Teach Holistic Music Literacy, Not “Button-Pushing”

Written by David Davis on June 28, 2023. Posted in Case Studies.

Do you recognize the scenarios listed below? Struggles like these are all too familiar in music classrooms:

Letter names scribbled under every note.
Referring to notes as fingerings, not pitches.
Requiring multiple run-throughs to finally be able to “read” the music.
Failure to notice incorrectly performed pitches.
Ultimately, students quitting due to frustration.

For many years, my students struggled with these exact issues. Then, that lightbulb moment: I realized that I was the root cause. I was teaching button-pushing, not holistic music literacy.

So, what do I mean by button-pushing? Bassist Victor Wooten summarizes it best: “Although many musicians agree that music is a language, it is rarely treated as such.”

As a band, orchestra and general music teacher at Park Spanish Immersion Elementary School in St. Louis Park, Minnesota, I realized a few years ago that I was not teaching music as a language — that is, music literacy. Rather, my curriculum centered on the technical execution of music notation on instruments (aka button-pushing). This approach was leading students into the pitfalls listed above. My teaching was sending the message that music symbols represent fingerings rather than sounds. Upon reflection, this was akin to teaching someone to type in a language they didn’t understand.

What, then, is holistic music literacy? Within languages, literacy is typically defined as fluency in speaking, reading, writing and understanding. Similarly, music literacy can be defined as fluency in improvising, reading notation, composing and audiation (aural comprehension). That’s right, fluency in all four areas comprises holistic music literacy.

Unfortunately, my former button-pushing curriculum was not setting up students to achieve holistic music literacy. Every year, I saw the same struggles, and I knew that something needed to change. So, I dove in. I read about the mother-tongue approach of Shinichi Suzuki and the audiation research of Edwin Gordon. I gained much insight from the writings of Stanley Schleuter. And I engaged the English and Spanish teachers and the speech-language pathologist at my school to learn from their expertise. I even joined a cohort of reading and spelling teachers in a two-year course called LETRS in order to develop a deep understanding of the science of reading. In summary, literacy is not achieved through a visual memory process, it’s achieved when symbols and sounds connect to create meaning. The alarm bells went off: This could just as well describe music!

As a result of this learning, my music program looks very different today. I made two significant shifts. First, similar to immersion language-learning, my students learn sound before sight. Second, when I introduce music notation, I base my instructional approach on the science of reading.

Sound Before Sight

“Acquiring verbal skills is dependent mainly on the ability to hear and discriminate sounds and then attach meaning to them. Acquiring musical skill and understanding is also dependent mainly on the ability to hear and discriminate sounds and attach meaning to them.” — Stanley Schleuter

The basic principle of sound before sight is that aural comprehension precedes theory or grammar, similar to how humans learn language. Keep in mind that aural comprehension is not the same as rote memorization. The two can be distinguished by the following analogy: Imagine you had to memorize a speech in a language that you don’t comprehend. You might be able to say the sounds mostly correctly, but you don’t understand what you’re saying, nor could you use the words you’ve memorized to improvise new sentences. In music, a student might memorize a piece but make a pitch error and not notice. They may be unable to identify a tonal center or whether the piece is in major or minor. And perhaps they are unable to take an excerpt and transpose or improvise on it.

In language, we stop imitating when we understand meaning and can converse. Similarly, in music we stop imitating when we can “think in sound” and improvise with meaning. That’s the difference between rote memorization and comprehension.

To teach sound before sight in my classroom, I use the following strategies:

Delay the introduction of notation: I typically wait a few months before introducing method books or sheet music. This provides the time, space and focus to develop a solid aural foundation.
Encourage experimentation: For example, spending time playing with tonal patterns. This might look like students learning a three-pitch pattern by ear, and then deleting, substituting or switching pitches to create a new pattern, or combining patterns together to create a longer melody. This kind of early experimentation, unconstrained by the complexity of notation, quickly exposes beginner students to a broader vocabulary of pitches — no matter the key signature — and also makes introducing transposition easy because students focus on patterns and relationships between pitches.
Center improvisation: Beginners in my classroom create their own pieces as soon as they learn the first few notes on their instruments. We engage in “musical conversations” during class, wherein students sit in a circle, say a “sentence” to a peer and their conversation partner “answers” — all without using any verbal language, only music. This exercise emphasizes musical meaning, as students are quite literally conversing through musical sounds. In addition, I center student improvisation in performances, so the pressure to frantically learn concert music is removed, and we can dedicate the space and time required to build music literacy, not just “teach to the test.” Here is a fun video example of an improvised soundtrack to a short film, which my students performed in a concert setting.

The Science of Reading

“Children who learn to read well are sensitive to linguistic structure, recognize redundant patterns, and connect letter patterns with sounds, syllables, and meaningful word parts quickly, accurately, and unconsciously. Effective teaching of reading entails these concepts.”— Louisa Moats

Get ready for a hot take: A lot of sight-reading happening out there isn’t really reading at all. Stay with me. Often, sight-reading looks like giving students a new piece or exercise in their method book. They look at the sheet music but cannot hear what it would sound like in their head. So, they start to decode the first note symbol into the correct fingering, then the next and the next. Then they string it together, maybe with some unnoticed pitch errors. Were they reading?

I’d argue no. That kind of sight-reading is really just technical reproduction (or, one might even call it button pushing). Comprehension is an essential component of reading whether the text is familiar or unfamiliar, read in one’s head or aloud. In language, skilled reading requires word recognition and comprehension. Translating that into a music context: We need both pattern recognition and audiation to be truly reading notation.

Authentic sight-reading, aka just reading, means recognizing and deriving meaning from tonal and rhythmic patterns on sight. This doesn’t come from memorization but instead from fluency in matching symbol/sound relationships — a brain function called orthographic mapping. Training my students to memorize E-G-B-D-F or to identify note names on a page would be like trying to teach a student to read a book by asking them to name individual letters on the page, instead of decoding and blending the letter-sound correspondences. If you want to learn more about this idea in the context of the science of reading, listen to the podcast “Sold A Story” by education journalist Emily Hanford. There are significant parallels to music learning.

After my students build a solid aural foundation through sound before sight, I begin to introduce visual elements of music literacy. Here are a few tenants of my approach to notational instruction:

It has to be clear that notation is representation of a pitch, not of a letter name or a fingering: I postpone referring to notes by letter names for a few months in order to emphasize patterns and tonality. We use solfege or neutral syllables on each pitch. I start beginners on a one- or two-line staff to simplify patterns, emphasize the sound and symbol relationship, and deemphasize the inclination to name notes. Eventually I scaffold up to traditional notation.
I constantly assess whether audiation is happening: For example, when reading from sheet music, we sing the excerpt or entire piece first before performing on instruments. There’s also a fun classroom game we play where I write a tonal or rhythmic pattern on the board. Students are challenged to echo every pattern I play except the pattern written on the board (which is the “poison” pattern!)
I frequently use aural dictation and composition: In my room, we call them “music spelling tests”: transcribing short, performed patterns into notation. Students find it more fun than you might think! Students also write and perform their own compositions starting in year one.

Why True Music Literacy Matters

So, why does this shift to holistic music literacy matter? What are the stakes? I can’t say how many adults I’ve met who, at some point, got the message that they “just weren’t musical” or “just weren’t talented,” so they quit learning music. Unfortunately, this is still happening today. Stories like these, I believe, are the result of a way of teaching that often fails to impart holistic music literacy. The truth is: Musicality is an inherent human trait, just like language. With the right teaching, the musician in everyone can flourish.

Does the switch to holistic music literacy work? Here’s what I’ve seen in my classroom:

Students no longer write letter names on their sheet music.
Students notice and self-adjust when they perform an incorrect pitch.
Students are intrinsically motivated to play and practice, especially to share their own improvisations and compositions with others.
Students are able to perform music at “higher grade levels” by ear, which increases their intrinsic motivation, excitement and self-efficacy.
Students can transpose, often considered an advanced skill.
Students are more likely to correctly read notation on their first try; in fact, they move through subsequent material faster than traditionally taught students.
Students have not quit my ensembles out of frustration in years.
The curriculum is more diverse, equitable, and inclusive, because it centers student voice and choice, not just the teacher’s.

Departing from a technique-centered approach was scary to me. I was diverging from years of practice and training — both in my own musical education and my education as a teacher. It felt vulnerable and was certainly perceived by some as totally counterculture to today’s music education norms. However, seeing students struggle was the strongest motivator for me. It made clear that research-based, systemic change is needed to best serve students, and frankly, to keep music education relevant.

As Dr. Christopher Azzara, a professor of music teaching at Eastman School of Music, says, we as teachers need to rethink teaching music so that it is more in line with how humans learn music. It is incumbent on music teachers to seek ever greater efficacy because students are so much more than just button-pushers.

Vinyl album with cowboy hat and boots on top.

10 Best Country Albums to Own on Vinyl

Written by Jeff Dorgay on June 22, 2023. Posted in Vinyl.

Years ago, the word “country” would be followed with “western,” but today, it’s more like “new country” and “old country.” Somewhere around the mid-1990s, when Shania Twain became popular with the help of Def Leppard producer (and husband) Mutt Lange, country started sounding a lot less like twang and more like 1980s rock. In a Lynyrd Skynyrd kind of way, country records suddenly featured big, rallying choruses and lots of electric guitars.

Here’s my list of the top 10 country albums — of both the “old” and “new” varieties — best enjoyed on vinyl.

1. Greatest Hits, Vol.1 – Johnny Cash

With almost a hundred albums to his credit, this is the best place to dive into Cash, whether you’re a first-time explorer or a lifelong fan. Featuring his signature song “Jackson” (performed with wife June Carter), along with other staples such as “Ring of Fire,” you’ll get the ethos of the Man in Black quickly. Compilations often mine whatever versions of a particular track are readily available, but care has been taken here to retrieve the original sonic gems, and Cash’s resonant voice really shines through on vinyl because most of his records were recorded in analog to begin with.

2. Wichita Lineman – Glen Campbell

If Johnny Cash is the most outlaw of the group presented here, Glen Campbell is the most approachable, but no less a creative genius. Put the stylus down on the title track and prepare to be blown away by the sonic equivalent of an IMAX movie. (Not to mention that killer bass solo!) Campbell’s playing and singing will floor you, no matter how many times you’ve heard these songs, including great covers of “Sittin’ On The Dock Of The Bay,” “Reason To Believe” and “Words.”

3. Greatest Hits – Waylon Jennings

Right on Johnny Cash’s heels in terms of “outlaw” status, Waylon Jennings has released many great recordings. This 1979 compilation features signature tunes like “Luckenback, Texas,” “Mamas Don’t Let Your Babies Grow up to Be Cowboys” (a terrific duet with Willie Nelson) and “I’m a Ramblin’ Man” — songs that beg to be listened to on vinyl because they tend to lose some of their character and feel via digital downloads. There’s a lot more Waylon before and after this album, but it’s a great stepping-off point.

4. Behind Closed Doors – Charlie Rich

While modern country borrows heavily from the world of rock, Charlie Rich was a pioneer in making country more accessible by crossing over into the world of pop. Old-school country fans may frown upon this record, but if you listen closely to this 1973 release, you’ll hear how the almost Burt Bacharach-like arrangements planted the seed for a lot of the “popular country” that became famous in the years to follow. And again, there’s something special about the way country twang feels more real when rendered via a slab of vinyl.

5. The Woman in Me – Shania Twain

As mentioned earlier, this was one of the most influential albums in the history of country. Much like Michael Jackson’s Thriller, Twain’s second release became ubiquitous, enjoying multi-platinum sales and spawning eight singles. The way she blends country together with rock sensibilities on this album is unlike any other record before or since. Every contemporary female country star owes her a major debt.

6. Golden Road – Keith Urban

It might be hard to believe that an Aussie from Down Under can sound so authentically country, but Urban delivers the goods. Put the needle down on “You Look Good in My Shirt” and you’ll see what we mean. The record rocks — actually scoots — from start to finish with a nonstop collection of songs that are as upbeat as country gets. Urban is every bit as polished and accessible as Twain, drawing on rock roots to convey the message, presented in a beautifully complementary wall of sound production style.

7. Lyle Lovett – Lyle Lovett

Lovett’s later records would always be country-tinged, often heavily infused with a fair share of folk, gospel and blues. However, his first album puts twang front and center, with a delicacy that continues to punctuate Lovett’s work to this day. The songs are clever, and the playing even more so. The sheer approachability of this record might even make it the best place to begin your exploration of country music if previously uninitiated. While recorded on Curb/MCA, if you can find the JVC Japanese vinyl pressing, your ears will thank you.

8. Joe Ely – Joe Ely

Texas upstart Joe Ely began his long career with this eclectic collection of tunes that at times feel as much rockabilly as honky tonk (don’t let the slide guitars fool you). Regardless, Ely has a wry sense of humor in his songwriting that will pull you in. Tip: Skip the “2022 Remaster.” This record was made in 1977, well before digital recording was a studio thing. “She Never Spoke Spanish To Me” and “Treat Me Like A Saturday Night” will pour out of your speakers like liquid gold if you listen to the original vinyl release.

9. Stardust – Willie Nelson

Stardust is the wackiest record in this list. One of country’s favorite sons, Shotgun Willie went way off the radar back in 1978, releasing this collection of pop standards with a solid side order of country classics re-interpreted in an American Songbook way … decades before Rod Stewart and others got on the bandwagon. This may be the only Willie Nelson album with no original songs on it, but it works brilliantly, and it’s exquisitely recorded too. On vinyl, it’s an epic that will show off your turntable’s ability.

10. American Recordings – Johnny Cash

Yes, we know that this is the second time Johnny Cash appears on this list, but no other country star morphed with the times like he did. Partnering with mega-producer Rick Rubin, Cash released four albums in his final days, later known as “The American Series.” All are excellent, but none as chilling as this one (the first), featuring just Johnny and his guitar. Country or not, this is one of the most raw records ever made, and there’s nothing like the realism of vinyl to bring out The Man in Black at his most haunting.

Check out these turntables from Yamaha.

woman looking through a magnifying glass

An Easy Way to Rewire Your Brain

Written by Kathryn Drury Wagner on June 20, 2023. Posted in Self-Care.

As a music educator, there’s a lot on your plate. It’s hard to juggle all that you’re being asked to do — from leading rehearsals to teaching harmony — and fit those tasks into an eight-hour box so you can also, you know, have a life. That’s why any stress-management tool is a must-have in a busy teacher’s arsenal. Today, we’ll look at a simple, yet effective, mindfulness strategy called Notice-Shift-Rewire.

Notice-Shift-Rewire is a three-step practice introduced by Nate Klemp, Ph.D., and Eric Langshur in their 2017 book, “Start Here: Master the Lifelong Habit of Wellbeing.” Klemp is from Boulder, Colorado, and is a former philosophy professor who received his doctorate from Princeton. He’s since become an expert in meditation (and he also plays a little jazz piano). Langshur, based in Chicago, has a background in healthcare and entrepreneurship.

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Mastering Attention

The goal of Notice-Shift-Rewire is to help master executive attention. What’s executive attention? It’s the complex way our brain sorts out all the incoming stimuli, blocking out what’s not important and focusing on what needs doing. Picture yourself having dinner with a friend: You are focused on the great story they are telling you, not on the random guy in the blue shirt at the next table over or the sound of your fork on your plate. When executive attention is poor, according to Klemp and Langshur, too many stimuli are competing, which makes us feel distracted, unfocused and stressed. (Sound familiar?) Add in today’s fragmented environment — awash with distracting social media, incoming texts and multiple screens — and our poor brains are swamped.

Notice-Shift-Rewire aims to train the brain by focusing attention, and this repeated training literally forges new neural pathways. It’s a cool technique you can do anywhere. Here’s how it works.

Notice

The first part of the practice is to notice, or observe, what’s happening in your mind, using a neutral standpoint. Let’s say you had a really hard day teaching. You feel depleted and discouraged. Your brain starts whirring with negative, unhelpful thoughts — for example, “I should be better at this by now” or “I am not cut out for teaching.” But here’s the thing: Human brains are wired to glom onto more negative thoughts and experiences instead of positive thoughts and experiences. Giving negative thoughts more energy is what scientists call the negativity bias.

This Debbie Downer trait served us well while humans were evolving. What’s that dark cloud on the horizon? Do I hear a predator howling? Is this berry poisonous? Humans who survived all the obstacles in their environment were the ones who lived and got to pass on their genes. That happy-go-lucky guy contemplating a dandelion puff while the jaguar crept up behind him? Not so much.

So, step one is to observe your thoughts, without judgment, such as, “I notice I’m feeling tired and depleted.”

Shift

Now that you’ve noticed your brain whirring, Klemp and Langhsur propose, you have a choice. You can let your brain continue to spin-cycle through thoughts, or you can gently direct your attention to the present moment. You might, for example, focus on taking a deep breath — in and out. Or you might envision a forest and imagine how the pine trees smell, or your favorite beach and how the warm sand feels on your toes. This seems like you’re escaping your thoughts, but you’re redirecting your restless mind to a place of wellbeing and calming the nervous system.

Rewire

Lastly, Klemp and Langshur suggest, spend 15 to 30 seconds savoring that feeling after you’ve made a shift from busy, disorganized thoughts to calm attention. This period of savoring is what helps the brain create new, more positive neural pathways. Over time, this leads to a greater ability to focus, increased productivity and greater life satisfaction, according to Klemp and Langshur.

Want to give it a go? Download a free guide to Notice-Shift-Rewire.

Music on a Cart: Make it Work

Written by Aleah Fitzwater on June 20, 2023. Posted in Teaching Tips.

If you’re used to having your own classroom, hearing your administrator talk about changing to a “music on a cart” format will likely make you sigh. Putting your classroom on wheels is not ideal and it can be intimidating, but you can make it work. I have taught music in gyms, in other people’s classrooms and even in big instrument storage lockers. Here are some tips that will help you teach music anywhere.

The Cart Itself

Choose your cart carefully because it is your classroom. Helpful features to have on a music cart include:

• Small, stackable totes
• Pocket holders
• Drawers
• Hanging hooks
• Binders with folders and other organizational tools

If you’re using a cart that the school has provided, you may need to do some DIY because you will need to get creative to make a space-saving cart. Look for different ways to attach instruments or to save space, such as hooks, Velcro, mini-totes, etc.

If you don’t have the funds to buy your own cart with drawers, buy some locking and stackable totes. One of the biggest challenges with teaching on a cart is getting everything you need to fit on it and staying organized.

Include a Sub Basket, Create a Second Cart

Classroom or no classroom, getting sick is inevitable. Having an emergency sub basket on your cart is a must-have for any time of year. Creating a second cart and having it in storage is also a good idea in case an unknowing janitor or school guest decides to relocate your portable classroom (you never know, anything can happen!).

Downsize Your Lesson Plans

Downsizing your lesson plans is frustrating. After all, you have all this musical equipment — xylophones, ukuleles and musical props galore. But what if you can teach many of the same concepts with smaller instruments?

Hand Clapping and Cups: The smaller the instruments, the easier it’s going to be for you. However, this doesn’t mean that you can’t make great music. Prioritize small hand percussion instruments like scrapers, shakers and handbells. Don’t forget that our bodies can be instruments, too.

Hand-clapping games or cup games are perfect for days when you don’t want to bring a cart at all. Some people might think that hand-clapping sounds like child’s play, but you can find some surprisingly complex pieces for body percussion that will even keep high schoolers on their toes.

For advanced students, try this two-part minimalist classical piece called “Clapping Music” by Steve Reich. This iconic piece was first written in 1972. I performed it with one of my classes in college. Even as a music major, I was challenged by this piece.

“When I’m Gone,” which is better known as “the cup song” that Anna Kendrick performed in “Pitch Perfect” (and originally sung by The Carter Family) is another engaging lesson plan to break out. All you need are cups! I learned this song in high school when “Pitch Perfect” first came out. It’s more than just a cool party trick, especially when you sing and perform the cup routine at the same time. Just be sure to swap the line about whiskey for something like “I’m buyin’ Faygo for the way.”

For elementary students, try hand-clapping games like:

• “Ram Sam Sam”
• “Miss Mary Mack”
• “Down Down Baby”

Simple hand-clapping games and circle-clapping games are excellent ways to work on cross-body motor skills. If you’re feeling adventurous, try the “Cup Game” with elementary students. Rhythmic cup games have been around long before “Pitch Perfect” and actually used to be a competitive activity!

Small Manipulatives and Other Helpful Items: Keep small items in your cart like scarves (for choreography), balls, hacky sacks, rubber dots, etc. that are portable, engaging and inspire movement. Other helpful things to keep on hand include mini whiteboards, golf pencils, scrap paper and blank staff paper.

Rubber dots were a lifesaver for me. If you are moving from classroom to classroom, you never know if you’ll have a circle carpet or not. For littles, having rubber dots to sit on is a great way to smooth out classroom transitions, and give K-2 students more classroom structure.

Get a Portable Projector and a Soundbar: Don’t know if you’ll be teaching in a small room without a smartboard? Mini portable projectors can help you teach anywhere. Any rhythm reading exercises you already have in your arsenal can be read on smaller instruments, like those mentioned earlier. While you can’t interact with the screen, it’s still a good way to provide a visual aid and level up your music-on-a-cart so you can continue teaching reading and solfege.

With a soundbar, you can easily fill a room without the hassle of logging into another teacher’s computer because sometimes you just don’t have enough time! I used a soundbar for subbing and musicals as well.

Classroom Management: One of the most difficult aspects of moving your classroom on a cart is classroom management. It’s difficult to create a routine when you’re always working in a different space. I use a chime to signal the start of class, and when we need to quiet down to focus. While not all rooms have enough space to move around a lot, alternating between standing and sitting activities can help keep students’ attention.

Teacher Tip: Take Up Space — Even if you’re always teaching in someone else’s space, you must think of it as your room until the bell rings. It’s also a valid move to ask the other teacher to leave their desk so you can take over, even if it’s uncomfortable at first.

Don’t Give Up Just Yet!

Even though we have focused on how to make a classroom on a cart work, please know that you don’t have to give up if you’ve been notified that you’re going to have to vacate your classroom. Resources like your union can help. This NAfME article offers great advice on how to navigate the situation. And, even if you end up teaching on a cart, having a signed acknowledgment of how this is going to impact you and your student is extremely helpful.

That’s all to say that, when admin gives you lemons, keep making music. No matter what kind of space restrictions and curveballs are thrown at you, you’ve got this!

What are the Different Kinds of Clavinovas?

Written by Yamaha Corporation of America on June 20, 2023. Posted in Digital Pianos.

In 1983, Yamaha introduced an electronic keyboard that was to have a huge impact on the music world all the way up to the present day, 40 years later. That product was the first Clavinova — a term derived from the blend of the words Clavier, meaning “keyboard instrument” and nova, meaning “new.”

The instrument was indeed new; in fact, it is widely acknowledged as being the first digital piano. For the first time, aspiring pianists could learn on an affordable (and maintenance-free) instrument equipped with both built-in speakers and a headphone jack enabling silent practice — an instrument that not only sounded like a piano, but had the authentic feel of an acoustic piano.

Since that time, Yamaha has introduced dozens of new Clavinova models, all incorporating modern technology, but each with its own distinctive set of features. Here’s a guide to the different kinds of Clavinovas available today.

Clavinova Commonalities

Though organized into three “Series” of instruments (see below), all current Clavinovas feature full 88-note weighted keyboards with “Graded Hammer” technology, a mechanical system of small metal hammers designed to be similar to those of an acoustic piano. They offer a graded action that’s intended to reproduce with great accuracy the varying weights of the hammers of an acoustic piano, ranging from “heavier” keys in the low register to “lighter” keys in the higher register.

Unlike acoustic pianos, Clavinovas produce their sound by means of a built-in sample-based tone generator that utilizes small snippets (“samples”) of actual recordings, thus providing a high degree of realism. Clavinovas can reproduce a large array of acoustic and electronic instrument sounds (known as “Voices”), including many types of pianos and organs (some that utilize binaural sampling for three-dimensional sound that recreates the perspective of the player position through headphones), as well as string, percussion, brass and woodwind instruments, plus modern and vintage synthesizer sounds, along with effects such as reverb and delay.

They also all provide onboard recording so you can capture your performances — a must if you want to be able to review your playing objectively. Additionally, you can record up to two tracks for simultaneous playback, so different hands can be recorded separately, or you can overdub parts with different Voices.

All current Clavinovas are housed in wooden cabinets, and most models are available in a wide range of cabinet designs, finishes and colors so they can fit into any décor. Some are designed to look like acoustic upright pianos, while others replicate the look of an acoustic grand piano.

CLP Series

CLP Series digital pianos are the longest-standing members of the Clavinova family, dating back to 1985. These are considered to be the more “traditional” Clavinovas because they focus more on the piano playing experience, with fewer bells and whistles than the newer CSP or CVP Series models. If you mainly want to play piano but also would like to have some cool digital features at hand, such as extra instrument sounds, recording/playback features and Bluetooth connectivity, then CLP Series Clavinovas may be the better choice depending on your budget.

There are currently seven CLP models available in the U.S. These are the CLP-725, CLP-735, CLP-745, CLP-775 and CLP-785, each of which are housed in cases that resemble upright pianos, plus two models that look like mini grand pianos: the CLP-765GP and CLP-795GP.

Digital baby grand piano with lid open. — *CLP-795GP.*

All CLP Series models accurately recreate the tone, power and nuanced colors of our flagship Yamaha CFX and Bösendorfer Imperial concert grand pianos, along with dozens of other instrument Voices. You can even play two Voices at the same time — piano and strings, for example, or French horn and cello — either layered together or “split” over different areas of the keyboard.

In addition, all CLP Series instruments incorporate innovative Virtual Resonance Modeling (VRM) technology that recreates the resonance of the soundboard, rim and frame to emulate the natural feeling of an acoustic piano, even when playing with headphones. Other features include weighted, graded keys that reproduce the authentic touch, response and natural key return of an acoustic piano, along with Smooth Release Technology that creates the colors and nuance of dampers returning to the strings when playing staccato, legato and everything in-between.

All CLP Series models are compatible with a free proprietary iOS/Android app called Smart Pianist, which enables handy remote control of the instrument’s features from your smartphone or tablet. In addition, Smart Pianist adds 100 popular and classical songs by artists like Adele, Sting, Elton John and Coldplay, along with 303 lessons by Beyer, Czerny, Hanon and Burgmüller — all accessible with a touch of a button.

CSP Series

The two current models in the CSP Series are the CSP-150 and CSP-170. Both are packed with thoughtful technology geared toward helping you become a better player. They allow you to lead a virtual orchestra, join a jazz ensemble, add backup singers and more … and they are both fully compatible with the free iOS/Android Smart Pianist app (see above) for expanded functionality. The app’s unique Audio-to-Score function can also analyze songs in your music library and then generate a piano accompaniment and score so you can easily play along; you can even adjust the complexity of the arrangement by choosing how many notes you’re comfortable playing with each hand.

Upright digital piano and bench in a living room. — *CSP-170.*

CSP Series Clavinovas offer a wide variety of Voices, including the sound of Yamaha CFX and Bösendorfer Imperial concert grand pianos, along with “Super Articulation” Voices that add genuine performance attributes of the real musical instruments (such as fret noise from a guitar, or inhalations/exhalations from wind instruments) as though they were being naturally performed on that instrument instead of from the keys of a piano keyboard. They also provide auto-accompaniment backing tracks called Styles. These range from traditional dance and classical orchestration to more modern club, pop, rock, big band and jazz accompaniments.

But perhaps the most innovative feature offered by CSP Series instruments is something called Stream Lights. These are ladders of cascading LEDs above each key that illuminate in sync with tempo of the song you’re playing along with, essentially turning learning to play piano into a game that draws inspiration from popular titles like Guitar Hero™ and Rock Band™. When the song starts to play, the lights move down towards the keys and all you have to do is strike the keys as the lights reach them. It’s a new, fun, technology-driven way to play along with original artist recordings of many of your favorite songs — something that can inspire you to make music in ways that conventional lessons never have before.

Closeup of a keyboard with digital lights above the keys. — *Stream Lights.*

The CSP-170 model features a Natural Wood X (NWX) keyboard, cut from wood that has been carefully dried specifically for use in making musical instruments, resulting in a keyboard that is resistant to buckling and warping. Both the CSP-170 and CSP-150 also come equipped with an onboard multi-track recorder and a mic input — simply plug in a microphone to sing along with your playing; with the use of the Smart Pianist app, the lyrics of your selected song are shown on your smartphone or tablet and the words change color as the song advances, so you know exactly when to come in. What’s more, a Vocal Harmony engine can add harmonies and enrich your voice — it’s even capable of correcting your pitch!

CVP Series

Top-of-the-line CVP Series Clavinovas provide the widest range of Voices and Styles, along with the very latest in technological innovations, including a futuristic control panel with a built-in color touchscreen. In addition, they incorporate astonishing Piano Room technology, which not only enables you to enter a virtual “selection room” to choose a favorite piano from several options, but then raise or lower its lid to change the brightness of the instrument, change the venue or location where the piano is playing to alter its reverb and ambiance, and even adjust the tuning and touch responsiveness. An associated Session Mode allows virtual musicians to be brought into the Piano Room to accompany you as you play.

Control panel view. — *CVP Series Clavinovas have a built-in color touchscreen.*

The current lineup of CVP Clavinovas includes the CVP-701, CVP-805, CVP-809 and CVP809GP (the first three are housed in cabinets that emulate upright pianos, while the latter is housed in a mini grand piano cabinet), and at the recent 2023 NAMM show, Yamaha unveiled three new CVP-900 models: the CVP-905, CVP-909 and the mini grand CVP-909GP.

Digital baby grand with lid open. — *CVP-909GP.*

All CVP Series Clavinovas offer Grand Expression Modeling that accurately captures the subtle variations in sound offered by an acoustic concert grand piano. Most come equipped with GrandTouch™ Keyboards with escapement; some also incorporate carefully adjusted counterweights for improved playability as well as GrandTouch pedal technology that allows the player to “half pedal” with the damper pedal held at middle depth — the CVP-909 even replicates the weight of a grand piano damper pedal.

Other advanced features offered by various CVP models include Virtual Resonance Modeling, Super Articulation Voices, Follow Lights with Guide Mode, USB Audio (MP3/WAV) recording and playback, and Display Output via USB. You can also plug a mic into CVP-800 Series Clavinovas, as well as the CVP-905 and CVP-909, and sing along with up to three virtual background vocalists, with the ability to adjust level and correct pitch.

No matter your level of expertise, there’s a Clavinova that’s right for you!

Learn more about Yamaha Clavinova digital pianos at your local authorized dealer.

All About Vibraphone Bars

Written by Robert Darling on June 17, 2023. Posted in Percussion. 1 Comment on All About Vibraphone Bars

The vibraphone is such a unique sounding instrument. The sustain, vibrato, and tone quality are just some of the reasons why it is such a popular instrument.

What creates the vibraphone’s beautiful sound quality? It’s the aluminum bars that resonate like no other instrument!

Now, you might wonder if silver bars ring longer than gold bars? Or, are red bars better than gold? The answer is that bar color has nothing to do with the sound!

It is purely the finish that is applied to the bars after tuning and coloring that makes the difference. So, what is the difference between the different types of vibraphone bar finishes, or is it also for aesthetic?

The answer, as always, is complicated.

After being tuned, each bar is anodized a color decided by the manufacturer. Then, companies typically finish the bars in two main ways: matte or glossy. The finish applied to bars is obviously different visually, but they also have very different sounds. However, the main difference occurs in the initial attack of the bar, not as much to the sustain.

What’s the Difference Between Matte and Glossy?

Matte-finish bars tend to have a warmer sound with less attack. Glossy bars tend to be brighter and have more attack.

Another reason they sound different dependents on mallet choice. When using hard mallets while playing loudly, glossy bars will still speak clearly where matte bars tend to become too bright and lose body. However, when using soft-medium mallets, the matte bars produce more natural warmth than the glossy bars.

What Scenarios are Best for Each Finish?

Any time that you play a vibraphone in a larger ensemble where there are other instruments in the same register, you will find it easier to be heard if you are playing an instrument with glossy bars. Because glossy bars are brighter and have more attack, the instrument will be heard much more clearly than matte finish bars. Glossy bars work best in marching bands, large wind ensembles, big band jazz, orchestras, etc. Medium to hard mallets sound best on these vibraphones.

Matte finish bars are considered by many to produce the “classic vibraphone sound.” Because of this, they are best for just about all other scenarios than the ones listed above; solo vibraphone, percussion ensembles, jazz trios, chamber groups, etc. Soft to medium-hard mallets will sound best on matte finish bars.

Other Things to Consider

Vibraphone bars are graduated in size and length the same way they are on a marimba and xylophone. This means that the bars are at their largest in width and length at the bottom and gradually get smaller as the pitch rises. The same principle applies to a grand piano. When you look inside a piano, the strings attached to the higher notes are very short and thin, while lower pitches have thicker and longer strings.

The lower the note, the longer its wavelength and the more surface area needed to properly amplify that note. Resonators on vibraphones follow the same idea. The higher notes have shorter resonators, and as the notes get lower, the resonators get longer to properly reinforce the frequency of the corresponding note.

Note Range

The vibraphone also comes in two different extended note ranges: 3.5 and 4-octaves. The 3.5-octave vibraphone typically extends the low F3 down to C3, while the 4-octave extends the low F3 down to C3 and the high F6 up to C7. These different ranges allow further exploration for composition. You are also closer to the range of the marimba and can play unison parts because of the highest and lowest notes being C. The only con of the extended range instruments is that they are bigger and, therefore, less portable.

Bar Tuning

The vibraphone bars are tuned to A=442hz (like most other pitched percussion), however, if you are playing the vibraphone with a grand piano tuned to A=440hz, you might notice some tuning discrepancies. The vibraphone is technically 8 cents sharp compared to the piano and the rest of the ensemble. For this reason, companies will offer vibraphone bars tuned to A=440hz. This is only necessary when playing in smaller ensembles with a grand piano or other fixed pitched instruments, however, the difference isn’t noticeable in most scenarios.

How to Become a Great Session Drummer

Written by Steve La Cerra on June 16, 2023. Posted in Drums How-to.

There are a lot of different ways to earn a living playing the drums, but there’s only one where you can be exposed to different genres of music on a daily basis: being a session drummer.

Taking this career path (which you can do in addition to playing live gigs, of course) also means that you’ll get to work with different producers, musicians, and songwriters, which not only enriches your musical background but keeps life behind the kit interesting. Here’s what you need to know about becoming a successful session drummer.

Timing Is Everything, Part 1

The ability to keep good time is an important skill for every drummer, but it might be the most important skill for a session drummer — especially now that so much music is being made “on the grid” (i.e., to a click) using computers and DAW software.

You can improve your timing by working with a metronome. Practice playing along with the click until it feels good, then vary the tempo until you’re comfortable at a wide range of tempos. If you’re practicing with other musicians who will be on the session, rehearse to the click so that everyone knows what to expect when it comes time to record in the studio.

A great resource for developing your drumming skills are the training tools provided with most electronic drum kits (such as the Yamaha DTX10, DTX8, DTX6 and DTX402), which can help improve your timing as well as your ability to quickly learn drum parts.

