bob Dylan, an artful and socially conscious songwriter who started with an acoustic guitar playing folk music that emulated that of his idol Woody Guthrie, and ended up as a rock icon (and as a major influence on John Lennon and many other artists of the era, including The Byrds and The Band). With massive hits like “Blowin’ In the Wind,” “Like a Rolling Stone” and “The Times They Are a-Changin,” Dylan is considered a pioneer of the sub-genre folk-rock.

The Rolling Stones are considered one of the greatest rock bands to ever take the stage, but everything about them is steeped in the blues. Even their name is taken from the Muddy Waters song “Rollin’ Stone.” “If you don’t know the blues, there’s no point in picking up the guitar and playing rock ’n’ roll or any other form of popular music,” said the band’s rhythm guitarist and co-songwriter Keith Richards in a udiscovermusic.com story about the group’s influences. Blues artists like Waters, Howlin’ Wolf, John Lee Hooker, Elmore James, Big Bill Broonzy and Robert Johnson all had a huge impact on the Stones (as did the riffs of Chuck Berry) and influenced Richards’ guitar licks and co-writer Mick Jagger’s vocals.

Dylan and the Stones are still performing to this very day, but of course the story of rock did not end with them. Great bands of the 1970s and beyond include The Who, Led Zeppelin, The Eagles and so-called “prog” (progressive) rockers like Pink Floyd, Queen, Genesis, Rush and Yes, followed by so-called “heavy metal” bands like AC/DC, Def Leppard and Metallica, and punk-rockers like The Ramones and The Clash … which led into the “grunge” movement of the 1990s dominated by Nirvana and Pearl Jam. Along with individual artists like Jimi Hendrix, Eric Clapton, David Bowie, Elton John, Billy Joel and Bruce Springsteen, all have kept the flame of rock music alive and well.

Three genres, three distinctive journeys. The continuum of pop, rock ’n’ roll and rock offer a sonic tapestry that both preserves tradition and inspires new music to enjoy.

Check out the other articles in our “History of Musical Genres” series.

Closeup view of an electric bass' strings stretched over the saddle and the screw at the bottom of the instrument body for adjusting.

A Guide to Bass Bridges

Written by Michael Gelfand on January 29, 2021. Posted in Bass.

Every component on or in your bass is there for a reason, but some have bigger and more important jobs to do than others. There are those parts with an obvious purpose, and others that are more mysterious. Tuners, nuts, pickups, pots, knobs, switches and straphangers all have clear functions to perform … though they also may be imbued with style points as a side benefit. But when you get down to it, whether you’re talking function or form, there’s no part of your bass with a more important role to play than the bridge.

More Than Meets the Eye

Don’t be deceived by its dense but shiny good looks: The bridge is deceptively complicated.

This was something I didn’t know when I first started playing bass. (That’s because, as every parent has discovered, teenagers know everything.) My attitude when it came to learning anything about my instrument was, just stop talking and hand me the screwdriver. So, armed with youthful ignorance and ham-handed luthery, I attacked my first bass’ bridge and turned what was an already finicky instrument into an unplayable, jangling nightmare.

These days I know that the bridge should not be disrespected, because it is actually the fulcrum for everything your bass does. For starters, it’s the platform that enables the strings to pass over the pickup(s), and it also serves as the high-mass contact point for strings to connect with the bass’ body. In large part, that’s where vibrations — and therefore, the sound of the instrument pre-amplification — live and die. And yet we’re still only scratching the surface of what the bridge does and how it works.

Back in the Saddle

The bridge, which is sometimes referred to as a tailpiece, doesn’t just attach the strings to the body. Each string passes over an individually adjustable saddle designed to be moved slightly forward and backward (affecting intonation), as well as up or down (affecting the all-important playability factor of string height, or “action”). These small tweaks enable the proper set-up for your bass. Without that ability … well, think about having a car where you never rotated the tires, and where the chassis sat on a suspension made from mattress springs and barbed wire. You can drive it, but is it comfortable and efficient? How does it feel when cornering at high speed?

A correctly intonated bass responds with perfect pitch whether you’re playing an open string or anywhere up and down the neck. String height — the desired amount of space between the bottom of the strings and the crown of the frets — is a subjective preference. The two things are co-dependent in that every slight adjustment made to a saddle’s height will affect the intonation for that string, and every millimeter adjustment of the saddle forward or backward to intonate the bass will impact the action. (There are other factors that come into play here — particularly the tension of the truss rod underneath the fretboard — but that’s a story for another day.)

Top-Loading vs. String-Through-Body

Top-loading bridges have a slot (or a drilled hole) through which each string must be threaded, gripping the ball-end of the string so that the adjustable tuner at the top of the neck can be used to create the appropriate tension required for the string to vibrate. The pickup then captures those vibrations and converts them into a signal that can be amplified. You’ll find top-loading bridges in Yamaha TRBX basses.

Closeup image of the strings over the bridge. — *A top-loading bridge.*

String-through-body bridges are slightly different in that the string runs into holes located on the underside or bottom of the bass before it passes through the body and over the saddles. The “break angle” at which the strings pass over the saddle (which creates the right amount of downward pressure to maximize string performance) is steeper than it is with a top-loading bridge, and although it’s a nuanced thing, some players say that string-through-body bridges deliver more resonance and sustain. Yamaha BB Series basses incorporate diagonal body-through stringing, whereby the strings are angled at the saddle and pass through the instrument to the bridge at a 45º angle, as opposed to the traditional vertical stringing method, which places more stress on the strings.

Closeup of the strings through the bridge. — *A string-through-body bridge.*

A great way to find out which type is better for you is to get your hands on a Yamaha bass (such as a BB Pro Series, BB 700 Series, BB 400 Series or BBPH Peter Hook Signature BB bass) that comes equipped with a Vintage Plus or Vintage Plus Light bridge. These “convertible” bridges offer both top-loading and diagonal body-through stringing (which can be set to either of two different angles for extra tonal shaping ability — the rounder side of the saddle giving a slightly duller sound, and the more angled area of the saddle producing a slightly tighter one), which gives you the flexibility to choose the approach you prefer.

Closeup of the bridge. — *Yamaha Vintage Plus convertible bridge.*

And then there’s the unique bridge design of the Yamaha BBNE2 Nathan East Signature Bass. It features individual saddles attached to the body of the bass for each string. This serves to reduce interference from other string vibrations for minimal cross-talk between the strings, thus prolonging sustain while adding extra punch and note definition. The end result is a strong low end with excellent note separation and clarity.

Mass Appeal

Two more things to consider when it comes to bass bridges are mass and material. It’s logical to think that the heftier the bridge, is the more likely it is to improve tone and enhance sustain, though in my experience, I find this to be quite nuanced. I have some basses fitted with high-mass bridges, and other ones with rickety bridges that look like they were fabricated in a hardware store basement, yet in a blind listening test most people probably wouldn’t hear much of a difference between them.

I do think, however, that the bridge material matters. The sonic characteristics and advantages of steel, zinc, brass and other metals can be argued by metallurgists (which I am definitely not), but in general, more expensive basses tend to come with heavier bridges made of more expensive metals. For example, entry-level Yamaha RBX and TRBX basses have bridges made of zinc or steel, while higher-end BB Series instruments (including the aforementioned BBNE2) have brass saddles for a slightly deeper low end, paired with steel bridge plates that deliver a brighter tone, making for more of a “hi-fi” sound. Most Yamaha signature basses (including the Billy Sheehan Attitude 30th Anniversary, Billy Sheehan Attitude Limited 3 and John Patitucci TRBJP2 models) have solid brass bridges.

Personally, I’m comfortable with function over form any day of the week. And here’s what I do know: Well-made basses typically come with well-made bridges. As long as what you’ve got in your hands (or what you’re shopping for) is a bass that boasts a bridge that is stable, doesn’t have sharp edges, and most importantly, allows for precise adjustments, it’ll probably do the job just fine.

Check out Michael’s other blog posts.

Click here for more information about Yamaha basses.

Meet Yamaha Master Educator Dr. Stan Renard

Written by Yamaha Staff on January 28, 2021. Posted in Master Educator Collective.

At The University of Oklahoma, Dr. Stan Renard is Associate Dean and Associate Professor of Arts Management and Entrepreneurship and the Director of the Arts Incubation Research Lab. He is also the Executive Director of the Monteux School and Music Festival.

Performer, researcher and multi-lingual presenter, Renard’s international and diverse background come into play in leading the Arts Management and Entrepreneurship at the University of Oklahoma. His exuberance for creating replicable mechanisms that serve to improve existing systems in a variety of organizations is only surpassed by his level of exhilaration when speaking about it.

During his time at The University of Texas at San Antonio, Stan developed a Music Business Curriculum in partnership with a local San Antonio high school, which empowered hundreds of students to contemplate careers in the music industry. When first offered, over 400 interested students tried to enroll, but only 60 participants could be accommodated. The second year of this highly successful curriculum is a practicum, which dovetailed into the program at UTSA.

In his sessions, Stan provides secondary school music educators and their students with successful working models that allow educators to expand their programs to address another facet of an education in music — that of a career path in the music industry.

A proponent of experiential learning, Renard’s teaching techniques are rooted in project-based undertakings. Through a reverse-engineering approach, students are challenged to create projects ranging from releasing recordings to creating pitch decks and even organizing media buying campaigns. His focus on team building, networking and a capacity for effective writing, helps his students develop the skills needed to become the effective industry leaders of tomorrow.

Focusing on continuous personal improvement and purpose, Stan lives a contagious “I-love-everything-I-do” attitude and his joyful perspective continues to inspire his students to achieve the unimaginable.

A few of Dr. Stan Renard’s session titles are:

Marketing Your Music Program Like A Pro!
Building a Top Music Industry Resume: Strategies Learned from Industry Demand
From Incubation to Delivery: An Application of Project Management
Spark New Research, Ignite Your Teaching with Music Data
Growing Your Network Capacity
The Entrepreneur Mindset
The Nexus of Entrepreneurial Culture and Digital Skills in Promoting Arts Entrepreneurship
Increasing Your Diversity of Experience

To learn more about clinics by Dr. Stan Renard, please contact Jalissa Gascho at jgascho@yamaha.com.

Mastering engineer in studio sitting in front of mixing console.

Mastering Deliverables

Written by Pete Lyman on January 27, 2021. Posted in Recording.

In my previous postings, I’ve been covering various aspects of mastering, and now we come to the final step of the mastering process: providing the client with the necessary deliverables to release their music into the world. Whether it be streaming, CD or vinyl, a mastering engineer needs to be able to create, quality check and provide every needed format.

There are a handful of different deliverables for distribution, and they vary from project to project. For example, an independently released single may only require one mastered file for streaming, whereas a major label artist could request every available format. Luckily, WaveLab’s rendering capabilities make it easy to output whatever files the client needs.

Mastering deliverables currently in use include:

– 16-bit/44.1 kHz WAV files (sometimes referred to as “Red Book” audio)

– 24-bit HD files

– Apple Digital Masters (previously called “Mastered for iTunes”)

– DDP files for CD replication

– Digital Hi-Res vinyl cutting files or vinyl master lacquers / reference acetates if the mastering facility has a vinyl cutting lathe

The most commonly used is the 16-bit/44.1 kHz WAV file, which is standard for digital streaming and is the same file resolution as CDs. It’s also the most widely accepted format amongst aggregators such as TuneCore, Distrokid, etc. For these reasons, this is the go-to format that I master to unless otherwise specified by the client.

Now that companies like Amazon are creating platforms that can stream HD audio, a lot of my clients are requesting these as a deliverable in addition to standard 16-bit. These files are rendered as 24-bit, and I like to keep them at their native sample rate (that is, the same sample rate as the mix files) if possible. This can range from anywhere to 44.1 kHz to 192 kHz, but the most common resolution seems to be 24-bit/96 kHz.

Apple Digital Masters are created specifically for streaming through the section of iTunes of the same name. These must be created by an engineer who is certified within Apple’s database. The files are rendered as 24-bit, similar to HD masters, and go through an encoding/testing process to minimize intersample peaks and errors brought on by Apple’s conversion to the AAC (Advanced Audio Coding) format.

Though most people listen to music via digital streaming these days, I still have a good number of clients who like to create CDs too. In that case, they need a fileset called a DDP (short for “Disc Description Protocol”), which contains all the necessary data for CD replication. A DDP has the full sequenced record, complete with correct track IDs, plus it contains all of the embedded metadata like CD text, ISRC codes and UPC codes. Assuming that your project is encoded properly and your markers are correct, all it takes to create a DDP in Wavelab is literally just a push of a button. It’s one of the best features of the app, and it truly is that easy.

Vinyl deliverables can be created one of two ways. The first route — and the one I prefer — is to cut lacquers for the project in-house. This process starts with the initial mastering for digital release. Once those files are approved, I go back and optimize them to cut properly. Since Wavelab allows you to perform loudness limiting at the very end of the capturing process, I can preserve the dynamic integrity of the project through the entire analog chain. This makes it easy for me to optimize digital masters for vinyl cutting.

Vinyl has much stricter limitations than streaming, and it is imperative that the files translate as closely to their digital counterparts as possible, while still cutting without any issues. That’s why I prefer to cut the masters myself if possible; it allows me to guarantee their quality through both the digital and physical realms. From there, the lacquers go off to a manufacturing plant for plating and pressing, and then end up in the hands of the public.

The other route for getting a project onto vinyl is to create vinyl-specific cutting files to be cut elsewhere — something that’s necessary if artists plan to manufacture a run in another location, such as Europe. In that case, it’s safer to deliver files than to ship physical lacquers overseas and risk damage and degradation. These vinyl-specific masters are hi-res WAV files that are optimized to translate as closely as possible once cut by the vinyl engineer.

One deliverable I haven’t touched on is MP3 files, and for a good reason: Unless a client specifically asks for it, it’s not something I deliver. In general, you shouldn’t be sending MP3s to any of the digital distribution companies even if it ends up in that format once released. Most distributors will handle the encoding themselves, so it’s best practice to deliver the highest quality file before it’s converted by the aggregator.

The goal with deliverables, both digital and physical, is to provide the highest quality audio possible. That’s why I quality check every single deliverable before it gets sent to my clients. We mastering engineers are the final gatekeepers before the public gets to hear our client’s art, so we need to do everything in our power to make sure their music sounds exactly as they imagined it to be.

Photograph courtesy of the author.

Check out Pete’s other blogs.

Click here for more information about Steinberg WaveLab.

Come Back Strong for Fall 2021: Your Post-Pandemic Planning Guide

Written by MusicEdNow on January 26, 2021. Posted in Advocacy.

Welcome to your Post-Pandemic Planning Guide to bring back music to your school.

Your program may have taken a toll this past year and rebuilding it will be challenging, but you are not alone. We are here to walk beside you and help you every step of the way to bring back the music!

Our guide has a singular focus: Rebooting and reinvigorating your recruitment and retention efforts. Every two weeks we will provide goals, ideas, action items, checklists and advocacy materials that you can use to get your administration, staff and, most importantly, prospective students excited about music making.

What Should You Expect?

Throughout the spring semester, you should expect to receive relevant content to help you prepare for the upcoming school year. This might include talking points for an impactful conversation with your principal, recruiting and retention ideas, and creative tools to ensure that music remains a cornerstone in your school in life after COVID-19.

Like anything you hope to strengthen, your recruiting program can benefit from regular “workouts.” We’ve built a 16-week training plan to guide you through the rest of the school year, breaking action items into manageable to-dos and helping you finish strong, with a full, robust program for Fall 2021.

Whether you’ve been with us from the beginning or are just finding us now, feel free to join in! Our plan is meant to build on itself in a logical way, so actions you take in Session 1 will pay off in successive sessions. However, each session is also a complete package, so you can also zero in on the session topic that you need help with the most.

Perhaps you have some thoughts on how we can improve the Post-Pandemic Planning Guide, awesome content that’s helped you or want to share what you are doing now to prepare for Fall 2021. Drop us a line here — we’d love to hear from you!

Are you ready? Let’s get started!

Click on the links below to go to specific Post-Pandemic Planning Guide Sessions:

Session 1
Session 2
Session 3
Session 4
Session 5
Session 6
Session 7
Session 8

_____________________________________________________________________________________

SESSION 8

Welcome back to your Post-Pandemic Planning Positivity Guide! Our previous guides have been all about getting your program ready for life after COVID. This week, we take a different approach.

We know that this year has been a challenge. We feel it, too! For this final session, each of the six contributing authors from the MusicEDNow! team will share how they are staying positive, managing fatigue and preparing for life after COVID-19. In sharing their techniques, we hope that perhaps you and your students may be able to utilize them, too.

Looking Forward to Fall: Time to Thrive !

As music educators, we understood that advocating was an essential part of our job even before a worldwide pandemic where aerosol dispersion was unsafe. And because music educators are resilient in our pursuit to share music with children, we have spent over a year finding flexible and ingenious ways to keep music education moving forward. Through these challenges we have all learned new ways to reach students outside of our classrooms and have continued to be strong advocates for music education in childrens’ lives.

As we plan for Fall 2021, there is no going back, only forward. We now have the opportunity to take our new skills and rebuild music programs that can inspire students as an ensemble and as individuals, with a trombone and a Chromebook, in a room and via Zoom. Fall 2021 is the beginning of a new chapter in music education. Spoiler alert: It will thrive!

Take a moment to reflect on your accomplishments of the past year, not just the challenges. Think about the skills you have acquired, not just the ones you could not use. Now, add all those skills and accomplishments to all the great work you were doing pre-pandemic and reflect on how much stronger you now are as an educator and an advocate.

You are prepared to thrive, and your current and future students are so lucky to have you.

— John Mlynczak, Vice President of Music Education & Technology at Hal Leonard,
graduate instructor at VanderCook College of Music and
passionate advocate for music education

Make the Most Important Thing, the Most Important Thing

Last March, the world stopped. “Two weeks to flatten the curve” was all we talked about (and Carol Baskins — what does this mean? Sorry, I must have missed it.). “Two weeks” became “this fall.” Then fall came and went. Here we are, a year later, just beginning to see a light at the end of the tunnel.

By being forced out of our rhythms, we were also forced to re-evaluate everything! Our time and priorities shifted. A lot of the change forced upon us was challenging and uncomfortable, and we had to rethink even the most simple tasks. But some of it turned out pretty great, too. I can’t help but appreciate the additional time I had to spend with family and learn new things.

If nothing else, COVID has given us all a new perspective on what’s really most important. In life after COVID, will some of those peripheral things return to our calendars? Sure. But our perspective will be different. I will forever appreciate the simplicity of a hug, dinner with friends and not having to dodge strangers in the grocery store aisle. (OK, I may still do that.)

As we turn the page, I hope we all strive to make the most important things in our life, the most important thing. If COVID taught us anything, it’s this: Focus on what’s important. The rest? Well, it wasn’t that important to begin with.

— Nick Averwater, Vice President and fourth-generation owner at Amro Music,
a locally owned and family-operated music store in Memphis, Tennessee.
Nick also hosts the “After Hours: Conversations for Music Educators” podcast.

Going Back … to the Future

When COVID-19 restrictions ease, students and educators must adapt and prepare for a return to schools. All school staff will need to support students in their transition back to the classroom, and at the same time, manage their own transition and anxiety. Below are several resources to help as educators prepare to support this transition, particularly for anxious students.

If still teaching virtually, this article from Edutopia will help prioritize your self-care while teaching from home and these 7 tips for returning to school may help educators prepare for the transition back to in-person education.

In a blog article written for NAfME by Mara E. Culp and Rachel Roberts, the topic of seeking professional satisfaction during COVID-19 and beyond was addressed in detail. As articulated in the conclusion,

Teaching music can feel overwhelming and seeking professional satisfaction can help teachers find joy in challenging times. By identifying their particular needs and consulting trusted sources to help set reasonable expectations, we hope music teachers can find fulfillment and better assist their learners for years to come.

From a different perspective, noted sports psychologist, Dr. Josephine Perry, shares these four secrets from sports psychology that can be used by any educator as setting goals for returning to the classroom are being made.

Being nervous is good. Tell yourself, I am not nervous … I am excited. Reframe your anxiety.
Never do all the work yourself. Learn to let others support you along the way.
Mentally rehearse. Use visualization techniques which can increase motivation, build confidence and increase performance.
Talk to yourself. Self-talk can have a surprising impact on your performance. Think of Muhammad Ali saying, “I am the greatest!” Tell yourself, “I can!”

Always remember “why” you are teaching music. This highly circulated quote, penned by an unknown author, is as important today as ever.

I teach music
… not because I expect you to major in music,
… not because I expect you to play or sing all your life,
… not so you can relax,
… not so you can have fun,
but so you will be human,
so you will recognize beauty,
so you will be closer to an infinite beyond this world,
so you will have something to cling to,
so you will have more love, more compassion,
more gentleness, more good.
In short, more LIFE.

— Marcia Neel, Senior Director of Education for Yamaha Corporation of America,
Yamaha Master Educator and president of Music Education Consultants Inc.

Looking for your Car Keys

It has been gratifying and a pleasure to be a part of providing tools and compass direction as we all come out of the tunnel of COVID. I know that many of you can only see the dim light at the tunnel’s end, but I assure you that it is near, and we have survived. A new and brighter day is in our immediate future.

I am reminded of each time I lose the keys to my car. In my hectic, angry and frantic mode of searching under and through everything, it never fails that just before I do find my keys, I find something else I had lost and needed as well. That’s truly a win/win for me and at that very moment, I am euphoric.

In searching for the answers and procedures of dealing with this COVID Challenge, many of us have found amazing treasures as well. It has been a time to re-evaluate the importance of each element of our “normal” and to focus on the greatest hits. For me, it was to evaluate what my students ultimately needed from me for their musical journey, what was truly important in the pedagogical process, and how music can soothe even the deepest of loss and sadness.

In the immediate tomorrows, we will embark on days when we will use our newly found creativity to reach our students with more efficiency and with more impact. We’ve had to learn new approaches, forced to vacate “normal” and yet required to remain highly successful while doing so. You have SURVIVED, and now it is time to THRIVE with your newly found KEYS to success. In nearly every case, students now better understand “who” we are and we certainly have a greater understanding of “them.” Everyone appreciates music more deeply than ever before, and without a doubt, our relationships built through music have never felt more vital.

Look at your glass as half full. We have survived. The future is bright. You have found your beloved keys, and the journey forward is going to be quite a site.

Best of luck!

— Barry Trobaugh, Director of Bands of the Munford Band in Munford, Tennessee,
and Musical Director of Memphis Wind Symphony

It’s a Small World

The world became smaller when COVID-19 closed our schools. Not because we were trapped in our homes but because teachers rallied online to share their best practices from across the globe. I received advice from Italy, Australia and Alabama all in one thread. Video content, games and songs have been made readily available for educators by the educators who created them.

Our ability to reach students over the internet and make music accessible even in the most dire of situations is a testament to our new standard for music education. With the assistance of apps and websites, music education doesn’t have to end when students walk out of your classroom. Any place that has cell phone service is now an extension of our classroom. Though a difficult task, no student is unreachable now.

Music teachers are accustomed to getting the job done by themselves, but there has never been a larger pool of online resources to assist your lesson plans, funding and safety. Six months ago, when asked about advice I would give teachers, I said, “Put your head down and power through.” Lisa MacDonald, my fellow MusicEDNow! colleague and Yamaha Director of Vertical Marketing, followed that up with recommending we lean on each other for assistance with daily tasks and mental health. I was taken aback because the idea had never crossed my mind, but it is now the advice that I give everyone. Thank you, Lisa.

— Tyler Swick, is an music educator at Robert and Sandy Ellis Elementary School
in Henderson, Nevada. He is a 40 Under 40 Yamaha Music Educator and a
2020 recipient of the Heart of Education from the Clark County
School District. Follow Swick’s Classroom on YouTube.

(Re)fill Your Bucket

No matter which cliche you prefer, they all ring true: You can’t pour from an empty pitcher and you do have to put your oxygen mask on before you can help others. After a long, hard adrenalized sprint to “make it happen,” you have to give yourself some grace, so I just want to leave you with a few words on recharging your own batteries.

Ask For Help: I get it. You’re the one your family, your kids, your colleagues depend on. But I promise you — there are things on your plate at this very minute that you could hand off to someone else. And there is someone in your network who would find joy in giving to you — so let them.

Too many of us are on the verge of being overwhelmed at any moment. Try out one of these 6 Ways to Overcome Being Overwhelmed

Hit Pause More Often: In the moment, consider trying a Self-Care Reflection, and get a read on how well you might be tending to your own needs.

Can you use this summer to build up a self-care routine to help you fight stress going into the fall?

Bring the Goal Present: It’s easy to lose ourselves in the minutiae of to-do lists and lesson plans and meeting agendas. Block out some time to pull back and look at the big picture.

This is probably a great time to remind yourself about — or even further clarify — your WHY. Download the Passion Roadmap and take time to dream about the big things you want to accomplish next year, in three years and over the course of your life.
Having clear goals is a tremendous help toward being able to self-regulate — it allows you to focus on positive behaviors that drive toward personal payoff. Here are five more suggestions to help you self-regulate.

When you do a job that serves others, it is too easy to put yourself at the bottom of the list. You have been through a tremendously traumatic year and accomplished AMAZING things in spite of factors beyond your control going wrong at every turn. Your efforts are seen, they are appreciated, and they will be something your students never forget. THANK YOU!

— Lisa MacDonald, Director of Vertical Marketing, Yamaha Corporation of America

_____________________________________________________________________________________

From all of us on the MusicEDNow team, we wish you and your program nothing but success in the upcoming school year. We hope the Post-Pandemic Planning Guide provided you the spark or idea you needed to help you prepare for the fall ahead. If you missed a previous blast, you can find them here.

Know the difference you make in your student’s lives is immeasurable. As Mo Williams said, “Science will get us out of this. But the arts will get us through this.”

Musically,

The MusicEDNow team (Marcia, John, Lisa, Barry, Tyler and Nick)

_____________________________________________________________________________________

SESSION 7

In this session, we continue our focus on recruiting. We know that recruiting is a year-long activity and the end of the spring is a great time to make a strong recruiting push to finish out the school year.

Ideas for Recruiting Your Parents

Effective communication with prospective students’ parents is an integral part of the recruiting process. A simple misunderstanding, such as “you can’t do music and (insert activity)” could prevent a child from enrolling in music. Additionally, parents may not be aware of the numerous cognitive and SEL benefits of playing an instrument. Try these 5 easy ways to include parents in the recruiting process.

Recruiting New Students

Influencer marketing has proven extraordinarily effective in the online world, and major brands are constantly looking for new influencers to endorse and promote their products to their trusted circles. This strategy can also be effective in recruiting music students, mainly because most of what current students have completed this year was done online, so it is easily shareable:

Have students record short testimonial videos and use these to promote your music program.
Have students select their favorite assignments from this year and share them with their friends.
Make an assignment for current students to create a recruiting presentation, such as a slide deck, video or Google Site, and have them present it to their friends.
Create an incentive program for students who can recruit a friend to join the music class.

In many ways, your students are the best recruiters you have because their peers value their opinions and experiences. Always be willing to take some pages out of the social media marketing playbook and use these same tactics to recruit in your school!

Re-Recruiting Current Students

Recruitment of new students and the retention of active students is very much the same in designs — think of it as “re-recruitment!” Both require communicating what your program offers and why students should stay involved to be successful. Here are 6 ways to re-recruit students to your music program for the upcoming year.

Checking in with Your Admin

Hopefully, you and your building principal or administrator have established a rhythm to your communications. There are still many things going on at the admin level that could impact your program, including scheduling shifts, additionally funding opportunities through ESSER, and coordinating a successful recruiting drive.

If it’s been a few weeks, touch base with your administrator and ensure that things are still on track. Inquire about any changes to the schedule that may impact your program and offer an update on recruiting. The goal is to uncover any new information that could affect your program and maintain the previously established momentum.

Resource Roundup

If you are looking for more recruiting and retention ideas, the Music Achievement Council’s Practical Guide to Recruitment and Retention is a great resource.
What’s up with ESSER? If you are looking for the latest ESSER information, be sure to check out the Yamaha page on CARES Act Funding. You can also find in-depth webinars from Be Part of the Music and After Hours: Conversations for Music Educators on understanding ESSER.

* Perhaps you have some thoughts on how we can improve these blasts, excellent content that’s helped you, or want to share what you are doing now to prepare for Fall 2021. Drop us a line here — we’d love to hear from you!

_____________________________________________________________________________________

SESSION 6

We’re focused on accessing funding for your program in this session. There are a lot of funding opportunities available through the COVID stimulus bills for schools and music programs, and this session will offer a crash course on how to access this funding.

Understanding ESSER

Understanding the lingo allows us to better navigate the opportunities available to you. Here is a crash course on terminology and important dates to consider:

Two large stimulus bills were passed called the Coronavirus Aid, Relief and Economic Security (CARES) Act in March 2020 and the Coronavirus Response and Relief Supplemental Appropriations Act (CRRSA, sometimes referred to as “CARES Act II”) in December 2020.

As part of these relief bills, money was allocated to support educational needs through the Elementary and Secondary School Emergency Relief (ESSER) Funds. This money flows from the federal government to the states, from the states to the districts, and from the districts to individual schools and programs in the form of grants. Because funding is awarded as a grant, it’s crucial that your program and school proactively request this funding, as it can be widely used to support music education.

School districts must apply for ESSER Funds from CARES Act II no later than September 30, 2021.
School districts must spend ESSER Funds from CARES Act II no later than September 30, 2023.

Navigating What’s Available in Your State

ESSER funds move from the federal level to the state level, to the school district level, down to your school. However, to access these funds, you need to know who to ask, for what and when to do it! Let’s take a look at how to navigate the available funds for your state:

See what funds are available. Use these resources to see what funds are allocated for your state from round 1 and round 2 of ESSER.
Find your State Department guidance on how funds can be used.
- Each state has issued guidelines on how the funds can be used. Use this resource to find the specific guidance your state provides to local districts.

Prepare for the Ask

Now that you have established what funding may be available to your program, it’s essential to request these funds directly. Because funding is distributed in the form of grants, programs and districts must request the funds and declare the intended usage to receive them.

Find your state Director of Arts Education.
- Use this directory to find your Director.
- Write to them about your state-level guidance. If Arts and Music are included, thank them. If not, suggest that they work to make sure the guidance consists of Arts and Music so it is crystal clear that these funds can be used.