Record, Record, Record

Recording puts your drumming abilities under the microscope, and that can be intimidating. The best way to face the fear of recording is to record yourself as often as possible, then listen back to evaluate and analyze your performances objectively. A basic recording using your phone can help you judge feel, as well as how you balance the volume between different components of the kit. Eventually you can work your way up to a home recording setup with a computer and DAW software

Rec’n’Share is a free interactive app for your smart device that works with the Yamaha EAD10 Electronic Acoustic Drum Module (which transforms any acoustic drum set into a digital/hybrid kit, complete with sound effects), as well as all DTX Series electronic drums. It’s an excellent way to practice and record your performances, and makes it easy for you to share ideas with producers and other musicians.

Reading is Fundamental

The term “session drummer” covers a lot of territory and you may need different skills depending upon the types of sessions you want to do. If your goal is to play on sessions for jingles, film or television, you will almost certainly be required to sight-read music because that is what the producers of those genres will expect. But if your goal is to play on sessions for songwriters, musicians or music producers, reading may be less important.

Musical annotation. — *Reading drum charts is essential for jingle, film and TV work.*

Even if you don’t plan on doing film or TV sessions, being able to read and write music is a great skill to have because it allows you to easily notate ideas for fills or patterns that you might play in a verse or chorus.

Do Your Homework First!

Before you show up at a session, do some planning and ask a lot of questions. How many songs will you be recording? How much time will you have to record them? Will you be expected to play to a click? Are there demos that you can hear before the session? Will you need to copy the drum parts on the demo note-for-note? (Regardless, have several new ideas ready to go in case you’re asked to provide alternatives.)

If you can, ask ahead of time what genre of music you’ll be playing, and try not to limit yourself to one particular style. Instead, become familiar with different genres — which makes you more valuable and will get you more work.

Also try to determine beforehand what equipment will be available for you to use at the studio. If there’s a great kit already in-house, you probably won’t need to bring your own drums.

You may, however, want to bring a few different snare drums so you can choose one that’s appropriate for a particular song. The same goes for cymbals: bring along an assortment of cymbals with different weights, sizes and styles.

Several snare drums. — *It never hurts to bring an assortment of snare drums to every recording session.*

Last but not least, be sure to ask the producer ahead of time if you’ll need anything out of the ordinary for the session, such as shakers, tambourine or other percussion instruments — all good items to have in your arsenal as they will help increase your odds of getting gigs. Alternatively, consider bringing a sophisticated electronic drum module that can emulate many different percussive sounds (such as the Yamaha DTX-PRO or DTX-PROX), along with a drum pad or a mountable drum trigger such as the Yamaha DT-50S. The day of the session is not the time to find out that the producer was expecting you to rent a timpani drum!

Closeup of drums. — *The Yamaha DTS-50S drum trigger mounts directly to your snare drum.*

Gear Up

If you plan to bring your own equipment to a session, make sure that everything works properly and has been well-maintained. Old or worn-out heads should be changed a few days in advance to give them time to settle in, and packing a spare snare drum head is a must. Learning how to tune your drums is another important skill — one that can help you adapt quickly if the producer asks you to change the sound of the kit.

Make sure that none of the hardware is loose or rattling, since these sounds can be magnified under the scrutiny of microphones, as can the sound of a squeaky bass drum pedal.

Drum piece. — *Yamaha cymbal stands feature plastic cups that prevent rattling.*

Check your cymbal and hi hat stands for metal-on-metal contact, and use plastic cymbal cups with felts to prevent rattling.

Carry a backup snare drum and extra sticks, plus mallets, thunder rods and brushes, just in case. It may also be helpful to pack a tool box with spare cymbal felts, cymbal cups, sleeves, wing nuts, beaters, tension rods and other parts that might need replacement on-site.

It’s All About the Song

When it comes time to record, no one really cares about how fast you can play or how great your solo is. It’s all about the song, and simple parts often serve the song best.

Flexibility is a must in any recording situation, so be ready to change the parts you’re playing on-the-fly and take input from other players or the producer. Be prepared to receive criticism and don’t take it personally. Remember that you’re there to serve the song, so set your ego aside.

Timing is Everything, Part 2

No one likes waiting for other people to show up, and in the studio, time is money. But being on time is not enough. You need to be early. Part of planning for a recording session should include mapping out how you’ll get to the studio, finding out where you can unload your gear, and where you can park a car if necessary. Allowing an extra hour for your commute will leave plenty of time for unloading and parking, plus give you a few minutes to chill before the session starts. Being early shows that you’re a pro; being late will always make a bad impression. Plus, it adds stress that you don’t need and distracts from the real task at hand: playing the drums!

On the other side of that equation, try not to book anything after the session that might require you to leave before the session is finished. There’s nothing worse than someone taking off before the job is done, and producers and musicians who hire you will remember that.

O Drummer, Where Art Thou?

Having a presence on social media is a must these days and is a great way to make yourself known to studios, producers and other musicians. Post audio and video clips or links to your work so people can hear what you do. Get in touch with local studios, or with musicians you know who have home studios, and let them know that you’re available to play on sessions. Sitting in at an open jam is another way to meet new people, and can help develop your chops in the process.

Be realistic about where you live, and whether there’s a recording scene nearby. No one is going to fly you out to a studio to play on their songs when you’re starting out, so you may need to relocate to get your career off the ground.

Have a Good Attitude

It doesn’t get much better than being paid to play the drums, so let it show! A positive attitude and a smile can help ease tension in the studio and make for a great day … plus it can lead to more recommendations and gigs in future.

It’s all about getting the song to groove and making everyone feel comfortable. If you can do that, you’re on the road to success!

Movies for Dad

Written by Jon Hadusek on June 15, 2023. Posted in TV & Movies.

Every Father’s Day is an opportunity to celebrate the dads and father figures in our lives. It’s an annual day of rest for pops that lets him kick back and relax while the rest of the family takes care of chores and fixes up a hearty meal. And after dinner, why not saddle up in front of the big-screen TV and sound bar and watch a movie together? Whether he’s in the mood for a fast-paced action thriller, an inspiring sports film, a cinema classic or a laugh-out-loud comedy, here are 10 films that will surely go over well with dad.

Creed

This post-Rocky boxing story centers around aspiring heavyweight champion Adonis Creed (Michael B. Jordan), the son of the late Apollo Creed, who died in the ring at the hands of Ivan Drago in Rocky IV. Adonis didn’t know his father, but he looks to preserve his legacy as he teams up with Rocky Balboa himself (Sylvester Stallone), who helps Adonis train and provides the living link between father and son. This inspiring boxing film has spawned two sequels, including the recently released Creed III, following the template laid out by the original Rocky franchise. Stream it here.

Daddy Day Care

Looking for a lighthearted family-friendly offering? This 2003 comedy puts a group of unemployed dads in a peculiar place: running a day care service to earn money for their families. Hijinks ensue as the dads learn the toils of childcare on the fly, with Eddie Murphy leading the way. Stream it here.

The Fast and the Furious

The importance of family is the central motif of the long-running Fast and the Furious franchise, with main character Dominic Toretto (Vin Diesel) often uttering quotable profundities such as, “I don’t have friends, I’ve got family.” Throw in an armada of souped-up muscle cars and plenty of physics-defying stunts — usually executed with said automobiles — and you’ve got a surefire dad-pleaser. With the recent release of the 10th iteration of the Fast saga, there’s no better time to revisit the original 2001 film that started it all. Stream it here.

Field of Dreams

If your dad is into sports, this film is mandatory viewing. Yes, it’s a tale of ghosts of legendary ballplayers such as “Shoeless” Joe Jackson, but it’s a father-son story at heart. When Ray Kinsella (Kevin Costner) hears a whispered voice saying, “If you build it, he will come,” he takes it to mean that he should construct a ball field on his corn farm. Little does he realize that the Field of Dreams he builds — which now exists in real life in Dyersville, Iowa — will help him reconcile the broken relationship with his late father, a devout baseball fan. Stream it here.

The Godfather

Francis Ford Coppola’s gangster epic is a masterwork of filmmaking, weaving a riveting story that takes many unexpected twists and turns. Don Vito Corleone (Marlon Brando) is the patriarch of the Corleone family, and when he falls victim to a shooting, it’s his youngest son Michael (Al Pacino, in one of his earliest roles) who takes the reins, reluctantly at first but ultimately proving that the apple doesn’t fall far from the tree. The film helped launch the careers of Coppola and Pacino, and the American Film Institute ranked it as the second-greatest film in American cinema history (next to Citizen Kane), with the Godfather II sequel not far behind. Stream it here.

Indiana Jones and the Last Crusade

One of the great adventure films, Indiana Jones and the Last Crusade casts Sean Connery as Henry Jones Sr. — a Medieval professor who took more interest in his work than raising his son Indy (Harrison Ford). Despite the distance between them, the father-son duo must work together to overcome Nazi antagonists and find the true Holy Grail. The comic timing and familial on-screen bond between Ford and Connery is the highlight of this Steven Spielberg-directed flick. Stream it here.

Mad Max

A father’s love can be immovable, as depicted in this cult film that portrays a dystopian future. Max, played by a young Mel Gibson, patrols the arid wastes of the Australian Outback with his trusty black muscle car — the Last of the V8 Interceptors — taking on ruthless bandits and biker gangs in a semi-lawless land. But when the villains cross the line and take aim at his wife and newborn child, Max becomes truly mad, setting up the acclaimed sequel The Road Warrior. Stream it here.

The Royal Tenenbaums

This 2001 comedy exemplifies director Wes Anderson’s shrewd brilliance and knack for writing extraordinarily bizarre characters. The Tenenbaums will undoubtedly go down as one of wackiest on-screen families of all-time, and their family tree includes a pair of eccentric father figures: the patriarch Royal (Gene Hackman) and his son Chas (Ben Stiller). Stream it here.

Taken

The premise of Taken is simple but effective: When retired CIA operative Bryan Mills’ daughter is kidnapped, he’ll do anything to get her back. Mills, portrayed by Liam Neeson, becomes a one-man wrecking crew as he takes on an entire syndicate of henchmen, dispatching them in myriad, and often gruesome, ways. In the context of Father’s Day, it poses the tongue-in-cheek question: “Dad, would you do that for me?” This is a movie that essentially carved out its own “action-pursuit” genre, taking in (pardon the pun) a whopping $226.8 million at the box office and spawning two sequels that did nearly as well. Stream it here.

To Kill a Mockingbird

Atticus Finch stands as one of the most prominent father figures in literary — and movie — history. The central character in Harper Lee’s classic novel To Kill a Mockingbird, he’s played by legendary actor Gregory Peck in the 1962 film adaptation. It was a role that proved to be especially meaningful given the timeframe of the civil rights movement (Finch, a trial attorney, represents a black man falsely accused of rape) and influential to the real-life legal profession. Stream it here.

Closeup of acoustic guitar being played.

Raising the Bar: FG9 Acoustic Guitars

Written by Robbie Calvo on June 14, 2023. Posted in Acoustic Guitars.

Yamaha released their first acoustic guitar, the FG180, back in 1966. These “red label” guitars found fame on the stage of the original Woodstock festival and were re-released in recent years with some updated features, including the amazing Atmosfeel three-way pickup system and A.R.E.– treated spruce tops. (A.R.E. is short for Acoustic Resonance Enhancement.) The Yamaha FSX3 and FSX5 Red Label models are among my favorite steel-string acoustic guitars. In my opinion, they bridge the gap between vintage style, tonality and modern performance attributes.

But constant research and development keeps Yamaha at the cutting edge of acoustic guitar technology, so it should come as no surprise that the new flagship FG9 (unveiled at the recent 2023 NAMM show) raises the bar even higher.

The FG9 is a dreadnought-style acoustic guitar that may well represent the pinnacle of Japanese craftsmanship. There are two models: the FG9 R and FG9 M. Both feature Adirondack spruce tops, one-piece mahogany necks, bone nut and saddle, and a classic ebony fingerboard and bridge. The FG9 R sports a solid Indian rosewood back and sides, while the FG9 M has a mahogany back and sides.

The distinctive fingerboard inlays resemble traditional Japanese Kumiki woodworking, and the rope-shaped rosette and purling on the sound hole is a motif deeply rooted in Japanese culture.

Like all FG guitars, the design is deceptively simple. However, there are details beneath the surface that set these tonal powerhouses apart from other dreadnought guitars.

For one thing, Yamaha has tapered the edges of the Adirondack tops to provide structural integrity while allowing the body to vibrate more efficiently — a combination that contributes to both power and sensitivity.

In addition, the neck has a new structural design that combines bolt-on and glued construction to increase body vibration. The neck and body joints are also finished and adjusted with the highest precision. The open-geared tuners work perfectly, and the smokey grey finish of the tuning buttons looks really cool. It’s a very nice touch.

Last but not least, FG9 guitars are finished with a nitrocellulose finish — another detail that contributes to the resonance, projection and clarity these instruments possess.

Tonality

The primary objective Yamaha had with the FG9 was to produce a guitar optimized for the singer-songwriter, so the first test was to play one of my favorite songs on both models.

I liked the way both instruments complemented my singing, as they are extremely balanced in the bass frequencies. This allowed my somewhat deep voice to take precedence in the mix when performing live.

As expected, the rosewood FG9 R sounded warmer and softer than the mahogany FG9 M, which produced lovely, crisp single-note passages for musical interludes and fingerstyle playing. I like them both equally, but if I had to choose one, I think I’d opt for the FG9 R as it would give me a distinctively warm yet articulate guitar for sessions and live performances.

Playability

The bone nut and bridge on both models are cut to perfection, allowing for tuning stability and perfect intonation in both the open position and in the upper register.

The fretboard is easy to navigate, and never feels challenging. I found that I didn’t even have to think about it at all — it just lets you glide over the strings effortlessly. The fret ends are super smooth, and the satin-finished necks are a dream to play.

It’s perhaps worth mentioning that the rosewood FG9 R model is slightly heavier than the mahogany FG9 M due to the different density of the tonewoods, but it didn’t feel overly heavy, even when played for extended periods while standing up.

I did find that I had to adjust my playing style for the wider body shape of a dreadnought, but the striking tones coming from these guitars made the extra effort worth it. Perhaps Yamaha might consider making the FG9 in a concert body size as well.

The Video

Yamaha have produced some excellent videos featuring the two FG9 models. However, those videos are predominantly acoustic with male vocals. I thought a fresh way to demonstrate these guitars was to create a full production track with female vocals.

I used a G open tuning for the main guitar parts, and a capo’d fingerstyle guitar overdub for the chorus sections. I also added some tasty melodic phrases with a harmony part, plus a cool electric guitar solo (played on a Yamaha Pacifica 612VIIFM through a Line 6 Helix processor) for tonal variation.

The sound of the two FG9s are captured with a large diaphragm tube microphone. Each rhythm guitar part is double-tracked and panned to opposite sides in the stereo mix. I also recorded and filmed each guitar in isolation so you can make comparisons between the FG9 R and FG9 M models.

The Wrap-Up

With the FG9, Yamaha has taken the FG range to new tonal heights and aesthetic perfection. Playing a guitar that is so responsive to the player’s touch and dynamic approach is so inspiring!

I found that both the FG9 R and FG9 M beautifully complemented my vocals, wrapping the melody with just the right amount of rhythmic support and harmonic punch. There’s an amazing openness and “air” around the notes that I haven’t experienced with other acoustic guitars. Especially if you’re a singer-songwriter, this is one guitar you’ve got to check out!

Photographs courtesy of the author.

Check out Robbie’s other postings.

Engage Parents as Partners

Written by Jarrett Lipman on June 14, 2023. Posted in Teaching Tips. 1 Comment on Engage Parents as Partners

As a drum major at the Crossmen, I remember talking to Fred Morrison about the nuts and bolts of running the organization. He was in his first year as executive director of the Crossmen after serving as the president of the Ronald Reagan Band Parent Association and had invested a lot of time and money into the success of the organization. Fred taught me early on in my career that “great drum corps and band programs are driven by two things: people and money.”

Jarrett Lipman with Fred and Maureen Morrison

I have never forgotten this lesson, and it has guided me as I built relationships and fundraised for the organizations that I have been a part of.

Even though he was the top guy at Crossmen, Fred was always a “band parent” at heart. For Fred and his wife, Maureen, who served as the operations director, working at the Crossmen was a labor of love. As a team, the Morrisons were one of the most significant examples of servant leadership I have ever witnessed. They did whatever they needed to do for the corps to succeed, from managing the bigger-picture operations of the organization to pasting stickers on the side of the box truck and cooking pancakes on the food truck. Their responsibilities also included recruiting great volunteers, drivers, kitchen staff and, of course, donors.

After 15 years working at Claudia Taylor “Lady Bird” Johnson (CTJ) High School in San Antonio and an equal number on a drum corps staff, I have learned a few key points regarding the value and importance of engaging parent and alumni support.

Delegating is vital — “many hands make light work.”
A person who feels appreciated will always do more.
Entrusting others to manage a project builds ownership in the organization.
Solve problems by harnessing the talent of many smart people with great ideas.
As a director, be willing to admit you don’t know everything, and someone else may have a better solution to a problem.
You are never alone — when you engage a team of parents, you share successes and failures.

Click on the links below to find out how the CTJ parent groups developed and grew:

A new school and a new parent organization
Lessons from the Inspire Arts & Music Board

Lessons from Winston Churchill and Ronald Reagan Band Parents

Upon moving to Texas for my student teaching, the Ronald Reagan Band Parent Association totally blew my mind because it handled countless tasks, including meals, uniforms, chaperoning, crew, band banquet, fundraising and so much more. The parents ran the band program like it was a small business. There were committees for everything — spirit, restaurant nights, send-offs and plant sales. I was amazed to learn the amount of money the parent association brought in to support the students.

I also learned that Winston Churchill had a similar organization. In studying the groups, I learned of cases where one family might have three or four kids in the program over a decade or more and moved from one role to another to support the band. Seeing so much love and energy going into supporting the band members was terrific.

At my first football game at Reagan, it was gratifying and exciting to see the parents decked out in black and green screaming for the students on the field at half-time and later carrying those same spirit cheers to BOA contests. The Reagan parents were as much of a spectacle as the band on the field. Beaming with pride, they supported their students, but they also cheered on students in other programs. Reagan was a model of how to generate energy from the stands, and we were fortunate when Claudia Taylor Johnson High was started and split from Reagan, many of the very best parents (and students) from Reagan, including the president of the parent association at the time, moved over to help us start our organization.

A New School and a New Parent Organization

Jarrett Lipman (center) with Tommy and Debbie Rau

At CTJ, we borrowed an equipment truck from the Crossmen Drum Corps — we appreciated their incredible graciousness — during our first few years. Our Johnson parents set out to create the same committees and teams that the Reagan and Churchill parents had established. We were a well-oiled machine before the school even opened. We had parents contributing countless hours to manage concessions, organize our uniforms, feed the students at band camp, and come together to build our empire.

I will never forget the kindness and love of parents like Tommy and Debbie Rau, who became my second parents/family. They worked tirelessly to help us acquire a band trailer, sell merchandise and build camaraderie in those early years, and they also made sure that I had a place to call home for holidays since my family was more than 2,000 miles away in New Jersey. It was remarkable to have the love and support of individuals I had known for only a short time.

Hand-washing station purchased by parent association.

Over time, I learned that the award-winning Marcus High School and Reagan band parents followed this mantra to support the students: “Whatever it takes.” Our CTJ parent organization did everything possible to adopt this attitude early on and has maintained it through the last 15 years. My head spins when I imagine running the Johnson program without the support of our parent organization. It would not be possible.

In 2020 when the world was shutting down because of COVID-19, I will always remember meeting with our logistics parents, Carlos and Gina Kraly, who managed numerous elements of our operations. Partnering with several other parents who were doctors, medical supply folks, nurses and operations managers, we developed a plan to have a marching season that prioritized our students’ physical and mental health. Carlos had managed our equipment trucks, props and logistics for several years, and Gina was one of our operations and events managers. They were both leaders in their companies in the professional world, and they used their talents to support our students and parents.

Jarrett Lipman (center) with Gina and Carlos Kraly

Thanks to our parent organization and the dedication of our teaching staff, we had nearly 250 students in-person for marching band by the time the band took the field in December 2020 and won the UIL 6A State Marching Championship.

At a time when there was so much darkness, CTJ’s parents and students came together to chart a pathway forward. Doing so required trust, communication and mutual faith in one another. We got the job done. The 2020 marching season collaboration is one of the most outstanding examples of doing “whatever it takes” that I have ever been a part of.

Lessons from the Inspire Arts & Music Board

The Inspire Arts & Music board of directors is the support network of the Boston Crusaders. Modeled after the Make-a-Wish Foundation, the Inspire board brings together alumni, performing art lovers, and professionals to help raise awareness and funds for the Boston Crusaders.

Some of the board’s projects included:

Purchase and maintenance of the equipment trailer.
Funding additions to the staff.
Securing corps offices and rehearsal space facilities.
Ensuring the corps had a solid financial footing.

Many drum corps fall into disarray because of revenue issues. Boston’s board has helped the organization weather significant financial crises, including COVID. Bringing together many strong personalities and taking feedback, criticism and questions takes humility and talent to rally the troops around a central vision. I have been so inspired and impressed by the Inspire board’s ability to build consensus around the corps’ most pressing issues.

Early priorities included infrastructure, such as great trucks, great buses, great equipment. The next priorities included uniform and equipment sponsorships. Once these pieces were in place, the board secured the best teaching staff and administrators they could find. Then, they trusted those instructors and teachers to do their jobs and provided them with the resources needed to be successful. There was, of course, give and take, such as metrics, goals and incentives. The board provided fantastic oversight in the early days, but as the corps’ leadership became more solid, the board maintained its focus on fundraising and community involvement.

Spending time around this organization as a member of the teaching staff, and seeing the positive impact on the corps, all I could think about was how to create a team like the Inspire board at CTJ. Our booster organization was pretty tapped, managing chaperones, meals, uniforms, props, banquets, concessions and many of the other day-to-day operations. It left little time or energy for corporate fundraising, sponsorships or more significant revenue-generating events. I knew we needed to grow our support base. Who better to do this than our alums?

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Lessons from the Bands of Wando Foundation

In October 2018, I traveled to Wando, South Carolina, to judge the hometown band contest. A cheery driver named Don Johnson picked up another adjudicator and me from the airport. During the drive to our hotel, I learned that Don was a dedicated band parent and had been involved in the band program at Wando for many years.

As the weekend progressed, I learned more about Don’s extraordinary commitment and investment in the band because he said that his children benefited tremendously through membership in the Wando band.

On top of being a dedicated band parent, Don was a leading spinal surgeon in South Carolina, and he was positioned to rally the community to support the organization. He envisioned a support system for the Wando Band that could engage alums and other stakeholders to raise monies for the campus and the middle school programs. He was wholly committed to keeping band costs down and filling in the gaps in funding at the district level to enable Wando to remain competitive nationally. He also extended support to the middle school feeders that required additional funding for equipment or travel.

Don mentored several of our alumni band parents in creating what is now known as The Bands of Claudia Taylor Johnson Foundation. He guided our team on building relationships between two 501(c)3 organizations, a booster organization and a foundation. There are some critical differences between the two. The main difference is that our band parent association (BPA) focuses primarily on the day-to-day operations of running the program, while the foundation keeps alums engaged and involved and raises money.

We have many great band parents who graduate from the CTJ program but still want to contribute time and energy to the students. The foundation provides them with the opportunity to do this. The foundation also actively engages with alumni to provide updates on happenings in the program and share major milestones from our alums, such as college graduations, weddings and childbirth announcements.

Watching the involvement with our current students and alums has been remarkable. For CTJ’s 10th anniversary, when the band went down on the field to perform at half time, they looked up into the band section in the stands and saw that it was full of our band alums cheering them on. That weekend, which we call the 10th anniversary alumni weekend, saw hundreds of students and parents return to celebrate the program and all its success.

The Bands of Claudia Taylor Johnson Foundation

Claudia Taylor Johnson High School's Foundation Crew — Claudia Taylor Johnson High School’s Foundation Crew

In 2015, Ric and Jeannette Coons met with me at 54th Street Grill in North San Antonio to discuss how we could mobilize our alumni base and engage them to raise money and support the band program. At the time, our booster president Brian Kickhoefer and vice president Martin Bohanan were responsible for raising funds for our clinicians, trips to nationals and equipment purchases. We agreed to meet monthly for a gathering that we called “the meeting of the minds.” The Coons, Bohanan and Kickhoefer families were dedicated band parents. They were also visionary leaders at their businesses. I learned so much from this team each month about budgeting, outreach, grant writing, organizational management and dynamics. Within a few short years, modeled after the Inspire Arts & Music board, we created a “board of development” as part of the CTJBPA. As part of the BPA by-laws, this arm of the BPA focused explicitly on increasing donor involvement for five key points:

Have a $20,000 reserve for emergencies when you need CASH now. What happens when the mixer explodes on the day of a contest, the trailer goes under a low bridge and destroys the top or there is a fire in the tuba room that destroys instruments? Sometimes you can’t wait for insurance to kick in, and this reserve was our “safety net.” We also knew we could borrow against it in leaner times rather than put things on a credit card.
Build a scholarship fund for need-based and merit scholarships. Kick in cash for student band fees, private lessons or special summer camps.
Engage alumni students and parents through events, fundraisers and socials.
Engage our middle school parents earlier to get them hooked and learn about the role of an active band parent.
Ensure that as directors and boards shifted, the monies would not be spent recklessly. We designed the board of development to support CTJ over the long term and through staff or administrative changes.

Foundation dinner for all-state students

In 2020, we officially separated the two organizations and created a separate 501(c)3, The Bands of Claudia Taylor Johnson Foundation. We were blessed to add JC and Amanda Weber, two alumni parents, and the current CTJBPA president, Michelle Garnica, to our executive board. We have a diverse team with parents spanning all 15 years of CTJ’s existence. The organization has grown to include alumni students and other parents serving in publicity, communication, website, social media and event roles. And, the organization has given thousands of dollars over the last three years to the Johnson, Tejeda Middle School and “Tex” Hill Middle School bands.

Over the years, we have partnered with CTJBPA and Foundation to run the Bands of America San Antonio Super Regional, one of the largest Music for All contests in the United States, with anywhere from 65 to 90 bands performing at the Alamodome in November over two days. The operation is massive and takes hundreds of volunteers. By engaging our alums, we’ve allowed our current parents to enjoy seeing their students perform while still running a terrific operation. Our Foundation has partnered with us to manage our march-a-thon, UIL contests and several other events.

You’re All on the Same Team

Chris and Tara Greiman with Jarrett Lipman

See your parents for who they truly are: professionals.

Allow them to be a part of the journey. They want to help. There will be disagreements and moments of discomfort, but it is worth navigating those challenges to create an excellent experience for your band members.
Create a parent “talent and interest” sheet. At the beginning of the year, consider asking parents to fill out a form that gauges not only the committees they’re interested in serving on, but also what talents they have. Carpentry, welding, sewing, physical conditioning, nutrition, graphic arts, photography, social media, videography, engineering, driving — there are so many trade skills that benefit the band program. If you can find a way to harness the collective talents and energy of your parents, your students will benefit and your program will flourish.

On the morning of each contest day, our current booster president texts me, “It’s a great day to have a great day.” Her positive energy was such a boost for me during my most anxious moments leading the kids. Many parents along my journey have lifted my spirits, offered a shoulder to cry on, provided advice, and told me what I needed to hear even when I didn’t want to hear it but needed to hear it. Their love and energy for our students and teaching staff have been sustaining, and I hope it serves as a pathway for others to foster these wonderful relationships within your community.

Sara Davis Buechner Finds Pride Through Music

Written by Emily Starbuck Gerson on June 13, 2023. Posted in Artists.

Yamaha Artist Sara Davis Buechner never set out to become a role model. For the first few decades of her life, her focus was squarely on becoming a world-class concert pianist.

After achieving that lofty goal, winning international piano competitions and performing with major orchestras all over the world, Buechner felt that she could no longer ignore a key part of her identity. Yet when she finally made her debut as a trans woman, she lost almost everything: concert presenters rescinded their offers, performing dates disappeared and she found herself totally shunned by the concert world.

Her dedication to piano never faltered, though, and as social tides turned, Buechner slowly rebuilt her career and relationships. Today she is a distinguished, sought-after full-time professor of piano with a full studio schedule of students at Temple University, and she enjoys a concert calendar filled with engagements on recital stages and with symphony orchestras all over the world.

To mark Pride Month, Buechner sat down with us to share her story, talk about her impressive career and share her latest multi-disciplinary projects, in addition to reflecting on how she became an unexpected role model through the healing and connecting power of music.

Sara playing piano. — *Sara Davis Buechner.*

Music as Salvation

During Buechner’s early childhood in the Baltimore area, she imagined herself having a wide variety of future jobs, even briefly entertaining becoming a pig farmer (something that would later influence her most recent work) before embarking on a career as a classical pianist.

Though talented in music, she struggled as a young adult with questions about identity and crippling bouts of loneliness, and any time she tried to express who she knew herself to be, she was dismissed or bullied. It was the pre-internet days, with scant information on the LGBTQ+ community, leaving Buechner feeling isolated and shunned. She tried to bury her feelings in her love of Mozart melodies, listening to classical music and playing piano. In some ways, it became her religion and salvation.

Debuting as Sara

When Buechner left for college, she immersed herself in music at Juilliard and the vibrancy of New York, with all its cultures, flavors, and arts. “This is where life really is at its most fun,” she remembers thinking, “when you can open your eyes and look at what variation is all about — how crucial it is, and how much meaning it gives to life.”

But despite the positive experiences the city offered, keeping her authenticity hidden began to take a toll. Buechner thrived onstage, but in private, she was losing hope.

Things began to change when she started reading books on transgender people and learned about internet chat rooms. Soon, she realized she was not alone. “That gave me [the] confidence to follow where my heart was telling me to go for so long,” she says.

When Buechner finally took the leap to transition and reemerge as Sara, she lost jobs, performances, and professional and personal relationships. But she knew that her life depended on stepping into her truth, and that gain was worth all the other losses. As time went on, Buechner gradually was welcomed back into the world of classical music, where her extraordinary musical gifts continue to be celebrated to this day.

Quote: "Music is the one constant that I've come to depend on, especially in any time of difficulty, struggle or stress." - Sara Davis Buechner.

Sara Davis Buechner has gone on to achieve incredible success, giving prestigious recitals and garnering awards around the globe as well as releasing nearly a dozen recordings, yet music hasn’t lost its magical effect on her. When asked if it still has the power to comfort her when things get rough, Buechner emphatically says yes — every day of her life.

“Music is the one constant that I’ve come to depend on, especially in any time of difficulty, struggle or stress,” she explains. “I’ll sit down at the keyboard, and particularly if it’s one of the composers I’ve most loved and learned from all my life — Mozart, Schubert, Scarlatti, Poulenc, Busoni — there’s a kind of integrity that comes out of it that centers me. It’s good to have an anchor in life, and I don’t have any better anchor than music.”

The Themes and Rhythms of Life

Lately, Buechner has found herself in a time of reflection. Almost 15 years ago, a major publisher approached her about writing a book on her life. She was hesitant at first but decided to take the idea seriously, knowing her life story could resonate in some way with others.

She rented a cabin outside Louisville, Kentucky for five weeks, and took her computer, diaries and old photos with her … but no piano. Buechner’s mother had recently passed away, and emotions were high. “I decided this would be the first time in my life where I wouldn’t practice piano at all, and instead for 10 hours a day, for five weeks straight, I wrote, and it ended up becoming an almost 600-page manuscript!” Sara is currently working with an editor to trim it, with plans to publish in 2024.

Of Pigs and Pianos

As Buechner reviewed her manuscript, she started recognizing the patterns of her life. “They’re almost like rivers that intersect or diverge for a while, with characters who come and go,” she says. “As I read what I’d written, these key scenes came forth and gave me a tremendous sense of the drama of my life. I [began to] imagine how the story could be told in a theatrical way.”

Knowing that completing the book would take some time, and recognizing how comfortable she is on stage, Buechner, with the encouragement of some trusted colleagues, decided to turn the manuscript into a stage production, distilling her story into a one-woman show called “Of Pigs and Pianos.” She premiered the show this past year in New York and Minneapolis, regaling the audience with the raw, poignant and often hilarious ups and downs of her personal and professional life through spoken word, images, and of course, music played on her Yamaha piano.

Sara with piano in background. — *Sara performing Of Pigs and Pianos in New York.*

Buechner chose a diverse mix of music for the show, with each having a specific meaning from various signposts of her life. This includes traditional classical music she grew up on, Latin music she came to learn via Cuban musicians, and Japanese études that reflect her love of that country and its language, all performed in a style that brings electricity and passion to the stage.

“What I want to do in the show is to communicate a reflection of my life as a transgender person,” she says, “and also as a pianist of transcendent aspiration.” “Of Pigs and Pianos” not only explores her life but carries universal themes that can resonate with anyone who’s been picked on, struggled with identity, or battled professional pressures.

Buechner has been especially moved by the audience members who approach her after her performances, whether it’s because they have a trans relative, or because they can relate to a lifetime of piano study. The show has been so successful that she plans to take it to more venues in the future.

In addition to all these many activities, Buechner also teaches at Temple University in Philadelphia. In July, she’ll be a performer and keynote speaker on behalf of Yamaha at the National Conference on Keyboard Pedagogy, and she’s planning concerts in Japan, along with her first tour in Indonesia. She’s also working on a solo recital in New York next year, where she’ll premiere the works of a notable Hungarian jazz pianist.

An Unexpected Role Model

“Being a role model is not something I’ve necessarily chosen, but it’s who I am,” Buechner says. While music has been crucial to her life, she’s keenly aware how her performances — and sometimes mere visibility — have impacts outside herself. She knows that trans people and family of trans people often attend her shows, and she wants them to feel a sense of pride as they sit in the audience.

And whenever she does have to deal with unfriendly people, she reminds herself of her remarkable accomplishments and the knowledge that by putting on the best piano show possible, she is sending a powerful message that, as she puts it, “trans people are part of the human family, and we have a place at the table (or on the stage) like anyone else.”

After decades as an internationally renowned pianist, Sara Davis Buechner shows no signs of slowing down. Her future is bright, and she also takes joy in knowing that the future is even brighter for younger musicians and trans people. As long as she has time left, Buechner says, she’ll keep using her creativity and passion to leave the world a better place and help others do the same. And that’s certainly something to be proud of.

Learn more about Sara at http://saradavisbuechner.com/

The Reagan band in a climactic moment of its “In Plain Sight” production at the 2023 Bands of America San Antonio Super Regional.

How to Design a Marching Band Show

Written by Greg White on June 12, 2023. Posted in Case Studies. 1 Comment on How to Design a Marching Band Show

When designing a marching band show, there are countless choices that a director must make. From the big picture to the most granular detail, all these decisions come together into a production that will serve as a major curricular component for the students in your program.

Designing a marching show is daunting. The guiding principle for any director going through the design and decision-making process should always be: “Does this serve my students and their music education?” Directors who keep this question in mind will be able to help their students through a meaningful and usually more successful marching season.

Early Decisions: Budgets and Your Design Team

Reagan band performs at the 2022 Texas Marching Classic.

It’s never too early to begin designing the next season’s show! Early decisions that are critical in setting up your design process include budget assessment and putting together a design team (the people who will work on your production). Have a conversation with the stakeholders in your community, whether they are boosters or the administration, to ensure that you know the available funding as you begin to make choices for your program’s future.

When you know the funding situation, begin putting together your design team. Some of these roles can be done by the band director or other staff members at your school, and some or all of them may be handled by outside professionals who specialize in marching band. Not every school will need entire teams of designers to put together a show. Many groups find pre-commissioned or stock music arrangements, flags and costumes to make “budget-friendly” productions. Many band directors take on the program coordinator role or write the music or drill “in-house” with a staff member. Below is a list of marching band design team positions that are becoming increasingly common.

Program Coordinator —The individual who works with the director to maintain timelines, manages and coordinates with other designers and vendors, and keeps a “bird’s-eye view” of the production, allowing band directors to focus on the day-to-day operation and instruction of the program.
Music Arranger (winds and percussion) — Designers who write or arrange the music performed by the students. There are typically two arrangers for custom arrangements: a wind arranger and a percussion arranger.
Drill Writer — A designer who charts the drill for the production and manages staging considerations, drill numbers and props.
Sound Designer — An arranger or technician who specializes in the electronic layer of marching bands through software like Mainstage or Ableton. Often this is someone who works with electronic instrument hardware or writes specifically for MIDI-controlled instruments.
System Designer — A person who helps setup the sound system, wiring microphones for front ensemble instruments and wind soloists. This person will often work on EQ and balance throughout the season. If you plan to use an electronic layer, this is the best way to minimize show day disasters.
Choreographer — A designer who works on implementing choreographic production to a marching show. Either through work with a color guard or the use of “band body,” this person can elevate your production and enhance the musical-to-visual connection.
Aesthetic (Graphic) Design — A person or persons who work on creating the imagery associated with a marching show. This could be a graphic designer who creates the images on guard flags or props or a builder who designs and builds a stage.

Custom vs. Stock Materials

Reagan band students perform at the 2023 Texas Marching Classic.

One of the significant considerations a band director must make when designing a marching band show is the amount of custom versus “stock” materials to use. The most important artistic consideration should be ensuring that all pieces come together to form a cohesive and coordinated vision.

Many vendors, from music arrangers to flag companies, offer materials that are pre-made and ready to ship to help you design your show. In the case of music, arrangers will often make adjustments to previous arrangements in order to better fit your band. These budget-friendly options are great to consider! The challenge in using these materials is creating a coordinated or cohesive production with pieces from different shows.

Custom arrangements, flags and costume design are often amazing ways to have control of every aspect of your production, and they give your students a unique experience in their music education. However, they are generally more expensive than stock materials.

It is fine mixing and matching custom and stock show materials. Just make sure that everything works together to convey the vision of your show!

Content and Concept

Drum major Aidan Veith salutes to the crowd at the conclusion of the Reagan band’s 2023 finals performance at the Bands of America San Antonio Super Regional.

Once you have your design team in place and know what direction you want to take your program, it’s time to choose the content and settle on a concept for your show. This is the creative and artistic aspect of the marching activity and can come from anyone or anywhere! Often, design teams will get together and brainstorm ideas, or a single coordinator or director may pitch a concept as a conversational starting place. When making decisions on content and concept, keep a few things in mind:

Is this music “worth” playing? — Students will be spending many hours working on this music. Make sure that it has artistic and educational importance!
Will my students enjoy this product? — Cultivating student buy-in is essential and understanding what they enjoy can be a significant step in choosing content that will get them to want to work hard for you!
Will my community enjoy this product? — Will your students’ parents be excited to see the show? What about the football game crowd? Sometimes, we risk alienating some of our biggest supporters in an attempt to be “artistic.” Remember that art is what you make of it and having these stakeholders in your corner can be a big factor in your success!
Will the staff and directors enjoy this product? — You will be working on this production for months. Make sure that the tone is something that you will be excited to teach! Some people enjoy music that is dark and ominous, while others enjoy music that is light and happy! Don’t discount these tastes when making decisions for your program!

Navigating the “Business” of Marching Band

Reagan band students rehearse between shows during the 2022 UIL Area D Marching Contest at Cedar Park High School.

After you have put the big pieces in place for the creative aspect of your marching show, you need to get down to the business of producing it. Communication is key, ensuring that all designers, vendors and everyone involved with your production are on the same page and moving toward delivering the product. There is no such thing as overcommunication regarding marching band design!

Things as simple as file version miscommunications can set designers back weeks, and missing deadlines on things like costume measurements or equipment invoices can be the difference in having materials arrive on time for a competition or not. Having deposits paid promptly, managing timelines and staying in touch with everyone involved in the production of your show allows you to keep the design moving forward for your students.

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Major Timeline Checkpoints

The Reagan band in a climactic moment of its “In Plain Sight” production at the 2023 Bands of America San Antonio Super Regional.

Make budget decisions — This must be done immediately following the current year’s season. Begin the process in November and complete by New Year’s.
Secure the necessary design team members — Begin process in December or January, complete by the end of January.
Decide on custom vs. stock materials — Begin process between December and February.
Brainstorm and select content and concept — Begin between December and February, complete in February.
Acquire music (done simultaneously with aesthetic design) — This process happens throughout spring and summer. Begin in February or March, complete by May to August.
Acquire music by purchasing pre-commissioned work and/or coordinating with music arrangers:
- Wind music between February and May.
- Percussion music between March and June.
- Sound design between March and June
Aesthetic design (done simultaneously with music acquisition) — Throughout spring and summer (February through August).
- Work with aesthetic and graphic designers on the following materials (either custom or stock):
  - Props (structural and printed imagery) — Designed between January and March, completed between June and August.
  - Flags and other guard equipment — Designed between February and June, delivered between June and August.
  - Costuming — Designed between February and May, ordered in May with measurements, delivered in July or August.
Coordinate production information to your drill writer:
- Staging consideration between February and May.
- Count structures/production sheets — After percussion/sound design is delivered, give drill designers at least a 60-day lead time before you plan to start learning drill.
- Drill numbers — Confirmed in May after recruitment/retention numbers are finalized.

Advanced Tips for a Marching Production

Visual ensemble members rush the field bringing color to the conclusion of the Reagan band’s 2023 “In Plain Sight” show at the Texas Marching Classic.

Coordination — It is critical that all elements of design work together to convey the theme and concept of a show. The more aligned the details and big-picture elements are, the more cohesive and professional a production will look to an audience. It is vital that the director or program coordinator maintains a clear vision for a show’s musical and visual designs and that these components work together to create an emotional effect for an audience.
Pacing — One common issue with marching band shows is their pacing. Successful groups work to craft moments throughout their productions. The time and space between these moments must hold the audience’s attention. Too much time between interesting moments allows your audience’s minds to wander. We want to avoid this and keep them engaged throughout the highs and lows of the entire performance!
Transitions — Transitions can be the bane of any band director’s existence! Managing the “turning of the page” from moment to moment in a marching show is a challenging task. Using percussion, electronics, soloists or visual “events” can help, but the most important part of managing transitions is building time and content from the early stages. It is very challenging to fix a broken transition, so we want to do whatever we can to avoid any broken transitions to begin with!
Fundamentals first — It is easy to look at the competitive success of others and see the glitz and glam of props, costumes and flags. Often, bands will try and use these production elements to create effect for their shows when the better investment would be on the fundamental performance of their students. In the judging community, there is a common saying: “Excellence is the greatest effect.” This could not be more true than in the execution of students’ musical and movement performances! Make sure you prioritize the instruction of your students’ experience before you become concerned with the more advanced production elements in marching band.

Enjoy the Show!

Ronald Reagan High School Director of Bands Greg White

Much of the work in marching season goes on behind the scenes, with a lot of it taking place during the months preceding the start of the season. Once the show is completed and your students are performing, make sure that you enjoy the fruits of your labor!

As music educators, we are wired to seek growth opportunities. We can get lost in the pursuit of excellence or in chasing every “tenth” on a score sheet. Don’t forget that you are delivering a positive and life-changing experience to your students by offering them the chance to perform in the beautiful world of the marching arts!

Remember, good show design is an asset to any band program, but no amount of good design choices can replace quality instruction. Take care of your students (from design to performance) and they will take care of you!

Chill Music Playlists That Will Keep You Cool All Summer Long

Written by Rich Tozzoli on June 7, 2023. Posted in Music and Streaming.

It’s time to enjoy the hot days and balmy nights of summer with some music to chill and grill by!

After all, when you combine the warmth of the summer sun with cool music, you feel great! Don’t just take it from me, though. You’ll find articles all over the internet (like this one on the psychologies.co.uk website) that explain the psychology and physiology of how it all works.

What’s more, as noted in this blog posting, music can make you not only happier and smarter, but healthier too! With these feel-good facts in mind, let’s check out some feel-good chillout playlists.

Beach, Backyard and Deck

A great place to enjoy summer is on the beach, of course, so break out the beach chairs and get that portable speaker fired up. The Spotify^® Beach Chillout Music playlist is so hot you might need more sunscreen! It’s a good one to follow and put on repeat for the whole season. Or head on over to Apple Music^® for Summertime Vibes 2023 (Chill Beach Music), which offers a terrific variety of super-cool music.

Prefer to have a “staycation” at home instead? Check out this smoothradio.com list of The 15 greatest chillout albums of all time to stay focused and relaxed at home. As the article states, there’s nothing quite like finding that one album that always sends you into a trance and makes you feel all zen.

If you want to feel like you’ve traveled without leaving your home, try the Ibiza Chill Out playlist collection on Spotify or the Tropical Chill Music Land playlist on Apple Music. Either will make you yearn for a cool beverage and a palm tree. The YouTube^® Summer Chill Mix of Tropical & Deep House tracks will set the mood just right for a pool party … even if that pool is right in your backyard

Another great part of summer are those relaxing evenings sitting outside on the deck. How about a playlist for just those moments? The Evening Chillout Playlist on Pandora^® includes a wide variety of musical choices, as does the nearly hour-long Calm Evening | Deep Chill Music Mix on YouTube.

Ambient Grooves

Speaking of YouTube, Ambient Chillout Lounge Relaxing Music always puts me in a good mood. It’s perfect to spin as background music whether taking in a sunny day or a warm summer night.

The Acoustic Chill list is curated by Amazon Music’s Experts and features a diverse selection of relaxing acoustic grooves that will fit any occasion. You can also head over to Apple Music for a similar experience with their Acoustic Chill station. It’s good to have choices!

Long Chills

Hate having to get up and change playlists/stations? The 100 Best Chill Out Songs Ever on Spotify provides over eight hours of cool chill tracks and will get you through almost the whole day on one spin. Alternatively, the Spotify Summer Chillout playlist lets you “lose yourself in the summer daze” with over five hours of great tracks. Or check out Apple Music’s Chillout Lounge Music Playlist — nearly three and a half hours of deep house, smooth jazz and New Age music that’s perfect for long summer nights anywhere.

Different Genres

To get some extra groove going, how about some chill house? Spotify’s Summer Chill House 2023 playlist is updated weekly so you can vibe or dance to different music all year long. Apple Music has a similar offering, simply called Chill House, which is all about the after-party with breezy melodies and laidback beats.

If you prefer to take things down a notch, go for a playlist like Spotify’s groovy Downtempo Chill Out, which includes instrumental electronic music, laid-back trip hop beats and even future garage music. Streaming service Beatport also has a Downtempo Chillout Playlist that pushes some boundaries with elements of tech house, afro house and electronica.

Last but not least, if you’re ready to go old school, well, we all know how relaxing classical music can be, so why not chill out to the sounds of Beethoven, Bach, Mozart and other superstars of the genre? The Top 100 Chill Out Classical Music playlist on Spotify provides almost 10 hours of music from these masters and others, while Apple Music offers a Classical Chill playlist that includes a mix of classical music from standard to contemporary. You can also find a hand-picked selection of Classical Chillout music on Topsify, which can be viewed and played via Apple Music or Spotify.

Whatever your musical tastes, stay cool this summer!

A group of students playing brass instruments.

The Brass Family, Explained

Written by Mike Levine on June 2, 2023. Posted in Brass. 1 Comment on The Brass Family, Explained

Like woodwinds, brass instruments are part of the wind instrument category, with the most common being trumpet, cornet, flugelhorn, trombone, tuba, euphonium, baritone horn, alto (tenor) horn and French horn. Although these have some similarities with woodwinds, there are numerous differences as well. Here’s a guide to the family of brass instruments.

Differences in Construction and Sound Production

While woodwinds can be made of different materials — not just wood, as the name implies, but metals such as silver or gold — most brass instruments are made of brass tubing of various diameters and shapes, with a detachable mouthpiece at one end and a flared bell at the other. Some models may be silver- or gold-plated.

Whereas a woodwind player blows directly into a headjoint, mouthpiece or reed to create a column of air inside the instrument that becomes a sound, brass players vibrate (“buzz”) their lips against the mouthpiece instead. Experienced players can access the full range of their instruments by varying the intensity of their lip vibrations, something known as embouchure.

On woodwind instruments, the pitch is usually changed when the player covers and uncovers different holes on the instrument’s body. On brass instruments, , the musician instead opens or closes one or more of the valves on the instrument (in addition to manipulating their embouchure) to change pitch. When a valve opens, it allows the air to flow into a supplementary tube, thus extending the total tube length and lowering the pitch. A valve serves to alter the length of the instrument’s interior, changing how far air has to travel and resulting in a greater number of possible notes. Valves make it easy to change the length of the tube, thereby enabling many different notes to be played. All brass instruments utilize valves, with the exception of the slide trombone, which features a sliding tube that changes the tube length as it is manually extended and contracted by the player.

Two different valve types are used in brass instruments: piston and rotary. The former work vertically: you press down, the valve opens; you release, and it closes. A rotary valve accomplishes the same thing but does it differently. Instead of pressing down on a button, you press a lever that turns a circular rotor, opening channels that let the air flow into additional tubing. In general, piston valves are considered more precise and rotary valves smoother.

Trumpet, Cornet and Flugelhorn

The trumpet has come a long way from its ancient ancestors made of sea shells, animal horns and pieces of ivory — even human bones. Archeological evidence shows that the first metal trumpets, made of silver or bronze, were used by the ancient Egyptians starting in 1500 BC. The ancient Greeks and Romans later employed similar instruments.

Back then, such instruments were primarily used for military signaling or religious ceremonies. They were akin to a bugle, which relies strictly on the player’s mouth techniques to change pitch. It wasn’t until the 18th century that instrument designers added valves to the trumpet. That revolutionized the instrument because it allowed the musician to play all the notes in a chromatic scale in several octaves.

Having that degree of melodic control transformed the trumpet into an instrument widely used in classical music and later, jazz orchestras and ensembles. If you’ve heard recordings of masters like Miles Davis, Dizzy Gillespie or Louis Armstrong, you know how expressive and musical a trumpet can be.

Most modern-day trumpets feature three valves. Pressing the first valve lowers the pitch by a whole step, the second by a half step and the third by one-and-a-half steps. By using various combinations of the valves, including some that require pressing the valve only halfway (a technique known as “half-valving”), the player can get access to many different notes.

Silver trumpet. — *Yamaha YTR-9335CHS B♭ trumpet.*

The most common modern version is the B♭ trumpet, which offers a range of Concert F# to D two octaves higher, though there are other kinds too, including the C trumpet, the smaller, higher-pitched piccolo trumpet, and the larger, lower-pitched bass trumpet.

The cornet is similar to the trumpet, but has a more conical bore (interior chamber), giving it a mellower, rounder tone than a trumpet. It’s also smaller and easier to hold, which makes it a good first instrument for students. That said, cornets are also the choice of many advanced and professional players — particularly those in military-style brass bands — because of their unique tone. The most common model is tuned to B♭; it has the same fingerings and range as a B♭ trumpet. Less common is the higher-pitched E♭ soprano cornet.

Another variation is the flugelhorn, which is similar in design to a trumpet, but with a bore that’s even more conical than the cornet, resulting in a mellower tone. Its name derives from the German world “flugel,” which means “wing,” referring to the instrument’s shape. Like the trumpet and cornet, most flugelhorns are pitched to B♭, though some models are pitched to C. Flugelhorns are used in jazz, as well as in brass and marching bands and orchestras.

Gold and silver horn. — *Yamaha YFH-631G flugelhorn.*

Trombone

The first known use of the trombone, originally called a “sackbut,” was in 15th-century religious music. By the 18th century, their popularity had grown, and they became common in classical and popular music as well. Nowadays, trombones are ubiquitous as section and solo instruments in jazz, pop and classical ensembles.

Trombone mouthpieces come in a variety of sizes. Smaller-sized mouthpieces create a brighter sound and make it easier for the player to reach high notes.

On a slide trombone, which is the most commonly used trombone type, the musician moves a telescoping section of tubing (called a “slide”) forward and backward to lengthen or shorten the total tube length, thus altering the pitch. Using the slide, the trombonist can smoothly glide up or down from one note to the next, allowing for legato phrasing that is unique among brass instruments.

The majority of trombones in use are tenor trombones, which have a range from Concert E to F three octaves higher.

Other varieties include the bass trombone and the alto trombone.

Not all trombones have slides. Valve trombones, which are much less common, change pitch using three or four piston valves. These instruments are somewhat easier for student trumpeters to learn; in addition, fast, difficult passages are easier to perform. However, they have a slightly less “open” tone than traditional slide trombones.

Tuba, Sousaphone, Euphonium, Baritone Horn and Alto (Tenor) Horn

Invented in 1835, the tuba (named after the Latin word for “tube”) is a relative newcomer to the world of brass instruments. It’s also the lowest-pitched and the largest.

If you straightened out the tube of a B♭ tuba — the most common of the many variations of the instrument — it would be close to 18 feet long. Adding to its ability to produce low notes, the tuba has the widest bore of any instrument in the brass family.

Because of their low range, tubas are used for bass parts in orchestras, marching bands, and other brass ensembles. They’re also commonly used instead of stringed basses in traditional New Orleans jazz and ragtime bands.

Like trumpets, tubas utilize valves that allow the player to enlarge the tube length to change pitch. However, the number of valves varies. Tubas can have three to six valves; how many there are affects the range and intonation.

Three-valve tubas are typically only used by beginners and novice players because they’re easier to learn. Advanced tuba players typically use instruments that have four or more valves. You need at least four valves to play all the notes in a tuba’s standard range.

The tuba has quite a few variants. The C tuba is slightly higher-pitched (it has two feet less tubing) than the B♭ version, but its clearer tone makes it the favorite of orchestral tubists. Other varieties include the E♭ tuba, F tuba and the baritone tuba.

Yamaha YCB-623 C tuba.

Yamaha YBB-641 B♭ tuba.

A related instrument is the sousaphone, designed by composer and conductor John Phillip Sousa in 1890 specifically for use in marching bands. Its body wraps around the player and is lighter than a typical tuba. It only has three valves, so its lowest note is higher than a four-valve B♭ tuba.

Other related instruments include the euphonium, the baritone horn and the alto horn (sometimes called a “tenor” horn). The euphonium looks somewhat like a tuba but has a range that’s an octave higher than a B♭ tuba. Euphoniums are frequently found in concert bands, but it can be used as a solo instrument. The baritone horn, which is pitched in B♭, has the same tonal range as the euphonium. As a result, many euphonium players also play the baritone, and vice versa.

Silver horn. — *Yamaha YEP-321S euphonium.*

Compared to a euphonium, the timbre of a baritone horn is brighter and its bore is considerably thinner. A euphonium with the bell and pistons facing forward is sometimes called a baritone to differentiate it from a true euphonium.

The alto (tenor) horn is pitched in the key of E♭, five tones lower than a trumpet, and is sometimes played by trumpeters. It’s similar in appearance to a euphonium and is most commonly used in brass and marching bands.

French Horn

The name “French horn” is a misnomer because the instrument, which was invented in the mid-1800s, actually originated in Germany. The contemporary French horn has a distinct, mellow tone that’s highly expressive. It excels as both a solo instrument and as part of an orchestral horn section. Typically, you’ll find four French horns in an orchestra.

The French horn is the only brass instrument that requires the musician to place one hand inside the bell while playing. This practice, known as hand-stopping, allows the player to change the tube length manually and thus change the pitch by a semitone or whole tone. It originated before the invention of the valve, and so is no longer strictly necessary. Nevertheless, it’s still an important part of French horn technique.

There are four different types of French horns. The single horn, which has three rotary valves, is used almost exclusively by beginners and comes in two varieties: the F horn and the B♭ horn.

The F French horn contains more tubing than its B♭ cousin and is thus pitched lower. The B♭ horn is easier to play, but the F horn produces more notes and a purer tone.

Advanced players often use double horns, which contain a second complete tube section and are like having a B♭ and F horn in one, thus increasing the range of notes available to the player; a fourth valve switches the horn between its two discrete sections.

Another variety, the descant double, has a B♭ and a high-F section, which sounds an octave higher than the regular F section.

Perhaps the ultimate French horn type is a triple horn.

This is really a full-double horn that also includes a high-F horn for playing in the higher ranges. Although the overall pitch range of the horn is technically unchanged, the high-F side of the horn allows it to be more stable in the higher range.

Learn more about Yamaha trumpets, cornets, flugelhorns, trombones, tubas, euphoniums, baritone horns, alto (tenor) horns and French horns.

Someone wearing virtual reality goggles and reaching out with hand.

Metaverse Gaming

Written by Jake Uitti on May 31, 2023. Posted in Gaming.

The metaverse is the future of gaming.

A bold statement perhaps, but the alternative digital universe allows people to interact with one another online in a variety of ways, from trading information and cryptocurrency to engaging socially and playing games — all from the comfort of home. Today, many of us are on the web via phones or laptops. In the near future, we may don VR headsets and find ourselves in new, all-encompassing worlds, some even of our own creation.

Metaverse gaming in particular is predicted to be one of the hot new trends in the coming years, but even now, there are myriad options. Gamers can become virtual miners, farmers, warriors, parents, pet owners, goalkeepers in the World Cup or pilots in outer space.

Ready to be transported into an alternate reality? Here are some of the top titles that do just that.

FORTNITE

Fortnite is actually several platforms in one. Its Battle Royale mode enables up to a hundred people to fight until the last one is standing, while Save the World mode is a cooperative mission-based game. While both are exciting, Fortnite Creative is where things really get fun. There, players can design new intricate worlds, a practice (known as “sandbox” mode) that will surely get more advanced as technology progresses. Fortnite recently hosted a viewing party for Timberland’s new clothing line, as well as music video events for MTV featured artists — all virtually. Preview it here.

ROBLOX

Roblox is a platform that hosts games and allows users to create new ones and new worlds. Released in 2006, the company was operating modestly until around 2020. Since then, it has expanded to some 164 million monthly active users and today hosts 50 million user-created games. The platform’s interface is bright, simple and accessible, and has become a favorite for children. The game Adopt Me, for example, allows kids to raise their own virtual pets. The platform, like many others, incorporates its own virtual currency, Robux, which players can earn through various tasks and trades. Preview it here.

DECENTRALAND

This platform offers a life-like digital existence by allowing users to create avatars and purchase accessories and virtual real estate via cryptocurrency. And if a player “owns” land, they can construct houses, hotels and businesses that they can rent out to other users for a fee. To earn more currency, gamers can also put on digital concerts and sell tickets to other digital events they create. Preview it here.

THE SANDBOX

Here’s another popular platform that allows users to create avatars and design objects like vehicles, plants and animals. You can then sell these designs in the Sandbox Marketplace for a virtual currency known as “Sand.” As a bonus, the Sandbox platform also allows users to design new 3D games without needing to know how to code. Preview it here.

AXIE INFINITY

Inspired by the world of Pokémon, this title allows players to create, breed, fight and customize countless characters called “Axies,” which can be bought and traded using virtual AXS currency. (The more developed the Axie, the more value it garners between players.) The cartoonish Axies, which also collect wood and build up their surroundings, can even have offspring, which themselves boast their own unique powers and traits. Preview it here.

CHAIN OF ALLIANCE

Within this sci-fi fantasy title, players get to develop their characters as well as obtain digital land, with the goal of increasing their value. Here, groups of adventurers head out to battle others, which are either controlled by other players online or by a computer. Preview it here.

KRYSTOPIA

In this offering, gamers are trapped on an alien planet and must figure out a way to escape. To do so, the characters explore the world at large, solving puzzles and interacting (and sometimes fighting with) aliens. Gamers can play solo or with other players on the planet as they maneuver through the foreign land, pointing and clicking the mouse on various objects to see what secrets they might hold. Preview it here.

ALIEN WORLDS

Set in space, as the name suggests, this title asks players to mine Trilim (the game’s currency) from six planets, each of which has its own elected government that can be influenced depending on how much loot a player has. The more time and effort you put in, the more sway you have in the game. Preview it here.

FARMERS WORLD

In this immersive single- or multi-player game, you grow virtual crops, take care of livestock, fish, build structures and mine precious gold. If you need help, tools can be purchased via the AtomicHub market, where you can also trade the produce and perishables (like milk and eggs) that you harvest. But watch out for thieves and other unwelcome guests on your farm, because danger is afoot at any moment! Preview it here.

Here are some memorable films that explore the future of the metaverse.

Bass Fingering 101

Written by E.E. Bradman on May 30, 2023. Posted in Bass.

The longer you play bass, the more you’ll recognize the value in knowing where the notes are on your fretboard. Most modern 4-strings have at least 21 frets; some, such as Yamaha TRBX Series and RBX Series models, have 24 frets, allowing you to play 31 different notes.

Black electric bass guitar. — *Yamaha TRBX174EW.*

Blue electric bass guitar. — *Yamaha RBX170.*

Knowing where each note is may seem impossible at first, but fortunately, the layout of a bass makes it easy to move shapes around the fretboard. If you know how to play a major scale, for example, playing it in different keys is as easy as changing your starting note. Compare that to piano, where each of the 12 scales has its own fingering. We’ve got it easy!

SAME NOTE, DIFFERENT POSITION

With the exception of the five lowest notes on a four-string in standard tuning (E, F, F#, G and G#), every note can be played in at least two or three different places on a bass fretboard. The lowest A, for example, can be played on the fifth fret of the E string, or by simply playing the A string without fretting it (what’s known as an “open” string). The lowest D can be played on the fifth fret of the A string or as an open D string … or even on the tenth fret of the E string.

So if it’s the same exact note, it doesn’t matter where on the fretboard you play it, right? Wrong.

Try it out for yourself. Play that low A in both positions; play that low D in all three positions. As you can hear in the audio clips below, they all sound slightly different. This is mainly due to the different thickness of the strings. Thicker strings generate more fundamental (the lowest part of the note being played, which makes the sound “fatter”) and fewer harmonics (the overtones that impart brightness and make the signal more “edgy”).

Here’s the same note (G) played in four different places: at the fifth fret of the D string, the 10th fret of the A string, the 15th fret of the E string, and the open G string:

Here’s a descending groove that alternates between landing on a low A played on the E string and the same low A played on the open string. Notice that the fretted A doesn’t sound as, well, “open” as the unfretted A string.

Similarly, here’s a pattern that alternates between a low D played first on the fifth fret of the A string and then on the tenth fret of the E string:

If you need any further proof of this concept, check out The Beatles’ “Rain,” where Paul McCartney gets an incredible bass sound by playing most of his part — even some of the lowest notes — way up high on the fretboard, mostly on the thicker E and A strings. Motown bass legend James Jamerson, who influenced McCartney and many others, was the master of using open strings in places where most of us would choose fretted notes, as you can hear in these isolated bass tracks of him playing on the Temptations’ “Can’t Get Next to You” and Marvin Gaye’s “What’s Going On.” (Ready to watch a master at work? Here’s a rare clip of Jamerson performing the song live onstage with Gaye.)

And of course, as we described in a previous posting, octaves sound quite different altogether, and the sonic variation will become equally striking as you experiment with playing those octaves on various strings and in different fret positions.

LIFT AND SHIFT

The easiest way to feel the power of shapes is to move one around the fretboard. As an example, let’s explore the G major scale. Now, this scale could be played all on the low E string, like this:

Here’s what it sounds like, played on my Yamaha TRBX174EW four-string bass:

This has the advantage of sonic consistency since you’re playing all the notes on the same string. But there’s a much easier way to tackle a scale with much greater economy by having just four frets under your fingers instead of all 24 … and I’m happy to report that most bassists play it that way. The illustration below shows how it works with a G major scale: You start with the second finger on the low G (third fret on the E string), followed by the fourth finger on the A (fifth fret on the E string), first finger on the B (second fret of the A string), second finger on the C (third fret of the A string), fourth finger on the D (fifth fret of the A string), first finger on the E (second fret of the D string), third finger on the F# (fourth fret of the D string), and the fourth finger on the octave G (fifth fret of the D string).

This fingering starts on the lowest G of a standard-tuned bass, and it’s where most of our bandmates expect us to play it. Again, here’s what it sounds like, played on my Yamaha TRBX174EW:

As you can hear, there’s quite a sonic difference between the first two notes in the scale, the next three, and the last three, due to the fact that the E, A and D strings are all of different thicknesses (as is the G string, which is the thinnest of them all).

The illustration below shows a variation of the same theme. Despite playing the same scale and the same notes, it has a slightly different tonality and is more of a stretch since this “spread” fingering starts with G under your first finger, your third finger on A, and your pinky on B.

Shapes like these may fall naturally under your fingers, but sooner or later, you’ll have to lift your hand to shift to another position, so it’s worth practicing your ability to shift smoothly. Once you’ve climbed up the octave, you could play the G major scale as shown in the illustration below, with a fingering that requires a shift to play F# and G with the first two fingers, the last two fingers, or by sliding from one note to another.

Mining for Gold

Of course, you can play these same scales all past the 12th fret, though this is foreign territory for many bassists. There’s gold in those hills, though, because particularly when played on the E string (which of course is the thickest string), notes have a certain resonance that makes them desirable. Here are a few examples of playing a G major scale way up on the fretboard. Note that the last two can only be played on a 24-fret bass.

As a bonus, playing scales high up the neck are somewhat easier to finger because, as you move toward the bridge, the space between the frets gets smaller.

You can also play scales beginning on a digit other than your first or second fingers. As an example, try starting the scale shown in the illustration below with your fourth finger before shifting to play the last two notes on the G string.

Two-Octave Scales

Once you’ve explored the many ways to play a one-octave G major scale, it’s only natural to connect two shapes to get a two-octave scale. The illustrations below show four ways of building a two-octave G major scale on your bass; the blue dots make it easy to see where your Gs are.

Finally, here’s a way to get all the way from the lowest G to the highest G by playing a three-octave scale, though this can only be played on a 24-fret bass:

As you can hear clearly on this last audio clip, the timbre changes quite dramatically as you go from the notes played on the E string to those played on the A, D and G strings, with the latter having much more “edge” due to the relative thinness of the G string as compared with the other strings.

Playing through these examples should give you the confidence to find G major anywhere on your neck; do the same thing with G minor, other keys and other modes, and be sure to ascend and descend each pattern.

Last but not least, be prepared to break the “rules.” Many bassists are taught to use one finger per fret, but you should decide what fingerings work best for your hand and your bass’s neck. Some fingerings are obvious, but others are open to interpretation. Trying different approaches will help you find your own method and will prepare you to think fast and make big leaps — both valuable tools when it comes to holding down the low end.

Check out E.E.’s other postings

NCKP

Written by jkikuchi@yamaha.com on May 29, 2023. Posted in Conferences.

The 2023 National Conference on Keyboard Pedagogy

Welcome music educators!

Our team is looking forward to meeting you at this year’s NCKP Conference in Chicago, and serving your professional needs in any way we can.

The National Conference of Keyboard Pedagogy gives us an opportunity to connect with all of you and to remind you that Yamaha is your partner in music education, not just through our great instruments and professional audio products but also with resources, support and professional development. We want to continue to hear about your programs and learn about you and your specific needs to see how Yamaha can partner with you to help.

Yamaha is committed to supporting music education and organizations like NCKP. Please email us at educators@yamaha.com. Sign up for the Yamaha Educator newsletter to access advocacy, professional development, information on instruments, resources, partnerships in education and more.

Yamaha Showcases at NCKP

Yamaha Pianos: Innovative Design, Technology and Timeless Sound

Saturday, June 10, 12-12:50 p.m. EST (ONLINE)

Presenters: Craig Knudsen, Heratch Touresian, Jun Fujimoto

Educators and students will learn about the balance that Yamaha strikes between tradition and innovation and its application in the modern teaching studio.

Empowering Music Education: Strategies and Tools for Engaging and Inspiring Students

Friday, July 28, 4-4:50 p.m. EST (Grand Ballroom GH)

Presenters: Heratch Touresian, Jun Fujimoto and Yamaha Artists TBA

Gain insight into the creative approaches that modern music teachers are taking to engage students, and how they are drawing on a range of traditional and innovative techniques.

Yamaha Artist Presentations at NCKP

Wednesday, July 26 (all times EST)

12:00-1:30 p.m. — Jennifer Snow and Karen Zorn: Welcome and Keynote (Grand Ballroom EF)
4:00-5:25 p.m. — Katherine Fisher: Cultivating Creative Composers: A Panel Discussion (Grand Ballroom CD)
4:00-4:50 p.m. — Jeremy Siskind: Jazz Voicings in Under an Hour! (Magnolia BC)
5:30-5:55 p.m. — Aaron Stampfl: The Piano Music of James P. Johnson (Grand Ballroom CD)

Thursday, July 27 (all times EST)

9 :00-10:50 a.m. — Andrea McAlister and Leah Claiborne: Teaching in Higher Education Panel Discussions (Grand Ballroom AB)
9:05-9:30 a.m. — Angelin Chang: Career Pathways and the New Professional (Grand Ballroom AB)
9:30-9:50 a.m. — Angelin Chang and Nick Phillips: Career Pathways and the New Professional (Grand Ballroom AB)
9:50-10:15 a.m. — Nick Phillips: Marketing, Branding, and Entrepreneurship (Grand Ballroom AB)
11:00 a.m. – 12:30 p.m. — Pamela Pike: Facilitating Adult Learning at the Piano (Grand Ballroom EF)
1:30-2:20 p.m. — Leah Claiborne: Deep River: Uncovering the Pedagogy Behind the Negro Spiritual for Solo Pianists of All Skill Levels (Grand Ballroom IJ)
2:30-4:00 p.m. — Artina McCain: PEDx – A Resurrection: How to Build/Rebuild a Career from Ashes (Grand Ballroom EF)
8:00-10:00 p.m. — Sara Davis Buechner: Concert (Grand Ballroom EF)

Saturday, July 28 (all times EST)

9:00-9:50 a.m. — Omar Roy: Embodying Narrative: Tools and Strategies for Teaching Interpretation (Ballroom IJ)

For a complete schedule, please check the NCKP Conference page.

Professional Development Resources

Through the Yamaha Educator Suite blog site and SupportED magazine, Yamaha reaches thousands of educators with professional development tips, advice and resources. If you have questions or need help finding resources for your program, email us at educators@yamaha.com.

Here is a sampling of our top professional development articles:

PRODUCT SHOWCASES

Yamaha Disklavier with Dan Tepfer

Yamaha AvantGrand Concept Video

Yamaha Concert Grand Piano

CVP-900 Overview

PROFESSIONAL AUDIO

STAGEPAS 1K Portable PA System

Remote Music Education and Live Streaming

SOFTWARE

Dorico for iPad

Cubase Recording Software

Dorico Music Notation Software

Introduction to Dorico for iPad

5 Recruitment Tips You Must Try!

Written by Johanna M. Kitchell on May 29, 2023. Posted in Teaching Tips.

The summer before I started 4th grade, I attended a week-long instrument camp, where we spent an hour each day learning about and trying the different instruments in band and orchestra. I already played piano, but I fell in love with the cello and euphonium. In my school district, orchestra started in 4th grade, while band didn’t start until 5th. I was impatient and picked the cello so I could start right away. Nearly 30 years later, I still remember how fun the experience was, and how eager it made me to join a musical ensemble.