Contact your school district.
- The request for ESSER funds must be made through your school district, so you must coordinate your needs with your district’s CFO, Assistant Superintendent or whoever traditionally manages grant and federal funds for your district. Use this directory to find contact information if you do not know this person.
- Share your state’s guidance and address why funds can and should be used for music. Here is a great resource to help make the case.

Talk to your Principal and administration.
- Share information about available funds at the district level and make sure they are applying for these funds. Here is an email template to begin the conversation.
- Please note that although the funds are dispersed to the district based on the Title I formula, any school can apply for funds from the district, regardless of the individual school’s Title I status.

Using ESSER Funds

ESSER funds are intended to help music programs in several ways, including mitigating the risk of COVID spread, offering supplemental support, and ensuring students have equitable access to music in various learning environments. Here are a few examples of ways that ESSER funds are being used in music classrooms:

Instrument cleaning and sanitization
Purchasing personal protective equipment (PPE), including mouthpieces, cleaning supplies, masks, and covers
Facility and HVAC improvements
Instrument purchases to prevent sharing
Music learning software packages
Digital learning equipment
Summer programs and supplemental instructional support

Resource Roundup

Here are some more resources you can use to help you better navigate the process of accessing and utilizing ESSER funds within your program.

NFHS recently released its ESSER Funds Guidelines. This document can be found here.
The U.S. Department of Education has an online dashboard that shows how ESSER I funds are distributed down to the district level.
- If you want to estimate your district’s ESSER II and ESSER III funding, multiply the ESSER I amount by 4 and 10, respectively.
“After Hours: Conversations for Music Educators” recently sat down with Yamaha’s Marcia Neel, Dave Gerhart, and Heather Mansell to do a deep-dive on ESSER funds. You can find this podcast episode here.
Don’t forget that music funding is also available for Title IV, Part A. Here is a toolkit from NAFME on Title IV, Part A funds.

_____________________________________________________________________________________

SESSION 5

It’s hard to believe, but we are halfway through our recruiting window, so let’s build some momentum heading down the backstretch. Whatever the challenges your program faced this year, let’s push through and work together to bring back the music!

In this session, we’re focused on creative problem-solving! You might have learned your schedule has changed, so we will discuss some alternatives to teaching another music appreciation course. We also discuss new funding opportunities available through ESSRA.

Not Another Music Appreciation Class!

Music educators may be asked to teach or create a non-traditional class to accommodate this year’s master schedule. The first course that often comes to mind is Music Appreciation but here are SEVEN alternatives that can be conducted with minimal funding and still align with music educators’ interests.

If you’re in a position to create an innovative course, talk to your administration about your strengths as a music educator, your students’ needs and how you can utilize facilities that are already available in your school.

Show me (How to Get) the Money!

As part of the recent COVID-19 relief package, approximately $54.3 billion is already being distributed to support K-12 schools. These funds offered through the Elementary and Secondary School Emergency Relief (ESSER) provide schools, including music programs, additional resources to offset the impact of COVID-19.

Here is a recent article from National Association for Music Education (NAfME), including ways in which your program may be able to utilize some of the funds.

□ Watch this 10-minute video to find the information for your specific state and learn how your program can benefit.

Many districts are not aware of this comprehensive package and how to access it. It is essential to have a conversation with your school principal or the individual responsible for accessing federal funds on your district’s behalf. These decisions are taking place now, so you must communicate your needs to allocate funds to your program.

□ Make an appointment now to meet with your principal.

□ Review this list of suggested items that can be purchased for your program under ESSER guidelines, and get your shopping list ready.

Another resource comes out of the Every Student Succeeds Act. One of the most exciting and impactful provisions of ESSA is the availability of Title IV-A funds. These grants are provided to states then re-granted to districts to provide students with additional educational opportunities, courses, healthy and safe schools, and teacher training, equipment, and supplies. There are numerous possibilities for this renewable funding source, and it can indeed alter the trajectory of music education in every school district.

□ Watch this 6-minute video that you can watch to learn about how your district can distribute and use Title IV-A funds.

□ Download the complete Title IV-A Toolkit here.

RETENTION TIP: The Power of Letter-Writing

Mail a letter home to all of your band and orchestra parents and guardians, thanking them for their continued support during this trying time. If you do not already send a weekly or monthly newsletter home, this letter could be an email. If you are already in the practice of sending out regular electronic communication, physically mail this letter. Make it feel different and more unique than your regular communication centered around student achievements, upcoming events and ensemble business.

Recognize that your ensemble parents and guardians are choosing to keep their children involved in an activity that, as Lowell Mason said when he was advocating for music’s place in the school curriculum, helps children “physically,” “intellectually” and “morally.” Implore them to reach out if they have any questions and to keep encouraging their children to work through these unorthodox times because brighter, more musical-filled ones are just around the corner. The discipline and perseverance they display this year will serve the entire program well when those skills are harnessed after the pandemic ends!

Dr. Sarah Labovitz from Arkansas State University is a contributing author of this letter.

Resource Roundup

The Office of Elementary and Secondary Education published an excellent FAQ on ESSER funds.
The NAMM Foundation has a ready-to-go brochure, “Why Learn to Play Music?” that you can share with parents and guardians.

_____________________________________________________________________________________

SESSION 4

In this session, we’re focused on recruiting! With spring here, we must have a productive recruiting season to ensure our program is full and vibrant next fall.

In-Person Recruiting Ideas

If you are presently enrolled in in-person learning, here are some great recruiting ideas that we have borrowed from fellow educators.

“Blitz Week” — Pick a week for a recruiting “blitz” at your feeder programs or elementary school. Hang up posters around the school. Order campaign-style yard signs and place them in the carpool drive-through for parents to read. Welcome students as they are coming in and out of the cafeteria at lunch with a small ensemble performance. Submit a morning announcement or create a video to be played during the school’s morning broadcast. Scheduling a specific “blitz week” can be an effective way to reach incoming students.
Drive-thru Instrument Safari — Take a page out of Jacob Campos’ book at Franklin High School and set up a date for parents to do a drive-thru instrument safari. Arrange your high school sections throughout the school parking lot and provide a safari path for parents to navigate with their child and listen to each section. Each section can pick a fun song to play that features their respective instruments. Students can vote on their favorite instruments, and directors can speak with each family after they have completed the safari — all while socially distanced and outside.

Virtual Recruiting Ideas

Teaching virtually doesn’t mean your recruiting efforts will be any less effective as in previous years. Here are some ideas that will ensure next year’s class is as full as ever!

Be an Online Guest Artist — Schedule a time to digitally visit your feeder programs to act as a guest teacher or artist for the day. You can show brief videos or demonstrations of each instrument and talk to students about joining the band or orchestra.
Utilize Student Videos — Student videos are a great way to recruit future members. Ask students to submit brief videos explaining why they joined the band or orchestra and what they enjoy the most. You can keep it simple or get creative.
Drop in a Cameo — The website www.cameo.com allows you to create a personalized video featuring television, music and movie stars. Here is a recruiting video Siegel Middle School created featuring Rick from “Pawn Stars”

Hybrid and Blended-Learning Recruiting Ideas

Many teachers are teaching both online and in-person. Here are some recruiting ideas that translate to both in-person and online learning.

Social Media Takeover — Coordinate with your school to do a social media takeover. This can be a great way to live-stream videos from inside your program. Feature your students, programs and accomplishments, and explain why students should join the band or orchestra. Many parents follow the social media accounts of their child’s school, and this can be a great way to reach these parents.
Slideshow Presentation — Create a simple and fun slideshow that can be shown in-person or online. Schedule a time to speak with students, either in their homerooms, in a school assembly, during their music class or digitally. A slide show can be a great way to get students excited about joining your program — make sure to feature your current students and highlight accomplishments. You can also take the opportunity to address some of the FAQs that you get, such as can students participate in music and another school activity or club? Here is an example.
Phone Calls — While an “old-school” approach, phone calls remain one of the most effective means of recruiting students. Calling parents individually allows you to speak one-on-one with parents to share your excitement about the program and uncover any concerns. Oftentimes, parents want their child to be in the band or orchestra but may have a misunderstanding about the conflicts or other commitments that might prevent them from enrolling their child. Here is a list of FAQs you might receive from parents and a phone script to kick off the conversation.
Parks and Rec Programming — A summer parks and rec program is a great way to reach a wide audience and expose students to the joys of playing music. Many of these programs are being scheduled now so that registration can occur later in the spring. Here is more information.

Don’t Forget to Chieck-In

By now, we should be aligned with our building principal and counselor about our plans for next year. If not, a scheduled conversation can help bring everyone up to speed. But it’s important that you check-in regularly. Schedules and decisions can change, so you must be aware of any conversations that could impact your program. A casual conversation to confirm everyone is on the same page ensures that there are no surprises later.

Resource Roundup

Be Part of the Music is an outstanding recruiting resource with more recruiting ideas, videos, email templates and even the ability to create a recruiting website for your school.

_____________________________________________________________________________________

SESSION 3

We hope you’ve found the first two sessions helpful and are taking positive action to build toward a strong Fall 2021. We’ve got your back and are going to walk beside you, step-by-step, in bringing back the music!

In this session, we have three big areas of focus:

engaging another key stakeholder — your counselors,
continuing to build momentum in our recruiting efforts and
incorporating activities specifically designed to retain our beginning students

GOAL: Tap in to Your Counselor

two women talking at a conference table; one has a laptop, the other is taking notes In Session 1, we outlined a conversation with your building principal that will help you plan for the coming year. This week, we turn our attention to having a similar conversation with your school counselor to determine how you can best partner with them to increase student enrollment.

Important things to consider:

Don’t wait for the counselor to reach out to you: A proactive conversation will determine if there have been procedural or date changes relating to signing up students.
Plan ahead for the conversation. A planned conversation can help you identify any new “landmines” for this fall. Here is a list of considerations to prepare for your meeting.

RECRUITING TIP: It’s Elementary

□ In Session 2, we encouraged everyone to set a date to speak with students at their elementary school or feeder programs. If you have not already done so, be sure to set up a time.

□ If it’s time for you to speak, here are 8 Tips for Recruiting you can use, whether the students are participating virtually or in person.

RETENTION TIP: Get S.M.A.R.T.

While it’s great that we are getting a jump-start on recruiting for next fall, don’t overlook the importance of retaining the students already in our program. Here is a great resource that provides a “S.M.A.R.T. approach” to retaining the beginners presently enrolled in your program.

Don’t Forget

If you haven’t started yet, now is the time to collect testimonials from your parents and students for use later in the spring for recruiting. This email/letter template from Session 1 can be sent home to encourage students and parents to share their experiences.

Resource Roundup

It’s easy to get focused on the challenges we face, but here’s a reminder of 5 good things that came out of 2020.
Need a digital recruiting idea? Here is a recruiting slideshow that can be used in-person or online!

Save the Date

On March 9th at 5 p.m. CST, “After Hours: Conversations for Music Educators” will host a live podcast recording and panel discussion on recruiting ideas for spring 2021. Register for this free Zoom event here.

Let’s keep the momentum going as we build toward a successful start to the upcoming school year!

_____________________________________________________________________________________

SESSION 2

For this session, we’re focused on setting the table for credible, impactful conversations with your building principal, school board members and elementary school teachers. It’s important that we proactively share information with key decision-makers to ensure our program’s voice is heard throughout the spring and the entire decision-making process.

Let’s Talk Minimizing Risk in Music

There is still a great deal of concern relating to the spread of COVID-19 in our schools, so it’s important that we are prepared to address this head on. Fortunately, there are significant studies underway that directly address how to minimize risk in the music classroom. Here are the key takeaways from the most recent findings in a long and abbreviated format.

It’s important we use the appropriate vocabulary when communicating these findings. These measures do not make music “safe,” but rather, “significantly reduce risk,” in some cases by up to 90%. We want to ensure that we are communicating this information accurately.

We also want to communicate this information to our key decision makers in an easy-to-follow format, so that they can make the best decision possible. Don’t assume they know what you know! Here is an email template you can use to communicate this important information about safety measures to your decision makers.

GOAL: Get Your Community Involved

It’s vitally important that our community supports the arts, and who better to lead this charge than music teachers? The National Association of Music Merchants (NAMM) recently launched an initiative called “ARTS ARE EDUCATION.” You can find the press release for this initiative here. This is an easy, turnkey way to share the importance of music with your community and gather support.

Get your community involved:

□ Take the ARTS ARE EDUCATION Pledge. Click here to do so.
□ Ask parents to take the ARTS ARE EDUCATION pledge.
□ Involve your building administration and build support for the arts by making them aware of this initiative. Here is an email template you can use to open the conversation.
□ Request time (or enlist a few passionate band parents!) to speak to your school board about the importance of music education and ask them to support the ARTS ARE EDUCATION initiative by signing the pledge.

- - Budget decisions are already underway. Parents asking the school board to pledge support of the arts makes music a budgetary priority.

RECRUITING TIP: It’s Elementary

Recruiting can never start too early, and elementary school music teachers are a great ally in this activity. Here are some things to do now to kick-off recruiting alongside your elementary school teacher:

□ Begin collecting student testimonials to share later with prospective students at the elementary school. Current students can use Flipgrid or another recording software to record a few lines about why they joined band, orchestra or choir. Here’s an example.
□ Arrange with the teachers of the elementary programs to meet with their classes via Google Meet or other platform to provide an engaging session on “exciting music opportunities at the middle school.” This would be a great time to share videos of current high school or middle school students having fun making music! For now, just get a date set. We will send some content ideas in our next blast, but here’s a sneak peak of some great ideas if you’d like to get started.

Step-by-step, we are going to get back to making music, together!

_____________________________________________________________________________________

SESSION 1

Goal: Lay the Groundwork

This session is all about laying the groundwork. Our goal is to uncover any roadblocks that might present themselves later in the spring and to ensure that music has a voice at the table as plans are made for 2021-22. Have you considered these items to prepare for the fall?

□ Touch base with your building administrator or principal to determine your teaching schedule for the coming school year as well as what needs to happen to have a successful recruiting season. Here is an email template to kick off that conversation and checklist of items to consider to ensure you are prepared for this conversation.

- - Remember: When framing your conversation with your administrator, be sure to present your solutions in the context of what’s best for the students.

□ You may need to remind your administrator why music is a crucial part of the curriculum. Here is an example of a presentation successfully used by teachers in Lincoln, NE to ensure continued support of music programs.

RECRUITING TIP: Prep Now

We all know recruiting is 24/7, but it is more important than ever to be focused, organized and proactive. We’ll provide a recruiting tip or action item in every email to help and inspire you. Our tip this month is:

□ Start collecting written and virtual testimonials from your parents and students about the importance of music in their lives. These can be outstanding materials to help you recruit later in the semester. Here is a sample email letter you can use to collect these testimonials.

Resource Roundup

If you are looking for some more resources to help you with these conversations and to-do items, here are a few you might consider:

NAMM’s Webinar on “Talking to your Administrators about why Music Education Matters” (recorded Oct. 8th, 2020)
Amro Music’s Podcast on “Recruiting Resources from Yamaha Featuring Disney Pixar’s ‘Soul’“ (recorded Jan. 5th, 2021)
NFHS summary of most recent aerosol study results

Various Yamaha products including an amplifier, preamplifier, two speakers and turn table set on black background.

Hi-Fi Starter Guide

Written by Phil Shea on January 26, 2021. Posted in Audio Gear Guides. 1 Comment on Hi-Fi Starter Guide

So you’re looking to build a stereo system. You’re in the right place. The simplicity and surprising satisfaction of two-channel listening cannot be overstated.

Two-channel stereo systems offer unique advantages over sound bars and multichannel AV receivers. Sound bars typically can’t offer the pure sound quality and upgradability of a stereo receiver; AV receivers, while awesome for surround sound, come with the inherent complexities needed to deliver immersive 3D sound (i.e., multiple speakers, video switching and a myriad of surround processing options). A two-channel system fits comfortably in-between these two options. For many, the two-channel experience is just the right blend of sophistication and performance.

The three main components of a stereo system are:

1. A two-channel amplifier or receiver

2. One or more content source devices

3. A proper pair of speakers

While every component in the chain affects the sound quality and overall experience, here are a few basics to help you craft a system that packs a punch.

The Amplifier

The receiver or amplifier is the cornerstone of every stereo system. Choosing the right model depends upon whether you’re looking for baseline simplicity, future expandability or pure music reproduction … or maybe all three. Let’s explore your options.

Stereo receivers not only amplify the signal to drive your speakers but also allow you to easily select all connected components such as turntables, CD players, etc. They also have built-in content sources like AM/FM tuners and in some cases Bluetooth^® capability and even network streaming content. Think about what’s important to you.

Integrated amplifiers like the Yamaha A-S501 (shown below) are considered the next step up in sound quality. They are optimized to perform the essential function of accurately amplifying the sound, and while they allow you to select connected components, there are no built-in sources with these guys. Typically, they have larger power supplies than an equally priced stereo receiver, which delivers improved dynamics and better sound quality.

Amplifier and remote control. — *Yamaha A-S501 integrated amplifier.*

Pro Tip: When selecting a stereo receiver or amplifier, power in the 80-100 watt range is sufficient for most home applications. 10 to 20 watts either way is not acoustically discernable, so try not to put too much emphasis on these numbers. The physics of sound reproduction tell us that in order to hear something twice as loud, the amplifier needs to output 10 times the power. So to make an 80 watt system sound twice as loud, you’d have to replace it with an 800 watt-per-channel amplifier!

Instead of being swayed by the power ratings, focus on the features you’re going to use. Is Bluetooth or network streaming most important to you, or is a built-in phono preamp and/or sonic performance what you need for the listening experiences you want to explore? Start there.

Select Your Sources

Both receivers and integrated amplifiers offer a great deal of connection options and system expandability — in fact, that’s perhaps the biggest benefit of building a two-channel system. Here are some of the sources you might want to connect:

Turntables are the nostalgic backbone of Hi-Fi, and the analog signal generated by the vinyl records they play is considered by many to be the purest method of sound reproduction. What’s more, listening to vinyl is an interactive sport. Collecting new albums, cleaning the records, physically placing the needle on them and enjoying the album art and liner notes are all part of getting more of your senses involved in the listening session.

Another great thing about turntables is that you can always replace the included cartridge with a higher performance replacement. With this simple upgrade, your system will move to the next level of sound reproduction.

Pro Tip: If your receiver or amplifier has a dedicated phono input, it will work with any turntable. If your amplifier doesn’t have a phono input, don’t worry. Many modern turntables (like the Yamaha TT-S303, shown above) have a built-in phono preamp, making them compatible with any receiver or amp. For more information about connecting a turntable, check out this blog posting.

CD Players offer a solid option as your audio source. Compact Discs (CDs) were introduced decades ago as a replacement for vinyl records, without the problems of surface noise and the potential for scratches. If you already have a collection, put all that music to use with either a single disc CD player such as the Yamaha CD-S1000 (shown below) or a multi-disc CD changer.

Front face of the CD player unit. — *Yamaha CD-S1000 CD player.*

Pro Tip: If your CD collection is sparse, you should take a look at the secondhand market. Online sellers such as eBay, as well as yard sales, thrift stores and flea markets often offer exceptional deals. And unlike used vinyl, which is susceptible to scratches that degrade the sound, most used CDs, if well-cared for, will sound as good as new.

AM/FM tuners are another great add-on to an integrated amplifier, giving you full access to free over-the-air broadcasts.

Streaming Options

Bluetooth is a great option if you stream a lot of content on your devices. You’ll appreciate being able to listen to all that content through good-quality stereo speakers! Simply pair your smartphone or tablet with a Bluetooth-enabled receiver and start enjoying a world of music in Hi-Fi.

AV receivers with built-in streaming services take out the middle man (your phone or tablet) by letting you stream directly to your speakers to produce a much cleaner sound. The same goes for TV audio: Simply connecting the optical output of your TV to a compatible receiver automatically upgrades your viewing experience.

Speakers

Speakers are the components that convert electrical signals from the amplifier to the sound that we hear. Technically, they’re known as transducers, but all you need to know for the purposes of this posting is that by moving air, they send sound waves across the room to your ears.

When done right, two speakers will give you an almost 3D-quality sound image. But speakers come in a wide variety of shapes and sizes, and audio quality is really subjective — what sounds good to one person may not seem so good to another.

Two tall speakers. — *Yamaha NS-F150 floor-standing speakers.*

So how do you know which to buy? A very rough rule of thumb is this: The larger the speaker, the more bass or low-end you’re going to hear.

Floor-standing speakers like the Yamaha NS-F150 (shown on the left) give you the biggest sound and perform best when given a little breathing room. If your room has plenty of space, spread out the speakers at least a foot or two from adjacent furniture or walls. If the only way to fit them in your room is to cram them in a corner, try bookshelf speakers instead.

Bookshelf speakers like the Yamaha NS-6490 (shown below) are smaller in size and can be placed in wall units, on furniture or on speaker stands. Due to their smaller size, reproducing deep bass notes are not their forte, but that’s easily remedied with the addition of a powered subwoofer.

Two small speakers, one on right without the filter cover to expose the components. — *Yamaha NS-6490 bookshelf speakers.*

Subwoofers will give you the bottom end of a floor-standing speaker with the added flexibility of being to place all your speakers unobtrusively. Connecting a subwoofer to your amplifier or receiver is simple, as long as the amp/receiver has a dedicated subwoofer output, and subs can be placed pretty much anywhere since the bass frequencies they reproduce do not seem to our ears to come from any particular location.

Choosing the right subwoofer depends on how much bass you want generate and how large your room is. Does it have vaulted ceilings? An open floor plan? These two factors mean that you will need a larger subwoofer to fill the room with bass. (For more information on subwoofers, check out our blog posting entitled “What Is A Subwoofer?”)

Square speaker unit. — *Yamaha NS-SW050 subwoofer.*

Pro Tip: Figuring out how much to spend on your speakers is important if you want to get the best overall performance for your budget. A very rough estimate is spending one to two times as much on your speakers as you spend on the electronics. A $300 receiver will perform great with a $500 to $600 pair of speakers. But a $600 amplifier paired with a $100 pair of compact speakers will not show off its potential.

Upgrade Away!

Perhaps the best part of building a stereo component system is the ability to upgrade different elements as your preferences change. Want more inputs or a network receiver for Wi-Fi connectivity? Change it out later. Remember, you can continue to use your existing speakers and sources until you’re ready to upgrade them too.

Hi-Fi listening can take you as far as you want to go. What’s more, it gives you the ability to hear music the way it was intended: in pure two-channel stereo.

Here are some related blog posts that provide additional information about Hi-Fi audio:

Dialing in the Perfect Two-Channel Experience

What’s A Receiver? Part 1: Hi-Fi

What’s A Receiver? Part 2: AV

How to Connect a Turntable to an AV Receiver

Five Reasons Vinyl Is Making a Comeback

How to Stream Hi-Fi Quality Audio at Home

What Is a Subwoofer?

The History Of Hi-Fi

Click here for more information about Yamaha Hi-Fi components.

Click here for more information about Yamaha speaker options.

Meet Yamaha Master Educator Dr. Pamela D. Pike

Written by Yamaha Staff on January 25, 2021. Posted in Master Educator Collective. 2 Comments on Meet Yamaha Master Educator Dr. Pamela D. Pike

Dr. Pamela D. Pike, Ph.D.. NCTM, is the Herndon Spillman Professorship in Piano Pedagogy at Louisiana State University and the Editor in Chief and Chief Content Director or Piano Magazine. A highly respected and upbeat voice in expanding the world of keyboard pedagogy, she stresses the importance of understanding the needs of diverse students in all stages of life. Pike shares her recognizable passion and unique insights with educators, helping craft curricula to fit each student at their current level and empower them to develop and refine the skills to continue their musical journey. She also seeks to inspire all students to become lifelong learners and music-makers by engaging their natural curiosity. She has extensive knowledge into teaching piano to students of all ages, both privately and in group settings.

Understanding that adults have different needs based on their individual stage in life, several of Pike’s professional development sessions focus on guiding educators to adjust their teaching style to fit the student and not just the age group. Regardless of a student’s level of skill, she’s able to build a map to navigate through the learning process, believing that anyone can learn to play the piano depending on how much they dedicate themselves.

“If a student isn’t learning and they’re putting forth the effort, that’s my fault as a teacher,” Pike says. “I must be missing a piece there.”

Beyond the classroom, Pike brings focus to the evolving nature of keyboard pedagogy. Her mission is to share and preserve this essential knowledge base so that it can be accessible to anyone interested in learning or teaching piano. Her research interests include distance learning, teaching older adults (third-age students), group teaching techniques, and cognition and human learning.

A few of Dr. Pamela Pike’s session titles are:

Sight Reading Strategies
Practice Strategies That Work!
Developing Artistry in Intermediate Students
Motivation
Group Teaching Techniques
Distance Teaching 101
Facilitating Adult Learning in the Music Studio

To learn more about clinics by Dr. Pamela Pike, please contact Jalissa Gascho at jgascho@yamaha.com.

Playing By Ear, Part 2

Written by Jerry Kovarsky on January 25, 2021. Posted in Keyboard How-to. 1 Comment on Playing By Ear, Part 2

In Part 1 of this two-part series, we described an effective method for learning the notes of a melody by ear. An important aspect of this technique was being able to stop the playback of a song after the very first note so that it “hangs in the air,” thus enabling you to better sing along and then find that note on your keyboard. Once you have that starting point, you can move on to identifying whole musical phrases by means of the intervals being used.

In this installment, we’ll talk about using technology to aid in that effort, as well as presenting techniques for learning the chords to a song. Let’s jump right in.

Technology to the Rescue

Being able to stop playback is important, but just as important is being able to slow it down so you have more time to figure out the music. Fortunately, modern computer/phone/tablet technology allows you to easily alter the tempo without changing pitch. This is something that you can even do directly on YouTube. Here’s how:

1. Call up a song you’d like to learn, then go to the Settings icon. (As indicated by the red arrow in the illustration below, it looks like a gear.)

2. Selecting it will open up a number of options. We want to adjust the Playback Speed:

3. Any of the settings above “Normal” will slow down the playback (the ones below it will speed up playback), but it will quickly start to sound funny, so I wouldn’t go beyond .75.

There are a number of standalone apps that can do this same kind of audio slow-down but with better playback fidelity, though they’re not all free like the Yamaha Chord Tracker, which I’ll be talking more about a little later in this article.

Armed with the ear training work I described in Part 1, along with perhaps some technology, you should be well on your way to picking out melodies in no time. I suggest you work on really simple songs and melodies to begin with — you’ll find that the more you work at it, the easier it will get.

Learning the Chords

The other aspect of playing popular songs is learning the chords, without worrying about the melody. This allows you to jam along with the original artist recording, or to provide backing on your keyboard while someone else sings or plays the melody. For me, there are two steps to learning chords: First, I focus in on the bass or the left hand of the piano to try to identify the bass note that is being played, since that’s often the root of the chord. From there, I try to determine if the chord is major, or minor, or one of the other common chord types we’ve described in previous installments of The Well-Rounded Keyboardist. As a quick review, here are the most common chord types:

Often I will just trying playing a bass note and the 3rd of my chord “guess,” since the 3rd helps to define if a chord is major, minor or suspended. There is no guarantee that the bass player is always playing the root, however. If it’s not the root, try assuming, in order of priority, that it’s the 5th, the 3rd or the flatted 7th. For example, if the bass note is a C, first try some type of C chord. If that’s not right, try an F chord (C is the 5th of both F major and F minor chords). Then try either an A minor or an A-flat major chord (C is the 3rd of each of those). If all of the previous attempts don’t sound right, try a D Dominant 7th or D minor 7th chord (C is the flat 7th of them). Hopefully your ear is well enough trained that you’re not just guessing the quality of the chord — you have a good idea if it’s major, minor or whatever.

In my opinion, there’s no substitute for putting in the hours — that’s the best way to learn and to develop the necessary skills for your musical endeavors. But sometimes something comes along that is so cool it’s worth exploring, even if it is providing a shortcut. The aforementioned Yamaha Chord Tracker (available for iOS^® 15.2 or higher and Android™ smart devices) is such a product.

This wonderful piece of software listens to any song from your music library (as long as you’ve purchased the song and it’s not copy-protected or downloaded from a subscription service like Apple Music), then analyzes it and quickly displays a chart with the chords, ready for you to learn to play. Options allow you to view the notes of each chord either in music notation, on the keys of a keyboard (as shown in the illustration above), or as guitar chord symbols. You have control over tempo so you can slow the song down while you’re first learning it, and you can also transpose it if the key is too hard for you to play in or sing to. What’s more, if you want to practice just a section of the song, you can set start and end points and have the music keep looping. So while Chord Tracker is focused on presenting the chords of a song, it can also be used for learning. The teacher in me says, try to figure out the chords yourself, and then use the app to see how well you did.

In my early years as a musician, I couldn’t do anything by ear — I had to read sheet music or be shown what to play. I’ve worked hard at it over the years, and nowadays I am transcribing really difficult jazz solos and learning an average of 5 new songs a week … so it can be done! The hours you put into this endeavor will not only give you the ability to learn lots of tunes you like, it will allow you to learn them correctly. Sure, there are plenty of websites that offer the chords for songs, but you’d be surprised how wrong they often are. In a similar vein, you can find tons of online videos that purport to show you “How To Play” well-known songs. Some are very good, a lot are just OK, and sadly, too many are just people guessing.

What about sheet music, you may ask? Well, it has its place, but bear in mind that it’s generally a simplified version created to show you the melody and words, with a made-up piano accompaniment that isn’t always representative of the original. That’s why, when you compare it to the recording you love, you will often find differences. We all want to sound like the recording if we can, right? So put in the work, and enjoy the journey!

All audio played on a Yamaha P-515.

Check out this related blog article:

Apps to Help You Learn to Play Keyboard At Home

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

Meet Yamaha Master Educator Serona Elton

Written by Yamaha Staff on January 21, 2021. Posted in Master Educator Collective.

Serona Elton is the Director of the Music Industry Program and Chair of the Music Industry Department at University of Miami Frost School of Music. She is also the Head of Educational Partnerships at The Mechanical Licensing Collective. A vivacious, captivating presenter, Elton becomes utterly energized when working with young collegiates who view themselves as tomorrow’s music business leaders. Elton is quickly whisked back to her own junior high school days when she had similar plans of becoming a successful recording artist. When she eventually realized that her talents might lay elsewhere, she also discovered that she could have just as profound a relationship with music without being a performer. In a bit of foreshadowing, a photo in her high school yearbook showed Elton holding a collection of records and stating her plans to work at a record company one day.