Now, as the Orchestra Director at Riverside Junior High School and Riverside Intermediate School in Fishers, Indiana, I try to tap into that childhood memory as we gear up for recruitment each year. In junior high, we start band and orchestra in 6th grade (choir involves a slightly different process and doesn’t officially begin until 7th grade). Our process has evolved over many years, and we’ve learned a lot along the way.

I’ve compiled five big tips for recruitment based on our experiences, with many smaller ideas wrapped in. Click on the links below to learn more about each tip:

Tip #1: Start Early!
Tip #2: Get the Kids Excited!
Tip #3: Call it a TRY-ON, Not a Try-Out or a Test
Tip #4 Get Every Kid to Try on an Instrument
Tip #5: Remove Barriers and Make it Easy for Families to Sign Up

We have seen successes with this process (our beginning band at the intermediate school regularly has more than 150 students, while orchestra has eclipsed 100 students in multiple years), and I hope that at least some of these ideas can prove fruitful for you as well.

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Tip #1: Start Early!

We often think of recruitment as a one-night-only event. You show up, the kids see and/or try the instruments, and then they sign up. That’s it.

However, students might need more time to think and decide. Providing a longer recruitment period and multiple points of contact will drum up more excitement and will give students something to look forward to, which in turn can lead to higher numbers.

At Riverside Junior High School, recruitment is a three-month process. Yes, really. In late February/early March, we visit each of the 5th-grade general music classes. It takes one afternoon a week for three weeks, and we help cover for each other’s classes. In April, we bring together the entire 5th grade for a concert, where one junior high band and one junior high orchestra take turns playing catchy, engaging music (this year featured “The Chicken Dance,” “Uptown Funk” and more). Then in early May, the 5th graders get to experience the instruments themselves. We wrap up the process with an informational meeting in mid-May, where families learn more about the program and can secure a rental instrument on the spot.

I know this is a lot. Even if you can’t do it all, find a way to go from one interaction with your potential students to two. Ask your elementary music teachers (or the classroom teachers) to lay the groundwork for you. Can they get the kids thinking about it early by introducing the instruments or showcasing the program? Planting those seeds early will be worth it.

Tip #2: Get the Kids Excited!

That first general music class visit in the winter is short! I demo all four string instruments and introduce our programs in about 15 minutes. I am saccharine sweet and bubbly. Why? Because kids have limited attention spans, and the worst thing I can do is drone on about class rules and logistics. No need to talk about rental fees or playing tests. They will come later. It’s easy to forget that a big reason kids join your program is because of you! Be energetic, welcoming and fun. They’ll leave thinking, “Wow, I want to be in that teacher’s class!”

If you can’t visit in person, make a video. A great tip I learned: Match your video length to the grade level. For 5th graders, send a five-minute video. If you send a 30-minute one, the kids will tune out. Keep it short and simple.

Even better: Involve your current musicians, if you’re able. Have them play something on their instruments or give two sentences on why they love music so much. It will have so much more meaning coming from a peer rather than “boring old teachers.”

When it comes time for that joint concert, remember, it is not a competition. At Riverside, all of our recruitment language — in the class demos, at the concert and on our paperwork — mention both band and orchestra (choir starts a year later). Students can sense if you are trying to woo them or are undercutting the other ensemble. We should be thrilled that a student is choosing to partake in music, regardless of instrument choice.

Tip #3: Call It a TRY-ON, Not a Try-Out or a Test

This tip might be my favorite, and it comes from our former instrument store road man, Steve Purcell, from Paige’s Music. Hearing him say “try-on” was like a smack to the forehead. A “try-out” or a “test” implies that a student can be cut or fail, which undermines creating an inviting, inclusive environment. However, if a kid gets to “try-on” instruments, it becomes about finding the one that fits them best. I just love that! A small change, but a HUGE shift in perspective.

Tip #4: Get Every Kid to Try On an Instrument

One year, our band directors were lamenting about their low numbers. It was noted that we had opt-in testing. Students had to turn in a form to try the instruments. That is a barrier to participation, and we want as few barriers as possible. So, we worked with our administration to switch to opt-out testing. Students are brought down to the try-on room as a whole class. Every student tries at least one instrument, unless they have a note from their parent/guardian asking them not to (which is incredibly rare). Upon making this change, our numbers skyrocketed.

Sometimes, kids get overwhelmed and confused by their third or fourth instrument (at Riverside, they can try up to three band and three orchestra instruments during their try-on time). I had many instances where every instrument was “good” or “fun.” How do they choose among those generic feelings?

I found that asking students to rank each instrument on a scale from 1-10 — while they are playing — helps. Use descriptive phrases like 1 = “the worst thing ever, I’d rather have my teeth pulled” and 10 = “that was the greatest thing I’ve ever done, I saw stars and unicorns.” I remember which number a student used on their first instrument, and when they move to the next one, I use it as a reference point. “You ranked the violin as a 7, do you want to rank the viola higher than that, or lower?” It’s a more tangible, relatable system for younger kids to process their thoughts and emotions.

Tip #5: Remove Barriers and Make It Easy for Families to Sign Up

If you can, do your try-ons during the school day. After-school sessions are another barrier to participation because students often can’t get a ride or they have multiple other activities. Do the try-ons during the day if you can find a way to carve out the time. Our trade-off is that we don’t see our beginning groups for a week and use that time for instrument try-ons. It can be daunting to meet with that many students, so, don’t do it alone. Ask for help from colleagues, private teachers, sectional coaches or instrument store employees. (Paige’s Music provides people — usually retired teachers, studio/freelance musicians with some education background, etc. — to help with instrument try-ons, free of charge to us, which is massively helpful.)

Registration paperwork is simple and straightforward. Kids leave try-ons with a single paper containing their instrument choice, some info for their adults about the whole process and a QR code to a registration form. It’s the same form for both band and orchestra and contains only the necessary information (name, student ID, adult contact, instrument choice).

Because every student tries instruments, following up is a simple process. A letter goes out to all 5th-grade families, reminding them of the opportunity to join a music ensemble. Our secretaries help with the logistics. We skip the students who have already signed up and send a letter to everyone else.

Our informational meeting is more than just giving parents/guardians the class rules and expectations. We focus on introducing ourselves, much like we’ve done with the students. Our rental company is there, and families can secure their rental instrument that night. No need to wait until the fall and risk the summer drop-off, where kids lose interest or adults forget to do the paperwork. Their rental is secured in May and delivered to the school in August, ready for the first day of school.

Bonus: Our rental company provides the needed accessories (shoulder rests, rock stops, rosin, slide grease, etc.) along with our method book in a “starter pack” that is included with the rental. It makes the process so much simpler for families and is less work for us! If you work with a rental company, see if they can do something similar. The band directors and I also make a list of students who need school-owned instruments due to financial concerns, which ensures their rental is also secure before they leave the informational meeting.

That informational meeting is also face-to-face time with the parents/guardians, which otherwise we might not get until the first concert. We start making those connections before students even start class. For families that cannot attend, we provide all the information and rental company links in a follow-up email.

It’s Worth it!

Recruitment is a vital piece of what beginning ensemble directors do. It can feel like a burden because it takes us away from “our kids.” Remember that it is through these efforts that potential students become “our kids.” The time and energy will be worth it when your room is full of eager new musicians.

Take time to examine your recruitment process — what barriers exist to student participation, and in what ways can you increase engagement and excitement? If you can try even one change in your recruitment based on these tips, it is my hope that you see positive results with more students engaging in music!

Yamaha Master Educators Marcia Neel, Anthony Maiello and Travis Cross

RAMP: A Summer Camp for Music Teachers

Written by Savy Leiser on May 29, 2023. Posted in Conferences.

This summer, the San Diego Summer Music Institute (SDSMI), which has operated since 2010, will meet once again for its annual summer camp from June 18 to July 1 at Point Loma Nazarene University in San Diego. Running concurrently with SDSMI — from June 20 to 23 — is a professional development conference for music educators called RAMP. The adults are going to summer camp, too!

RAMP stands for Ryan Anthony Music Project. Its namesake, Ryan Anthony, was a local San Diego musician whose claim to fame was performing principal trumpet for the Dallas Symphony Orchestra before passing away from cancer in 2020. Just as Anthony began his musical journey in San Diego and spread his music throughout the world, RAMP aims to do the same: To get the best minds in music education all in one place to inspire a new generation of musicians.

According to James Sepulvado, director at SDSMI, one of the founders of RAMP and a 2023 Yamaha “40 Under 40” music educator, adding programming for educators was always part of the vision behind the summer program. “We always had this dream of growing the summer program to include a portion of the camp for teachers,” he says.

RAMP held its first four-day conference at SDSMI in 2019. After a two-year hiatus due to COVID, it returned in 2022. Registration is currently open for the 2023 RAMP conference!

Camp and Conference Combine

Students aren’t the only ones who crave summer enrichment. Sepulvado recalls being a young music educator and wishing for more professional development resources. “I was a young teacher who was really hungry and eager to do good work, but didn’t always know where to go,” he says.

Once SDSMI was up and running, Sepulvado saw an easy transition toward incorporating programming for teachers as well. After all, top-notch performers and educators were already working as instructors at the camp. “We have this incredible resource — a camp going on with 200 students,” he says. “We also have 70 of the top musicians in the region teaching these kids. If you’re a teacher trying to learn how to be a better teacher, what better way to do that than to see one of the best teachers do it in real time?”

Each morning, SDSMI students attend masterclasses taught by university professors, San Diego Symphony members and other professional musicians. During the RAMP conference, teachers can attend those masterclasses to observe how the instructor engages with students. “Similarly, we’ll open up some of the rehearsals, so [teachers] can watch a really great conductor work with students,” Sepulvado says.

Where Theory Meets Practice

A core philosophy behind RAMP is the emphasis on learning through action. “In college when you take a conducting class, you read a textbook. Maybe you get to conduct for a few minutes at a time, but you’re not really getting the experience of doing,” Sepulvado says.

One of the programs that emphasizes the importance of learning through experience is RAMP’s Conducting Symposium. “We have four military bands in San Diego, and we get one of them to be the ‘lab band’ for our Conducting Symposium,” he says.

The symposium gives 10 participating educators the opportunity to take turns conducting the military band while professional conductors observe and provide feedback. According to Sepulvado, “As a conductor, there’s literally nothing more valuable.”

To participate in the Conducting Symposium, attending educators can select “yes” to a question on the application form, and then answer a few additional questions about why they would be a good fit for this unique opportunity.

The Conducting Symposium was a success at last year’s conference. “We were blown away at how much people were learning and growing,” Sepulvado says. “In college, you’re reading and listening to lectures. That’s hypothetical knowledge. Now, you find yourself in this Conducting Symposium setting, and the growth is so fast.”

The Teaching Lab

two conductors — Gary Hill, professor emeritus at Arizona State University, mentors young music teachers at RAMP.

Learning through practice, rather than solely through theory, is the philosophy behind another main draw at this year’s RAMP conference: The Teaching Lab, a series of classrooms where educators can work directly with SDSMI students. This paradigm has been in the works for a few years. “We’ve refined the Teaching Lab concept,” Sepulvado says. “We knew the pedagogical value of doing over listening to a lecture, but it’s taken us a bit of time to figure out how to execute that. We’re going to have rooms available where teachers can drop in and learn.”

The Teaching Lab draws from two sets of resources available at SDSMI — the students attending the camp and the educators attending the RAMP conference. “Let’s say you’re a teacher who wants to learn how to teach mariachi, and you’ve never done that,” he says. “We have a room set up with the instruments and a wonderful mariachi teacher in there. We can grab some students from the camp who have never done mariachi before. The expert teacher can instruct while the teacher who wants to learn observes, and then is able to jump in and try it themselves.”

Teaching Lab classrooms will focus on underrepresented areas of music education, including mariachi, steel drums and modern band, which often includes rock music.

Beyond the Classics

According to Sepulvado, the Teaching Lab’s focus on underserved forms of music education stems from a desire to make music more accessible to a wider variety of students. “One of the most important discussions happening in education is about equity and how to meet students where they are,” he says. “I’m a big believer in the importance of classical music and jazz, but I do think there’s tremendous power and value in having a class where students are playing music that they listen to and love.”

In addition to modern band, which prioritizes popular rock music that teens already listen to, Sepulvado says that including mariachi and steel drum classes can reach students whose cultures may prioritize those types of music. “There are certain communities, certain groups of students, who are going to be more familiar and more comfortable with those means of musical expression,” Sepulvado says. “Being able to instruct teachers on how to do that is really cool.”

conductor in front of band — Israel Torres of Meadowbrook Middle School in Poway, California, participates in the Conducting Symposium.

Just as the music genres featured at RAMP go beyond traditional classical music, RAMP itself is far from a classical conference. By integrating a professional development element into a summer camp, RAMP’s founders have tapped into a wealth of resources that ultimately serve to bring more musicians together. “Fundamentally, I think our organization is centered around the idea that music-making and music education are potent weapons for peace,” he says. “It’s this incredible mechanism for community-making, character-building and shaping humans in a wonderfully productive and positive way.”

At the core of Sepulvado’s vision is a mission to spread music as a form of communication and human expression among students and teachers alike. “There’s an approach to music education that puts expressivity front and center, and that’s what we want to champion,” he says. “That may not always be the loudest voice in our field because a lot of time is focused on the technique-based approach, but music is about connections with other humans above anything else, and the technique serves that.”

Click here to register for the 2023 RAMP conference, June 20-23, at Point Loma Nazarene University in San Diego.

University of Kentucky music education students for trauma-informed pedagogy guest lecture

How DEI Initiatives Influenced UK’s Music Education Program

Written by Savy Leiser on May 25, 2023. Posted in Case Studies.

When Dr. Martina Vasil, associate professor of music education at the University of Kentucky, attended the 2019 American Orff-Schulwerk Association Professional Development Conference, she discovered a new way to level up her instruction beyond repertoire. At this conference, Vasil met Dr. Nicole R. Robinson, former vice president for equity and diversity at the University of Utah, who had just started her own business: an online learning platform called Cultural Connections by Design.

“Dr. Robinson led an activity where we identified all the privileges and lack of privileges we have, all these different facets of people’s identities,” Vasil says. “It was eye-opening for me. Growing up poor [and with] immigrant parents, I never felt disadvantaged because of the power of being white [and] having English as a first language.”

This activity inspired Vasil to think about the ways that her music ed students could analyze their own backgrounds to better relate to one another — and to their future students. “A lot of students don’t realize that if you’re white, if you’re a man or if English is your first language, you immediately have an advantage,” she says.

Vasil then contacted Robinson, who directed her to the Cultural Connections website, where her students could test out a new course she was developing. While Cultural Connections had begun as a resource for businesses and consulting, Robinson wanted to expand the audience to college students. Vasil brought her students onto the platform as a test group, where they completed online modules about implicit biases, microaggressions and other key elements of diversity, equity and inclusion (DEI) work.

Initiatives like these have been part of an overall emphasis on DEI within the school of music at the University of Kentucky. Vasil has been teaming up with her colleagues and graduate students to integrate DEI education in the music classroom.

For Vasil, a big part of DEI comes from collaboration with other educators. In addition to her work with Robinson and Cultural Connections, Vasil regularly seeks guest speakers to give her students the best DEI education possible.

The Equity Epiphany

University of Kentucky music education students during final holiday performance — Music education students at the University of Kentucky after a holiday performance.

Though faculty at the University of Kentucky always understood the importance of DEI, mid-2020 was when Vasil and other faculty members embraced its immediacy. “When George Floyd [was] murdered, [we] began grappling with how much we didn’t know and how uneducated we were on non-white experiences,” Vasil says. “Kentucky is a very white state, but we do have diversity on campus … we looked at our curriculum and realized that it needed updates.”

One of Vasil’s responsibilities is to prepare future music educators for their teaching careers. When a music teacher enters an elementary school music classroom, that classroom will comprise all students in that grade; therefore, elementary music teachers must understand the experiences of students from a range of backgrounds. “I asked area K-12 teachers what they wished our students were better prepared to do,” Vasil says.

She also worked alongside her graduate students to find ways to incorporate their specialized areas of research into an overall education. “I had a student who did a whole thesis on multi-language learners because we have an increasing population of these students in Kentucky,” she says.

For Vasil, who considers herself a practical educator, learning about DEI was a journey in thinking outside the box. While she used to focus on “the main approaches to teaching” and “the practical approaches of what you need in your toolkit,” she has now shifted her attention to spending more time talking about how to best teach diverse student populations.

Because Vasil’s students are planning to become educators themselves, they can perpetuate this message in their own careers. “I never had that training in my undergrad, and you repeat what you’re taught,” she says.

Inclusion on the Internet

After connecting with Robinson, Vasil saw an opportunity for her students to learn using the Cultural Connections by Design online program. “[Dr. Robinson] let us access the program for free for a month in exchange for being her beta testing group,” Vasil says.

Vasil gave her students a month to complete the online course, which contained about five hours’ worth of material, including video lectures and follow-up questions like, “What is bias?” and “What’s unconscious bias?” as well as open-ended questions about how students might react in certain situations.

Because Robinson is planning to release this course — the first Cultural Connections course aimed at education institutions rather than companies — Vasil is hoping to use it for future classes as well. “It’s my plan this spring to ask my director if everyone can do the training,” she says.

Vasil found the course helpful for current educators and students alike. “Some of the terminology I had heard before, but some were new for me,” she says. “Understanding the terms and some applications and scenarios were very helpful.”

slide from multilingual learners presentation — A slide from a presentation on multilingual learners by Austin Norrid, a Ph.D. music education student at Penn State.

Adding a course to specifically address DEI can be important, but it’s not the only approach an educator can take. Vasil is also finding ways to bring DEI lessons into the music classroom itself.

Culture in the Classroom

The world of music is diverse, from the varied instruments and genres to the countless composers and performers. One place that educators can celebrate diversity in music is through their repertoire choices. “Our whole school of music has been much more focused on repertoire by making sure there are more female composers and composers of color,” Vasil says.

Even outside of ensemble performance, diversity is an important topic for future music educators to learn. For example, an educator may enter a school where most students don’t speak English, which requires tailoring the lessons to include more visual images rather than solely verbal instruction.

On Fridays, Vasil’s students visit local elementary schools for observation and student teaching. “Three of my students were at a school with a very high Japanese population [which includes multi-language learners],” Vasil says. “When they’re designing their lessons [for] multi-language learners, [they] use more icons or visual pieces.”

Don’t Blindly Accept Common Folk Songs

Even simple nursery rhymes or childhood songs that educators choose can have historical implications for various demographics. For the past two years, Vasil has been following a page on social media called Decolonizing the Music Classroom. This page and its accompanying website detail the ways that music educators can consciously choose songs that are free from a racist history.

song from racist songs lecture presentation — “Choices to Consider” slide from a lecture about racist songs presented by Ian Cicco, Assistant Professor of Music Education at The University of Southern Mississippi.

For example, the song “Jim Along Josie,” which is often taught to young children, was first sung by a performer in blackface during a minstrel show. “The original words are meant to mock the way African Americans spoke,” Vasil says. “It gets forgotten after 40, 50, 60 years … I have students who have never heard of minstrel shows.”

In these cases, it’s important for future educators to have conversations about certain songs’ history and their racial implications. Often, the best choice may be to not to use those songs in an elementary classroom.

Though “My Old Kentucky Home” is a common song for kids to learn when growing up in Kentucky, the original song contains racist lyrics including slurs against Black Americans. “We had a deep conversation about ‘My Old Kentucky Home,’ which is kind of the Kentucky anthem,” Vasil says. “Our president of the university doesn’t want to hear that song anymore.”

Kids often learn these songs when they are young because of their simplicity. Vasil’s advice is to select other songs that serve the same purpose. “There are better songs that have a ‘mi-re-do’ or musical objective,” she says. “I don’t think [continuing to perform these songs] is sensitive or empathetic to the Black experience.”

Promote a World View of Music

University of Kentucky music education students for world music pedagogy guest lecture — Dr. Juliana Cantarelli Vita (front row, second from left) presented a lecture about world music to the University of Kentucky’s music education students.

Instead of programming local songs with racist pasts, Vasil and her colleagues recommend looking out into the world and finding ways to include international music in a comprehensive education. To teach her students about world music, Vasil used financial support from the school of music to invite Dr. Juliana Cantarelli Vita, a world music pedagogy expert from Brazil as a guest speaker.

Beyond expanding students’ repertoire, studying international music can also teach students alternate ways of learning the music itself. “[She talked about] how people learn music in other cultures. It’s usually by ear,” Vasil says.

While many American students learn songs through studying sheet music — and sometimes sight-reading — for some pieces, this approach isn’t an honest replication of how the original culture would have learned the song. “How can you get used to doing that? How can you be true to the authentic way that music would’ve been taught, rather than Westernizing it?” Vasil says. “I had her visit many departments throughout the three days that she was here. We reached almost 200 students among different classes.”

The Power of Guest Speakers

Much like the world music speaker from Brazil, many guest speakers are regularly invited to Vasil’s classes to give students a more in-depth education about their areas of specialization. “I was looking at the pockets of my weakness, areas I don’t know as well,” Vasil says.

One of Vasil’s grad students, who goes by the mononym Yeshima and uses the pronouns they/them, specialized in project-based learning, such as learning about environmental consciousness through music. Vasil had them explain how teachers can blend music with other areas of passion.

“It was a great example of how you can guide students to think about things they care about,” Vasil says. “[For example], writing short rap songs with percussion about saving the planet.”
The activity Yeshima led inspired Vasil’s students to compose music about the floods that ravaged Kentucky in 2022. “[They] wrote a little song about the flooding and how they can help,” she says. “Having children engage in that is a big part of DEI work.”

Because DEI is all about making students feel included and understood, Vasil couldn’t ignore the changes — and sometimes even traumas — that some students experienced due to the COVID-19 pandemic.

Help Students Deal with Trauma

Vasil teamed up with another student, Abigail Van Klompenberg, who taught for 12 years prior to returning to get her doctoral degree, to discuss trauma-informed pedagogy, which is Van Klompenberg’s area of expertise. “She’s been interviewing teachers to understand secondary traumatic stress,” Vasil says. “She’s been reading about practices with children [and] presenting both sides: what you do for your students and how you take care of yourself as a teacher.”

Trauma-informed pedagogy is defined as “identifying the trauma children went through and the stress responses that come out — physical, mental and emotional — and finding ways to mitigate that,” according to the Barnard College website.

According to Vasil, there are many easy ways for teachers to incorporate trauma-informed pedagogy into their regular school day. “For example, having a mindfulness minute at the start of class,” she says. “The kids come in and they sit with you and do a breathing exercise for a minute. At the end of class is quiet listening time. They all lie down and close their eyes, and we listen to a piece of music; we don’t have a set objective.”

Using movement as a form of communication and expression can also engage students who are struggling due to COVID-related trauma. “A lot of trauma is stuck in the body,” Vasil says. Teachers can introduce activities that include movement for expression rather than just sitting down in a chair to play music for the whole period.

As a guest speaker, Vasil’s Ph.D. student also took her undergraduate students through a variety of activities meant to engage students who may be more withdrawn as a result of trauma. “With kids growing up in COVID, they’re having trouble communicating with their peers,” Vasil says. “When they’re in contact with someone else, they find ways to communicate emotions through songwriting.”

Slow Down to Have Big Discussions

For both self-care as a teacher and bringing DEI into the classroom, Vasil recommends slowing down. Big discussions require time for communication and reflection; it’s important not to rush. “We take a whole class period, experience a guest speaker, talk about it, reflect on it, and think about the ways [the students] are seeing that in the classrooms they visit every Friday,” Vasil says.

Overall, Vasil is grateful that DEI has become a bigger discussion at the University of Kentucky, and she’s hopeful that these initiatives will help inspire the next generation of educators. “The students are ready for it,” she says. “They want to be better teachers.”

The University of Kentucky is one of 10 distinguished colleges and universities selected to be part of the inaugural Yamaha Institution of Excellence program, which recognizes extraordinary commitment to innovation in the study of music. The Yamaha Institutions of Excellence were chosen for their dedication to providing unique and challenging experiences to music students through diversity of thought and curriculum. They are also recognized for exposing students to a wider variety of voices and opportunities and preparing them for the modern world of music.

Woman with earbuds hailing a cab on city street.

Spotlight on Yamaha TW-E3C True Wireless Earbuds

Written by Yamaha Corporation of America on May 25, 2023. Posted in Audio Gear Guides.

Yamaha TW-E3C true wireless earbuds allow you take your music anywhere, delivering exceptionally clear and detailed sound wherever you go. Their compact size gives your ear a more personal fit, with a specially designed indentation on the side that ensures that the earbuds are comfortable and secure, along with convenient touch sensors for smooth, effortless operation.

Closeup of a person's ear with an ear bud in it.

MULTIPLE COLORS

Express your individuality! TW-E3C earbuds are available in six different colors: black, red, green, beige, gray and blue.

ADVANCED TECHNOLOGY

TW-E3C earbuds are loaded with advanced technology. A Listening Care feature intelligently adjusts the EQ to provide full-range sound even at lower listening volumes, and Ambient Sound ensures that you’ll stay aware of your surroundings, even while listening to music. A free Headphone Control app (available for both iOS and Android devices) lets you take control of your sound by instantly selecting one of five equalization presets or by fine-tuning the EQ to your own personal preference.

Extended battery life keeps you going all day long with 24 hours of total battery life (nine hours from the earbuds and another 15 hours from the charging case). What’s more, built-in Qualcomm^® TrueWireless™ Mirroring with role-swapping provides stable Bluetooth^® connection and saves power. And, with their IPX5 water- and sweat-resistant rating, a little sweat or rain won’t harm these earbuds, making them perfect for exercise and life on the go.

CALLING AND GAMING FEATURES

But it’s not just about listening to music: TW-E3C earbuds excel when it comes to calling or gaming as well. They deliver crystal-clear calls to either ear or both thanks to advanced built-in microphones and Qualcomm cVc (Clear Voice Capture) technology. This works to effectively pick up your voice, isolate and deliver it to the other party in perfect clarity — even in noisy environments.

Multipoint connectivity means that you can connect to two Bluetooth devices simultaneously, such as a smartphone and a PC … and, when receiving an incoming call from one of them, you can take the call without switching devices. And a special Gaming Mode reduces the lag between sound and video when watching videos or playing games. In addition, you can quickly activate voice assistants such as Siri^® or Google Assistant with the TW-E3C touch sensor.

INCLUDED ACCESSORIES

TW-E3C earbuds come with numerous accessories — everything you need to get started listening to music, making calls or enjoying your favorite streaming games. These include a charging case, a Type A to Type C USB cable, and four different eartips (extra small, small, medium and large) so you can ensure a perfect fit no matter your ear size.

Cable, case and different size ear inserts.

Check out the video:

Learn more about TW-E3C true wireless earbuds and the entire line of Yamaha wireless headphones, earphones and earbuds.

How to Harmonize a Melody Line

Written by Jerry Kovarsky on May 23, 2023. Posted in Keyboard How-to.

Especially when playing pop, jazz and show tunes, keyboardists often play the melody with their right hand as a single note line. This allows listeners to easily recognize and appreciate the song.

As the tune progresses, however, things can get pretty repetitive if there isn’t someone singing the words, so it’s good to vary your playing to keep things interesting. A great way to do that is to add another note to the melodic line, as singers often do when performing a duet. This is called harmonizing a melody.

Here’s a guide to harmonizing effectively.

It’s All About the Key and the Chords

To add harmony notes to a melody line, you need to know two things:

The key the song is in; and
What the chords are

The key is shown at the beginning of the score/sheet music as a grouping of sharps or flats just after the treble and bass clef. Knowing the key will tell you what scale you can choose your harmony notes from.

For this posting, we’ll be exploring various ways to harmonize this short musical phrase:

As you can see (and hear), this example uses a flowing, arpeggiated left-hand part rather than just block chords. And since there are no sharps or flats in the key signature, that means it is in the key of C major. Your harmonizing note choices should therefore come mainly from the C major scale (i.e., all the white keys):

Being aware of the chord symbols above the bars will ensure that the harmony notes you choose are part of the chord. This isn’t a strict rule, as you’ll soon see, but you should at least avoid playing non-chordal notes on a beat (they can sometimes be okay for quickly moving passages).

Choosing the Best Harmony Notes

Now that you know the key and the eligible notes, you can start to build a harmony part. It’s best to leave your melody as the top note of your right-hand part so the listener can hear it clearly. For that reason, I advise adding a second note below the melody.

The most common and pleasing interval to use for that purpose is a third, which is either three or four half-steps below the melody, depending upon the key (in the key of C, it will be A, three half-steps below C). The notation below shows that interval both above and below the root tone, followed by a C major scale played in thirds, with the melody on top:

The next most common note choice would be a sixth (either eight or nine half-steps away), shown below in the key of C.

You can also use intervals of a fourth (five half-steps) or a fifth (seven half-steps), but they should be used sparingly since they tend to impart a more exotic, less common sound, especially if used frequently.

Let’s start by harmonizing our melody using thirds as much as possible.

Thirds work great for the first bar, but in bar 2 if I used a third below the E note I would be playing a C note over a G major chord, which would clash with the B note in the bass. In other words, it would be playing a suspended fourth along with the natural third of the chord — and that’s not a good sound! For that reason, I switched to a fourth for the harmony. On the first beat of bar 3 I could have used an A (a third below), but I chose the G to better spell out the C chord. Because the chord has a B-flat in it, I made sure that my harmony line also used the flatted note.

Bar 4 contains a chord that is not from the key of C (the A-flat major seventh), so I modified the thirds to use notes from the A-flat major scale. Bar 5 goes back to the key of C, and for the last chord I just chose a voicing to give me a fuller chord to end on.

The bottom line is that you can be flexible with your note choices as long as you observe the key and the current chord. Beyond that, you can do whatever pleases your taste.

Using More Varied Intervals

Another approach would be to vary your choices a little more, not holding so rigidly to mainly using thirds. For example:

Here I start with thirds, but go to a fourth for the last note in bar 1, and then a sixth for the first note in bar 2. For the last note in bar 3, I opted to use a fourth to better spell out the C seventh chord. I chose to use an interval of a fifth at the start of bar 4 in order to get the root tone of the F chord in the voicing. Finally, for the end of bar 5, I switched to sixths for better note spacing between the hands.

This next example employs more sixths, but not all the time. In fact, I use all the suggested options here: thirds, fourths, fifths and sixths. By mixing in other intervals, the harmony stays more interesting and less predictable.

Harmonizing Melodies That Don’t Stay In One Key

As the above example shows, songs don’t always stay in the same key, or they may include chords that come from outside the key. A song may even fully modulate to another key altogether. When you first explore the melody you want to harmonize, you need to look for these situations and try to understand what is happening so you can make good note choices.

This next musical example expands on the previous one, bringing it to some new places harmonically before finally returning to the key of C.

Here, a lot is happening that is not in the key of C. Analyzing it based on what is commonly called “functional harmony,” the phrase appears to visit the key of F in bars 3 and 4, and then modulates to the key of A leading into bar 6. Bars 8 and 9 seem to touch on the key of D (the G-sharp becomes a G natural) before moving back to the key of C at the end of bar 9. You can imagine that the key signature is changing as these chords vary, which would look something like this:

Here are some suggested note choices based on those key signatures and their associated scales:

Notice how I used all the suggested harmony intervals at some point, and even used a number of parallel fourths in the second half of bar 9 into the first two beats of bar 10. In the last bar I decided to have the harmony line move in conjunction with the left-hand pattern for a nice effect.

This final example removes the various key signature markings to go back to how the music would likely be printed, and presents yet another variation of harmony note choices:

Until next time, happy harmonizing!

All audio examples played on a Yamaha P-515

Check out our other Well-Rounded Keyboardist postings.

Click here for more information about Yamaha keyboard instruments.

The Singing Drummer

Written by Jimmy Keegan on May 19, 2023. Posted in Drum Artists.

I started singing as a small child, and never thought much about it … other than how it was funny that the older kids at school would give me money to sing Elton John songs. I guess I just had a natural talent for vocalizing early on.

But once the drum bug hit me, I stopped singing and focused solely on drumming. Then, when I got to my 20s I started singing again, but this time from behind the kit, influenced by some of the folks listed below. If you’re a drummer who’s ready to take the plunge and start singing yourself, I’ll provide some tips in this posting as well. But first, here’s my personal list of …

Top Five Singing Drummers

Terry Bozzio

Terry hit me like a truck. Firstly, his playing (with both Frank Zappa and Missing Persons) was like nothing I had ever heard: aggressive, dynamic, creative, sometimes complicated and always original. His inventive use of roto-toms, double kick drums, dual china cymbals, bells, X-hat and a funky haircut grabbed my attention and wouldn’t let go. Second, he was singing, and singing a lot. And because he was such an expressive player, the way he looked when he sang also got my attention. Whenever I was playing along to him in my room, I found myself singing his parts. Eventually I started singing his lead vocals as well. Without realizing it, playing along to Terry helped with my independence. Terry’s drumming was often very complex and it required a lot of dexterity to pull off the singing as well. I never thought twice about it. I just did it.

Don Henley

I had to grow up a bit to fully appreciate Don. Everything about his playing is designed to suit the song. As he was often the songwriter and also the lead singer for so many songs with The Eagles, his drumming was always supportive of the vocal. His approach was nothing like the technical and loud approach that Terry took but that’s okay. I needed to know the conservative attitude as well. The more I got into musicians like Don Henley, the better the overall drummer I became because I was much more aware of melody.

Phil Collins

Phil was another game-changer. He may be more well-known today as a singer, but to us drummers, he’s a drummer first. Phil made me much more aware of groove even when playing in odd meter. Sure, his solo work is straight-ahead pop but the Genesis stuff is all over the map. Again, being the singer informed his musical sensibilities and his playing. Whether busy or simple, he always supports his own vocal and he sings his tail off.

Levon Helm

Again, Levon’s influence hit me later in my life but as every fan of The Band knows, it’s about the story. Nothing about Levon is “technical.” It’s all feel. Even his kit is often kind of thrown together and just barely functions but you don’t care because he pours his heart into the story and his groove keeps everything moving just the right way to help express whatever emotion he’s singing about.

Roger Taylor

Nothing about Roger made sense to me when I first saw him performing with Queen. On the group’s albums, there was this thunderous drum sound and these screaming high vocals, but he’s not a particularly big person. All this sound and energy came from his heart. He didn’t need to be big to sound big and to be heard. As I’m not the tallest person either, this was a great lesson and I got it early on. I wanted my drums to sound big like that. I would learn a little later that there are some studio tricks to that sound, but it still had to start from the person. Roger helped me recognize what was inside and that I just needed to believe to get it out.

Man playing drums and singing. — *Jimmy Keegan performing at 2023 NAMM.*

Keegan’s Vocal and Drumming Tips

The sheer act of drumming requires a person to be conscious of their breathing, but singing often contradicts the breathing patterns needed for drums and vice-versa. There is also the risk of vibration from your arms moving around and from the seat underneath you, all of which can disrupt your vocal performance.

Here are some tips to get you started:

Stay seated and separated. Set yourself up with good, even posture and do whatever you can to separate your core from the motion of your arms.
Keep your setup in front of you. Too much gear to the sides requires movements you may not be able to make while you’re singing. Find the middle ground between when your body wants to breathe (as related to your drumming) and when you need air for singing. There’s no magic formula — you just have to figure it out for yourself.
Find the right drum throne. If your seat is too hard, it can be a problem; ditto if it’s too soft. Try to find the perfect compromise between comfort and performance.
Try to keep your mic in front of you and level with your head. Tilting your head up or to the side can cause neck issues.
Consider using in-ear monitors (IEMs) instead of onstage monitors. Floor wedges cranked to the high volumes necessary to be heard over a full performance kit can lead to you over-singing, and you don’t want to risk doing damage to your voice. IEMs (like the ones I’m wearing in the photo below) allow you to hear yourself over the drums without yelling.

When I started paying attention to these factors — and as I got more aligned with my breathing, seat position and monitor level — I improved quickly and soon was able to play and sing every night of the week without strain. Now I’ve become a primary back-up singer or even a co-lead singer in many of the bands I work with. And though having a high voice does come in handy, just being willing and able to sing has been a great asset in my career as far as getting gigs. I’ve been able to win out on numerous gigs purely because I could sing and the other drummers vying for the position could not.

Singing has also made me so much more aware of the vocal aspects in every song, which in turn has made me a much better drummer. The next task is figuring out how to get the drums to the front of the stage without injuring the ego of the lead singer or guitar players. But that’s a posting for another day.

Learn more about Jimmy Keegan at www.jimmykeegan.com

Side Hustles for Music Teachers

Written by Aleah Fitzwater on May 18, 2023. Posted in Case Studies. 1 Comment on Side Hustles for Music Teachers

Teaching music is extremely gratifying; but sometimes, unexpected circumstances arise, and we need to supplement our income. If you’re looking for relevant side hustles or summer gigs, consider the following list of ideas related to the creative and performing arts!

Etsy

Those of us who teach elementary music are often skilled at making handmade crafts, so why not put our talent to use? From sheet music plaques to music-themed throw pillows and jewelry, the ideas are endless. Plus, making handmade items for other music lovers is extremely gratifying.

I began my Etsy shop in 2018 and have made almost 2,000 sales. Making custom music jewelry was one of my favorite summer gigs as an elementary music teacher. It gave me such satisfaction to be able to make a themed piece with someone’s favorite song. Later, I branched out to other items, including the occasional refurbished instrument.

Etsy is a great side gig for teachers, which is why it’s first on my list. If you’re too busy to keep up with your shop during your busiest times of the school year, you can just put your shop on vacation mode or deactivate your listings until you’re ready again. All you need is a bank account to get started.

Church Musician

Many large churches have paid worship bands, and sometimes even paid choir members. A friend of mine just joined a local church choir in Toledo and is making some extra cash doing what he loves: singing.

Instrumentalists such as flutists, pianists, organists, bassists and drummers are often needed for worship groups. My first experience as a church musician was during college. One of my professors needed a flutist and oboist to supplement a special piece that his choir was doing. I remember someone giving me grief for taking on the gig for “only $50,” but for an hour’s worth of work, it ended up being a great weekend side hustle. Plus, playing with other musicians is a rare treat. Oftentimes, music teachers only get to play in ensembles during conventions.

Teaching Private Lessons

Teaching private lessons is a really easy way to expand your role as a music educator. A bonus is that you learn new things about teaching when you’re in a one-on-one setting than when you’re in front of a class. I find one-on-one lessons very refreshing because you get to really know your students.

Private lessons can be a bit difficult to figure out logistically, though. For example, do you teach students in your home, in a store or after school? There are no right or wrong answers here, but make sure to draft up a formal lesson contract detailing all your expectations and safety procedures before the day of the lesson. I recommend doing in-home lessons only with close friends and family members. Having students and folks you don’t know inside your home can complicate things.

Find the most professional setup you can. If you are involved in a church band, you may be able to use a room in the worship space to conduct lessons, for a small room rental fee.

An Excuse to Try Something New!

If you want to try something different, learn another instrument by yourself, or better yet, from another music educator. Then, once you’ve advanced enough, try teaching it privately. I’ve found that learning sought-after instruments like the bass and drum kit provide a much-needed break from playing the classical flute. This is a great way to expand your skillset, teach more and supplement your paychecks.

Check out Freelancing Sites

Upwork and Fiverr are two large freelancing sites that have a lot of music- and education-related tasks. Music teachers are often skilled in a number of areas, such as music editing, production and more. So far, I’ve done writing for a music software company, reviewed instruments, edited kids’ books and produced a song that was presented with a lesson plan at an educational conference.

With Upwork, you bid on gigs, whereas on Fiverr, you post your price, and clients come to you.

Music Reviews / Press

A year ago, on a whim, I reached out to a local music press company, Little Star PR, based in Toledo. I thought I would never hear back from them since I’m not a writer or editor. But that’s when I learned about the power of asking.

From there, I went to write for Cover Me Songs, a website that covers refreshed songs by indie artists and popular top-40 musicians. Later, a local journalist saw my Facebook profile, and reached out, which turned into another side hustle, reviewing the Toledo Symphony for the Pulitzer Prize-winning newspaper, The Blade.

One music writing gig quickly turns into another, especially once your resume grows. That’s all to say that putting out some feelers to the folks at your local paper or music press company may be well worth the time.

Music Blogging

Did you know that guest blogs often pay musicians and music teachers to write about their experiences? You can make anywhere from $10-$100 per post, and sometimes, if you have a lot of writing experience, as much as $300. Depending on how much time you have, you can generate a fair bit of income. But if you don’t like cold e-mailing, this gig probably isn’t for you.

Other Side Hustles

If you’re skilled at notation software or programs like Box5 or Pyware, consider engraving music for other music educators or writing drills for competitive marching bands. Similarly, offering your proofreading is a great way to put your skills to new use; this could be proofreading scores or proofreading texts about music.

Teachers Pay Teachers (TPT) is an online site with teaching resources and lesson plans. While I have only personally bought from TPT, you can upload your own plans and sell them to other music educators.

Find Your Next Side Gig

In my experience, having a degree in music education sets you up for lots of relevant side hustles that can help generate some extra spending cash. You don’t have to take a night-shift job if you don’t want to. Side gigs can ensure that you really make it “all about music” for your work. Just make sure to check with an accountant or tax professional for any questions you may have about taxes.

Author smiling and laughing while playing guitar.

NAMM 2023 Yamaha Guitars Recap

Written by Robbie Calvo on May 17, 2023. Posted in Gearguide.

Flying into California always gets my heart rate going. It brings back fond memories of when I lived in Hollywood while attending the Guitar Institute of Technology (G.I.T.). In particular, there’s a frenetic, creative energy I feel when heading towards Anaheim to represent Yamaha Guitars at the NAMM show each year.

This was my seventh show with Yamaha. My first experience blew my mind. Yamaha literally took up an entire ballroom in the Marriott Hotel with two performance stages and isolation booths for guitar and piano demonstrations, along with the most incredible display of what seemed like the entire range of Yamaha products. (Yamaha also manufactures live and studio sound reinforcement gear, as well as everything band-related.) My first main stage performance there was flanked by two high-performance motorcycles, a pristine audio backline and a full touring rig including lighting.

Yamaha now occupies much of the third floor of the Anaheim Convention Center (a spacious area I affectionately call “The Penthouse Suite”), but with the same attention to detail. There’s an emphasis on creating flow in order to provide a world-class experience for dealers, musicians and influencers … a goal they thoroughly achieved at this year’s show. Quite simply, you feel like royalty when greeted at the entrance. Friendly smiles welcome you into a very special musical environment, where knowledgeable product specialists and musicians are on hand to answer questions, provide demonstrations, and guide attendees towards the gear they want to know more about.

Over in the guitar area, nylon-stringed acoustic instruments hung gracefully next to futuristic SLG Series SILENT Guitars™, while vintage-inspired “throwback to 1966” FG/FS Red Label guitars amplified their proprietary aged tonalities with a cutting-edge, three-way pickup system called Atmosfeel.

My demonstration setup is shown below. It included a STAGEPAS 1K line array P.A. system, a Line 6 Helix (which I had preprogrammed with several custom patches) and multiple second-generation Revstar electric guitars, including Element, Standard and Professional models.

Beforehand, I had prepared backing tracks to jam with; these also doubled as a great way to hear the pro audio products in a real-world performance situation. I also had the honor to perform briefly for Mr. Takuya Nakata, President of Yamaha Corporation Japan, as well as other executives from Japan.

Author standing behind man holding an acoustic guitar.

Giving interviews to magazine editors and creating impromptu video demos on the show floor are also part of the job — and they’re some of my favorite things to do. The most popular questions I received at this year’s NAMM were about the new Focus Switch function on Professional and Standard Revstar guitars, and how to dial in the new cabinet models on the Line 6 Helix processor. Product overviews and demos of TransAcoustic guitars still turn heads (“Where is that reverb and chorus coming from? I don’t see an amp!”), even though the technology is well established and a full range of TA guitars are widely available.

But NAMM is really all about new products, and there were more than a few outstanding ones in the Yamaha display area.

The Products

For me, the highlight of the show was the launch of the new flagship line of FG9 Series acoustic guitars. These extraordinary axes feature Adirondack spruce tops, ebony fingerboard and bridge, scalloped X bracing, bone nut and saddle, and a nitrocellulose finish. There are two models: the FG9 R, which sports solid Indian rosewood back and sides, and the FG9 M, which features a mahogany back and sides.

FG9 R.

FG9 M.

Handcrafted in Japan, these guitars deliver the outstanding projection characteristic of dreadnought-style instruments, while at the same time providing exceptional clarity and detailed articulation — a unique combination especially suited for accompanying vocals.

They both sound gorgeous, but there’s a subtle difference in tonality between the two, with the FG9 R being a little brighter and the FG9 M being a bit darker. After playing and singing with both models for a while, I really noticed that they allowed my vocals to take precedence thanks to the well-balanced bass frequencies they deliver.

A brand new digital mixer, the DM3, also took the show by storm. This compact 22-channel touchscreen mixer can be used for streaming podcasts or live sound (there’s even a model — the DM3-D — that comes equipped with Dante^® technology), as well as for recording pristine audio directly to your computer thanks to the built-in USB port.

Small digital mixer. — *DM3 digital mixer.*

Couple the DM3 with a pair of Yamaha HS Series monitors or professional-quality HPH-MT headphones, and you’re ready to track the band or broadcast your podcast live. Things were so busy, I didn’t get a chance to try the DM3 with the two STAGEPAS 1K line arrays in my demo rig at the show, but I am certainly looking forward to doing so in the future.

The Music

Attendees to the Yamaha display were also treated to some of the very best in live music. On the main stage, Line 6 processors and Catalyst combo amps added a cool mix of the current modeling technology, juxtaposed against the classic tube tone of an Ampeg bass rig.

Bluegrass masterclass performances by Jordan Tice and Jake Eddy let everyone hear just how incredible the new FG9 guitars are (see the video below), and the stunning hybrid techniques and musical brilliance of rock-fusion maestro Matteo Mancuso had many of the guitar players in the audience threatening to give up and take a day job.

As if that wasn’t enough, studio ace and producer extraordinaire Greg Phillinganes brought down the house with an R&B/funk set to die for.

The Video

Here’s a video taken at NAMM that shows the amazing dueling magnificence of Jordan Tice and Jake Eddy as they play FG9 guitars.

When a pair of these wonderful instruments arrive at my studio in the coming days, I plan on recording a pop-rock duet that shows another side to these finely tuned instruments. Stay tuned to this space!

The Wrap-Up

With their ever more impressive lineup of guitars, Yamaha manages to refine and honor the art of traditional lutherie, while expanding the possibilities of our beloved six-string instrument with modern technology.

I can only imagine what Yamaha will unveil at NAMM next year … but until then, you can be sure that I’ll be enjoying the current roster of musical companions.

Check out Robbie’s other postings

10 Best Funk Albums to Own on Vinyl

Written by Jeff Dorgay on May 16, 2023. Posted in Vinyl.

Now and then, the lines may blur between funk, R&B and (gasp) disco, but it’s a genre that’s guaranteed to get the party started and/or keep it going into the wee hours of the morning.

If you’re ready to get down and funk it up, here are 10 classic vinyl albums you’ll want to have close to your turntable.

1. Computer Games – George Clinton

There is no funk without George Clinton and his band, Parliament/Funkadelic. Clinton’s first solo album features a lot of help from ex-P-Funk members and spawns a couple of his biggest hits: “Atomic Dog” and “Loopzilla.” With the necessary beats on hand, this record goes down a different path with some incredible synth riffs. Like a great film, Computer Games is so densely packed, you’ll need to spin it a few times just to catch all of the tidbits. You only need to revisit some of your favorite hip-hop tracks to see how heavily this record has been sampled over the years.

2. The Payback – James Brown

Many called James Brown the hardest working man in the music business, but was there truly anyone funkier? This two-record, 73-minute set is full of so much funkiness, you might not be able to take it all in in one listening session. The Godfather of Soul transitions effortlessly from jazz to R&B and back to hardcore funk, making some of these tracks sound almost like a Grateful Dead jam session. “Payback” may just be the most essential funk recording ever. Huuuuuuh!

3. Greatest Hits – Sly and the Family Stone

There are so many great Sly and the Family Stone albums, and Greatest Hits has all the top tracks, plus it was recently remastered and re-issued on vinyl. It’s a terrific party record, sure to inspire a lot of singalong and hands in the air, and the track “Thank You (Falettinme Be Mice Elf Agin)” is by far one of the funkiest tunes ever put on wax.

4. Blam! – The Brothers Johnson

Blam! may be the perfect funk record in that it incorporates all the elements of the genre for the beginning enthusiast, yet has enough punch for the aficionado. Produced by Quincy Jones (four years before Thriller), this one doesn’t stop, from the first track to the last. And if there was ever a great reason for physical media, the album artwork is definitely something to be savored.

5. Word Up! – Cameo

In constant rotation on MTV during the summer of ’86, this album still sounds fresh today, especially when listened to on vinyl. The opening bass line will instantly burrow into your consciousness — what a riff! — as will the track (and hit single) “Candy.” An alltime favorite, to be sure.

6. AWB – Average White Band

Other than the remake of the Isley Brothers’ “Work to Do,” the rest of the songs on this self-titled first record from the iconic Scottish funk outfit are all original. Full of catchy hooks, great beats and killer horns reminiscent of Tower of Power, AWB even crossed over to the R&B chart with their number one single “Cut the Cake.”

7. Rags to Rufus – Rufus featuring Chaka Khan

Chaka Khan and Rufus teamed up for this vinyl classic that includes a cover of Stevie Wonder’s “Tell Me Something Good,” which features one of the heaviest, dripping wet bass lines you’ll ever hear (in case you haven’t noticed yet, funk is BIG on bass), matched perfectly by Khan’s soulful voice. Bathe in the funkiness that is present here.

8. Stretchin’ Out In Bootsy’s Rubber Band – Bootsy Collins

This one’s a little off the beaten path, but if you dig into the album notes (if you can stop dancing long enough to pick the album cover up, that is), you’ll see that many of the accompanying players on this record (which includes Maceo Parker and Bernie Worrell) went on to funk and R&B greatness, and you’ll discover that this masterpiece was produced by none other than George Clinton. Clearly, Bootsy’s time with James Brown and Parliament/Funkadelic was well spent.

9. Headhunters – Herbie Hancock

This timeless record is usually thought of as being Herbie Hancock’s initial foray into fusion jazz, yet it still tops most “best funk record” lists. The 15:45 opening track, “Chameleon” may be the reason why — it’s a funk symphony, not to be missed. If you ever watch Herbie Hancock being interviewed, notice his big smile whenever Headhunters is mentioned.

10. An Evening With Silk Sonic – Silk Sonic

So far, all the choices here have been albums from the ’70s and ’80s, but funk is alive and well today. Anderson, Paak and Bruno Mars fully embody the sprit, the sound and even the look of the classic funk masters with this record. The production may be a little smoother, but the grooves are as heavy as anything back in the day.

Check out these turntables from Yamaha.

How to Get Your Child Started On Keyboard

Written by Jerry Kovarsky on May 12, 2023. Posted in Keyboard How-to.

It’s well known that learning to play a musical instrument at any age is good for you, both physically, mentally and socially, but it’s especially beneficial to a child’s development. Studies have shown that children who play an instrument do better in school, develop improved language skills, are likely to have more advanced physical coordination and emotional intelligence, and are socially well-balanced.

Keyboard or piano is an excellent choice as a starter instrument, as it is easy to produce a good sound right from the get-go. But you may be unsure of when it’s the right time to get your child started, and how to go about it. Here are the answers to both questions.

It’s Never Too Early

Answer # 1 is simple: It is never too early to expose your child to music. A 1993 study on how people listening to the music of Mozart exhibited a limited improvement in spacial recognition (the so-called “Mozart Effect”) inspired some new parents to begin playing the music of that composer to their baby while still in the womb, and later on as lullaby music for sleeping. Even though Mozart won’t magically make your baby smarter, playing soothing music by any composer during rest time for your child, and generally having a music-positive household, is a good thing.

This includes singing simple songs to your child such as Twinkle Twinkle, The Itsy Bitsy Spider and The Wheels On The Bus, which has long been an almost universal activity in pre-schools and homes around the globe. There’s a whole industry of artists making music for kids, such as Raffi, Sesame Street^®and others that you should consider making part of your daily activities, same as meal time, play time and wind-down before sleep. And it’s important for you, as the parent, to be part of this by teaching your children the words, singing along and clapping together. Active involvement is key — you want to show your child that music is fun and an important part of your life … and therefore an important part of theirs too.

Organized Early Learning Involving Music (Ages 2-4)

Toddlers grow super-fast but most have not yet developed the hand size, motor skills and focus to start to play the piano, or any instrument for that matter. That said, they can certainly enjoy playing with some musical toys such as a simple keyboard or a fun piano mat.

Consider getting your child involved in a structured learning program that involves music. These kinds of programs usually get children clapping, playing with simple percussion instruments and participating in group activities designed to promote their physical development and their sound and rhythm recognition, as well as learning to enjoy interacting with other toddlers. Look to see if programs like Kindermusik, Music Together^® or Musikgarten^® are available in your area. These early learning methods involve both you and your child, and are highly beneficial and a lot of fun for you both.

Yamaha has been involved in music education like this for over 50 years, and the company’s Yamaha Music Schools offer a course called Music Wonderland that introduces three-year-olds to the sound and playing of a keyboard in an age-appropriate manner. Finally, it is possible that some schools in your area — especially music schools — may have toddler and early child classes you can enroll in.

First Exposure to Keyboards (Ages 5-7)

By the time your child starts attending pre-school you might want to start with an electronic portable keyboard that has some built-in lesson functions such as the Keys to Success and Phrase Repeat features offered by some Yamaha models. These kinds of instruments are both instructional and fun, and they have the advantage of offering a traditional white and black keyboard.

When your child starts regular school (usually at ages 6-7), he or she will become comfortable with sitting still for at least short periods of time while receiving instruction from a teacher, and learning new concepts on a daily/weekly basis. Depending on their physical development (it is commonly suggested that the child’s hand should be large enough for their fingers to be able to span the white notes from C up to G without having to stretch), this may the perfect time to introduce them to their first piano lessons.

In preparation for this, you should buy either an acoustic piano or a digital piano. If you opt for an acoustic piano, there are two types to pick from: a grand or an upright.

Grand pianos such as the Yamaha GB1K offer a rich, full sound with a powerful resonance and an expressive tone that brings out the subtle nuances of every note being played. However, these instruments are designed to be placed in the middle of a room and thus require a fair amount of space.

Grand piano with lid open. — *Yamaha GB1K grand piano.*

For many beginners, upright pianos such as Yamaha b Series models will work just fine.

Uprights are also more affordable than grand pianos and are designed to be placed against a wall, thus giving them a smaller footprint and requiring a lot less space.

Upright piano in kid's room. — *Upright pianos are designed to be placed against a wall.*

Whichever you choose, if you are going to buy a used acoustic piano, be sure to have someone knowledgeable (such as a local piano teacher or technician) help you to evaluate the instrument beforehand. It needs to be able to stay in tune and have no major defects. Bear in mind also that acoustic pianos of all varieties require periodic maintenance such as regular tunings in order to sound their best.

Another option is to purchase a digital piano such as a Yamaha Clavinova. These remarkable compact electronic keyboards faithfully recreate the sound and feel of an acoustic concert grand piano, but at a fraction of the cost — and with no maintenance required. Clavinova models such as the CSP-170 emulate the look of an upright piano, while others, such as the CVP-809GP, are designed to look like grand pianos, though unlike their acoustic counterparts, they can be placed anywhere in a room.

Digital pianos typically offer a wealth of advanced features such as the ability to record performances, connect microphones, and interface with smart devices. Some select Yamaha digital pianos (including the aforementioned Clavinova CSP-170) also have a Stream Lights function that makes learning even easier. All have built-in speakers, along with the bonus of a headphone jack so that your children can practice to their heart’s content without disturbing others in the household.

Finding A Teacher (Ages 7-9)

When looking for your child’s first keyboard or piano teacher, it is important that the instructor has specific experience working with small children. It takes special skills and understanding to keep a young child focused for more than a few minutes on any activity, and it is just as important to make the lessons fun as it is to convey the traditional steps of learning to play keyboard. Some teachers like to have the parent attend lessons as well, which you should consider doing whenever possible. After all, if you understand what is being taught and how to practice it, you can better support your child during their practice time.

Mother and son side by side at piano. — *It’s important that the keyboard instructor you choose has experience working with small children.*

Another approach is to enroll in group lessons that teach beginning keyboard. This is a more social and fun way to get introduced to the mechanics and joy of playing a keyboard instrument like piano. Many of the schools mentioned earlier, including the Yamaha Music School, offer beginning instruction to children at this age. You can also search in your local area, as music stores and music schools may offer group instruction for kids as well.

What If My Child Is Slightly Older?

There is no rule that states your child must begin taking lessons at a specific age. If he or she starts to exhibit interest in music in their early teens, great! The only difference is that you won’t need to worry as much about finding a teacher that has early child experience and methods. To help stimulate your tween’s interest in piano/keyboard, you might want to get them a portable keyboard as a gift. These instruments have a wide variety of sounds, drum rhythms and other cool features that they can enjoy and will hopefully stimulate a further interest in playing.

Additional Learning Opportunities

Once your child has started lessons and is making progress, you might consider enrolling them in a summer camp that is focused on music-making and learning instruments. This will support their development and keep them interested by turning their instruction into a fun group activity with other like-minded kids. As a bonus, it will keep them actively involved in their music studies during the summer school break. Do a web search of “Children Summer Piano Camp” to find programs in your area. The nation-wide School Of Rock also has programs such as Little Wing that may be of value, as they tap into kids’ natural interest in popular music.

The bottom line is this: Anything you can do to promote, support, and be involved in your child’s musical journey will be time well spent.

From now through July 4, Yamaha is offering 0% financing on select acoustic and digital pianos. Learn more here.

Be an Effective Teacher-Leader

Written by Susan R. Wines on May 12, 2023. Posted in Teaching Tips.

Teacher leadership stems from an unending love for teaching and learning that spills over and influences other colleagues to become more reflective and deliberate in their pursuit of excellence within the classroom. This contagious attitude can spread like wildfire throughout an institution and create an incredible culture of change. Recognizing your ability to become an agent of change is the start of becoming an effective teacher-leader.

“If we don’t see ourselves in this role, we leave the door open for others outside the profession to tell our stories and determine the successes (and shortcomings) of our schools,” writes Jessica Cuthbertson in the article, “How to Become a Teacher Advocate.” The “teacherpreneur” who teaches 8th-grade literacy and facilitates a learning lab classroom at Vista PEAK Exploratory in Colorado, also said that “passionate educators presevere.”

Teacher-leaders must see the bigger picture, advocate for the true purpose of education, ask lots of questions, take initiative to solve problems and, most importantly, share our experiences with other educators to develop deep, meaningful relationships with our colleagues.

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The Virtue of Hope

Understanding various leadership models and theories can help a teacher-leader be better equipped to explore leadership opportunities within their schools as well as serve the greater community. Considering the attributes of an ideal leader, characteristics of traditional managerial theories are often superseded by human goodness virtues such as hope and trust.

In “The Virtues of Leadership,” Thomas J. Sergiovanni from Trinity University in San Antonio, Texas, writes, “Perhaps the most important, yet most neglected leadership virtue is hope…”

Hope takes purposeful action, yet it can evoke undeniably positive change for any organization. As an emerging teacher-leader, consider implementing frameworks and norm systems that help others sort out how they fit into your program or organization’s culture, mission and vision. Inspiring a sense of hope not only helps members make meaning of their participation in the organization but it can inspire innovation while leveraging relationships.

Let it be noted that hope is not wishful thinking. Rather, hopeful leaders are firmly based in reality whereas wishful leaders take no deliberate action to make wishes come to fruition. For this reason, hope should be a fundamental virtue at the core of every leadership initiative and decision because hope has an activating effect as it mobilizes leaders to take actionable steps to turn their hopefulness into reality.

Lead from Everywhere

Leadership does not mean leaving the classroom. I remain energized by the belief that teacher-leaders can positively affect student learning not only in their classrooms but throughout their schools and the music education profession as a whole.

Successful teacher-leaders explore strategies and model continuous learning, reflective practices and promote higher levels of collaboration among colleagues. They work to consistently align instructional practices with school goals, mission and vision. They accomplish this by circling back to hope, which is the necessary access point that helps us find pathways to achieve goals and navigate around obstacles.

Leadership initiatives are attainable with perseverance, patience and unity. Becoming a teacher-leader requires active listening with team members to build lasting, meaningful relationships that can “have resilience in times of crisis [and] resourcefulness in times of need,” writes Parker J. Palmer, the founder of the Center for Courage & Renewal, in “On the Edge” about having the courage to lead with soul.

Colleagues are Valuable Assets

Recognizing our colleagues as valuable assets and incredible resources can be a catalyst for real and lasting change that only further flourishes when teachers work in tandem, according to Daniel Baron in “Critical Friendship: Leading from the Inside Out.” Take time to foster interaction with your peers, even beyond the fine arts team, to engage in intentional conversation that not only develops excellent instructional practices but sustains a commitment to learning and the music education profession.

Colleagues are indispensable! Establishing a group of peers to gather and reflect upon instructional practices can be the most beneficial, inexpensive and valuable professional learning that teachers can experience.

Be an active participant in your learning attainment. Professional learning is far more than conferences and after-school workshops. Disciplined organizations and programs reflect disciplined leaders who have honed their abilities to lead with consistency and in principled ways, writes Sergiovanni.

Build synergy within your program and team by empowering others and upholding expectations that advance the mission and vision of your organization. Colleagues can offer an immeasurable amount of expertise, inspiration and wisdom through formal professional learning or simply over a cup of coffee while on morning duty. These friendships can encourage reflection and inquiry to improve program performance and classroom instruction while also providing accountability for continual growth, writes Sheena Hervey of Generation Ready, an organization that supports digital teaching and learning.

Keep Your Eyes on the Prize

There is a great responsibility that comes with leadership including the continual pursuit of enlightenment, seeing the bigger picture and rising above the hard and long days because your eyes are on the greater prize. I encourage you to continue expanding your knowledge base and forging collegial relationships to become the most effective teacher-leader and educator possible.

Teachers are in the best position to make not only the most influential decisions but the most critical decisions to take instructional risks and improve their craft while closing the learning gap for students, writes Victoria Boyd-Dimock and Kathleen M. McGee in “Leading Change From the Classroom.”

Most teachers are driven by the fact that they want to be of service to others and make a difference in the lives of their students. With this in mind, teacher-leaders can serve as research colleagues, mentors and instructional coaches to positively change student attainment and advance the music education profession. By honing skills and building confidence in their craft, teacher-leaders will pass along learning initiatives to others, including colleagues and students, while being the most valuable asset for professional learning, teacher morale and optimal student achievement.

References

Baron, D. (2007). Critical Friendship: Leading from the Inside Out. Principal Leadership, 7(9), 56-58.
Boyd-Dimock, V. & McGree, K. (1995). Leading Change From the Classroom: Teacher as leaders.
Cuthbertson, J. (2014). How to Become a Teacher Advocate. Education Week Teacher.
Hervey, S. (2018, November 15). Raising Student Achievement through Professional Development.
Palmer, P. J. (2008). On the Edge. Journal of Staff Development, 29(2), 12-16.
Sergiovanni, T. J. (2005). The Virtues of Leadership. The Educational Forum, 69, 112-123.

What Marimba Should I Purchase for My School?

Written by Robert Darling on May 11, 2023. Posted in Percussion. 1 Comment on What Marimba Should I Purchase for My School?

All marimbas do not look or sound the same. You might have a marimba in your band room that you’re very familiar with, but when you watch a performance online, you see this giant instrument with way more notes. Yes, both these instruments are marimbas!

Let’s first identify the difference between marimbas, and then you can be better informed to make a decision about which type will best suit your program’s needs.

Brief History

The early modern marimba typically had a range of four octaves. This range from low to high was C3 to C7. Clair Omar Musser was the first to develop the modern marimba and had organized marimba orchestras from the 1930s to the 1950s. These ensembles consisted of hundreds of people, and they began to popularize the marimba by appearing at popular events like the Chicago Fair of 1950. Even though the marimba was gaining popularity, it was not being mass produced.

Keiko Abe, an early adopter of the marimba, was constantly working with composers on new compositions and arrangements for this instrument. In 1968, she performed the first full-length marimba recital of works specifically written for the marimba, however, the composers complained that the instrument was not able to fully express their musical ideas.

Abe then began working with Yamaha on extending the range of the instrument, which led to the creation of the 4.3-octave marimba in the early 1970s. This range of marimba gained much popularity; however, it still wasn’t enough range for Abe. This pushed the designers to build the 4.5-octave marimba that added notes to the low end making the instrument’s range from F2 to C7. This marimba better suited her needs, but Abe still wanted more notes. Yamaha then built a prototype extension for the 4.5-octave marimba that went from E2 down to C2. This prototype was able to be pushed up against the side of the 4.5-octave to create the world’s first 5-octave marimba. In the years that followed to the present day, the full 5-octave marimba quickly became the standard.

Read about the history of the 5-octave marimba.

However, the 4.3- and 4.5-octave marimbas are still being produced even though the 5-octave marimba is the professional standard. Why? The simplest answer is that there are still common uses for these different ranged instruments, even the 4.6-octave and 5.5-octave marimbas!

The 4.3-Octave Marimba

The 4.3-octave, along with the 5-octave, is the most common marimba that you will see today. Even though Abe and most other professional marimbists only play 5-octaves, the 4.3-octave is still very popular in K-12 schools and among younger percussionists. Every high school band program needs a 4.3-octave marimba and it is the most common marimba in high school marching bands.

The size is perfect because the frame is smaller and can fit much more easily on your band truck or trailer. It is also much lighter and easier for your students to move around.

The repertoire written for this instrument includes a lot of beginner level works that are perfect for new percussionists. This is because when the marimba was newer and the standard was the 4.3-octave, the level of playing wasn’t as difficult as the repertoire that is played today.

The 4.5- and 4.6-Octave Marimbas

The 4.5-octave marimba only adds four more notes from the 4.3-octave, but this instrument feels much bigger with more range for composition. The 4.5-octave bridges the gap between the 4.3- and the 5-octave marimba. It is popular in higher level high schools and in the marching arts. The majority of modern marching ensembles use 4.5- or 4.6-octave (low E2) marimbas because of the extended range, but they are still more maneuverable than a 5-octave.

The repertoire written for this instrument is not as extensive as that of the 4.3 or 5, but you can play everything that is playable on a 4.3-octave as well as a handful of other solo and ensemble pieces. Additionally, the 4.6-octave marimba was created to be able to play classical guitar literature. The standard tuned 6-string classical guitar has E as the lowest note, which is the same low E on the 4.6-octave marimba.

The 5- and 5.5-Octave Marimbas

This instrument is considered the professional standard. Almost all modern marimba compositions are written for this instrument and nearly every piece that has been written for the marimba can be played on the 5-octave. It offers the widest range of notes as well as the warmest tone quality in the bass register.

Although this instrument isn’t seen much in many high schools, it is a must-have for college and professional level playing. The 5-octave marimba is played by every professional and aspiring marimbist.

A 5.5-octave marimba also exists, which extends up to G7, but there are very few scenarios that would require this instrument. The reason it was developed was to play European classical literature on the marimba.

Bar Type

The price of marimbas can vary widely — there are 4.3-octave instruments that range in cost from $3,000 to $10,000. The material that the bars are made of is usually the determining factor when it comes to price. Rosewood is the standard for professional marimbas, but it is an endangered type of wood. Because rosewood is so expensive, companies have been developing synthetic alternatives that most closely resemble rosewood’s sound. These alternatives, which include Acoustalon™, are much better for outdoor use and do not suffer the same wear and tear that rosewood bars do.

For K-12 schools and marching bands, you will likely only need marimbas with Acoustalon™ or synthetic bars. For college level and above, you will want a rosewood instrument.

Rosewood feels much different to play because of the way it gives when you strike the bars compared to its synthetic counterpart. In the last decade, a great alternative to rosewood called padauk wood has become popular. While this wood doesn’t quite sound as full as rosewood, it is a great substitute for schools and musicians who can’t afford a rosewood instrument but still want a marimba that has the same feel as that of professional rosewood marimbas.

Exceptions

Most high school marching bands do not require rosewood bars because they will crack and need to be replaced often. Acoustalon or synthetic bars will last significantly longer because they don’t crack from normal playing.

However, there are some high schools that have a 5-octave rosewood marimba for their concert percussion ensemble and concert band. Most drum corps also use rosewood bars because these instruments sound better, and these groups can afford to replace their bars regularly.

Things to Consider

Always cover your marimba when it’s not in use. This prevents dust from getting into the resonators as well as accidental damage to the instrument from passersby.

Routine cleaning is also essential. Use a slightly damp towel to wipe down the bars and frame to remove dust and dirt. Higher end instruments tend to be more delicate and require more care and maintenance. Rosewood instruments should always be stored indoors because the bars and resonators fluctuate with temperature. Also, be careful which mallets you use on rosewood marimbas. Mallets that are too hard might crack the low-end bars.

For instruments with synthetic bars, storage temperature is not as essential to the upkeep of sound quality which is why these instruments are perfect for high schools, marching bands and most other situations where the instruments will be played in many different venues.

Mother and daughter sitting shoulder to shoulder.

Movies for Mom

Written by Tara Mahadevan on May 10, 2023. Posted in TV & Movies.

Mother’s Day is that special time to celebrate and honor our mothers. Children and families take the day to show gratitude for mothers by giving them presents, making their favorite meal and spending quality time with them. And what better way to spend the day than to have a movie marathon with mom? Here’s a list of some feel-good movies that are perfect to watch on Mother’s Day, whether you’re looking for a rom-com, comedy, drama or action-packed flick.

Thelma & Louise

Starring Susan Sarandon and Geena Davis, Thelma & Louise is a must-see. The film follows two friends who, in an attempt to escape the mundaneness of life, go on a road trip. Their weekend getaway goes sideways when Thelma is almost assaulted and Louise kills the attacker in self-defense. Afraid that no one will believe their innocence, the two women go on the lam and flee to Mexico, with the police hot on their trail. They have several adventures along the way, meet various characters, and ponder the societal expectations of women. Find out where to stream it here.

My Big Fat Greek Wedding

This may be the perfect romantic comedy to watch on Mother’s Day. The film centers on Toula (Nia Vardalos), a Greek-American woman who falls in love with Ian (John Corbett), who isn’t Greek. Her family has always been hell-bent that she marry someone of their culture, and Toula is conflicted between being independent and remaining loyal to her kin. Will her family come to accept Ian regardless? Find out where to stream it here.