Elton’s pragmatic approach to teaching mirrors that of her own journey to her current professorship at the Frost School of Music. It was her intense desire to pursue a career in the music industry, however, that led her to eventually realize her dream when she landed a position at EMI Recorded Music, an internationally recognized record company.

Through her varied experiences as the Head of Educational Partnerships at The Mechanical Licensing Collective (The MLC), Vice President of Product Management at Warner Music Group, Vice President of Mechanical Licensing and Repertoire Data Services at EMI Recorded Music, as well as countless consultancies with stalwart companies like Sony Music Entertainment and Universal Music Group, Elton models her profound discovery that even though there is an enormous focus on the performer, there are countless essential roles required to support the commercialization of the music itself.

Through Elton’s presentations for educators and students alike, participants come to realize that the skills young musicians learn in the music education classroom prepare them for an array of successful career opportunities in the music industry where they can continue to enjoy a lifelong relationship with music.

A few of Serona Elton’s session titles are:

Overview of Music Copyright
Understanding Digital Music Rights and Revenue
Understanding Information Management in the Music Industry
Exploring the Music Modernization Act
Mechanical Licensing and Royalties

To learn more about clinics by Serona Elton, please contact Jalissa Gascho at jgascho@yamaha.com.

Bechard David

Written by jkikuchi@yamaha.com on January 21, 2021. Posted in 2021.

Back to 40 Under 40

David Bechard

Director of Instrumental Music
Wahlert Catholic High School
Dubuque, Iowa

When David Bechard started at Wahlert Catholic High School, the band had 13 members. After relentless recruiting for 18 months, the band grew to 52 members — a growth of 400%! “My plan was to make band fun and create a sense of ownership for the students,” Bechard said. “I focused on building their sense of community and pride.”

A part of the fun factor was the virtual Halloween concert. “We missed our annual Halloween Parade due to COVID-19, so I wanted to give my students a fun Halloween experience,” Bechard said. “We recorded ‘Thriller’ in our main gym and my ‘zombie cymbals’ slowly chased my bass clarinetist, adding to the zombie horde throughout the song!”

Even though Wahlert’s band is small compared to other schools, Bechard did not just make do with what he had. He repeatedly asked for resources for his program. A costly ask was acoustic paneling in the band room, which would help students hear the other instruments better. “The most important step I took was reminding the office at every opportunity that the paneling was a need — physically, musically and educationally,” he said.

According to one of his “40 Under 40” nomination letters, “It wasn’t long ago that Wahlert Catholic High School’s band looked like toast. Then David Bechard stepped in. A dwindling band that didn’t march and struggled to play concert band music due to lack of instrumentation is now playing Friday night football games and playing quality concert band literature.”

Alcantara-Rojas Javier

Written by jkikuchi@yamaha.com on January 21, 2021. Posted in 2021.

Back to 40 Under 40

Javier Alcántara-Rojas

Director of GREAT Academy, Director of Instrumental Music
Granite Hills High School
Apple Valley, California

Javier Alcántara-Rojas not only grew the music program at both Granite Hills High School and its feeder middle school, Phoenix Academy, he was a key player in advocating for and creating a new curriculum that would become the Granite Recording & Entertainment Arts Training (GREAT) Academy. For three years, Alcántara-Rojas and a small group of educators developed this career technical education (CTE) program specifically for the performing arts. The GREAT Academy, which opened in 2018, offers core arts training along with applied technical training.

In one of Alcántara-Rojas’ “40 Under 40” nomination letters, a colleague wrote, “The amount of creativity it took to create this system — which allows students to move through an academy-style system of classes while still allowing them to take desired classes within the other subjects — frankly boggles my mind,”

The academy’s mission is to prepare high school students for college and career readiness and to “equip them with the technical proficiency and aesthetic sensitivity” for a career in the entertainment industry.

One-third of Granite Hills High’s students participate in the academy. According to Alcántara-Rojas, the academy coursework focuses on student interests and offers a comprehensive music program, as well as classes in dance, theater, animation and tech theater. The GREAT Academy also has a newly renovated performing arts center, and performing there encourages “students to give their creative best,” he said.

The California Department of Education saw the immediate impact of the GREAT Academy and recognized it as a Regional Technical Assistance Site to help other schools build and grow the arts in their communities.

There’s a New Kit in Town

Written by Steve La Cerra on January 21, 2021. Posted in Electronic Drums.

When it comes to electronic drum kits, there’s a world of options out there. But if you’re looking for a fresh approach that will inspire you to new heights, you’ll want to check out the three new kits in the Yamaha DTX6 Series — the latest addition to the Yamaha family of electronic drum kits. Designed to be easy to use and fun to play, DTX6 Series kits are great for drummers who need a way to practice and rehearse quietly, want to record with professional results, or just want to improve their drumming abilities.

Start Your Engine!

All DTX6 Series electronic drum kits are equipped with the new DTX-PRO drum trigger module, which features a state-of-the-art audio engine loaded with more than 700 new high-resolution acoustic and electronic drum sounds, along with cymbal and percussion sounds. The acoustic drum samples in the DTX-PRO were recorded in professional studios by skilled recording engineers and even incorporate the natural ambience of the rooms where the drums were recorded.

The DTX-PRO supports connection of up to 14 Yamaha trigger pads, with snare and ride cymbal positional sensing for a more authentic drumming experience. Each pad in a kit can layer up to four sounds, with a maximum polyphony of 256 Voices. You can choose the instrument Voice, alter the tuning or muffling of each drum, change cymbal size or sustain — even change the hi-hat clutch position. Audio files imported from a connected USB flash drive can be used to create your own unique instrument or a custom click track.

Effects Galore

The DTX-PRO provides a wide range of onboard effects that can be applied to individual sounds. These include Gated Reverb, Early Reflections, Tempo Delays, Chorus and Pitch Change, as well as a 3-band EQ, a Transient Modifier (for changing the attack and release of a sound) and a Compressor.

In addition, a Master Effects (MFX) processor can be used to add effects such as Analog Delay, Flanger, Overdrive, Bit Crusher and Lo-Fi to the entire kit, or to individual sounds.

Kit Modifiers

Unique to the DTX-PRO are a trio of Kit Modifier controls that give you access to three distinct characteristics of your DTX6 Series drum kit — Ambience, Comp, and Effect — all with the simple turn of a knob. Combined, the three Kit Modifiers make speedy work of changing the personality of a drum kit.

Close-up of the dials. — *Dedicated Kit Modifier controls.*

Ambience instantly changes the amount of room sound added to a drum kit. At settings from 0 to 50%, it adds the real ambience that was recorded in the studio with the acoustic kits, while settings from 51 to 100% add high-quality digital effects such as Hall, Room, Plate, Stage and Space.
Comp determines the amount of compression applied to the kit, varying the dynamics and making the drums sound louder or more “punchy.”
The Effect knob adjusts the blend of effects that have been programmed into the kit using the three onboard processors.

Pads You’ll Want to Play

All DTX6 Series drum kits are supplied with a Yamaha XP80 8-inch snare pad, which utilizes a drum head made of TCS (Textured Cellular Silicone) and has free-floating construction for increased sensitivity that virtually eliminates cross-talk. The pad is split into three zones, supporting open and closed rimshots, or you can assign different Voices to different zones. Best of all, the XP80 is quiet and feels great to play!

Close-up of a cross-section of a pad before and during it being hit with a drumstick. — *XP80 pad TCS head.*

The DTX6K3-X and DTX6K2-X kits feature the new KP90 kick pad, which has a 7.5-inch rubber playing surface with a multi-layer cushion, while the DTX6K-X comes with a KP65 5-inch rubber pad. Both pads have sturdy tower construction with anti-slip spurs for increased stability under hard playing conditions, plus they’re large enough to accommodate double foot pedals while ensuring reliable triggering.

The PCY135 ride cymbal pad in all DTX6 Series kits has three zones, allowing you to play different sounds for the edge, bow and cup. The PCY135 also has “choke ability” (if you grab it, the sound cuts off abruptly, just like a real cymbal) and is used for crash cymbals on DTX6K3-X and DTX6K2-X kits.

A cymbal pad showing three zones. — *Cymbal pads with three zones enable expressive performances.*

Rack ‘Em Up

DTX6K3-X and DTX6K2-X kits come equipped with the new RS6 rack — a compact, stable platform for DTX6 Series components. A Yamaha ball clamp mount is used for the snare drum pad, enabling a wide adjustment range, and the left side of the rack permits flexible positioning of the hi-hat stand and double foot pedal (a Yamaha HS650A hi-hat stand is supplied with the DTX6K2-X and DTX6K3-X kits).

Image of framework. — *The RS6 has L-shaped legs for sturdy support.*

Recording Options

The DTX-PRO module allows you to record and store your performances to internal memory or a connected USB flash drive. A really cool feature is that you can overdub your drumming to an accompaniment song played from your smartphone or music player through the DTX-PRO AUX IN jack, and then save the performance to a single file.

You can also record professional-sounding drum tracks into the supplied Cubase AI DAW software by connecting the DTX-PRO to your computer via USB. The USB connection also supports streaming of MIDI data into DAW software for creating sequenced drum parts.

Share Your Drumming with the World

The DTX-PRO is compatible with the free Yamaha Rec’n’Share app, available for both iOS and Android^® smartphones and tablets. Rec’n’Share lets you record audio and video of your drumming performances, which you can then email to friends or bandmates, upload to a file sharing app, or post directly to social media.

Close-up of someone's hand as they use the device. — *Rec’n’Share connects Android and iOS devices to the DTX-PRO.*

Practice Makes Perfect

The DTX-PRO incorporates 10 different training tools designed to help your practice routine, including 37 training songs in various genres with original drum parts that can be muted or unmuted. Other training tools include Rhythm Gate, an exercise for striking pads along with a click at proper timing; Measure Break, an exercise for keeping a steady tempo without the click; and Fast Blast, which helps build your drumming stamina.

Additional features include a MIDI output for sending MIDI data to external devices, dedicated front-panel knobs for Master Volume, Audio and Click levels, a headphone jack with a low-noise/high-power amplifier, and separate EQ for the master and headphone outputs.

Watch Joel Cassady of Walk Off The Earth perform on the DTX6K3-X.

Click here for more information about Yamaha DTX6 Series electronic drum kits.

Zilisch Cory

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Cory Zilisch

Director of Orchestras
Westport Middle School
Louisville, Kentucky

The orchestra at Westport Middle School has been described as electrifying — that’s because it’s an electric orchestra! “The Westport Rock N’ Warhawks is the only one of its kind in a middle school … It is the most technologically advanced orchestra program in the United States today, and it is known throughout the country for its highly skilled and diversity of talent,” said Cory Zilisch, Westport’s director of orchestras.

Students in the orchestra are introduced to a variety of rock, pop and classical music; learn choreography and floor movements for their performances; and can experiment with all the sounds that electric instruments produce. Students also learn to improvise and create their own music. The Rock N’ Warhawks perform at various school and community events, activities and conferences in Kentucky.

The popularity of the electric orchestra has helped Zilisch grow his orchestra by 400% in five years. “Simply taking that group and performing around the city has caused so many kids to want to join the program,” Zilisch said. “Another big recruitment tool is our social media presence. Word has gotten around town about our program and we have kids clamoring to be a part of it!”

In addition to the Rock N’ Warhawks, Zilisch oversees the 6th grade, 7th grade and 8th grade orchestras, as well as a chamber orchestra. According to one of his “40 Under 40” nomination letters, “I would wager a large sum that Cory Zilisch is the most impressive, young orchestra teacher in the United States. … He holds a high bar for behavior, encouragement and achievement in his ensembles that has a radiating effect on the school population as a whole.”

Zeilinger Aaron

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Aaron Zeilinger

Director of Instrumental Music
Orange Lutheran High School
Orange, California

A change in leadership can make a world of difference. Just ask the students at Orange Lutheran High School about music director Aaron Zeilinger, who they affectionately call Mr. Z. In one of his “40 Under 40” nomination letters, a student wrote, “Mr. Z is always motivating us to be the best version of ourselves.”

Another student wrote, “Mr. Z makes everyone feel welcome to the program. I’ve seen upperclassmen with no prior music experience join band and commit to practicing because of Mr. Z’s dedication to make everyone feel capable of being a musician.”

A major change Zeilinger implemented at Orange Lutheran was to re-establish the marching band. “After a 3-year hiatus, I saw a need for the unique team bonding that marching band brings to a program,” he said. “Now that we are in our fourth year, the kids are closer than ever and excited for when we can march again.”

Zeilinger also changed the format of the final concert of the school year — the Student Showcase — to be one developed and run by students. “I have always been a firm believer in establishing a sense of ownership within programs by enabling students to have a voice in major items,” he said. “Each song is either chosen by, conducted by or taught by a student with my guidance. It is truly a celebration of the students’ growth over the time that they have been in the program.”

During the pandemic, Zeilinger asked for student input on topics for his music appreciation presentations. He has lectured on topics ranging from baroque music to the music of Harry Styles and even what makes a pop song catchy. “It has been a lot of fun creating these lessons and allowing students to sit back and enjoy something (that is still educationally relevant) during this already stressful time,” he said.

In addition to teaching music, Zeilinger molds students to be self aware, empathetic and positive. And his students feel his impact long after they leave Orange Lutheran. A former student wrote, “When I graudated, one of Mr. Zeilinger’s final pieces of advice to me was to ‘have confidence in yourself and don’t be afraid to get out of your shell.’ I still take this advice to heart today.”

Read about how Zeilinger started the Performing Arts Academy at Orange Lutheran.

Walck Tim

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Tim Walck

Director of Music, Yearbook Advisor
Austin Area School District
Austin, Pennsylvania

Tim Walck oversees the music program in the Austin Area School District, the smallest district in Pennsylvania, whose graduating class last year consisted of 10 students. “With class sizes so small, the same students tend to participate in almost everything,” Walck said. “This has great benefits, but the challenges of balancing schedules, focus and quality of work are very real.”

The district is also the most rural — “Wal-Mart is more than an hour away, and the closest town band is even farther,” Walck said. “So, opportunities to experience an orchestra, winds ensemble, jazz band, stage production, solo artist or performing arts event of any nature are infrequent — even prior to Covid.”

Despite these challenges, Walck is dedicated to ensuring that his students have the same opportunities and experiences that students have in larger districts. According to one of his “40 Under 40” nomination letters, “Walck has endeavored to utilize a hands-on approach to music education, where students are constantly playing and creating music.”

For example, due to the small student population, Walck decided to forego a traditional band and formed rock bands at the elementary and high schools. Walck’s long-term goal is to have the rock band travel and compete, but with the pandemic, the bands were temporarily sidelined. “But students have been rehearsing in individual lessons with the goal of creating a multitrack recording. This is a work in progress as my students and I expand our technical abilities,” Walck said.

Another creative outlet for Austin students is Muse Guitars, a student-run business that launched in September 2020 and sponsored by Read World Scholars. Students build and design sellable products — namely, ukuleles and guitars — and “experience entrepreneurship and learn job-readiness skills, such as website development and design, marketing, branding and, of course, crafting and personalizing their instruments and products,” Walck said.