Little Women

This 2019 release starring Emma Watson, Florence Pugh, Eliza Scanlen and Saoirse Ronan was actually the seventh film adaptation of the classic Louisa May Alcott novel. It’s both a period piece and a coming of age film that follows four sisters in the post-Civil War era, focusing on their everyday lives as they experience joys and heartache, and go after their dreams. One is an aspiring writer; another, an artist. A third sister hopes to marry and have a family, while the fourth one deals with illness. Ultimately, the sisters support one another and sustain their family bond. Find out where to stream it here.

Akeelah and the Bee

This is a moving tale of self-discovery and the power of community. Set in South Los Angeles, it tells the story of a precocious 11-year-old who has a flair for spelling but is hesitant to participate in spelling bees because she feels competing comes with too much pressure. Still, she is urged to enter the National Spelling Bee — something she’s been dreaming of winning, though in order to do so, she must move past personal and cultural barriers. Find out where to stream it here.

Mrs. Doubtfire

This heartwarming comedy is all about family and love. Robin Williams has the lead role here, playing Daniel Hillard, a struggling actor who is divorcing his wife, Miranda. Frustrated, he concocts a way to spend more time with his children by becoming their British housekeeper, Mrs. Doubtfire. Miranda hires him and he soon wins his children’s affection, though it’s difficult to keep up the pretense. Find out where to stream it here.

The Blind Side

The Blind Side is based on the true story of Michael Oher, a homeless Black teenager who is welcomed into the home of a wealthy family, the Tuohys. It portrays the dynamic between Michael and Leigh Anne Tuohy as they advocate for and guide the teen as he pursues his goal of becoming an NFL player. To get there, he has to conquer his past traumas and a lack of education, while maneuvering through the difficulties of high school and college football. Starring Sandra Bullock and Quinton Aaron, the film dives into tougher subjects like family, race, privilege and love. Find out where to stream it here.

Mamma Mia!

This musical romantic comedy stars Meryl Streep, Amanda Seyfried, Pierce Brosnan, Colin Firth and Stellan Skarsgård. It’s light-hearted fare, centered around a young woman named Sophie, who is about to get married on a Greek island. She never knew her father, but after finding her mother’s old diary and coming across the names of three men, she invites them to her wedding. When they show up, Sophie’s mother is forced to resolve situations from her past that she hasn’t really dealt with, all to the rollicking soundtrack from ABBA, which features songs such as “Dancing Queen,” “Mamma Mia” and “Super Trouper.” Find out where to stream it here.

Freaky Friday

The 2003 remake of Freaky Friday is almost as iconic as the original 1976 film. It follows Tess Coleman (Jamie Lee Curtis), a widowed psychiatrist who is butting heads with her teen daughter, Anna (Lindsay Lohan). After an argument in a Chinese restaurant, they somehow end up switching bodies and having to live as each other for a day. Tess sees firsthand what it’s like to be a teenager once again, while Anna has to navigate her mother’s professional and personal life … and in the process, they both learn to appreciate one another. Find out where to stream it here.

The Joy Luck Club

Based on the book by Amy Tan, this engrossing film skillfully weaves themes of cultural conflict and mother-daughter relationships. It tells the story of four Chinese-American women and their Chinese-born mothers, who describe their experiences assimilating while trying to maintain their culture. The women come together to form a “joy luck” club, where they learn and teach one another valuable lessons about family, providing the viewer with a relevant perspective from a different culture. Find out where to stream it here.

Serial Mom

This dark comedy satirizes American suburbia and is an entertaining slant on the pathological killer genre. The “serial mom” in the title is Beverly Sutphin (Kathleen Turner), a housewife who hides her homicidal personality. Her inclinations for violence are set off by small annoyances like people not recycling or those who wear white after Labor Day. She ends up going off the rails and commits a handful of grisly murders while her family and neighbors are none the wiser. Not exactly a laugh-fest, but mom will certainly get a few chuckles from this offbeat film! Find out where to stream it here.

The Woodwind Family, Explained

Written by Mike Levine on May 5, 2023. Posted in Woodwinds. 1 Comment on The Woodwind Family, Explained

The most common woodwind instruments are flute, piccolo, recorder, clarinet, saxophone, oboe and bassoon. Each of these instruments has several variations based on size and range. What makes each unique, and what makes woodwinds different from other types of musical instruments?

Here’s a guide to the woodwind family, including a description of how each instrument is constructed and played. First, though, let’s answer the question …

What Defines a Wind Instrument?

Woodwinds are, as their name implies, wind instruments. The player blows air into a mouthpiece or sound hole, which creates a column of air inside the instrument that causes its body to vibrate and make a sound. Wind instruments are also characterized by being monophonic; that is, they can only create one note at a time.

The same, of course, can be said of brass instruments, so what makes woodwinds different? Some of it is semantics. Back in the 17th century, early orchestral versions of what today are classified as woodwinds were made of wood. At that time, trumpets and trombones made of brass already existed, so the contrast was notable.

Many woodwinds, such as recorders, piccolos, clarinets, oboes and bassoons, are still made of wood, but others, such as flutes and saxophones (whose contemporary versions were developed over the last two hundred years or so), are not.

Another factor that separates woodwinds from brass instruments is the mechanism for changing pitches. Unlike the valves used in trumpets and tubas or the slides in trombones, woodwinds utilize holes on their body (called tone holes) that the player covers in various combinations to create different notes.

On recorders and some flute instruments (such as a wooden flute), the musician uses their fingers to close the holes. On most other woodwinds, changing pitch is accomplished by pressing keys that open and close the holes. Some instruments, such as tenor and bass recorders, combine keys and finger holes.

Two Types of Woodwinds and Two Kinds of Reed Instruments

From a sound production standpoint, there are two primary types of woodwind instruments: flute and reed. Flute instruments, which include flutes, piccolos and recorders, are cylindrical and require the player to blow either across or directly into a hole in the instrument. Within the category of reed instruments, you’ll find two variations: single-reed and double-reed.

Single-reed instruments such as saxophones and clarinets have a mouthpiece with a reed — a thin strip of material usually made from the stem of a cane plant — attached to it. The air entering the mouthpiece from the musician’s mouth makes the reed vibrate, which in turn vibrates the air column in the instrument, causing a sound to be produced.

A saxophone, a clarinet and three reeds. — *Yamaha saxophone and clarinet reeds.*

Double-reed instruments such as oboes or bassoons work similarly, but their mouthpieces contain two flat reeds aligned face to face and attached to a metal pipe that fits into the instrument.

Flute and Piccolo

Modern flutes are typically made of silver or gold, though some are silver with platinum plating. The various materials have different resonant properties with distinctive tonal qualities. Gold flutes are less bright and thus “warmer”-sounding than silver ones. Platinum-plated flutes are known for their crisp highs and clear tone.

A flute is considered a transverse-style instrument because the player holds it to the side and blows air across the sound hole, not directly into it, as with a recorder. The most common type is the concert flute, which features a three-octave range, with middle C usually its lowest note. Its distinctive breathy tone makes it an excellent melody instrument in orchestral settings. It is also sometimes used as a lead instrument in jazz ensembles.

Yamaha YFL-482H flute.

The alto flute is a variant pitched a fourth lower than a concert flute. Another less common variation is the bass flute, which sounds two octaves lower than a concert version.

Alto and bass flutes require larger bodies to achieve their lower ranges (the bigger the space inside the instrument, the lower the notes it can produce). So as not to make the flute so long that it’s impossible to reach all the keys, these instruments feature J-shaped head joints (the part of the flute where the mouth hole is). Bass flutes are sometimes played with the player sitting and the flute in a vertical orientation.

Gold vertical flute with curved end. — *Yamaha YFL-B441II bass flute.*

The piccolo is similar to the flute in design, although it is generally made of wood, not metal, and is about half the size. Its range is an octave higher than the concert flute and is the highest in the woodwind family.

Black and silver small flute. — *Yamaha PC-87R piccolo.*

Recorder

The recorder is a flute-type instrument that’s blown from the end. Its simple design makes it easy to learn and inexpensive, which makes it an ideal first instrument for students. The flip side of that simplicity is a lack of tonal expressivity.

Brown and white flute-like instrument. — *Yamaha YRS-312B recorder.*

The recorder’s history is unique. It was invented in the 16th century, became quite influential in baroque music in the 17th and 18th centuries, fell out of favor in the late 18th century and had a resurgence in the middle of the 19th century that continues today.

Contemporary recorders are made of wood or synthetic resin and come in six different sizes, with different ranges but consistent fingering. From lowest to highest, these include Great Bass, Bass, Tenor, Alto, Soprano and Sopranino. The most common is the Soprano.

Recorders feature either Baroque (“English Style”) fingering or German Style fingering. The former is more versatile and can produce all the notes within its range. The latter is easier to play in its home key, but not all the notes in other keys can be played in tune.

Black and silver horn with belled end. — *Yamaha YCL-255 clarinet.*

Clarinet

Clarinets are single-reed, wood-bodied instruments that produce distinctive tones ranging from mellow to nasal to strident. Their four-octave range is the widest of all woodwinds.

Cylindrical in shape, with a small, flared bell at one end, clarinets come in several varieties, but the most common is the B♭ soprano. Other variations include the A clarinet, pitched just a semitone lower than the B♭ clarinet, and the E♭ clarinet, which is a fourth higher.

Two others — the alto and the bass clarinet — are lower pitched and thus require larger bells to increase their size. The alto clarinet is pitched an octave below the E♭ model, and the bass clarinet is an octave below the B♭ clarinet.

The clarinet is mainly an orchestral instrument but also serves as a solo instrument in jazz and other musical genres such as klezmer. Because it has significant similarities in fingering and mouth technique (embouchure) to the saxophone, many sax players also play clarinet.

Saxophone

Gold curved horn. — *Yamaha YBS-480 baritone saxophone.*

Invented by Adolphe Sax in the 1840s, the saxophone is made of brass but is considered a woodwind instrument because its mouthpiece uses a single-reed design to vibrate its body. Each of the four main saxophone types — soprano, alto, tenor and baritone — have a two-and-a-half octave range.

The highly expressive tone of the saxophone has been compared by many to similarities to the human voice. A skilled player can play slow and languid or extremely fast, bend notes, and create growling and fluttering effects. As a result, saxes excel as melody or lead instruments.

Saxes are also commonly used as section instruments. In an orchestra, they’re part of the woodwind section. In jazz, rock, R&B and pop, they typically play in sections (along with trumpets and trombones) that are capable of creating large-sounding chords or unison stabs that can be legato or staccato.

Oboe

Black and silver horn. — *Yamaha YOB-841 oboe.*

The oboe is a cylindrically shaped double-reed instrument with a small bell at the end. Originating in 17th-century France, the contemporary oboe is mainly used in classical and other orchestral music.

Considered one of the harder woodwinds to learn, oboes have a range of about two-and-a-half octaves, and their tone varies considerably depending on whether they’re played in their lower or upper registers. Low notes are warm and smooth, whereas high notes can be bright and cut through the rest of the orchestra. Oboes are often used for melodic passages. Many well-known classical composers, including Bach, Mozart, Handel, Schumann and Vivaldi, wrote pieces featuring oboes.

The standard oboe is pitched to C major. Two variants, the oboe d’amore and the oboe cor anglaise, have lower ranges. The former is pitched to A and the latter to F. In orchestras, oboes traditionally play an A note before the music starts; this serves as the reference that other instruments tune to. Here’s a posting that explains the reasons why.

Bassoon

Tall horn with silver mouthpiece. — *Yamaha YFG-812 bassoon.*

The bassoon is a double-reed woodwind made of a long, conical wooden pipe that doubles over on itself and has a small bell at the end. Its unique timbre is warm and dark, especially in its lower ranges, and it offers a great deal of expressivity.

With a range of about three-and-a-half octaves, from B♭ to E, the bassoon is mainly used as a section instrument (orchestras typically have up to four bassoonists), playing harmonies underneath other woodwinds. Sometimes bassoons play solo parts.

Its unique mouthpiece, called a bocal, is a curved metal tube with a double reed at one end. Most bassoonists have several bocals of slightly different lengths, which they use interchangeably to reach different pitch ranges.

At close to four and a half feet in length, a bassoon is big and somewhat unwieldy. It’s easier to play sitting down, but some bassoonists play standing up for better instrument projection and audience visibility.

A variant is the contrabassoon, which is even bigger than a standard bassoon and has a range an octave below, going down to B♭, allowing it to play the lowest notes in the orchestra.

Learn more about Yamaha flutes, piccolos, recorders, clarinets, saxophones, oboes and bassoons.

Baseball glove with baseball in foreground with stylized music graphic behind.

10 Best Baseball Songs

Written by Rich Tozzoli on May 4, 2023. Posted in Music and Streaming.

You know it’s spring when baseball season begins. Time to begin enjoying those peanuts, caramel popcorn and the crack of the ball on the bat with these 10 beloved songs about America’s Pastime.

1. GLORY DAYS

This song from Bruce Springsteen’s iconic Born In The USA album focuses on a man who ruefully looks back on his “glory days” playing high school baseball while recalling some of the friends he knew. The first verse is based upon a chance encounter Springsteen had with one of his past Little League^® teammates when he himself played baseball in a Babe Ruth league. Listen to it here.

2. THE GREATEST

The lyrics of this 1999 Kenny Rogers song portrays a little boy repeatedly tossing a baseball up in the air, then swinging and missing, though he constantly refers to himself as the greatest player. When his mom calls him in for dinner, we discover that he imagined himself as the pitcher, not the hitter, earning strikeout after strikeout. Listen to it here.

3. NIGHT GAME

This beautiful ode to baseball was written by Paul Simon, based on his memories of attending baseball games in the New York area where he grew up as a kid. The track features the legendary Toots Thielman weaving an evocative harmonica part over Simon’s guitar as the song slowly develops … just the way a great game would. Listen to it here.

4. DID YOU SEE JACKIE ROBINSON HIT THAT BALL?

This feel-good jump blues track was originally recorded by the Count Basie Orchestra in 1949, two years after Jackie Robinson made his major league debut. The song was later covered by Natalie Cole and included in a Ken Burns baseball documentary. Listen to it here.

5. CENTERFIELD

You’re virtually guaranteed to hear this track playing over the PA at most baseball games, both major league and minor. Interestingly, singer/songwriter John Fogerty (the famed front man for the ’60s group Creedence Clearwater Revival) has said that he chose the name of the album before he wrote the song, which was inspired by the ultra-deep centerfield at the original Yankee Stadium. Listen to it here.

6. THE CHEAP SEATS

The Cheap Seats is not only the fifteenth studio album by country music band Alabama, but the name of this feel-good baseball-tinged track, which was used as the theme song by ESPN for their Minor League Baseball games during the 1994 broadcast year, when the single was riding high in the charts. Listen to it here.

7. JOE DIMAGGIO DONE IT AGAIN

This fun track by Billy Bragg and Wilco from the 2000 album Mermaid Avenue Vol II features banjo and guitar, along with lyrics by Woody Guthrie written in 1949, about an old-timer struggling to keep up with the younger kids … proving that some topics are timeless. Listen to it here.

8. ALL THE WAY

Eddie Vedder, lead singer of the rock band Pearl Jam, wrote this one about his favorite baseball team, the Chicago Cubs. Vedder was from Evanston, Illinois and was a lifelong fan. The song is also known as “(Someday We’ll Go) All the Way,” in reflection of the fact that, when it was first released in 2008, the Cubbies hadn’t won a World Series in 100 years — something the team rectified in 2016 … which prompted a video re-release of the track. Listen to it here.

9. SWING

Country artist Trace Adkins recorded this track in 2006. The video uses baseball as a metaphor for a women’s night out at a tavern, depicting the men that play the “game” — including Adkins himself, who ultimately has to step up to the plate. Listen to it here.

10. TAKE ME OUT TO THE BALLGAME

It doesn’t get more baseball than this 1908 Tin Pan Alley song, which has become the unofficial theme to the game, traditionally sung during the seventh inning stretch. Interestingly, neither of the composers had attended a ball game before writing the song! It’s been recorded literally hundreds of times, but the classic version is the one performed by Frank Sinatra and Gene Kelly from the film of the same name. Listen to it here.

Check out 10 of the best baseball movies of all time.

6 Websites that Help Me Arrange

Written by Tyler Swick on April 28, 2023. Posted in Teaching Tips.

In the post-pandemic classroom, relatability wins students over faster than the best classroom management techniques. I am constantly on the hunt for the next popular boomwhacker song for my YouTube channel, and I’m sure you feel the same way about your next lesson or performance. Students will occasionally ask for current pop songs to be played in the classroom, and the websites I’m going to share with you in this article help me figure out new songs as fast as possible, sometimes even during class.

1. Tunebat

Tunebat boasts many musical tools, but my favorite is the Key and BPM Database, which has 70 million songs. This site has not let me down yet when I need to know an exact tempo or key. In my experience, Tunebat’s tempos have been the most accurate, but I am still looking for a website that provides tempos to the tenths place. Did you know the tempo to Shakira’s “Try Everything” is 115.5 beats per minute?

Tunebat also rates songs by Camelot, popularity, energy, danceability, acousticness, instrumentalness, liveness, speechiness, loudness and happiness — their words, not mine. If you’re looking for a song to arrange, Tunebat lets you search by these categories, providing the newest and most relevant options. Conveniently, a link to Spotify is right next to each song so that you can listen while you search.

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2. Chordify

My favorite tool at the moment is Chordify because of its ability to identify the key, tempo and chords of any YouTube video. The website saves the data from videos that have already been “chordified,” so the process is quick for popular videos. New videos take less than a minute to analyze. The chords can be displayed using guitar, ukulele and piano charts or plain text.

The paid pro version allows the user to change the key of the chords, though not the audio, which can be done in other software. Seeing the chords in another key is helpful for relating the song to students who are familiar with only a few keys, such as G, F and C. Lastly, Chordify works with YouTube’s variable playback speed so you can learn a song at 25%, 50% and 75% speeds.

3. Muted

Transposing for a choir on an electric keyboard can be as simple as pressing an up or down arrow, but what if you’re playing a guitar or ukulele? Muted.io has a plethora of tools but my go-to is their chord transposer. Unlike the other websites, you can hand-type in the chords that you want to use or transpose. This is great for when you already know the chords of a song or are writing your own. After you’ve typed in the progression that you want to transpose, click up or down on the half-step arrows to see your progress in all 12 keys.

4. e-chords

If you use Google to search for chords to a song, the top results are most likely guitar tabs. That’s great if you can fluently read them, but what if you want the same condensed format with chords and lyrics? Check out e-chords, which provides the cleanest chord and lyrics sheets that I’ve been able to find on the internet. If you’re accustomed to playing songs off chord sheets, e-chords will unlock thousands of songs for you to print and play in class. Unlike other websites, the chords are placed on the exact words that the chords will sound on.

Premium membership unlocks the ability to key change, download and print gig-ready sheets of lyrics and chords. When I am transcribing a song for my YouTube channel and come across an error, I check my work against e-chords because of their clarity.

5. GetSongKey

Though other websites will tell you what key a song is in, GetSongKey will let you search massive lists of songs in the same key. This was most likely designed for DJs to create mashups, but it is wildly useful when you’re looking for songs in C major for the Orff xylophone or boomwhackers. The website allows you to search 24 keys and ranks them by popularity. Inside that list, you can search for a genre. Spotify Preview is provided for a short listening experience of each song.

6. EveryNoise

In which genre should we paint our new arrangement? If you have the luxury of choice, head over to EveryNoise to explore the 6,000 different genres it has on display. Visually, the website is extremely minimal, but its power is in the exploration of audio. Before typing in an artist, you can scroll down through a seemingly endless collection of examples of niche genres. “Belgian dance” sits close to “Brazilian house” which is next to “Hungarian EDM.” Every single genre is linked to a musical example that plays without any loading time. The physical distance from genre to genre suggests relatability or just the opposite.

It will take a long time but once you have exhausted yourself with exploring, type a familiar band name in the top-right search bar. EveryNoise will list the genres that the artist falls in and allows you to click over to a new page that shows dozens of similar bands and their proximal similarity. You’ll definitely find inspiration in this library of music.

Explore and Enjoy

I hope you can see that each website in this article has a very powerful element that can be combined with other websites to provide all the possible information about a track. From selecting the track to finding out its every detail, just about anything can happen after you know which song you want to arrange.

If you’re a teacher who loves to arrange on the fly, keep these website tabs open on your work computer. My students get a kick out of picking a brand-new song and watching me figure it out on the piano while Chordify plays on the projector.

Arranging for elementary music has me trapped in the C major and A minor worlds but with these tools, I am able to find plenty of current songs in every genre that will fit on my instruments without transposition. If I need to transpose, we have that covered, too. Do you have a website that makes your musical life easier? Please share it with me on my Instagram @SwicksClassroom or email educators@yamaha.com.

Learn Keyboard to Become a Better Bass Player

Written by E.E. Bradman on April 27, 2023. Posted in Bass.

As bass players, our most important role is to bridge harmony and rhythm. If you take that role seriously, it’s only a matter of time before you become interested in music theory. And there’s no better way to understand music theory than sitting at a keyboard.

FROM THEORY TO REALITY

Many bass players think of music theory as a set of abstract concepts that have little to do with our everyday life. Our relationship to harmony may consist of simply playing the lowest note of a chord or practicing arpeggios. But the truth is that learning bass lines and coming up with your own parts is so much easier when you have an even basic understanding of how music works. Although double-stops, three-note chords and two-handed tapping can greatly expand the expressive possibilities of your instrument, the ergonomics and limited range of the bass fretboard make it tough to approach anything close to the chordal universe of the keyboard, where each note is laid out clearly.

Electric bass guitar. — *Bass fretboard.*

The history of Western music theory was written and developed on keyboard instruments like organ, harpsichord and piano, so if you’re truly interested in understanding the big-picture context of a song and having more options for support and improvisation, being able to visualize it on a keyboard is invaluable.

Another advantage of taking keyboard lessons is learning to read music, which will introduce you to treble clef (melodies and chords played with the right hand) and bass clef (bass parts played with the left hand). Understanding how the two clefs interact will spark interesting ideas and help you clearly hear how music moves. The wide dynamic range of most keyboards puts the role of the bass in context, too; once you’ve played chords and bass lines simultaneously, you may find that “just” playing bass, usually one note at a time, feels much easier.

First page of a song's sheet music. — *Treble clef (top) and bass clef (bottom).*

A great bassist once advised his students to learn the melody for every song they played; another bass icon considers a song’s melody the starting point for any solo idea. Both of these legendary players spent lots of time on piano, and their understanding of harmony and melody made it possible for them to consistently come up with unusual and beautiful ideas on bass. Even if you never intend to become a serious pianist, having a basic grasp of the keyboard can do wonders for your ability to solo, interact with song structures and write unique bass parts.

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Besides helping you grasp the building blocks of music, learning a keyboard instrument leads quite naturally to keyboard bass. Plugging your bass guitar into a synth pedal can be fun, but playing a real synth, with its many tonal options and longer sustain, can be a thrilling, ear-opening experience. The layout of the keyboard inspires a different approach to bass-line construction; becoming familiar with current synth-bass flavors and classic key bass by masters like Stevie Wonder, Herbie Hancock and Greg Phillinganes, as well as foundational approaches by geniuses like Bach, will help you connect the dots and hear things differently. And if you’re interested in stepping out beyond the bass chair, combining keyboard skills with the ensemble-support chops you’ve honed as a bass player can open the door to arranging, composing, producing and being a music director.

In my personal experience, learning basic harmony has made me familiar with commonly used chord progressions and given me tools to support them in both clichéd and unusual ways. I started out as a drummer, so I’ve spent lots of time developing my relationship to rhythm, but my kindergarten-level keyboard skills have helped me learn songs faster and appreciate singers, melodies and keyboardists in a new way while introducing me to ear-training and composing. I’ve been surprised at how satisfying it is to play keys, even at a very rudimentary level. I feel a deep sense of accomplishment when I can play a new chord progression, however haltingly, and it is amazing to finally hear and feel complex concepts like voice-leading, chromaticism, reharmonization and tritone substitution. Now I understand why most music schools require every student to take a couple semesters of piano.

Fortunately, getting started is easy. Yamaha makes a full range of top-shelf keyboards for pros, as well as inexpensive portable keyboards, like the PSR-E473, that make it easy and fun to jump in and begin learning right away.

So the next time you begin nodding off during yet another boring discussion of music theory, or feel stuck in the same old bass patterns, consider taking keyboard lessons. It’s great for your brain, increases your ability to multitask in musical situations, helps with muscle memory, and does wonders for your hand-eye coordination. What are you waiting for?

Check out E.E.’s other postings.

Dissecting Boise State’s Mission Statement Led to Innovation

Written by Dr. Derek Ganong on April 27, 2023. Posted in Case Studies.

Institutional mission statements, especially those in music departments/schools, tend to be both aspirational and disconnected from the actual work done by faculty as well as the curriculum they champion. In the Music Department at Boise State University, part of our mission is to provide comprehensive music education to our students. Since joining the faculty, I have worked hard to realize some of the potential behind this mission statement and our goals, and I would like to share some of the things I have done in the name of comprehensive music education for our students.

The first challenge with our mission statement is in how we characterize and define “comprehensive” when it comes to music education. As a discipline that is centered around the performance of established repertoire, it’s no surprise that music in higher education is especially resistant to any form of change or innovation. As such, we could rationalize that “comprehensive” encompasses the skills and repertoire that music and secondary music education is focused around. This is a reasonable assumption given the narrow range of content and lack of scope represented by music curricula at your typical institution. For the purposes of this article, “comprehensive music education” should be treated as the range of skills and experiences that equip students for a wide range of careers in the music industry that still include the traditional performance route.

I will highlight three specific things that I have worked on in the past seven years, and how they have had an impact on our students and contributed to our mission statement of “comprehensive music education” as well as how they have helped to address the repertoire-bound challenges faced by your typical accredited institution.

Boise State’s new music production certificate
A collaboration with our local music festival, Treefort Music Fest
New possibilities for the final project in our Bachelor of Arts degree

Boise State's trumpet studio — Boise State’s trumpet studio.

At the onset, I must first highlight one aspect of my department that is both atypical and advantageous to the work I have done: our lack of a jazz-specific degree path and department. Unlike most traditional programs, Boise State has not yet established the typical structures that isolate areas of the Music Department from each other. Put plainly, we don’t have a jazz department that would naturally be at odds with the classical department. As a result, there are no administrative or degree-level barriers between students and jazz/commercial music experiences (other than a student’s credit load and other external factors). This has opened the door to a more flexible approach to the nature and goal of our jazz ensembles and courses, one that I have been able to leverage in the service of comprehensive music education. The challenge with our current setup is simply that jazz courses are purely elective within our degree sequences.

Music Production Certificate

The new certificate in music production will launch in fall 2023. This seven-credit certificate teaches the foundational skills of creating, manipulating, processing and recording music in the modern music industry. The certificate’s three courses are open to anyone in any degree field, does not require traditional music literacy, and can be completed in three semesters. They fit easily within the elective requirements of nearly any major and stands to enhance post-graduation outcomes for nearly any degree. Skills in music/sound production can translate to nearly all parts of the music industry, and I treat music technology as a vital and all-encompassing part of comprehensive musical training.

The first step in developing this certificate was drafting and justifying my home department’s needs and resources — a multiyear process that highlights the tremendous inertia that resists change in music departments. My biggest challenge during this phase was getting everyone to vote on the proposal rather than just discuss it into oblivion. For two years, I missed our curricular proposal deadline before getting it done in time. In order to get it to a vote, I not only had a complete draft of the proposal, but I also had commitments for resources from within and outside of the department. A crucial piece of support was from the School of the Arts and the dean’s office that oversee our department. I was promised resources for this specific project, resources that my department spent time discussing how to reorient toward other projects.

Once the proposal was approved, I inputted all the proposed changes into our university curriculum system and answered any questions or challenges that came through the multipart approval process. This took the better part of a semester, but it was eventually ratified. Once ratified, it was time to get to work designing the courses and putting the committed resources into play.

I spent the next semester serving double duty to get everything in place for the certificate, including finding space, creating budgets, getting software certified, working on a website for the certificate, drafting language and syllabi, and figuring out who was going to teach which course. In a sense, I inherited an additional area of responsibility outside of trumpet and jazz. This hard work was well worth it as we are in the home stretch before this certificate is launched.

Treefort Collaboration

The second way that we have supported Boise State’s comprehensive music education mission is through our community partnership with TreeFort Music Fest, a massive music festival that hosts more than 500 bands in Boise (less than one mile from campus) each March. This is primarily an indy-music festival but has expanded with various other “forts,” such as food/beverage, art, literature, wellness and everything in between.

In the past few years, Boise State has become the signature sponsor for TreeFort, and there are many departments on campus that host their own “fort.” Oddly, the Music Department has not been part of the festival even though TreeFort is first and foremost a music festival.

This year, I approached the director of TreeFort about having a Boise State Music Showcase stage. He asked for a proposal, so I got to work. Much like the music production certificate, I brought this to my faculty meeting. This time, it was met with instant approval. The only catch was that I was on deck to put the whole thing together — and the festival was during our spring break! Nevertheless, I went to work because this represented an amazing opportunity for our students to perform as part of an international-level event as professional musicians.

One of the stipulations from TreeFort was that all the music had to be original. This might seem easy to accomplish, but it posed some problems for a discipline that is defined by the established repertoire that determines ensemble size, type and nature. It turns out that we have loads of students who write and play their own music. I learned that this type of underground music-making exists in nearly every music school, but it just doesn’t have much of a platform to emerge. Students jumped at the opportunity for their music to be supported by the department in an official capacity.

After getting student ensembles interested in performing at the festival, I was able to get a rough idea of how long their sets would be. Then I asked for faculty volunteers to act as producers for each group, and I would serve as the musical director and presenter. This setup worked well as I could focus on the production and marketing end while my colleagues helped to ensure the musical product would be at its peak.

Throughout the next semester, I gathered technical needs from each ensemble, scheduled photo shoots and wrote marketing pieces. The week of the festival, we loaded the gear on a flatbed truck that we borrowed from the theater department and went down to the Egyptian Theater for the show.

With me acting as liaison between the house sound and lighting crew, we set up and finished our sound check in 40 minutes. This is as professional of an environment as it gets! The show went off without a hitch, the students performed marvelously, and they loved the experience.

For many of the students, this was the first time a performance was all about them and what they do. There were no grades, no coaches on stage, no agenda, just an audience and the spotlights. The artistic content was 100% on the students, and they seized the day! I’ve always claimed that students are ready to go out on the stage; they just need to be shown the door, and this event proved that.

Final Project

The finishing foundations requirement for our Bachelor of Arts degree is the third way that we have supported the school’s mission statement of offering a comprehensive music education. Students have the option of presenting a final recital or a final project. In the past, the students who have chosen the project are typically more interested in non-performing careers in music or have a specific research interest. Their final projects end up being a paper, research project or something like that.

In my third year at Boise State, I was appointed as an advisor for the BA pathway and I have encouraged students to leverage the final project in a way that will propel their future careers in some way. This has resulted in websites, recording projects, electronic music albums, internships and large-scope recital projects.

Music in higher education is still very repertoire-driven, which is reflected in the fact that solo recitals still exist as a major part of music degrees. Hardly anyone needs to give a solo recital of traditional music on their instrument as a part of their career (save for maybe college professors). Nevertheless, a solo recital does require you to demonstrate performing skills and accomplishment on your instrument.

I would comment that there are plenty of ways to show these skills and that students should be showing them on a regular basis for audiences rather than as a single part of a finishing foundations course. But I digress.

I want to highlight two specific BA projects that my students accomplished.

Anthony Taylor is primarily a drummer, but he was interested in metal music. Throughout the semester, he composed and recorded a full album of metal music in which he sang and played bass, drums and guitar. I helped him gain the recording skills necessary to plan/manage his project. Anthony did the majority of the work, and essentially learned how to be a popular music producer from the ground up. He stated that the biggest barriers to his project were on the technical side rather than the music or artistic. Anthony also identified that exactly 0% of the curriculum in his degree prepared him for those technical demands, nor did he have any opportunities to play the music he ended up recording and producing as part of his degree pathway. There was a striking disconnect between his music degree, his interests/projects and the career path he ended up pursuing.

The second BA project was for Chris Woods, a trumpet student of mine. I asked him, “What is one thing that you wish you could leave here having done that will help you with your career?” His answer: to record a solo trumpet album. Hardly anyone his age has a solo album, and it is something that could set him apart in his field. Furthermore, recording an album has so much more value than a one-and-done recital that you likely won’t want to use or save for any reason (such is the culture in music performance). I helped Chris plan out his album and repertoire. Then I talked him through what the process would look like if I was the producer/engineer and he was the soloist. He arranged rehearsals, booked spaces, marked up scores and prepared his music. As a producer, I set up the recording sessions and did the mixing and mastering. Throughout the process, I helped Chris understand the vocabulary, expectations and process that an artist would go through when recording a solo album. This was an invaluable experience for him. The first time he is recording a solo album on his own in the professional world won’t be the first time he has gone through the process. This album is set to be released on Spotify and be presented in our undergraduate research showcase this spring.

Be an Innovator

I hope that my experiences have served to inspire and inform you. I encourage everyone to innovate in music despite how challenging it can be in our field. In music we not only resist innovation, but we actively teach students to NOT innovate. This is a major hurdle for us in higher education. We must retain that which enhances music careers and add that which enables them.

I know it can be hard, and sometimes it may seem hopeless. The additional workload can seem unfair, and it would be easier to just stay in your lane and support the status quo. However, this latter option leaves our students out in the cold.

The key to progress is within the tenets of strategic planning. Pick apart your school’s mission statement and strategic plan. Figure out what it means in the terms of your discipline, and then measure every action you take against that metric.

Spotlight on Yamaha MusicCast Wireless Speakers

Written by Yamaha Corporation of America on April 25, 2023. Posted in Audio Gear Guides.

The wireless revolution is here! These days, you can connect and control almost anything wirelessly, from lights to thermostats to home security cameras … and, thanks to Yamaha MusicCast products, even audio systems.

MusicCast is the Yamaha proprietary whole-house solution that uses your existing Wi-Fi network to share music to any MusicCast-enabled audio component in your home, all under the control of your smart device with the use of a free app.

Yamaha offers two MusicCast wireless speakers: the compact MusicCast 20 and the slightly larger MusicCast 50. These high-quality speakers can be placed anywhere in a room without your having to run any wires … and they can also be easily moved to different rooms or anywhere an AC source is available so you can listen to music throughout your whole house. Both offer a variety of connection choices — Wi-Fi^®, Bluetooth^®, AirPlay^® or Spotify^® Connect — as well as support for all major streaming services, including Spotify^®, Pandora^®, Amazon Music, Amazon Music HD, SiriusXM Internet Radio, SiriusXM Music for Business, Qobuz, Deezer, TIDAL, Napster and free internet radio. They also allow voice control with Alexa, Google Assistant devices or Siri via AirPlay 2^®.

Let’s take a closer look at these unique products.

MusicCast 20

MusicCast 20 speakers pack a big sound in a small package (just 5-7/8″ x 7-3/8″ x 5-1/8″) that fits anywhere, making them ideal for free-standing use or a great addition to any home audio system. They’re wall-mountable too, adding to their flexibility.