Villanueva EJ

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

E.J. Villanueva

TK-4th General Music, 5th-6th Instrumental Music Teacher
Orange Grove Elementary School
Anaheim, California

EJ Villanueva knows that instilling a love for music at an early age can be transformative. That’s why he aims to provide a variety of opportunities for students in TK through 6th grade at Orange Grove Elementary to engage in musical instruction regularly. In one of his “40 Under 40” nomination letters, a colleague wrote, “Even during unprecedented times, Mr. Villanueva makes music instruction relevant. He takes the time to provide engaging lessons so students have the opportunity to connect with music.”

Even with distance learning, Villanueva has found ways to make his lessons fun and interactive. He has hosted live YouTube sessions to teach rhythm and provided synchronous weekly instruction via Microsoft Teams. Most notably, he planned a socially distanced grab-and-go for all 6th graders to pick up their ensemble instruments. “I determined which instrument each student would be assigned through a Google survey and made my decision based on their preferences and living situations,” Villanueva said.

Students at Orange Grove, look forward to entering 6th grade because they have the opportunity to join the 6th grade band that Villanueva started. “Save the Music Foundation provided instruments and music stands,” he said. “With the support of the 6th grade team and fellow music educators in the district, I introduced students to band instruments and helped them choose which ones to play.”

Prior to the pandemic, Villanueva conducted winter and spring concerts and invited the entire school community. He also accompanied groups of students to perform at different musical events around Orange County. “I often volunteered my students to perform at these events to help them build performance experience and showing them the importance of community outreach,” he said.

Read about the depth and breadth of Villanueva’s music program at Orange Grove Elementary.

Vicchiariello Vincent

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Vincent Vicchiariello

Director of Bands
Nutley High School
Nutley, New Jersey

Nutley music is part of who Vincent Vicchiariello is. Not only did he attend Nutley schools as a child, but he has taught at the elementary, middle school and now Nutley High School. So, it’s not surprising that he calls the Nutley band program a family. “When I took over as director at the high school, I made it a point to let the students know that we are all there for each other no matter what,” he said. “We have instilled a culture in our students that they follow, believe in and teach to the new students. They help and care for one another on/off the football field, in/out of the classroom or in/out of the band hallway.”

While parents and students are proud of the many awards that the Nutley band has received under Vicchiariello’s leadership, they are more appreciative of how he has built a community within his music program. In several “40 Under 40” nomination letters, students called him “a role model” and “my rock,” and that “he has taught us the importance of hard work and continuously emphasizes to never give less than our best.” A parent was succinct in his praise of Vicchiariello: “He connects to the kids like no other. Grounded. Has their best interest at heart. One of a kind.”

Another parent wrote about Vicchiariello’s exceptional programs that blend classical music with edgy, modern pieces. “He includes all his staff, his students and even parents in the creative process, actively asking for input. This bridge of communication has brought together a series of fresh ideas that brought life into our music program.”

Vicchiariello strives to find more musical opportunities not only for his high school band members but for students at Nutley’s feeder schools. He saw the benefits of including 8th graders in the marching band, something that he himself experienced. “I had the opportunity to join the high school marching band when I was in 8th grade, and I enjoyed every second of it along with many of my friends,” he said. Vicchiariello knew that students often don’t continue playing music when they enter high school. By implementing this new program, 8th graders have the opportunity to grow and development throughout their extended time in the group.

During the pandemic, Vicchiariello worked tirelessly to provide a safe marching season for his students. Even though all competitions were cancelled, he continued to teach them new music and worked with community leaders and the booster association to practice at a park so that students could safely play together. According to another nomination letter, “He was in constant communication with the parents so that together our children could continue to do what they love, which is to play music,.”

Read about Vicchiariello storage and scheduling solutions.

Vento Banda Giselle

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Giselle Vento Banda

Pre-K-5th Music Specialist
Parkdale Elementary School
Waco, Texas

Giselle Vento Banda has a long history at Waco Independent School District — she attended the district’s school as a student. “As a disoriented ESL student, walking into the choir room taught me that I was a member of the gaggle and had arrived in a safe space where I could be me,” she said. Now, she wants to return the favor to the school community that “gracefully invested and welcomed me into its circle.”

A small but impactful way she motivates her students is to call them “scholars.” Vento Banda heard a friend used the term, and it resonated with her. “I want children to be globally minded, lifelong learners. I also want them to know that their teachers are scholars, too. After all, children become the imprint we leave in their minds. When I refer to them as ‘scholars,’ my students’ behaviors shift, and they take pride in learning,” she said.

Vento Banda’s reach goes beyond Waco ISD. She also serves as the co-director of the Youth Chorus of Central Texas, a community choral group for 3rd to 12th graders from diverse educational and economic backgrounds. “This organization holds a special place in my heart, for I, too, was in a children’s chorus in Mexico,” Vento Banda said.

In one of her “40 Under 40” nomination letters, a colleague wrote, “As Giselle grows, her kids grow! Music has become their passion under Ms. Vento Banda’s guidance, and they have so many more opportunities to develop their musical arts learning because of her. Her passion, courage and creativity is only highlighted by her personal desire to continue to develop as a professional music educator. Giselle is magnificent.”

Read about how the Youth Chorus of Central Texas was started.

Velez Celina

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Celina Velez

Music Director
Cayuga Elementary School
Philadelphia, Pennsylvania

Celina Velez has devoted her career to working with Philadelphia’s Latino community. “I always want my students to feel passionately and positive about their music-making experiences,” she said.

As the music director at Cayuga Elementary School, she uses singing, movement and rhythm exercises to open the door for students to play instruments. “Singing through exercise and swaying/dancing to the rhythm of a song before playing it are critical to helping students internalize the music,” Velez said. “The more senses we use to learn something, the better the students will retain it. My students love stepping to different rhythms and challenging each other or me to a ‘rhythm off!’”

She brings guest artists and ensembles to her class and prepares her students to play alongside them. “It’s so nerve-wracking! I create mini-performance opportunities like lunch hour café shows to get the nerves out,” Velez said. “I use performance buddies — pairing a younger student with an older student for mentorship — to help keep each one accountable at concert time with instruments, costumes and other equipment.”

In addition to her work at Cayuga, Velez also is a founding member of the North Philadelphia Art Teacher’s Alliance that brings together K-12 students from area public, private and charter schools. “While schools train students and help them grow as artists, NPATA provides additional performance opportunities for participating schools by hosting collaborative concerts, festivals and art shows,” Velez said.

According to one of her “40 Under 40” nomination letters, “A Latina woman, Celina relates on a personal level with the students she has devoted herself to supporting. As a role model, she instills confidence, positivity and key values in her students who are often dealing with adversity.”

Teed Brian

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Brian Teed

Director of Percussion, Associate Director of Bands
Wakeland High School
Frisco, Texas

Working backward as a teaching philosophy may have some people scratching their heads, but this approach is one that has served Brian Teed well at Wakeland High School. He explained that in order for end goals to consistently be met, staff, students and the administration must agree on the strategy and approach to reach that goal. “Music education is very much a team effort,” he said. “My students are part of the process of working backward, and they know what to expect. Students hold one another accountable in a positive manner since we are all striving to perform at our highest ability as a cohesive ensemble. It creates a sense of ownership for each member.”

In one of his “40 Under 40” nomination letters, a parent wrote, “This collective ownership of goals and expectations makes the band function like a large family. My daughter loves the feeling of being accepted and included.”

Another parent wrote, “Brian connects the dots between what students do on the field, in class and how they prepare for auditions. He has invited well-known clinicians to emphasize strategies/goals, and he has elevated the students to understand music at an advanced and intellectual level.”

Teed isn’t afraid to shake things up — he made major changes to the marching percussion program and the staff. He also added a second spring percussion ensemble concert and limited it to high school students, who “would play a little bit more challenging music and focus on new commissions or specific artists, who would work with us,” Teed said. The joint high school and middle school percussion concert was scheduled later in the spring, “which allowed the middle school students more time to work up their solos and ensembles, gave the high school students another performance opportunity, and shortened the length of our cluster concert significantly, making it more enjoyable for all performers and audience members,” Teed said.

“Kids learn differently, and Mr. Teed adjusts accordingly,” another parent wrote in a nomination letter. “He engages them in the process as they pick music, develop skills and audition for different instruments. This approach gives them a stake in the outcome and encourages life skills like problem-solving, critical thinking, goal setting and relationships.”

Read about Teed’s unconventional but effective teaching philosophy of backward planning.

Swick Tyler

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Tyler Swick

Elementary Music Educator
Robert and Sandy Ellis Elementary School
Henderson, Nevada

There doesn’t seem to be enough superlatives to describe Tyler Swick’s energetic, entertaining and exhilarating teaching style. And accolades from parents and colleagues are just as numerous. In several of his “40 Under 40” nomination letters, parents called him a “musical magician” and that his “his work ethic knows no bounds when it comes to ensuring he gets a smile out of a few extra kiddos.” Another parent simply stated, “It doesn’t feel like learning when it’s this fun!”

Fun is a big part of Swick’s Orff-based music classes at Ellis Elementary attended by more than 700 students, and his growing YouTube channel, Swick’s Classroom, which has videos of catchy songs that showcase his “cutting-edge creativity and a self-taught knack for audio and video production to create highly entertaining educational material,” according to another nomination letter.

Swick said he started the channel when “I went on paternity leave and wanted my students to continue to receive high-quality Orff xylophone instruction.” The channel now has almost 3,500 subscribers and more than 500,000 total views.

“The songs and videos are vehicles to get my students engaged,” Swick said. “The lesson may be about quarter notes but that’s hidden inside of a song about spending winter on the beach. The Halloween songs really get the students amped up about October. They get so excited to see the Chihuahua that I can sneak in learning about clave rhythms, shaker technique and minor keys!”

Swick writes and records songs quickly. For example, he had the idea for the “12 Days of Google Meets” on a Wednesday night, and it was on YouTube by Friday morning. “When I’m excited about a concept, I’ll skip sleeping to get the project done,” he said. In one month, that particular video has had over 12,000 views.

In May 2020, Swick received the “Heart of Education” award by The Smith Center. He used the $1,000 prize to purchase each Ellis Elementary student a pair of drumsticks, a scarf and a shaker, items that he calls for them to use during his remote learning classes.

“We are very lucky to have Mr. Swick at Ellis Elementary. His kindness, creativity, encouragement and support are wonderful examples for my daughter — and all the students — to follow,” wrote another parent.

Read about how Swick uses YouTube as a teaching tool.

Stinson Don

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Don Stinson

Director of Bands
Joliet Central High School
Joliet, Illinois

Don Stinson proves that you can go home again. Stinson is the director of bands at the high school he attended — Joliet Central High School. “I’ve thought about teaching at Joliet Central since I was 14,” he said. “Being only the fifth director in the program’s 110-year history is very daunting, but the students continue to rise to the challenge of honoring our band’s history and innovating for the next generation.”

The school’s demographics have changed since Stinson was a student there 20 years ago. It now serves a 75% low-income area with high mobility. “There may not be as much money in our population as there used to be, but we turn negatives into positives,” said Stinson, who is proud or the diversity and accomplishments of his ensembles.

Stinson has created more music-making opportunities at Joliet Central, including a second jazz ensemble, a guest artist series, a jazz lab experience and an introduction to band class. He also founded and directed the Joliet Young Musicians Mentor Band, a two-week summer program. “I ‘borrowed’ the idea of the mentor band from another school and tweaked it. By the end of the program, junior high students receive some musical instruction and our high schoolers experience some authentic leadership opportunities,” Stinson said.

On top of all of his teaching responsibilities, Stinson has a book, “Teaching Music to Students from Underserved Backgrounds,” coming out. The three key points in Stinson’s book are: 1) Money doesn’t solve all of our problems in education, effective and committed teachers are the key; 2) working to identify and combat implicit bias can help teachers help students and communities; 3) some students from low-income areas may not have the time or place to practice or focus on music outside of school; therefore, we must take the job of structuring our class time with rigor and flow seriously.

Read about how Stinson instituted a “practice-not-required” strategy at Joliet Central High School.

Snipes Willie

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Willie Snipes Jr.

Director of College Bands
Miles College
Fairfield, Alabama

Imagine successfully petitioning your college’s president to start a music program, then being the first student to graduate from that program, then returning to the school six years later to be the assistant band director. That’s what Willie Snipes Jr. did! In April 2016 – on his birthday, no less – he was named the director of college bands at Miles College, becoming the youngest director in the HBCU band world. “To see music and music education majors graduate from the program that I helped start brings great joy to my heart,” Snipes said.

Miles’ award-winning bands has more than 200 members with an 85% retention rate. “I believe that my high recruitment and retention rate is due to the fact that I build a relationship of trust with my students,” Snipes said. “Many of my students are from low-income families, which I am from as well, or from broken homes — so that connection and trust are essential.”

Building and maintaining a strong music program requires support from the community, so Snipes shows local schools and neighborhoods that “Miles Cares.” Members of the band sorority and fraternity assist local middle school and high school music directors, giving the college students teaching and leadership opportunities. Snipes and the staff promote the “horns up, guns down” campaign in local neighborhoods, help with food drives, donate instruments to local school bands, and recruit students and award them band scholarships.

In one of his “40 Under 40” nomination letters, a colleague wrote, “Mr. Snipes and his students are not just champions in the band world, they are champions for education. He make sure no student is left behind by pushing education first and stepping in when a student’s grades are falling. Mr. Snipes is a teacher, leader, father, mentor, friend and a great asset to our community.”

Sleppy Jason

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Jason Sleppy

Band Director, Mason Middle School
Marching Band Director, Mason High School
Mason, Ohio

During the pandemic when in-person events, competitions and performances were cancelled across the board, Jason Sleppy did something remarkable for his band students at William Mason High School. He organized a culminating showcase performance at Indiana’s Lucas Oil Stadium to replace the end-of-the-season competition.

“When we learned in July that the Bands of America (BOA) season would be cancelled, we immediately began investigating ways to provide a season-ending experience that met our criteria of being a world-class venue that we could safely travel to without staying overnight,” Sleppy explained. “We reached out to Lucas Oil Stadium to discover that we could rent the facility for half the cost of our typical BOA Grand Nationals trip!”

Organizing the trip required collaboration among multiple state officials and health departments, but Sleppy was determined. According to one of his “40 Under 40” nomination letters, a former colleague wrote, “He made it a lasting memory for the Mason band family and provided closure for the seniors.”

The performance at Lucas Oil Stadium was the culmination of Sleppy’s efforts throughout the pandemic. When quarantines were mandated, “it was clear that the only way to move forward was with a leader who was willing to create a new approach and who would never give up,” a band parent wrote in another nomination letter. “Mr. Sleppy did exactly that and he did it with a smile on his face and compassion in his heart.”

Another event that Sleppy spearheaded during the pandmic was the Mason Invitational. “We teamed up with our Mason boosters to create a non-competitive event for 15 bands in our area to safely attend by redesigning the audience and band flow to allow for social distancing,” he said. “A panel of national clinicians provided feedback, and we had amazingly positive responses from the parents, directors and students who attended.”

Sleppy is pragmatic and positive in reflecting on the last year. “Life consists of constant challenges, and you have to make an active decision to not have a pessimistic view. Challenges are a catalyst and opportunity to grow and change for better,” he said.

Schaffer Doug

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Doug Schaffer

Director of Bands
Mark Twain Junior/Senior High School
Center, Missouri

In August 2019, Doug Schaffer “marched in and brought a program to life,” according to a band parent in one of his “40 Under 40” nomination letters. Schaffer recommended a three-week fine arts exploratory class where 6th graders can experience art and band so they can choose which fine arts class they want to continue. “Since implementing the class, our beginning band number shot up with 60% of them joining band,” he said.

Schaffer also started a junior high marching band to increase the retention rate from 8th grade to high school. “The band performs at two local and one away parade every year to give them a taste of high school. After the first year of the junior high band, we saw 100% retention,” Schaffer said.

Despite the pandemic, the district hosted the first Mark Twain Invitational Band Festival with 12 bands participating in a parade and a field show competition. “My kids showed incredible resiliency by still being able to put together a show and compete,” Schaffer said. “There were several schedule changes, as well as cancelled rehearsals, but the kids still brought their best to the festival, and honestly the whole season.”

On top of the remarkable growth of the music programs at both Mark Twain Junior High School and Mark Twain High School, Schaffer also designed the marching band and fall color guard uniforms. “I do the program coordinating for all of our shows, as well as all the drill and music arrangements. I really love putting together a product each year that is custom made for our group,” he said.

In one of his “40 Under 40” nomination letters, a former coworker wrote, “Mr. Schaffer’s enthusiasm is contagious. He is proud to be a Tiger, and we are proud to have him.”

Read about how Schaffer started the three-week fine arts exploratory class at Ralls County Elementary.

Sahely Megan

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Megan Sahely

Director of Orchestras
Leon High School and Raa Middle School
Tallahassee, Florida

Music educators are known for juggling multiple priorities, but Dr. Megan Sahely takes it to another level. As the orchestra director at Raa Middle School, a performer with five local orchestras, a private violin teacher and a board member of the Florida Orchestra Association, her plate was already full. But when the orchestra at one of the high schools in her district was in a tight spot with no director, Sahely stepped in and asked to work at both the middle school and high school. Even with the added difficulties caused by the pandemic, both programs are thriving.

Sahely and her fellow educators are teaching in-person and virtual classes. Despite technical difficulties like bad wifi and lack of proper equipment for students, Sahely is dedicated to holding in-person and digital rehearsals (using Zoom breakout rooms) with all of her students. In one of her “40 Under 40” nomination letters, a colleague wrote, “Even through these difficult teaching moments, Dr. Sahely continues to encourage and educate while instilling a love and passion for music in her students.”

Sahely was more than willing to sacrifice her time and some performance opportunities to take on additional responsibilities at Leon High School because of her passion for teaching. “Earlier this year, one of my students shared with me that he would like to major in music education and teach orchestra someday,” she said. “This was an extremely rewarding moment, as it reminded me that what we do as teachers truly impacts not only our current students, but future generations.”

Paschke Becky

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Becky Paschke

Instrumental Music Director
D’Evelyn Junior/Senior High School
Denver, Colorado

An extraordinary performance opportunity happened in early 2021 for the D’Evelyn Junior/Senior High School marching band — they performed during the virtual Parade Across America for the presidential inauguration on January 20!

Creating memories like this is what makes Becky Paschke such a positive music educator. In one of her “40 Under 40” nomination letters, a colleague wrote, “Becky Paschke is nothing less than AMAZING! Each year, she outdoes the previous year’s performance, and we are left with our jaws on the floor with what she has accomplished.”

D’Evelyn had a history of success before Paschke came to the school, and with consistent high-quality performances under her leadership, Paschke moved the band from 2A to 3A division. “My goal for the band is to focus on what we can do better each day — not to worry about what other bands are doing,” she said. “We always perform for the audience in our mind and make sure we are memorable. When the performance is over, we all ask ourselves, ‘Was this the best I could have done?’ ‘How can I improve?’ ‘Did the audience love it?’”

Paschke incorporates innovative techniques to make band more relevant and fun. For example, she brought in her vocal colleague to work with the band on singing technique. “I knew that there is no better way to improve intonation than by singing,” she said. “We take those listening skills to our instruments, and our overall sound and intonation has improved so much!”

Paschke is also a board member of the D’Evelyn Education Foundation. This group of dedicated parents, community members and faculty support the academics, activites and athletics at the school. “This foundation has raised money to purchase new instruments and equipment that have allowed for the band to double in size over the past five years,” she said.

When music programs were defunded or canceled at other schools, Paschke welcomed those students to join D’Evelyn’s band. One student wrote, “For me personally, Mrs. Paschke has instilled a passion for music and the drive to be the best at music as I can be, which has inspired me to pursue music as a career.”

Nagy Phil

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Phil Nagy

Music Teacher
McVey Innovative Learning Center (Part of Hilliard City Schools)
Hilliard, Ohio

The Innovation Campus of Hilliard City Schools offers specialized and unique learning opportunities for the district’s 7th-12th grade students. Phil Nagy teaches Academy Vibe classes, which are designed to “infuse audio and video production into one offering” for high school students.

“Our intro course exposes students to the basics of songwriting, audio recording/production, story/message creation, video production and editing,” Nagy explained. “The final project is writing and recording an original song and then shooting and editing a music video for that song — with professional-grade gear and software. I teach all of the music stuff associated with that and have a co-teacher who handles the video stuff.”

The advanced Academy Vibe class focuses on “voice and choice” where students select what they want to work on, and Nagy and his co-teacher advise along the way.

“Seeing students share their soul, in the form of original composition, is just awesome,” Nagy said. “Whether it’s a recording we put out there for people to hear or a live performance (pre-COVID), it’s just awesome to be a part of their creative outpouring!”

Nagy works closely with the middle school and high school directors because the goal of Academy Vibe is to enhance students’ music education, not replace the music offerings at their home campus. This collaborative spirit was emphasized in one of his “40 Under 40” nomination letters, in which a colleague wrote, “What sticks out most to me is how Phil Nagy and his students are extremely effective at coordinating their recording program with the rest of the district K-12 music programs, providing recording services for concerts and performances. Our district’s entire music department — in fact, the entire district — is better due in large part to his willingness to work with everyone to help them achieve their goals.”

Moreland Steve

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Steve Moreland

Director of Fine Arts
St. Michael’s Catholic Academy
Austin, Texas

If you thought that the music program at a parochial school like St. Michael’s Catholic Academy would solely be focused on traditional and classical music, you would be wrong. St. Michael’s uses popular music education as its primary curriculum — the only school in Texas to do so — thanks in large part to Steve Moreland.

According to one of his “40 Under 40” nomination letters, a student wrote, “Just imagine ‘School of Rock,’ but 10 times better” in describing the program Moreland has created and implemented. The Modern Band Lab course, which was developed in collaboration with a nonprofit organization, is “reimaging what high school music education can look like,” Moreland said. The lab involves nine student bands, and one of its more ambitious goals is to create a student-run record label. “Students learn how to take an idea from conception and work all the way through to distribution — the ultimate project-management lesson,” he said. “Our students have been working on original music since January 2019, and they have formed the executive teams for the label and are gearing up for the official launch this spring.”

St. Michael’s has numerous bands that students can join including Praise Band that perform at chapel services, extracurricular pop/rock/country CruBands (or Crusader Bands) that can be seen at football games and pep rallies, Drumline, Varsity Symphony that fuses popular music and technology, and Tech Crew that handles the sound and recording equipment.

St. Michael’s also has a Music Leadership Team of 10 to 15 students that help plan, organize and host on-campus concerts.

One of his students wrote, “Mr. Moreland pushes us to be not only better musicians, but better students and better people.”

Read about how Moreland started the popular music curriculum at St. Michael’s Catholic Academy.

Moore Matthew

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Matt Moore

Associate Band Director/Director of Percussion
V.R. Eaton High School
Haslet, Texas

Just prior to the pandemic, some of Matt Moore’s percussion students at V.R. Eaton High School were selected as winners of the Percussive Arts Society’s “International Percussion Ensemble Competition.” But instead of preparing to travel to PASIC to perform a showcase concert in the fall, schools around the country shut down and conferences, including PASIC, were either cancelled or moved to a virtual format. (Moore’s students performed at the 2021 event.)

Moore immediately realized that not having live musical performances would have a profound negative effect. “Very early on in the pandemic, I put together a social-distanced marimba choir project to help connect percussionists during a very strange time when we were all suddenly home and without live music,” he said. “I received 111 submissions from percussionists all over the world! Middle school to professional level, including a handful of my EHS kids.” The video of the compilation showcases the talent of all the participants.

Thanks to his technical skills, Moore continues to connect with his percussion students through virtual classes with engaging digital content, and he helps them maintain and improve their musical proficiency. In one of his “40 Under 40” nomination letters, a colleague wrote, “Matt’s professional and approachable demeanor have fostered an environment that students thrive in.”

Already a music educator, composer and arranger, Moore decided to add entrepreneur to his list of jobs. He launched Waveform Percussion with Luke Vogt, his percussion co-teacher at Eaton. They incorporate electronic media into percussion education to create music that’s fun to play. “We hope to engage students in a way that meets them where they are — always an arm’s length away from their phone and earbuds and possibly learning remotely from home,” Moore said. “The music is curriculum based and educationally focused, and it’s flexible enough to be used by students in whichever learning environment they’re in.”

Read about Moore and his percussion ensemble’s the long road to perform at the PASIC.

Matchim David

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

David Matchim

Director of Bands
Centennial High School
Ellicott City, Maryland

David Matchim checks all the boxes when it comes to being an impactful and inspiration educator. So it wasn’t surprising to learn that his students at Centennial High School did not let the pandemic stop them from performing. “These are tough times, but our students are flexible, resilient and enthusiastic,” Matchim said. “During the one-week virtual marching band camp at the end of summer, they worked hard to preserve the strong community we have established. They are recording and producing amazing recordings. I’m proud of their grit — their ability to find solutions and persevere.”

Together they produced a virtual show, which was a true team effort with “student leaders teaching during sectional breakouts, the visual team teaching choreography virtually, students sending in recorded video and audio, and in-house directors editing all the pieces together,” Matchim said.

Another area where Matchim encourages teamwork is community outreach. He helped to revitalize the Tri-M Music Honor Society, which has grown to over 150 students. “These student volunteers are always seeking opportunities to support the music community,” Matchim said. “Even in the virtual world, they are sharing performances with nursing homes and providing tutorial videos to younger musicians in our feeder system.”

Inside the classroom, Matchim and his fellow band director make thoughtful repertoire selections showcase diversity and inclusivity. Last year, his band performed Julie Giroux’s “Bookmarks from Japan” and Arturo Marquez’ “Danzon No. 2, and this fall, they performed Scott Joplin’s “Sunflower Slow Drag” virtually. “Like most organizations, we are reflecting and recognize that we need to do better,” he said. We are working with our students to find pieces that ‘speak’ to them and their diverse backgrounds.”

Under Matchim’s leadership, the music program has more than doubled with 600+ students participating. “While I wish I could take credit for the growth in our music program, it takes a village,” he said modestly. He credits an “amazing” feeder system, a supportive administration and parent community, his band director colleague James Kranz and a dedicated team of music teachers. “We work together with our choir and orchestra colleagues to give our students a great musical experience. We’re a family. We feel it, and the students do, too.”

Martindale Matthew

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Matthew Martindale

Director of Bands
Shelby County High School and Columbiana Middle School
Columbiana, Alabama

Matthew Martindale felt the pressure of taking over the Pride of Shelby County Marching Band — a program with a storied history — and replacing a director who retired after more than 20 years. “The students and community truly embraced me,” he said. “I knew this was going to be a special place when a senior trombone player said, ‘Welcome to the family,’ early in the school year. As the year progressed, the students started calling me ‘Martindad,’ and our teacher/student relationships continued to grow.”

Even though the Pride of Shelby County is the oldest band in the county, it is also the smallest and was in need up many upgrades. In his first year, Martindale wanted to get new uniforms, which were 18 years old. He worked with the boosters to fund a portion of the cost. Then he launched a capital campaign and secured sponsorships that brought in more than $15,000, which was enough to purchase uniforms.

He also received two major grants totaling $22,500 to buy and repair instruments for the middle school beginner band program. “This will allow our beginner band students to participate for free for many years to come,” Martindale said. “This increased enrollment in band across both Columbiana Middle School and Shelby County High School.”

During his second year, Martindale changed the music the band performed from classic rock to a completely different Dia De Muertos half time program he created, which “introduced the students and our small rural community to this Spanish style of music and pageantry. This creative move won the band recognition as ‘Best in Class’ in all categories at a competition that year,” wrote a parent in one of Martindale’s “40 Under 40” nomination letters.

After winning, his students continued to improve and “at our last competition, we were not victorious, but all their scores had increased dramatically,” Martindale said. Even though there wasn’t a trophy, his students believed they had won. “If you can get your students to realize that competition is only one aspect of growth and that improvement is more important, then you can be happy as a director,” he said.

Read about how Martindale transformed the music program at Shelby County High School.

Lipman Jarrett

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021. 1 Comment on Lipman Jarrett

Back to 40 Under 40

Jarrett Lipman

Director of Bands
Claudia Taylor “Lady Bird” Johnson High School
San Antonio, Texas

Jarrett Lipman has a term for a teacher’s selflessness in engaging and empowering his students: Servant leadership, which “means committing oneself wholly to improving the lives of your students, peers and community,” he said. “It means prioritizing the welfare and needs of your students over your own career goals and teaching your students to share their gifts and talents with others in order to make a positive impact on the world.”

And students, parents and colleagues recognize and appreciate Lipman’s teaching perspective. “I am both excited and proud to see not just the music and performances that Jarrett teaches our children but the life lessons and personal growth they glean from his approach to the music arts and being a better member of the community,” wrote a band parent in one of Lipman’s “40 Under 40” nomination letters.

Lipman started at Claudia Taylor “Lady Bird” Johnson High School when it opened in 2008. “The best thing about teaching at a new school is that you get to help build and shape the culture of the campus from scratch. The sky is the limit,” he said.

However, Lipman acknowledges that this pro can also be a con because you “must demonstrate tremendous patience through the years waiting for the cultures and players to develop. Like any great meal or project, it takes time and a willingness to see it through until the end.”

His patience has paid off — his music program currently has more than 350 members. “We see band at Johnson as a 6th through 12th grade journey,” Lipman said. “Building relationships with students during their formative years on their instruments keep them in band through high school. In high school, we work to find that careful balance between challenging them through high standards and providing them with once-in-a-lifetime musical experiences.”

The school’s namesake, Lady Bird Johnson, once said, “Children are apt to live up to what you believe of them.” Lipman takes these words to heart. In another nomination letter, a colleague wrote, “Not only does Mr. Lipman continue to push the envelope when it comes to visual and musical design on the field, he always takes time to help others in need.”

Read about the incredible 10-year growth of the Johnson High School band program that required getting approval and funding for a second band hall.

Kaflik Chris

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Chris Kaflik

Director of Bands
Brownsburg High School
Brownsburg, Indiana

Chris Kaflik knows the power of being a student-centered educator because he admits that at the beginning of his career, he wasn’t one. “If you are not student-centered, you might be in education for the wrong reason,” he said. “The earliest years of my teaching — in drum corps, high school marching bands, etc. — was not as focused on the students. It was more about me. I learned from that pretty quickly.”

Kaflik also stresses the importance of remembering how you felt as a high school student and what you thought about certain topics. “I was not always the most talented student in my high school, college ensembles or drum corps. I struggled in some areas,” Kaflik recalled. “Remembering how it felt to overcome certain struggles and now recognizing that in my current students has helped my teaching and my relationships with my students.”