These little powerhouses incorporate a 3-1/2″ woofer and a 1-1/8″ soft dome tweeter along with dual passive radiators, and their built-in amplifier delivers a hefty 40 watts of maximum output power, yet they weigh just 4.8 pounds. They’re available in your choice of black or white, enabling them to fit into any décor. There’s even a built-in alarm, making the MusicCast 20 the perfect bedside choice.

Small speaker on bedside table. — *The MusicCast 20 is perfect for bedside listening … without unsightly wires.*

MusicCast 50

The MusicCast 50 ups the ante with a slightly larger footprint (15-3/4″ x 4-7/8″ x 7-7/8″) and an elegant, low-profile design that fits any style of room. It incorporates dual 3-7/8″ woofers and dual 1-1/8″ soft dome tweeters, along with 70 watts of power (35 W + 35 W) for a rich, full sound.

Like the MusicCast 20, the MusicCast 50 is available in black or white. Whichever color you choose, it will fill your listening space with dynamic and natural crystal-clear sound. Use it on its own or as a part of a MusicCast stereo, home theater or wireless multi-room audio setup. It’s sleek, stylish, and delivers great quality audio … all without a wire in sight!

Small speaker on credenza. — *The sleek, stylish MusicCast 50 fits into any décor.*

Wireless Surround Sound

Anyone who’s converted a stereo Hi-Fi setup into a surround sound system knows the challenges of adding rear speakers. First, there’s the issue of where to place them. Then you need to know how to run the speaker wires so they’re out of sight and not a risk for being tripped on — something that’s usually dealt with either by using rugs, drilling into the floor (impossible if they’re marble!) or running wiring up the walls.

When combined with a compatible Yamaha AV receiver, MusicCast speakers provide a wireless alternative that takes all the stress out of setting up a surround sound system. You can pair two MusicCast 20s together to serve as rear left and right speakers or use a single MusicCast 50 as a rear surround speaker. MusicCast speakers make cinematic surround sound easy to achieve in any home … and without any sacrifice in sound quality.

Learn more about MusicCast 20 and MusicCast 50 wireless speakers.

Seven TV Shows Based on Video Games

Written by Tariq Kamal on April 19, 2023. Posted in Gaming. 1 Comment on Seven TV Shows Based on Video Games

TV series based on video games may not get as much love as their big-screen counterparts, but plenty have earned high ratings and positive reviews. From Pac-Man to The Last of Us, let’s take a look at seven shows that were successfully adapted from video games.

1. Pac-Man (1982)

The original Pac-Man hit arcades in 1980 and quickly became a cultural phenomenon. Animation powerhouse Hanna-Barbera seized the moment, developing a series in time to join ABC’s 1982 Saturday morning lineup.

The TV adaptation was a hit unto itself. Pac-Man was No. 1 in the Saturday morning ratings in its first season, when it aired as part of a 90-minute package with animated adaptations of Little Rascals and Richie Rich. The title character was joined by wife Pepper (better known as Ms. Pac-Man), little Baby-Pac and dog Chomp-Chomp in alternately fleeing and pursuing the Ghost Monsters who haunted the arcade game’s mazes.

Pac-Man aired for two seasons and 52 episodes. Thirty years after the final episode aired, Disney XD debuted the computer-animated Pac-Man and the Ghostly Adventures, which added another 52 episodes to the Pac-Man TV library. Find out where to watch both series here.

2. Where in the World Is Carmen Sandiego? (1991)

Based on the mystery exploration computer games that launched in 1985, Where in the World Is Carmen Sandiego? was a children’s game show that aired on PBS for five seasons starting in 1991. Three middle school-aged “gumshoes” answered trivia questions posed by “The Chief” (played by Lynne Thigpen in a hybrid character/host/announcer role), revealing clues to help track down the titular master thief.

Critics and educators praised the series for faithfully adapting the PC games’ dual pursuits of learning and adventure. World won seven Daytime Emmy Awards^® and was followed by two additional ’90s TV shows. Where on Earth Is Carmen Sandiego? was an animated series that aired as part of the Fox Kids Network block from 1994 to 1999 and recast Sandiego as a misunderstood protagonist. In the midst of Earth’s 40-episode run, PBS and Thigpen revived the game show as Where in Time Is Carmen Sandiego? (1996-1997).

The franchise returned to the small screen in Carmen Sandiego (2019), an animated Netflix^® series starring Jane the Virgin’s Gina Rodriguez in the title role. It ran for four seasons and earned praise from critics and viewers. Find out where to watch Where on Earth Is Carmen Sandiego? and Carmen Sandiego here.

3. Pokémon (1997)

The multibillion-dollar Pokémon franchise debuted in Japan in 1996 with Pocket Monsters: Red and Green, a pair of video games for the original Nintendo Game Boy^®, followed by the Pokémon trading card game, the Pokémon Adventures manga, more video games and, in 1997, an animated TV series that remains in production today.

The show was initially adapted directly from key installments in the video game series, starring human trainer Ash Ketchum, his faithful Pokémon companion, Pikachu, and their friends and enemies. It reached North American shores in September 1998, timed with the release of Red and Green (renamed Pokémon Red and Blue for markets outside Japan).

Pokémon is widely credited with injecting anime into mainstream Western culture. The games and show quickly grew in popularity and would inspire 23 animated films (and counting) and one live-action adaptation, 2019’s Pokémon: Detective Pikachu. Find out where to watch them here.

4. Castlevania (2017)

Castlevania is an adult-targeted animated TV show that briefly became America’s most popular original streaming series shortly after its debut in July 2017. It was also Rotten Tomatoes’ first-ever “Fresh”-rated video game adaptation, scoring an 83% in its first season and 100% in its second and fourth seasons.

The series was initially based on two entries in Konami’s 30 title-strong video game lineup: Castlevania III: Dracula’s Curse (1989) and Castlevania: Curse of Darkness (2005). Critics and audiences lauded Castlevania’s anime-inspired artwork and (often gory) action as well as its writing and voice talent. Richard Armitage starred as Dracula hunter Trevor Belmont, who was joined by magician Sypha Belnades (played by Alejandra Reynoso) and Dracula’s half-human son, Alucard (James Callis), in combat against the legendary vampire’s evil forces.

The Netflix original series ended its four-season, 32-episode run in 2021. A follow-up series, Castlevania: Nocturne, is currently in development. Find out where to stream it here.

5. The Witcher (2019)

The Witcher franchise started with a series of novels by Polish writer Andrzej Sapkowski and continued with three role-playing video games released by Poland’s own CD Projekt: The Witcher (2007), The Witcher 2: Assassins of Kings (2009) and The Witcher 3: Wild Hunt (2015). The main character is supernaturally enhanced monster hunter Geralt of Rivia, who explores and fights his way through the fantasy world known as the Continent.

Among The Witcher fans is British actor Henry Cavill, who played Superman in 2013’s Man of Steel, among other DC Extended Universe films, and won the role of Geralt when Netflix went into production on a live-action TV series. The Witcher debuted to largely positive reviews in December 2019; a second season fared even better.

Season 3 of The Witcher is expected to be released in the summer of 2023 and will be followed by a fourth season — absent Cavill, who left the show among rumors of creative differences with writers and producers who strayed too far from the source material for their lead actor’s taste. Find out where to stream it here.

6. Arcane: League of Legends (2021)

Netflix scored yet another hit with Arcane, an animated series set in Riot Games’ League of Legends universe. First released for Windows and Macintosh platforms in 2009, LoL had built a massive fanbase when, at a 10th anniversary celebration, Riot announced a TV series was in the works.

Arcane debuted in November 2021 and quickly earned a reputation as an edgy, deeply affecting animated masterpiece. The show’s three-act, nine-episode first season follows orphaned sisters Vi (voiced by Hailee Steinfeld) and Jinx (Ella Purnell) as they navigate a steampunk fantasy world filled with complex characters and marked by sociopolitical unrest.

The show won the Primetime Emmy Award for Outstanding Animated Program, the first streaming series to do so. Netflix has already renewed Arcane for a second season, expected to be released sometime in 2023. Find out where to stream it here.

7. The Last of Us (2023)

By the time The Last of Us reached PlayStation 3^® consoles in 2013, the third-person action-adventure and online multiplayer game had already generated significant buzz. At the heart of the story are hardened smuggler Joel and teenaged Ellie. Joel escorts Ellie across a sparsely populated United States after a mutant fungus runs rampant, turning “the infected” into mindless, ravenous zombies who threaten all of humanity — except, it seems, Ellie, who may hold the key to a cure.

The game was an instant hit, selling more than a million units in the week following its release. A live-action adaptation was inevitable, and creators opted for a big-budget TV series starring late-blooming superstar Pedro Pascal as Joel and fellow Game of Thrones alum Bella Ramsey as Ellie. The first episode aired in January of 2023 and, like the game, debuted to near-universal acclaim among critics and audiences.

The series hews so closely to the source that one character, Marlene, is played by Merle Dandridge, the same actress who portrayed her in the video game. Critics often cite strong female characters among the TV show’s main attributes. Find out where to stream it here.

Take your gaming and viewing experience to the next level by adding a Yamaha AV receiver or sound bar to your setup.

How a Classical Musician Directed a Jazz Band

Written by Aleah Fitzwater on April 17, 2023. Posted in Teaching Tips.

When I began my first semester of student teaching in instrumental music, I was immediately thrust into the world of jazz band. At my assigned high school, the jazz band was the only ensemble that wasn’t preparing for band festival, so it was the one that I could teach.

My prior experience with jazz included studying jazz theory as part of a classical theory course and playing on stage at the local jazz club… once. I was barely equipped to comp, conduct or analyze chords in jazz, let alone teach someone else how to. And that’s exactly why I’m writing this article.

I realized that there’s a high likelihood that other young instrumental music educators are inheriting a jazz band along with concert bands. And while our professors do their best, they can’t cover everything in a brief four years.

I hope my experience will provide some help if you find yourself in front of a jazz band.

Jazz Subgenres

Before I dive into directing tips, let’s look into the most common subgenres of jazz that I taught: big band Latin, swing and blues.

A quick side note: Jazzers call music “charts” rather than “scores.” I think the culture around jazz is extremely interesting — it is so refreshing and fun!

Latin jazz is jazz with a side of Latin American rhythms. It is infused with polyrhythms and instruments from places like the Caribbean and Cuba (think “The Girl from Ipanema”). As catchy and exciting as these songs are, I wouldn’t recommend starting with just any Latin jazz chart — they can be very difficult rhythmically!

Swing was developed in the 1920s and ‘30s. It often uses a big band or jazz orchestra instrumentation, which includes trumpet, trombone, saxes and a rhythm section. One example of a swing tune is “Sing Sing Sing” by Benny Goodman. Swing charts are a great place to start for new jazz band directors because they are straightforward.

Blues and jazz go hand in hand even though blues came before jazz. It is often integrated into today’s jazz bands. Blues-jazz charts integrate 12-bar pattern and often have a lot of call and response.

Other jazz genres that I have taught include cool jazz and ragtime. Bebop is a well-known genre, but you likely won’t get into it too much at the high school level because the chord changes are extremely fast and tricky!

CHECK IT OUT: The YAS-26 Standard Alto Saxophone

Immerse Yourself

One thing that really helped me feel more comfortable in front of the jazz ensemble was immersing myself in the genre. I attended as many university jazz nights as I could in my spare time. Even if you don’t play saxophone, guitar or keys, you can bring your instrument into the mix and start transposing. I once joined a saxophone section on piccolo. All I had to do was transpose down (or read it in bass clef and add some flats).

Informed listening will help both you and your band get a better feel for jazz. Start with some jazz greats like Duke Ellington, Miles Davis, Louis Armstrong, Dizzy Gillespie, John Coltrane and Charlie Parker. Daily listening will also help your players improve their phrasing and soloing, and help them to widen their palette of tone colors!

Jazz Conducting

When I first stepped in front of a jazz band, a lot of questions flooded my mind: How do I move? How do I cue instrumentalists? What kind of energy should I embody for these students?

Conducting a jazz band is a completely different ballgame from a concert band. It feels much more relaxed because basically, the band can run itself. I found that jazz conductors typically use only one hand.

In order to cue sections or soloists, you use a pointed, stabbing motion. When I do this, I tell myself, “And, NOW!” Jazz conductors need to have a natural sense of where beats 2 and 4 are all the time. Be prepared to snap on 2 and 4 … a lot!

Once the band settles into a chart and can run on “autopilot,” start asking yourself how you can act as a visual element if that’s your preferred style. In jazz, there are two schools of conductors: 1) those who are either extremely present and showy and 2) those who are laid-back and only act when the band needs them.

Setting Up the Band

There are many ways to set up a jazz band, but this is how I did it: Saxes in the front, then trombones, then trumpets. The pianist, bassist and guitarist were to the side — on the left side — and in close proximity to one another. The drummer was at the back left of the ensemble, so everyone can hear the heartbeat of the band.

Another way to arrange the players is in a “V” pattern, with trumpets and trombones on the left, saxes on the right, and rhythm in the middle.

Many directors prefer to place the lead players (first chairs) in the middle of the band so the other instrumentalists can hear them and follow. Many jazz bands also use risers for their trumpets. If your program can’t afford risers and you’re finding that the high brass isn’t coming through clearly enough, have the trumpets stand.

Recruiting Rhythm Section Members

It’s common to need to replace your rhythm section members (drums, bass, piano) or recruit new ones. There is typically only one bass player, one percussionist and one pianist, so if you lose one, you’ll need to get another — and quick!

Here are some tips I have on making that happen:

Start with students who can already read sheet music — Sometimes, the clarinetist (or other winds player) who also happens to play drums in a rock band can fit the bill.
Talk to your students — If you conduct other ensembles, such as a symphonic band, ask your students if they know anyone who takes lessons on rhythm instruments.
Get involved with local one-on-one teachers — get in touch and stay in touch with private music instructors in your area for possible replacement rhythm section players.
Open up your practice space — leave the practice rooms open to your entire school instead of just band members. This will allow you to do a pre-audition of sorts by listening to the musicians practice.

Popular Pieces to Try Out

If you’ve been asked to begin directing a jazz band, you’ll need some repertoire. Pepper in some rock or pop tunes like “Eye of the Tiger,” but here is a short list of standards and charts to get you started:

“Blue Bossa”
“C Jam Blues”
“Autumn Leaves”
“Lullabye of Birdland”
“Take the A Train”
“Stella By Starlight”

You’ll find that there are many different versions of these songs. For example, the arrangement of “C Jam Blues” by Wolpe would be at an appropriate level for a high school jazz band. Similarly, Blair’s arrangement of “Autumn Leaves” is accessible to this age range as well. Hal Leonard and Alfred Music have many great jazz arrangements.

Quick Rehearsal Tips

Read the tune “down” — I like to dive right in with both classical wind ensembles and jazz bands by sight-reading the chart and taking it from there. Reading a tune down simply means playing from start to finish. No matter what happens, don’t stop!
Encourage style over accuracy to start — Tell the band to focus more on the style of what they are playing, rather than the mistakes they are making. This is a tip I learned from Dr. Jason Stumbo at The University of Toledo, and I find that it applies to every genre.
Gradually hone in on the chart — After you’ve got a feel for the chart, start taking notes on technical mistakes the band is making and practice the chart in small segments.
Break into sectionals often — Prioritize sectionals for a short time each class or during lunch/after school.

Soloing

Do not start your students soloing until they have their fundamentals — rhythm, intonation, tone, etc. — down. When they are ready, begin with a familiar melodic line (a riff). Encourage each student to play the melody one at a time. Turn the riff into a bit of a theme and have the students experiment with different variations (like the game of telephone). Each soloist will alter the riff just a bit and pass it on throughout the ensemble while the rest of the band holds down the fort with the chord changes and beat.

Another thing that you can do to get your students more comfortable with improvising is to teach them modes and scales in thirds. This will set the groundwork for more complex solos later down the line.

Don’t feel that you have to choose between classical or jazz. If you are a trained classical instrumentalist, you can leap fearlessly into the world of jazz. There are many resources available on jazz directing. I recommend The Jazz Ensemble Director’s Manual by Rick Lawn.

Yamaha Products at 2023 NAMM

Written by Yamaha Corporation of America on April 13, 2023. Posted in Gearguide. 1 Comment on Yamaha Products at 2023 NAMM

P-S500 Portable Digital Smart Piano

The P-S500 is a smart digital piano with innovative technology that brings learning into the modern age. Designed to fulfill a music lover’s dream of playing their favorite songs, the P-S500 is equipped with Stream Lights technology that uses red and blue lights above each key to show the pianist which notes to play and when to play them, allowing you to practice without knowing how to read music.

Closeup of an electronic keyboard with lights above keys.

The PS-500 has an 88-note weighted keyboard with an authentic piano touch, and comes loaded with 660 high-quality instrument Voices including stunning grand pianos, electric pianos, organs, brass, strings, percussion and more. There are also 403 built-in songs in a wide range of genres, from pop songs to classical pieces, allowing you to play along with the backing of a full band or orchestra. When paired with the free Smart Pianist app, you can generate piano scores or chord charts of all your favorite songs, then accompany the original recordings on the PS-500. You can even record your performances or sing along with them — complete with studio-quality effects — by simply connecting a microphone. To expand your learning potential, Yamaha is offering a three-month premium membership with flowkey, an app-based learning platform that has been customized to utilize the P-S500’s Stream Lights, giving you thousands more songs to add to your repertoire.

CK Series Stage Keyboards

Portable CK Series Stage Keyboards combine the sounds of the Yamaha CP Stage Piano with the organ- and synth-focused YC Stage Keyboard to give you a totally new sonic palette, along with an intuitive interface that lets you focus on the music, not the menus. And thanks to its battery power and built-in speakers, CK allows you to take your new sounds to new places — without compromising sound quality or features.

The CK61 model has a 61-key keyboard ideal for playing organ, synth and string pad sounds, while the CK88 features an 88-key keyboard with a weighted and graded action perfect for acoustic and electric piano sounds. Both come loaded with 363 great-sounding piano, electric piano, string and brass Voices, plus a dedicated organ section and modern synth sounds. CK also offers 36 onboard effects and an Analog to Digital (A/D) Input to plug in a mic or another instrument, plus it can be used as a four-zone MIDI controller with your DAW or other instruments in your onstage rig.

DM3 Series Digital Mixing Consoles

The new Yamaha DM3 Series compact digital mixing consoles offer superb sound quality (up to 96 kHz) with low latency, fast and easy setup and operation, and professional-level features for live sound, streaming, and live or home recording and music production.

There are two mixers in the Series: the standard DM3 and the DM3-D, which includes Dante audio networking for quick and flexible connection to a wide range of compatible audio devices. Both offer a simple, intuitive user interface centered around a large 9″ screen with multi-touch control. There are 16 mono, one stereo and two FX return input channels, along with six mix sends, two FX sends, one stereo and two matrix output channels. Dual onboard processors deliver 18 types of high-quality effects, and channel names are displayed on the user’s choice of a light or dark background, making these mixers easy to use under all lighting conditions. With custom fader banks and MonitorMix support for personal monitor mixing, DM3 Series mixers have various live sound applications, from simple presentations and conferences to live bands and multi-performer events. And the onboard 18-in/18-out USB audio interface and DAW Remote functionality make the DM3 a great choice for home recording too, or for use as a live sound sub-mixer for a Dante-compatible main console.

FG9 Acoustic Guitar

Handcrafted in Japan and designed specially for singer-songwriters pursuing the highest level of expression, the flagship FG9 dreadnought steel-string acoustic guitar has an Adirondack spruce top complemented by a choice of Indian rosewood or African mahogany backs and sides and a mahogany neck. Other features include scalloped X bracing, an ebony fingerboard and bridge, a bone nut/saddle and a nitrocellulose lacquer finish.

Guitarists everywhere will appreciate the projection, clarity and detailed articulation of the FG9, as well as its remarkable responsiveness — whether they prefer the deep lows and sparkling highs of rosewood or the warmth and accentuated midrange of mahogany to complement their vocal performances. Cutting-edge acoustic and 3D structural measurement processes were employed in the design of the FG9 — a new level of scientific analysis, combined with innovative craftsmanship.

YH-WL500 Wireless Headphones

Also being shown for the first time at NAMM are the new Yamaha YH-WL500 wireless stereo headphones, specially designed for music practice. They offer superb sound and ultra-low latency response to preserve timing and feel, as well as Bluetooth^® connection for easy audio playback. Specially voiced for musical instruments, the semi-open design of the YH-WL500 reduces ear fatigue, allowing for longer practice sessions.

CVP-900 Series Clavinovas

The three models in the new flagship Yamaha CVP-900 Series — the CVP-909, CVP-909GP (shown above) and CVP-905 — are the latest additions to the acclaimed line of Clavinova digital pianos. All offer a sleek design, cutting-edge technology and unparalleled versatility, with a wide range of both piano and non-piano Voices and band/orchestra accompaniment Styles that will take your playing to new heights.

The CVP-900 Series introduces two new features that enhance the playing experience: Grand Expression Modeling that accurately captures the subtle variations in sound offered by a real acoustic concert grand piano; and innovative GrandTouch pedal technology that allows the player to execute the “half pedalling” technique with the damper pedal and hold it at middle depth with ease. The pedal’s pivot point has been adjusted to resemble that of a real grand piano, and on the CVP-909 model, it even replicates the weight of a grand piano damper pedal for an even more realistic response. All CVP-900 Series models offer a full 88-key GrandTouch^™ Keyboard with counterweights and escapement, and the CVP-909GP and CVP-905 provide linear graded hammers, with a color touch panel and Bluetooth^® audio. The CVP-909 adds numerous advanced features such as Virtual Resonance Modeling (VRM), USB Audio (MP3/WAV) recording and playback, Follow Lights with Guide Mode, and Display Output via USB. You can even plug a mic into the CVP-905 and CVP-909 models and sing along with up to three virtual background vocalists, with the ability to adjust level and correct pitch.

Third-Generation TransAcoustic^™ Piano Technology

Yamaha also announced third-generation TC3 and TA3 TransAcoustic^™ technology that uses the soundboard of selected authentic acoustic pianos to naturally amplify digital sounds, effectively turning the instrument into an acoustic speaker and creating an immersive auditory experience — an innovation that stretches the imagination and opens a whole new world of possibilities.

Both systems utilize Articulation Sensor Technology that captures every nuance of every note played and offer 256-note polyphony, along with 12 (TC3) or 25 (TA3) onboard digital Voices plus 480 ensemble Voices, 12 Drum Kits and 20 rhythm patterns. They also incorporate SILENT Piano^™ technology so you can play and practice without being distracted or disturbing others. In addition, MIDI, audio and Bluetooth connectivity allows you to create recordings of your performance and to listen to your favorite music over headphones plugged into the instrument.

YCB-623 CC and YBB-623 BB♭ tubas

Two new front-action piston tubas were announced at NAMM: the YCB-623 CC and YBB-623 BB♭ models, both designed for players and music programs looking to create an energetic and reliable foundation for their ensemble. Professional orchestral players, aspiring college musicians, community band players and high school students can all benefit from the distinctive sound, ergonomic design, and reliable action that musicians across the globe have come to expect from Yamaha tubas.

Highlights include a newly designed secondary main tuning slide, which provides a greater tuning range and solves several common temperature-related problems; a new BB69D2 mouthpiece that features a gently curved funnel-shaped interior and a deep cup for symphonic tone; a body redesign to help make low-register playing easier and more efficient ; a floating leadpipe to create a clear, resonant sound; a multi-shank receiver that accepts American and European shank mouthpieces without an adapter; a 3rd Valve water key that facilitates quick drainage while playing, eliminating the need to place the instrument on the floor; an adjustable thumb ring that provides maximum holding comfort and fingering freedom; and vented pistons that keep pressure in the tubing constant, making it easier to make fine tuning slide adjustments while playing.

YBL-835 Xeno bass trombone

The new YBL-835 is the latest addition to the Xeno Bass Trombone collection, replacing the popular YBL-830.

The new model, which was designed in collaboration with internationally acclaimed bass trombonist Tomer Maschkowski, offers improved color and complexity in the sound, yellow brass and gold brass bell material options, and even a detachable bell option for more compact travel. Bass trombone players and advancing students will notice the familiar ease and efficient feel of the previous model but with the added ability to put more air into the instrument with a more robust sound. Features include a new rotor arm design for a shorter, faster throw and a refashioned interior rotor shape for a smoother, more open playing feel, along with a redesigned BL61D4 mouthpiece.

Custom Z YSL-891ZD and Xeno YSL-882OD detachable bell tenor trombones

Two new detachable bell variations to the Yamaha line-up of tenor trombones were also announced. The popular Custom Z YSL-891ZD and Xeno YSL-882OD detachable models offer convenience and new sound characteristics. Adding a cut bell allows players to use a more compact travel case; in addition, the added weight of the ring on the bell adds new depth and resonance to the familiar Custom Z and Xeno sound.

Next-Generation SILENT Brass^™ System

A trumpet with an electronic mute and control box.

At NAMM, Yamaha also announced a next-generation SILENT Brass system, which delivers greater playing enjoyment, anytime, anywhere.

The system consists of a smaller, lighter, freer-blowing pickup mute, and a Personal Studio control box, which incorporates exclusive Brass Resonance Modeling technology. Used together, the two deliver the natural acoustic tone you hear when playing without a mute, making it feel as though you are playing mute-free. The Personal Studio offers two modes: “Player,” which allows the player to hear the natural sound of the instrument; and “Audience,” which delivers natural sound to the listener. It can be connected to a computer or smart device via the supplied USB cable, making it possible to record or take part in online lessons at home. The new SILENT Bass system is available for trumpet, Flugelhorn, trombone, French horn, euphonium and tuba.

YDS-120 Digital Saxophone

The YDS-120 digital saxophone makes sax playing more accessible than ever before. It eliminates restrictions on where and when you can play, while offering the same tonal diversity, deep low notes and delicate highs of an acoustic instrument.

The YDS-120 combines acoustic and digital technologies into a new form. It offers 56 soprano, alto, tenor, and baritone saxophone Voices, plus an additional 17 non-sax sounds — all delivered with the variety of expression only a saxophone can provide. It’s easy to play, too, with the same key configuration as an acoustic sax, plus a breath sensor that detects the pressure of your breath and an analog controller. It can be used with either a USB power source or with batteries and offers a headphone terminal and Aux in jack. It also comes with a dedicated YDS Controller app that enhances the performance of the YDS-120 and further expands the range of sound creation with intuitive and visual instrument settings and sound editing.

New Colors for Stage Custom Birch Acoustic Drums

Introduced in 1995, Yamaha Stage Custom Birch drums have set the standard for value and sound, featuring six-ply birch shells that give them a characteristic low fundamental and warm tone. At NAMM, Yamaha announced that Stage Custom Birch drums are now available in three new finishes: Classic White, Deep Blue Sunburst and Matte Surf Green (shown above).

See you at next year’s NAMM — and remember, if you can’t make the show in person, you can always catch the highlights here!

For more information about these and other Yamaha music products, click here.

woman sitting in front of open laptop and holding index finger up

Before You Quit

Written by Don Stinson on April 13, 2023. Posted in Self-Care.

Have you ever thought about quitting? I have, and the times I wanted to quit always snuck up on me. Tracing back the preceding months prior to my feeling the need to jump ship was littered with a trail of loose ends, a sense of being overwhelmed with little direction. This surprised me. It’s easy to notice other people’s behavior, but my patterns were hiding from me in plain sight.

When I thought about leaving teaching, I surmised that quitting would fix all my problems. In one situation, I did apply to another school and found a better fit. However, in most instances, teaching usually becomes the scapegoat. For some, leaving teaching may be a good move. After all, no one would fault us for doing what is best for ourselves. But what if you’re avoiding the real problems?

First, a disclaimer: I do not want to be insensitive to anyone who is in a tough situation caused by external factors. There are difficult parts to every job, but some work environments are near impossible to navigate. Broken systems, ineffective administrators and lack of support are just the tip of the iceberg of potential reasons to leave. I don’t think any amount of self-reflection or self-improvement is a long-term fix in some of these lose-lose situations. Take a good look at your situation, and ultimately, do what is best for you, even if it means massive change that people close to you may not understand.

Identifying the Breadcrumbs (Issues)

I experienced a cycle of things being fine … until they weren’t. I decided to dig into the patterns that led me to these places. If I followed the breadcrumbs, what would I find? While I did discover some specific categories in need of attention, I also encountered many blurred lines.

Long Hours and Few Boundaries: I noticed that my energy levels varied. On Mondays and Tuesdays, I usually arrived to the office early, skipped lunch and stayed late. I justified this by seeking the reward later in the week for not having to work as much. On Wednesday, I started the day with the same schedule, but by 11 a.m., I was drained.

As music teachers, our work can multiply in a few months. For example, an ensemble has a guest soloist, and the kids get excited. “Can we do that again, or better yet, can we prepare solos?” “You got it. I’ll get going on that.”

Or unscheduled meetings come up. “Mr. Stinson: we’d like to have a student leadership meeting this week. We have some new ideas for a social event.” “Yes. Let’s get it on the calendar.”

Or requests from higher ups. Administrator: “Hey, Don — no is an OK answer, but can you have the band at our social event next week?” Although it’s on my personal time, my answer is: “Of course!”

Ignoring My Health and Taking Shortcuts: Long hours impacted my health. My caffeine intake went way up. I used to meal plan, but now, I had to find the fastest option. And if you’ve eaten fast food three days in a row in your car, you might as well finish the week the same way.

I still managed an exercise routine, but what was once a positive part of my day turned out to be a struggle. I never like having to talk myself into doing something that I used to enjoy.

I was taking shortcuts, and shortcuts always show. Teach some shortcuts in music, and it will sound like a shortcut. Cook with some shortcuts? It will taste like shortcuts. How many times have you stayed up late, woke up late, and didn’t have enough time in the morning? You can dress well and comb your hair, but if you don’t have enough time to shave, you look like a shortcut.

Too Many Projects/Not Finishing a Job: About once every three months I realize that I have too many projects. I bounced around from task list to task list: teaching and program direction, recreational promises to my friends and family, writings I share with you and volunteer work. I wasn’t making headway on any one item.

I know that I often approach the finish line of a project and then have to convince myself to actually finish. But these situations were different. I felt like I was not keeping pace, which would then loop back to long hours and very few boundaries.

So What Do I Do? (Solutions)

Just focus on the positive, calm down, and stop worrying!

Once you read that sentence, did you just want to skip the rest of this article? Because I wanted to stop listening when someone told me that.

Yes, we should strive to get to a mindset of handling items productively and healthily. But I simply couldn’t do that every day. A pick-me-up was the last thing I wanted.

Then eat well, sleep and exercise!

Did you want to stop reading again? We all know it’s not bad advice. But we just don’t want that information now.

If we took a morning to look back on those times before we realized our life was tough, what would we find? What were our patterns of behavior, and how could we use this information to address the situation and act accordingly? What advice would we give others if we noticed their patterns?

Consider Blunt Realism: Sometimes sudden events throw you into a deep hole. Other times, you dig for a long time without realizing how deep you are. I needed to understand that sometimes things go wrong all at once, while other times we don’t realize that we’ve been digging for a long time.

We can only fix one thing at a time. It’s not fair, but it’s reality.

I realized that I was waiting for motivation, which often tricks you into thinking that you can handle more than is possible in the long term. However, motivation is unreliable. Right when you need it most, it abandons you.

I needed a huge change, but I couldn’t handle it. I had to swallow my pride and accept that smaller actions would be sustainable.

Small Actions: We often rush into trying to “fix” our lives. For example, I had goals of eating better and exercising, which are both significant life changes. On Sunday evening, I envision the discipline to work out every day and eat nothing but salad and salmon … for the rest of my life. I was successful for a week.

The side effects of these two goals often convinced me that the juice wasn’t worth the squeeze. It’s too much to expect to give up an hour a day for exercise, do more laundry to wash those workout clothes, spend more money on better food, spend more time cooking, cleaning dishes and so on. These excuses often convinced me to quit.

So instead of huge, lofty, unattainable goals, I found that monotonous discipline was the key. I’m still going to eat like garbage this week, but I’m adding in a five-minute walk every day. Next week? I’m walking five minutes a day, and I’m going to clean up my breakfast. In a year, will I be running marathons and juggling guest spots on a morning talk show cooking up some healthy recipes? Probably not. But with small changes, I’ll be walking longer and feeling better from the food choices I make. I’ll plan to fail and reserve Saturdays for some fun foods.

How can you apply this in the classroom? I found that a small addition to rehearsals can provide dividends. My groups have routinely struggled with consistent articulation. Attacking the problem with a variety of methods wasn’t paying off. However, adding one articulation exercise that took four minutes the first day and 60 seconds on subsequent days was the key. It was monotonous, but it was a small addition that was achievable every day. We didn’t have to completely revamp our routine.

What’s the bad news? Small changes take time. But that time is going to pass either way. Let’s not underestimate the importance of inching along.

It Won’t Be Perfect

Don’t expect perfection because you’ll certainly be disappointed. Besides, do you want to be perfect? When we sit around a restaurant table, do we bond over the perfect concert performance, where everyone showed up and nothing went wrong? Sometimes. But those times when an entire section forgot their music, or the band started on the wrong piece, or whatever craziness happened are what we laugh about afterward. Those times are etched in our memories.

Teaching may not be for everyone. And if it’s not, please do what is best for you. However, I urge anyone considering a change to follow their trail of breadcrumbs. Will that new profession make things better? Or will it run the chance of being a semi-permanent solution to a temporary problem?

If you do decide to leave teaching, there is a bright spot. You may find exactly what you’re looking for. Or you may have simply needed a break, and after a while decide to come back to teaching. The positive aspect of a teaching shortage is that educators who opt out for a year or two can come back … if they want to.

It is on us to do the work to make ourselves better. Often we are unable to identify what the problem is and how to fix it. Other times, we reject the solution that’s staring us in the face. If a change is necessary and you’re ready for it, take the chance. But don’t vow to make yourself better so that you can be a better teacher or a better employee. Work on being a better you.

I didn’t need to leave teaching. I needed to answer some tough questions and put in consistent work. I understood that some gray days would never go away completely. But answering those tough questions and enacting small changes started to lift the fog for me.

music rehearsal with director standing in the middle of the room

Incorporate Popular Music into Traditional Ensembles

Written by Dr. Robert Bryant on April 12, 2023. Posted in Teaching Tips.

The world of music education allows our students to explore a variety of styles and genres. However, the core performing experiences in today’s school music programs still center around classical repertoire for the more traditional concert band, choir and orchestra. While there have been major strides recently with the modern band movement, many students who desire to make music will be recruited for traditional ensembles.

Because music teachers earn their training and certification based on these traditional models, which are heavily steeped in classical repertoire, there is a huge gap between the music that students know and love and the music they are learning in school. This can lead to students feeling that music is less accessible and, in some cases, even elitist. There are, however, a number of ways we can incorporate popular music and involve our students that increase student inclusion, engagement and retention.

Knowing Students’ Music Interests

Much of my experience as both a student and a teacher in K-12 music programs occurred within the context of the Historically Black College/University (HBCU) band approach to music performance, which gives a high degree of consideration to current music trends and top hits. My music teachers frequently asked us about the newest and hottest tunes that we could incorporate into our performances. From pep rallies to halftime shows, academic assemblies to seasonal concerts, our teachers depended on us to know what was musically relevant to our generation, given that our generation was the majority of our target audience. Knowing what to perform for different settings made our program popular with our peers and let them know that if they joined band, they would be involved in something very cool!