How he connects with students at Brownsburg High School is definitely one of his strengths. In one of his “40 Under 40” nomination letters, a colleague wrote, “Instead of directionless teaching, Chris has added intention behind his teaching and helped students understand why they do what they do. He has been able to guide students to improve themselves as people first before improving as a musician.” In another nomination letter, a student described Kaflik as “awesome — a first-round draft pick for sure!”

When Kaflik started at Brownsburg, one area he focused on was recruitment and retention. “We want to give students music that will challenge them and stretch their abilities, but we also make sure they are going to feel like rock stars when it comes to performance,” he said. “In marching band, I think the design is a big factor in recruitment and retention. We always want to do something unique and ‘cool’ that will intrigue middle school students, non-band high school students and any audience member to say, ‘I want to be a part of that.’”

Winning competitions isn’t everything, but in four years, Kaflik has taken Browsburg to the Indiana State Finals and the Bands of America Grand Nationals. “To say it was a turnaround would be an understatement,” a colleague wrote in another nomination letter. “Chris would be quick in giving the credit to a lot of other people, but without his leadership, it would not have happened.”

Jimenez Eric

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Eric Jimenez

Assistant Director of Bands
Prairie View A&M University
Prairie View, Texas

Eric Jimenez started his musical career working at various schools in the Houston Independent School District and soon earned a reputation for reviving and growing middle school and high school music programs.

But according to one of his “40 Under 40” nomination letters, “His most notable and farthest-reaching accomplishment is his work on ‘The Score’ podcast.”

Launched in 2019 by Jimenez and his former coworker, Justin McLean, “The Score” was created from “our authentic and nuanced conversations when we were band directors as Heights High School,” Jimenez said. “We hope to provide positive and exemplar stories of educators serving minoritized students.”

And they are doing just that. Reviews of the podcast call it “essential listening,” “in one word, AMAZING,” “eye-opening,” “a great resource” and “a real gem.”

The podcast’s focus is on urban music education and topics covered by Jimenez and McLean run the gamut from systemic bias and “white fragility” within music education to “othering” from the perspective of the oppressed and oppressor.

“The Score” is part of their broader mission called the Revival Music Project that “aims to provide resources to educators in urban music education settings,” Jimenez said. In addition to the podcast, Jimenez and McLean offer clinics, presentations and lectures to school districts, teachers and universities.

Currently the assistant director of bands at his alma mater, Prairie View A&M University, Jimenez keeps in touch with many of his former middle school and high school students. “My proudest moments as a music educator is when I get to see my former students graduate from college. Many of them would not have had access to higher education without receiving a scholarship through their musical involvement.”

Irish David

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

David Irish

Director of Orchestras, Associate Director of Concert Bands
Palo Verde High School
Las Vegas, Nevada

David Irish isn’t afraid to take risks. He changed the focus of Palo Verde High School’s music program to be “concert-centric,” which was criticized at first, but then commended in the years that followed. “Our focus at Palo Verde is on the standard repertoire that made us fall in love with music,” he explained. “We choose to focus on 30- to 40-minute concerts instead of a competitive marching show. While we still provide our community with a collegiate-style show band, we emphasize falling in love with concert music over competition.”

According to one of his “40 Under 40” nomination letters, a colleague wrote, “Mr. Irish’s creative idea for establishing a concert-centric program has drawn the focus away from competitive results and re-focused on individual student success.” This move has had some financial benefits as well, with graduating seniors earning scholarships that increased tenfold from $10,000 per year to $100,000.

Under his leadership, the enrollment in orchestra has tripled. “Passion, energy and high expectations bring students to our program and keep them engaged,” Irish said. “We bring our feeder schools in each year to perform at a pre-festival concert. If students don’t know what the next step is, they may never walk in the door.”

Irish finds way to engage his music students. Through a partnership with the Nevada School of the Arts, he instituted a weekly masterclass for strings on each instrument for the orchestra program — the first of its kind in Las Vegas. He also started a vigorous solo and ensemble program and in an innovative community outreach effort, he coordinated grand finale concerts with the local public library. He formed a full symphony orchestra at Palo Verde and created a class for year-round comprehensive symphonic orchestra curriculum.

He also co-hosted the inaugural Las Vegas Concert Band Festival, an affiliate of the Music for All National Festival, which “offers nationally renowned evaluators, an unrated, non-competitive environment, a 45-minute clinic and a peer-based audience block,” Irish said.

In another nomination letter, a former colleague wrote, “David’s teaching style went beyond just teaching the notes and maybe the history of the music. He taught students to feel the music and how to transfer the emotion of that music to the audience.”

Gibb-Clark Andrew

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Andrew Gibb-Clark

Director of Choral Activities, Fine Arts Department Chair
Highland High School
Highland, Illinois

Imagine being two weeks from opening night of your big spring musical production of “The Little Mermaid” when the entire state goes into lockdown because of the coronavirus. Andrew Gibb-Clark had spent the entire budget on the show and he knew that if his choral program was to continue, he had to have a performance in the fall. He received a list of mitigations from the Illinois Department of Public Health that had to be followed for all school activities, and brainstormed with the production team on how they could do the show. “We landed on a drive-in with students performing live inside, and the audience in their cars across the street, enjoying a drive-in movie style musical,” Gibb-Clark said.

The video feed of the students was projected on a large 11×22-foot screen in the parking lot and sound was transmitted through each car’s radio.

“The show went amazingly well and was well attended by the community,” Gibb-Clark said. “I am extremely proud of what my students were able to accomplish putting the show together in only a week!”

“The Little Mermaid” is just one example of how Gibb-Clark has impacted the choral program at Highland High School, which has grown by 50% under his leadership. In his first year, he added a show choir to Highland’s choir lineup that consisted of a capella, mixed, madrigal and chamber choirs. “The show choir started with student interest,” he said. “I told them that I would do whatever I could to get it started.” That meant meeting with other show choir directors and administrators, doing a lot of research, writing an action plan and presenting it to the school board. “The school board agreed to provide the funds to purchase the necessary equipment to start the program, which has grown every year — providing another performance opportunity for our students,” Gibb-Clark said.

In one of his “40 Under 40” nomination letters, a colleague wrote,” Mr. Gibb-Clark’s ‘the-show-must-go-on’ attitude shows his unselfish caring toward his students.”

Read about how Gibb-Clark started the show choir at Highland High School.

Garfield Willie

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Willie Garfield

CEO
Garfield Institute of Music
Memphis, Tennessee

When Willie Garfield was 13 years old, he started a community drumline with a few of his junior high marching bandmates. “That’s when I realized that I wanted to be a music instructor,” he said. “I wanted to create my own program where I could instruct, perform and demonstrate my talents. That was when the Garfield Institute of Music was born.”

And Garfield hasn’t slowed down since. He negotiated contracts with public and charter schools and community organizations in Memphis and opened the first Garfield Institute of Music there. In addition to music, the institute offers classes in dance, arts, STEM (science, technology, engineering, math) and leadership.

Garfield soon expanded to Columbia, South Carolina, and he hopes to open Garfield Institutes of Music in Orlando and Atlanta soon.

Garfield has been a strong advocate for music education and a community leader by providing access to music to underserved youth. During the pandemic, Garfield still operated his school, offering classes for free and following proper safety protocols. His school even offered to pick up students and carpool with parents so children could attend music classes.

In one of his “40 Under 40” nomination letters, a colleague wrote, “Willie has led by being among the finest examples of a true professional in music education. He has fought against adversity, obstacles and a pandemic that has not only taken the lives of our loved ones but affected the growth of music education. … and he hasn’t complained one time about compensation.”

Another colleague wrote, “He has gone the extra mile to make sure the fundamentals of music education didn’t pause because of the pandemic. … He has imprinted greatness, discipline, dedication and growth in the community by keeping music alive during a pandemic and not giving up.”

Garfield knows the lifelong positive effects of music education. “My proudest moments as a music educator is when I see my students follow my path and carry the wisdom and experience they have gained from me,” he said. “I never had the support system or mentors like many educators. I traveled that road alone, being fearless in the eyes of my peers, but this ’40 Under 40′ recognition gives me the courage to stand strong.”

Gamon Michael

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Michael Gamon

Fine and Performing Arts Chair, Center for Creative Arts Director
Harrisburg Academy
Wormleysburg, Pennsylvania

Harrisburg Academy, a private preschool-12th college preparatory day school, has a long and rich history that dates back to 1784. When Michael Gamon began at the academy in 2012, he wanted to grow the already strong music program. He pushed to make strings an integral part of the academy’s music program, and violin became a required course for elementary school students. Realizing that some students simply weren’t interested in playing the violin, Gamon came up with an incredibly innovative and thoroughly modern way to engage all of his students — he created a role-playing game similar to Dungeons and Dragons!

He converted the curriculum into a series of quests and challenges. The game is called “Novice to Ninja” and encompasses seven books that students explore from year to year. Because this is the first year, only Book 1 has been revealed. “Musical selections became a way to cast spells, and our skillful execution determines our success as a class,” Gamon explained. “Technique and scales have become ways to break spells, solve riddles or gain the necessary skills to increase our power.”

Gamon oversaw the building of set pieces of the game’s land of Vitula (the old Latin word from which violin is thought to have derived) as well as a website. He later introduced miniature figures to the game — all of this added to the action and excitement of the story, which motivates students to be engaged and prepared. “Role-playing games are not about winning — they’re about a communal experience,” Gamon said. “Because solving the challenges is as much about applying the correct information at the correct time as performing well, everyone has something to contribute.”

Not surprisingly, the response from students has been overwhelmingly positive with “students drawing connections between logic, literature, science and music,” Gamon said. “My advanced students have been active mentors to other students because the focus of the game is on the skill of an entire class, not an individual’s success or failure.”

Read more about how Gamon created the world of Vitula around his violin curriculum.

Also see how Gamon uses his personal values to help him juggle his workload.

Fields Carmen

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Carmen Fields

Choir and General Music Teacher
Edgewood Middle School
Trenton, Ohio

Instead of waiting to be told how and when in-person instruction could resume during the pandemic, Carmen Fields went into action. “When initial news reports linked an early coronavirus outbreak to a choir rehearsal, every music teacher knew we were in trouble,” she said.

Fields and her husband, Nick, who is the band director at Edgewood Middle School, read every report they could find on aerosolization of particles, participated in webinars and researched the square footage of different spaces at their schools. “We constructed a plan that met Butler County Health Department requirements and CDC guidelines,” Fields said. “We addressed how we could teach without performance in-person and remotely. We also included safe options for performance practice.”

Luckily, their administrators, recognizing the importance of music during the pandemic, offered outdoor classrooms as weather permitted and large spaces within the school for safe, socially distanced performance practice.

Even before the pandemic, Fields’ music classes were extremely popular with nearly a quarter of the student population enrolled in them. And she maintains a retention rate of well over 90 percent. In one of her “40 Under 40” nomination letters, Fields is described as an “exemplary” educator who “connects with each student and employs innovative learning techniques.”

Because Edgewood Middle School is in a small rural area, going to see live performances is not an option, so Fields started “Theatrical Thursdays” and “Fundamental Fridays” to bring more curriculum-based learning into the choir room. “By using quality recordings and examples, my students are able to travel virtually to these wonderful opportunities. Without realizing it, they are learning theory and advanced technique,” Fields said.

Fields also started a middle school show choir called Overtures with the choir director at the high school. “We gauged the support of parents and community and then drafted a proposal showing the need for such a program,” she said. “More than 100 students tried out for the 40 spots that first year, and we were off and running.”

Read Fields’ tips for succeeding as a music educator in a rural setting.

DiMassimo Christopher

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Christopher DiMassimo

Assistant Director of Bands, Guitar Teacher
Rachel Carson Middle School
Herndon, Virginia

Reflection is a big part of Christopher DiMassimo’s teaching approach and one of his greatest strengths as an educator. “After each class, I go back to the drawing table and hit it hard to reflect on what worked, what students need to be more successful in the next rehearsal, and how I can ensure that they continue to improve during our next class period,” he said

In one of his “40 Under 40” nomination letters, a colleague wrote, “Chris is equal parts curious, self-motivated and humble. He is never afraid to ask questions to ensure that he understands the components in a project or a lesson.” Another colleague wrote, “Chris’ first concern in any decision he makes is ‘how will this impact my students?’”

DiMassimo already integrated technology into his classroom presentations at Rachel Carson Middle School, so moving to a virtual learning environment during the pandemic did not slow him down. In fact, he was selected to be on the curriculum team last summer to help develop distance learning materials for elementary, middle and high school band directors because the 2020-2021 school year would start remotely. The team worked with the U.S. Army Band “Pershing’s Own” to “request the development of videos to assist beginning band students learn their new instruments,” DiMassimo said.

DiMassimo always looks for ways to connect with his students and develop “an authentic, genuine connection,” he said. “Hard work is tough to sell these days, but the pursuit of creating beautiful music together, working diligently toward common goals, and experiencing the payout makes it all worth it! I’ve found that anything I can do to ensure success and satisfaction along the way makes all the difference for students to remain engaged and committed through the ups and downs in our journey.”

He also asks for input from his students, especially since the pandemic started. “This is critical, especially during a time of distance learning,” DiMassimo said. “Encouraging honest, thoughtful feedback through surveys and informal check-ins is a great way to figure out if any of your students are feeling lost, overwhelmed, underwhelmed or unmotivated, and to take action to reach each of them.”

He is happy to share his knowledge and experiences with other educators as well. Along with his mentor, Dr. Arris Golden, DiMassimo co-wrote a two-part article in the North Carolina Music Educator Journal about best practices for student teachers and mentor teachers. “This period of development in a teacher’s career can be a game changer,” he said. “Developing clear communication and a strong, honest and trustful relationship can make all the difference in ensuring a successful student teaching experience for both parties.”

Cox Tiffany

Written by jkikuchi@yamaha.com on January 20, 2021. Posted in 2021.

Back to 40 Under 40

Tiffany Cox

Director of Bands
Lake Worth Community High School
Lake Worth Beach, Florida

Dr. Tiffany Cox teaches a lot more than music at Lake Worth Community High School, a Title I school. From her doctoral studies and dissertation research on the discrepancies in music education based on gender and race, she is aware of the achievement and opportunity gaps between low-income students and their more affluent peers. “I encourage my students to take a leadership role in their own educational experiences within and outside of the band room. They are encouraged to identify sources of injustice in their lives and to investigate solutions to improve life for themselves, their families and the community.”

Mental health is another area that Cox has prioritized. She implemented routine mindfulness practice and yoga for her students, and she facilitates a close relationship with the school’s mental health counselor. Most importantly, Cox has worked to tear down the stigma of seeking help and to create a safe space where students can discuss their concerns and hardships. “Students are able to seek help from peers and instructional staff before mental health concerns escalate to a dangerous place,” Cox said.

When Cox, or “Dr. Ms. C.” as her students call her, started at Lake Worth, there were only nine band members. She immediately sought out grants and DonorsChoose donations to support her program and to make music more accessible. She now has nearly 100 students from different backgrounds and playing skills.

Cox recalls how she felt after her band’s first music performance. “The feeling was an overwhelming wave of pride, happiness and, honestly, just sheer joy,” she said. “I felt the same thing after we earned our first superior medal and first place trophy. Now, in the midst of Covid-19, I feel the same feeling as I see my students persevering through incredible hardships in an effort to keep music alive in their hearts.”

Read about Cox’s transformative and untiring efforts to provide access to music for the young musicians in her district.