As a teacher, I continue this approach to music programming for my ensembles. We kick off each school year with a student survey. I also ask my students to give a copy of the survey to one person they know who is not in band so we could get a broader understanding of the most popular tunes at the time. The survey has just a handful of questions, along with room at the end for students to suggest what they would like the band to play this year. The band staff and our student leaders will then sort through all the surveys to find the most popular tunes and then discuss which songs we would like to arrange and when they would be performed. Knowing our students’ musical interests and having a sense of the school’s musical tastes as a whole helped us relate to students and build esprit de corps throughout the building.

We would also take requests from the cheerleaders, football, volleyball and basketball teams on pep tunes they would like to hear during the game. We are starting to see this collaboration more at the collegiate level, and I believe that now is the time for this trend to continue into our middle and high school music programs.

Modernizing the Repertoire

For many of us, the literature we choose to perform at concerts, contests and performance assessments is our curriculum. And because that curriculum is built around the classical genre, many other genres with excellent music that could be used for building our students’ skillsets is not often included. When I was in school, I developed technically as a performer by playing standard march repertoire such as the “Stars and Stripes Forever” by Sousa, as well as more contemporary tunes like “Getaway” by Earth, Wind & Fire and “Sir Duke” by Stevie Wonder.

In today’s musically rich environment, we have access to anything we want to listen to and perform at our fingertips. Many popular tunes can also be used to teach performance fundamentals and musical aesthetics, in addition to connecting more meaningfully with our audiences.

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Student-Led Programming

I am a strong advocate for student leadership. I believe that it is one of the best ways to empower tomorrow’s leaders in our field. One strategy that has worked very well for my programs is establishing student-led committees for our concert calendar. Because students know the importance of relevant repertoire selection across all aspects of the program, we have show-planning and dance-routine committees for our marching band, an arranging team that helps compose popular tunes for our concert and jazz bands, and a cool group known as “chamber grooves” that include students who love chamber music and would compose trending tunes and top 40 hits for our smaller ensembles.

I was fortunate to offer classes like music technology and modern band as a part of the music program, but I did not want my program to be siloed to the point where students thought only certain genres could be performed in certain ensembles. I could not have done all the things that we were able to accomplish on my own. By empowering students to explore and create music for all the ensembles in the program, it created a culture of belonging and excitement in the school and community.

Be the Trendsetter

Music education programs have witnessed many recent advances in terms of both availability of popular music literature and ensemble offerings. COVID-19 forced many of us to deeply reflect and change what we teach and how we teach. As we continue in a post-pandemic era, it is important for us to bring the lessons learned from before.

By learning more about our students’ musical interests, performing more current popular music across all our ensembles, and providing opportunities for our students to lead in choosing music for a variety of performance settings, we will deepen our connection between our programs and the school community. Many around the country have already begun the process of including popular music in some way into their curricula, and now is the time for us to push further as we include more popular music genres and expose our students to the most comprehensive music education possible.

Author in his studio playing a yellow guitar.

10 Things Every Guitarist Should Know

Written by Robbie Calvo on April 12, 2023. Posted in Guitars How-to.

I’ve studied music both formally and informally for decades, and I don’t think I’ll ever come close to mastering the guitar.

Philip Sudo, the author of the book Zen Guitar, states that even when the player feels they’ve reached black belt status as a musician, they should wear the belt so much that it becomes white again. I take this to mean that you will always be a perpetual student, and there will always be something new to learn.

Here are some of the unexpected aspects of guitar that I never thought about when I first started learning to play.

1. Tuning Isn’t Overrated

It’s vital that you learn to tune your guitar! Nothing will ruin your tone or turn the listener off quicker than being out of tune. I can’t tell you how many times I’ve watched a video demo or YouTube lesson and the guitar was out of tune.

Tuning is much more than the open strings being at the correct pitch. Intonation is critical too, and is set by making sure that the open string pitch is also perfect when fretted at the twelfth fret as well as when you’re playing a harmonic at the twelfth fret.

Be aware that old, rusty strings will affect your tuning, as will applying too much pressure on the fretted notes. The B-string is often the culprit, as it has the lowest tension of all the strings. You can offset this by substituting a heavier gauge string.

Also check that the nut slots have been cut low enough to offer a small amount of relief over the first fret. Too much height at the nut will cause you to apply extra pressure to connect with the open position fret wires, thus pulling the strings sharp and out of tune from their intended pitch.

2. Setup Really Does Make a Difference

Guitars can be setup to your own personal preferences, and even to accommodate certain playing styles and techniques. Don’t underestimate how important this is.

For example, bluegrass flat-pickers prefer a high action, as this enables more break-angle for the strings … which achieves more volume from the top of an acoustic guitar. My preference is to have the neck set almost perfectly straight, with the absolute lowest action at the nut and bridge. I want to play the guitar, not fight it! If you have strong hands, you may want to set your action a touch higher and put heavier strings on your guitar to counteract the force at which you play.

I also like to have one of my guitars set up specifically for playing slide. If the action is too low, you’ll get rattle as the slide passes over the fret wires. I actually don’t mind a little of that on acoustic guitar, but not so much on higher gain electric guitar passages.

If you are struggling with the action on your guitar, talk to a luthier about making adjustments to help you get more from your instrument.

3. Give Extra Attention to Tone and Tonality

Searching for the “Holy Grail” of tone is the pilgrimage most guitar players embark on once they acquire a reasonable level of proficiency.

In my opinion, great tone comes from within, and is imparted to your fingers when you are listening to your inner being, soul and emotional self. That said, the gear you choose will have a huge impact on tone too.

I know so many people who use certain guitars because their favorite player does. They keep trying to make it work for them … but it just doesn’t. That’s because they are not aligning themselves with instruments that resonate on the same frequencies as them — something I’ve written about before.

Instead, choose your gear based on feel and the complementary resonant frequencies imparted. Don’t let the gear define you or your tone. Carve your own musical path.

4. Try Out as Many Different Guitars as You Can

Who knew there were so many options when it comes to selecting a guitar?

The truth is, there are so many variables in tone, playability and aesthetic that it can be overwhelming when trying to choose your favorite six-string.

Every aspect will make a difference, so it’s worth auditioning as many guitars as possible before taking the plunge. This is a major investment that can help you improve your progress — or possibly impair it if the instrument is completely wrong for you.

Get advice from a professional if you are new to guitar, and be completely honest with your vision and goals for your musical growth.

I own a wide selection of guitars, but over the years I have definitely ascertained that my favorites are either semi-acoustic or hollow body electrics. I just like how woody the tones are, and how spongy the playing response is from the strings … even though it’s taken me 40 years to realize this!

5. The Muscle Memory Will Come

We’ve all heard the aphorism “practice makes perfect,” but that’s not necessarily true. It’s actually more accurate to say “good practice makes perfect.”

Repetition is a great way to learn musical passages, but you also need to make sure you are playing the passages correctly and repeating them without mistakes. If you continually repeat the same mistakes, you’re practicing mistakes and rehearsing those elements into your performances … which is not a good thing.

Repetition also builds muscle memory by conditioning your mind and body to repeat stock phrases or techniques you employ on a regular basis. So as long as you keep practicing, the muscle memory will come! This will be especially comforting for beginners who might get frustrated at first because it’s so hard to stretch your fingers into unnatural positions. Trust me, over time, they will become fully natural positions, and your fingering will become almost automatic.

By the way, speed and clean performances are a byproduct of accuracy. Practice new material at slower tempos, then bring them up to performance speed gradually. This way, you are conditioning your hands and fingers to retain the muscle memory of excellence and precision.

6. Listen to Other Guitarists and Styles of Music

We all have our own personal tastes in music, but if you’re learning to play guitar — or any other instrument, for that matter — your progress can only accelerate if you’re open to listening to genres outside your comfort zone. That’s because the instruments, amps and effects that professional musicians choose for studio recordings can often inspire new textures that you can adapt to your own music. In fact, even genre-specific techniques, note choices and harmonic structures also translate into most other varieties of music.

My taste in music has shifted over the years. Perhaps the complexity of jazz was too much for me to comprehend and appreciate fully when I was younger, but I’ve learned to develop a deep admiration for many of the guitar players working in that genre. My exposure to decades of different kinds of music has given me a deeper understanding of “tension and release” within harmonic structures and how simple melodies often create the best pop songs. So open your ears! It can only aid in your development as a musician.

7. Learn Other Instruments’ Solos on Guitar

Professional guitarists often study and learn the solo improvisations of world-class horn players and saxophonists. The legato flow and pitch of wind instruments can be achieved with fingerings and breath, allowing the notes to sustain with the air flow and gradually change pitch without the need for physical transition between strings and fret positions, as is necessary on guitar.

Guitarists can also learn a great deal about phrasing from horn players. Wind players need to breathe between their phrases, and this allows them time to create phrases and spaces within those lines and licks. In fact, the term “licks” originates from horn players having to lick their lips between phrases.

Of course, guitar players don’t need to breathe between the notes, and so we develop a different sense of phrasing … unless we learn to “breathe” with our hands — a topic and technique I described in a previous blog posting.

8. Expand Your Guitar Skills by Playing Other Instruments

I’m a huge fan of learning the language of music and how musicians communicate with each other. Part of that is learning to play instruments other than the one you’re studying. For guitarists, a great place to start is electric bass, which has the same tuning and string intervals as the bottom four strings of the guitar, albeit an octave lower. You’ll find that you can use the same scales, arpeggios, double-stops and chords that you’ve learned on the guitar, except you’ll want to apply them to support the harmony. I love playing bass, as it allows me to underpin the harmonic structure yet inform how the chords are perceived by sometimes taking an inversion or pedal-tone approach.

I’m a terrible keyboard player, but my knowledge of music theory helps me understand and explore the myriad of sounds created by keyboard instruments. I’m an even worse drummer, but giving yourself a cardiovascular workout behind a drum kit is a great way to develop solid rhythm skills (not to mention the health benefits). Although Ringo Starr was the official drummer for The Beatles, there are plenty of photos of John, George and Paul having a bash on his kit, and for good reason. In fact, Paul even played drums on a few select Beatles (and Wings) recordings.

The bottom line is this: When you play other instruments, you gain a better understanding of orchestration and how those instruments work in harmony with the guitar … which helps make you a complete musician, not just a guitar player.

9. Think Like an Arranger

If you play with other musicians, listen first and respond with appropriate tones and parts that complement the music and support the lead instrument, whether that’s vocals or a saxophone. It’s important to be a team player and to know that you are an ingredient, not the soup.

Even if you play solo, you’ll want to orchestrate your music with guitar parts that support the melody and lyrics of the songs you’re playing … and remember that even rhythmic content is part of the orchestration. If the groove, tempo and pocket don’t support the harmony, it won’t matter how cool the chords are.

Sometimes playing nothing is the best thing for an arrangement. Use dynamics to accentuate your input. This kind of sensitivity will go a long way to making your parts “breathe.”

10. Don’t Compare Yourself to Other Guitarists

Even the most accomplished guitarists in the world sometimes have a tinge of insecurity, believing that there are better players out there. While it’s fine to constantly aspire to improve your playing technique — and there’s nothing like a little competition to stimulate that — I think we need to ask whether this kind of personal comparison is a healthy and productive way to develop as a musician.

My opinion is that we should find inspiration in what other musicians offer in terms of their musicality, technique and experience, and learn to integrate aspects of those admirable traits into our own “big picture” goals.

But know this: No one will ever be you, so embrace your individuality, recognize the areas that need improvement, and do the work to attain personal growth.

The Video

Here’s a video that demonstrates how one guitar — in this case the Yamaha Revstar RSE20 — can create layered guitar parts in a dense mix. With careful use of the pickup selections, orchestration and playing “in the pocket,” you can make each part supplement the next for a full production.

I used a Line 6 Helix guitar processor to create all the effects you hear: a subtle phaser on the single-note rhythm part, harmonic tremolo on the fingerpicked intro guitar, and a long delay for the lead lines.

The Guitar

The neon yellow Revstar RSE20 has a vibrant personality, just waiting to be tapped into. (I’ve named mine “Neon Leon”!) Its tuned, chambered mahogany body musically enhances the notes being played, expanding their resonant frequencies so they sustain longer.

The two Alnico humbucking pickups are smooth and warm, making the RSE20 a good choice for all styles of music. The tone control doubles as a pull-pot “dry switch” that expands the pickup tones further by reducing the bass frequencies for extra clarity.

The Wrap-Up

Playing the guitar is so much more involved than we first imagine. Once we make the connection with the right instrument, it becomes a soul mate, a twin flame we can’t live without. And it’s like any relationship: Some days we love each other, and sometimes we fall out over the smallest of miscommunications. It’s both random and a defined set of principles all at the same time.

As you go through this journey, you start to understand that playing the guitar is more than being a guitar player. It’s not just physical — it’s spiritual, emotional. It’s about developing disciplines and skillsets that shape our creative world. It’s the unknown that we want to know, who we are and who we want to be … an unexpected evolution of self-expression through music.

Photos courtesy of the author.

Check out Robbie’s other postings

Man scratching his head looking at an oversized receiver.

How to Choose the Best AV Receiver

Written by Yamaha Corporation of America on April 11, 2023. Posted in Audio Gear Guides.

AV receivers act as the central hub in your home system and live up to the acronym in their name by supporting multiple audio and video formats. If you enjoy watching movies and television shows at home, they’re pretty much a necessity, as they do the important job of distributing video to your big-screen TV, monitor and/or projector, along with routing audio to your speaker system.

But there are so many models to choose from! How do you know which one is right for you? Here’s a guide to picking the best AV receiver for your needs.

I/O

The first question you should ask yourself when choosing an AV receiver is, “How many inputs and outputs will I need?” Modern AV receivers typically offer a wide variety of connectors, including one or more HDMI^® inputs for connecting video devices such as cable or satellite TV boxes, game consoles, Blu-ray™/DVD players and/or streaming devices such as Roku™ or Apple TV^®. There will also be a number of audio ins and outs, including speaker outputs for stereo and/or multichannel systems and possibly a dedicated phono input for connecting turntables — a must if you’re into vinyl. Don’t make the mistake of assuming that you’ll only need a handful of inputs and outputs; even if your current system is on the modest side, there’s a pretty good chance you may want to expand it in future. It’s always best to plan ahead, so that you don’t quickly outgrow the gear you buy.

As an example, the entry-level Yamaha RX-V385 AV receiver allows the connection of up to five speakers (front left, right and center, along with rear left and right) and a subwoofer for a total of 5.1 channels (the “.1” is the subwoofer). It also provides three analog audio inputs, three digital audio inputs/outputs and four HDMI video inputs, as well as an HDMI output.

The RX-V4A model offers similar I/O connectivity, but gives you the ability to add a second subwoofer so you can enjoy a 5.2-channel listening experience.

The mid-level RX-V6A expands on that further still by allowing you to connect two additional speakers for full 7.2 channel playback, along with providing four analog audio inputs, a dedicated phono input and seven HDMI video inputs.

Power Rating

The more power an AV receiver has (measured in wattage), the louder the playback can be. Having a receiver with an excess of power is generally desirable since it provides extra headroom, meaning that it can get a lot of loudness out of your system without having to be turned up very high, so there’s less chance of distortion. On the other hand, you don’t want the power rating to be so high that you run the risk of damaging your speakers.

The best rule of thumb is to match the power capacity of your AV receiver to that of your speakers as closely as possible. 50-100 watts per channel will provide more than enough volume for most home listening. (Bear in mind that wattage ratings are logarithmic, not linear, meaning that 100 watts is not twice as loud as 50 watts — in fact, it’s only slightly louder.) The aforementioned Yamaha RX-V385 offers 70 watts per channel; the RX-V4A offers 80 watts per channel; and the RX-V6A offers 100 watts per channel, making each of these models eminently suitable for most home theater applications.

Surround Sound Decoding and Processing Capability

Stereo may be fine for casual music listening, but if you want a true cinematic experience when watching your favorite movies and TV shows, you’ll definitely want to opt for a surround sound system. This means that your AV receiver will have to have multiple speaker outputs (as the RX-V385, RX-V4A and RX-V6A all do, as noted above) and it will also need to be capable of decoding the various surround sound formats commonly used for streaming audio and video.

These formats include Dolby TrueHD^®, Dolby DigitalPlus^® and DTS-HD Master Audio™ — all supported by the RX-V385, RX-V4A and RX-V6A; the latter also provides support for DTS:X™, Dolby Surround^® and Dolby Atmos^®. (The RX-V6A even offers Dolby Atmos Height Virtualization technology for the extra envelopment of height channels … but without having to add any additional speakers.)

Audio processing (sometimes called DSP — short for “Digital Signal Processing”) is utilized by most contemporary AV receivers to enhance audio signals in a variety of ways, including being able to isolate dialog so that you can make it louder or softer without altering background music and/or sound effects. Technologies such as Yamaha SILENT CINEMA (offered by the RX-V385, RX-V4A and RX-V6A) can also simulate various sound spaces when listening with headphones, optimized for a variety of categories in both video and music — for example, Adventure, Drama, Sci-Fi, concert hall, club, or small room. If you only have stereo speakers, you can simulate surround sound with the Virtual Cinema DSP feature offered by many Yamaha receivers, including the three models discussed here.

DSP can also be used to automatically adjust dynamic range — the difference between the loudest and softest sounds. In Yamaha AV receivers such as the RX-V4A and RX-V6A, this is called Adaptive DRC (Dynamic Range Control). It’s especially important when connecting gaming consoles to an HDMI input on your AV receiver, since it will ensure that, whatever game you’re playing, the volume doesn’t exceed an optimal listening level during the loudest moments.

Wireless Connectivity

It’s important for an AV receiver to be able to connect to the internet via your home network — in fact, it’s a necessity for streaming online content. A network connection also lets you access music libraries and other content you have on your mobile devices or home computers. Many contemporary AV receivers, including the three Yamaha models described here, provide Bluetooth^® support, allowing you to stream music wirelessly from smartphones, tablets, laptops and other devices into your receiver and then route it to your speakers.

In addition to Bluetooth, the Yamaha RX-V4A and RX-V6A offer numerous wireless streaming options, including Wi-Fi, AirPlay 2^® and Spotify Connect. These allow you to easily listen to your favorite music on services such as Pandora^®, Spotify^®, Amazon Music, SiriusXM, TIDAL, Deezer and Napster. The RX-V4A and RX-V6A also allow voice control via Alexa, Google Assistant and Siri (via Airplay 2) and provide support for Yamaha MusicCast multi-room technology, which enables you to control all functions remotely from a free app, as well as giving you the ability to connect optional wireless surround sound speakers.

Some MusicCast-enabled AV receivers (such as the RX-V6A) also provide support for multiple zones, meaning that in addition to your main listening room, you can also listen to the same, or a different, source in another room or zone. If, for example, your family room or home theater room is where your AV receiver lives, you can designate that room as your main zone and outdoor speakers on the patio as Zone 2, allowing you to easily send music from your receiver to the patio simply by pressing a few buttons.

Other Audio Features

Another important audio feature is eARC (short for “enhanced Audio Return Channel”), which you’ll find in all three of the Yamaha AV receivers described here. You may already be familiar with ARC, which allows audio to be sent from your TV to your AV receiver through the same HDMI cable that carries the video signal in the other direction, from your AV receiver to the TV. The “enhanced” part of eARC increases bandwidth, which allows the transmission of full high-res multichannel audio without downmixing the signal to two channels as a means to conserve bandwidth. In addition, eARC allows surround sound signal to be sent uncompressed to your receiver, so you can enjoy theatrical 3D immersive sound from movies offered by Netflix^®, Amazon Prime^® Video and many other streaming services. And because you don’t need extra wiring to get sound from TV-based apps to play through your receiver, you can use your smart TV as your main streaming video source and enjoy full surround sound through a single HDMI cable.

Some AV receivers, including the three models listed here, also allow you to automatically tune your system based on the acoustics of your room. In the case of Yamaha AV receivers, this technology is called YPAO (short for “Yamaha Parametric room Acoustic Optimizer”).

And audiophiles will appreciate the Pure Direct mode offered by many Yamaha AV receivers, including the RX-V4A and RX-V6A. When engaged, it feeds sound directly to the onboard amplifier and bypasses any DSP processing that might otherwise color the signal, ensuring the best possible high-fidelity sound from all audio sources — even those coming via USB and HDMI inputs. The end result is a more realistic sound and a deepening of the listening experience, making it more enjoyable than ever.

Video Features

Of course, picture quality is paramount. If you have a recently purchased a big-screen TV or are planning on buying one in the near future, you’ll definitely want to pair it with an AV receiver that has the ability to send incoming video to your TV or projector in up to 4K resolution. Such is the case with all three receivers listed here. The RX-V385 also provides support for several enhanced video modes that offer even better picture quality, including 4K Ultra HD, HDR10, Dolby Vision, Hybrid Log-Gamma and BT.2020; the RX-V4A and RX-V6A models up the ante with 8K HDMI passthrough and support for HDR10+, which delivers four times as much brightness as standard HDR.

Gaming Support

If you’re an avid gamer, you’ll want to choose an AV receiver that provides features specifically designed to improve the gaming experience, such as ALLM (Auto Low Latency Mode) and VRR (Variable Refresh Rate), both supported by the Yamaha RX-V4A and RX-V6A.

ALLM, sometimes known as “gaming mode,” tells the receiver to turn off all of its video processing so that the delay (latency) to display gaming video is minimized. VRR gives the AV receiver the ability to automatically vary the frame rate to match the output of the onboard graphics processor (GPU). It enables more fluid and detailed gameplay by reducing or eliminating lag and judder — jittery images caused by upscaling to the 60 frames per second (fps) required by a 60 Hz television and above — plus it reduces or eliminates frame tearing, which occurs when the frame rate exceeds the monitor or television’s refresh rate.

The end result? More realistic visuals to accompany the great audio being delivered by your surround sound system. Game on!

Learn more about the Yamaha RX-V385, RX-V4A and RX-V6A AV receivers.

Breakthroughs: A History of Yamaha Product Announcements at NAMM

Written by Yamaha Corporation of America on April 10, 2023. Posted in History.

Ever since the formation of the Yamaha Corporation of America in 1960, the company has been unveiling new products at the annual NAMM (National Association of Musical Merchants) show. Many of those products are now regarded classics — breakthroughs that had a major impact on music-makers and music lovers alike. Here’s a look at some of the most important Yamaha product announcements made at NAMM through the decades.

FG180 acoustic guitar (1966)

The FG180 was developed using a proprietary design and was engineered in-house. Its symmetrical dreadnought-style body offered a rich, bright tone and superior sound projection. (This was one LOUD guitar!) The original FG180 lives on in the current series of FG Red Label steel-string folk guitars inspired by the iconic Yamaha “red label” guitars of the 1960s — the instruments that were onstage at the original Woodstock.

CF Concert Grand piano (1967)

Grand piano on concert stage. — *CF Concert Grand piano.*

In 1965, Yamaha began working with lauded Italian piano technician Cesare Tallone. Together they explored all aspects of piano design, creating many prototypes that were evaluated by world-class artists and then refined further. This valuable real-world feedback resulted in the creation of the first CF Concert Grand piano, first unveiled to the public in 1967. The instrument was quickly adopted by leading artists of the era and soon become a mainstay in prestigious concert halls and at festivals and competitions the world over.

GX1 “dream machine” organ (1975)

Electronic organ with built in bench. — *GX1 “dream machine.”*

The GX-1 was a behemoth electronic organ popularly called the “Dream Machine.” Looking back today, it’s clear that the instrument was actually a synthesizer, and it likely was the first true polyphonic synth developed. The instrument has become legendary, and was used by artists such as Keith Emerson, John Paul Jones of Led Zeppelin, Stevie Wonder and ABBA’s Benny Andersson.

CP80/70 Stage Piano and SG2000 electric guitar (1976)

Two electric pianos. — *CP80 and CP70 Stage Pianos.*

Yamaha CP80 and CP70 electric grand “stage” pianos were used widely on records and in concert by major artists throughout the 1970s and 1980s — and some even still use them to this day. They delivered the depth of expression of an acoustic instrument while holding their own when performing on stage with electric guitars played at full volume. They featured the same frame action and frame construction as an acoustic piano, but could be split into two cases for storage, and utilized an electric guitar-style pickup system to pick up the sound for amplification via an amplifier.

Characterized by a sweetly beguiling sound made famous by Carlos Santana in his live performances and records of the era, the Yamaha SG2000 electric guitar offered superb sustain thanks to a single-piece construction that effectively transmitted the vibrations of the strings to the body, along with a sustain plate embedded directly into the body below the saddle. The SG2000 also featured a unique open humbucker supported at three points for easy adjustment of the pickup height and angle.

NS-10M studio reference monitor (1977)

Speaker with filter cover removed. — *NS-10M studio reference monitor.*

A mainstay in countless recording studios for more than four decades, these beloved white-coned reference monitors continue to be a force to this day, resulting in Yamaha winning a Technical GRAMMY Award in 2007. Originally designed as a Hi-Fi speaker for consumers, the NS-10 soon became a phenomenon in the recording world thanks to its uncanny ability to expose any sonic flaws in the audio, allowing for corrections to be made during the production process. Its legacy continues today in the current line of Yamaha HS Series powered speakers … which come complete with white woofers.

BB2000 electric bass (1978)

The first Yamaha BB (short for Broad Bass) models first appeared in 1977, but it was the BB2000, released a year later, that found tremendous popularity among many bassists of the 1970s and 1980s, who used it in a wide variety of genres from jazz-fusion to rock and pop. It featured a 5-ply neck-through design that conveyed the vibrations of the strings to the body without any loss for impressively long sustain. The BB2000 also featured a split-pickup design unique to the BB Series at the time, with the pickup for the first and second strings lying closer to the neck and separated from the pickup for the third and four strings, which was closer to the bridge.

PS-1/PS-2/PS-3 portable keyboards (1979)

Small music keyboard. — *PS-1 portable keyboard.*

Yamaha PS Series portable keyboards were developed for household use by students. Small, lightweight, and able to run on batteries, these instruments quickly won acceptance by beginners and teachers for their simplicity and low cost. The first three models included the PS-1, which featured a 32-key mini-keyboard and four sounds (organ, strings, clarinet and piano), as well as four internal rhythm patterns; the PS-2, which offered a 37-key mini-keyboard and an Auto Bass Chord function; and the PS-3, which boasted a 44-key mini-keyboard and eight onboard sounds.

Disklavier (1982)

The Disklavier is fundamentally a traditional acoustic piano with a built-in record-and-playback system — a product category known as a reproducing piano. The term “Disklavier” is a combination of the words disk (as in floppy disk) and Klavier, the German word for keyboard; at the time that the first Disklavier was introduced, recordings were stored on 3 1/2 inch floppy disks. The first Disklavier model was the MX100A, which was available in an upright piano called the U1, with the control unit built into the cabinet. The MX100A featured a remarkably sophisticated recording system for its day, including hammer sensors — an innovation that was not available on most reproducing piano systems from other companies at that time. The pedal sensors were limited to recording only two values: on and off (fully down and fully up), but even this first model included fundamental features that have been included on every Disklavier since, such as tempo control, transposition, and connectivity with external MIDI devices.

DX7 synthesizer and Clavinova digital piano (1983)

In 1967, composer and electronic musician John Chowning discovered that modulating one computer-generated waveform with another at high frequency rates produced a timbral shift, leading to the birth of FM (Frequency Modulation) synthesis. Yamaha eventually licensed and further developed the technology, culminating in the 1983 release of the DX7 synthesizer, which quickly became the best-selling synthesizer of all time and an instrument that fundamentally changed the sound of popular music from that point forward.

Electric piano. — *First-generation Clavinova CVP digital piano.*

The first-generation CVP Series Clavinova combined pianos with electronics. They featured a Piano ABC (Auto Bass Chord) function, the precursor of the Automatic Accompaniment function still included in current CVP Series Clavinovas, as well as ROM Music, which introduced new ways to enjoy music by enabling users to call up their favorite songs and play with the backing of a virtual orchestra.

TX816 FM Tone Generator System (1984)

Electronic component. — *TX816 rack-mountable FM tone generator system.*

The TX816 was a rack-mountable FM tone generator system equipped with the power of eight DX7s. It allowed users to create ensembles by functioning as a multi-tone generator when connected to MIDI sequencers, but was more often used to create powerful sounds by layering sounds from multiple tone generators simultaneously. At the time, most synthesizers had monaural outputs, but the TX816 provided outputs for each module, allowing panning across the entire stereo soundstage.

SPX90 multi-effects processor (1985)

Electronic panel. — *SPX90 multi-effects processor.*

This groundbreaking digital multi-effects processor featured reverb, delay, chorus, pitch change and a wide variety of other effects in an affordable rack-mount unit. In its day, it was considered almost miraculous that so much power could be packed into such a small space, and it quickly became a mainstay in recording studios, as well as in live sound racks … and it’s still in wide use today.

SHS-10 FM/MIDI keyboard and WX7 Wind MIDI controller (1987)

Keyboard with handle at one end. — *SHS-10 FM/MIDI keyboard.*

The SHS-10 was a lightweight keyboard that could be strapped over the shoulder like a guitar, allowing the performer to strut the stage as they played. It came with onboard FM sounds as well as an Auto Bass Chord function. Because it was outfitted with a MIDI OUT port, it could also be used to control external tone generators.

Electronic element shaped like clarinet. — *WX7 Wind MIDI controller.*

The WX7 was developed to enable wind players to control MIDI tone generators using the same playing techniques as they would with a saxophone or clarinet. Its design retained only the essential nature of a wind instrument: a mouthpiece that allowed the player to shape timbre, keys to denote pitch, and a tube to support the keys — all other functions and ornamentation were removed. Honed to a simple and minimal configuration, the WX7 defined a standard for digital wind controllers for decades to come.

SILENT Piano™ (1993)

At first glance, a Yamaha SILENT Piano looks just like a normal acoustic piano with weighted keys, pedals, strings, and hammers. The first of these, debuted in 1993, was the U5AS upright model outfitted with player piano capability plus a silencing function to enable nighttime practice, when the hammers no longer hit the strings so that the sound can be heard only via headphones. Instead, a series of optical sensors beneath the keyboard and pedals measures the nuances of the playing and then uses them to trigger the digital sound of a piano, which can be turned up or down as desired — without disturbing anyone in proximity. Today’s SILENT Pianos are available in a variety of upright and baby grand models; some even include sounds sampled from the famed line of Yamaha CFX and CFIIIs full-size concert grands.

02R small-format digital mixing console (1995)

Sound board. — *02R small-format digital mixing console.*

This best-selling digital recording console helped spark the establishment of project studios and personal studios throughout the world, and it was also widely used for live sound for many years. It housed up to four I/O (input/output) cards compatible with AES/EBU, ADAT and other digital audio formats to provide an open architecture design for creating optimal recording environments to fit a wide range of needs. The 02R provided 44-channel mixing capacity, 4-band EQ, a dynamics processor, input display, built-in effects and automated mixing functions.

DTX electronic drums (1996)

Electronic drum kit set up to play. — *DTX2 electronic drum kit.*

Electronic violin with cutout body. — *SV-100 SILENT Violin.*

The DTX2 (shown above) was the first model in the line of Yamaha DTX Series electronic drum kits. Equipped with virtual session features and advanced pad design, they were perfect for private practice and enjoyment at home, leading directly to the development of more advanced products such as the current Yamaha DTX8 and flagship DTX10 drum kits.

SV-100 SILENT Violin™ (1997)

The SV-100 was the first SILENT Violin. By removing the sound box and leaving only the frame, the feel of playing an acoustic violin was preserved while achieving a dramatically quiet sound level, winning great favor from violin enthusiasts concerned about their practice environment.

Electronic guitar with cutout body. — *SLG-100N SILENT Guitar.*

SLG-100N SILENT Guitar™, PM1D large-format digital mixing console and MOTIF synthesizer (2001)

The SLG-100N nylon-string SILENT Guitar, released at the dawn of the 21st century, was the precursor to today’s line of SLG-200 Series instruments. Its ghostly, minimalistic design (like a guitar without a body) delivered the sound of a natural acoustic guitar but with ultra-quiet results, allowing players to practice anywhere without disturbing others. Its lightweight and compact body lent itself to both travel and playing live.

The PM1D was the first in the flagship PM Series of Yamaha professional digital mixing consoles. It quickly became the mixer of choice by top live sound mixing engineers everywhere and became used widely in the world’s leading performance venues. Its innovative concept of making the controller, DSP engine, and I/O unit into components made it possible to build a system with flexibility to handle anything from a temporary PA setup to concert hall audio or broadcast equipment, with a unique mirroring mode for a high level of reliability.

Electronic keyboard with additional controls. — *MOTIF6 synthesizer.*

The MOTIF synthesizer was a cutting-edge production tool that was developed to give form to artists’ musical ideas and inspirations as “motifs” in a wide variety of music production scenarios. It featured an Integrated Sampling Sequencer that provided an innovative production environment in which MIDI voices and samples could be combined at a high level, and was capable of synchronizing sample loops and MIDI sequences in real time. It was also equipped with expansion slots compatible with modular synthesis plug-in systems and a real-time control surface.

Electronic bass with open body. — *SLB200 SILENT Bass.*

SLB200 SILENT Bass™ (2004)

The first Yamaha SILENT Bass featured a unique hollow body construction with a resonating chamber and newly developed pickups to produce a natural feel and sound similar to a standard upright bass The neck, strings, bridge, and tailpiece all used the same quality of material as a contrabass, making for a natural playability that added to its appeal. The current next-generation SLB300 SILENT Bass offers advancements that allow the player to control every aspect of their sound with the press of a button, including Studio Response Technology (SRT) that provides realistic body resonance so that the performer’s own playing technique and nuances are delivered without compromise. In addition to a piezo pickup and EQ controls, it also provides three different high-end microphone models, from the clear, warm sound of a dynamic to the rich timbre of classic vintage vacuum tube mics.

AvantGrand N2 and N3 hybrid pianos (2009)

Yamaha AvantGrand Series hybrid pianos, introduced in 2009 with the N2 and flagship N3 models, condensed the elements of a grand piano into a compact form. Featuring built-in speakers and a wooden keyboard with the action and authentic touch of a grand piano, it faithfully reproduced the resonance of a piano soundboard thanks to a unique Tactile Response System that utilized digital technology to recreate the natural vibrations felt when performing on an acoustic grand.

CFX Concert Grand piano (2010)

Classic grand piano with lid open. — *CFX Concert Grand piano.*

The next-generation CFX Concert Grand piano was the culmination of 12 years of development. All unnecessary inner strain in the instrument was removed, minimizing energy lost in the piano so that pianists could truly feel unified with the instrument, allowing them to fully focus on the music. All CFX grand pianos are crafted by hand, using the finest materials Yamaha has sourced or developed themselves. As a result, the range of expression and tonal colors possible have evolved to a new level.

THR desktop amps (2011)

Three small amplifiers. — *THR desktop amps.*

Guitarists are familiar with the tube amp stacks that sound amazing when turned up loud on a big stage, and with combo amps that are a perfect fit for smaller venues and rehearsal. The release of the Yamaha THR Series ignored the convention that a practice amp should simply be a smaller version of a larger amp, creating a new product category designed around what players need when they’re playing at home. The sound and high-quality effects of large amps are packed into these bestselling “desktop” guitar amplifiers. Despite their compact body size, they offer the response of a large amp, along with built-in digital effects. Today’s THR-II models continue in that tradition, adding extra power and advanced technologies such as wireless capability.

TransAcoustic™ Piano (2015)

Upright piano with inner workings visible. — *The insides of a TA2 TransAcoustic upright piano.*

The Yamaha TA2 TransAcoustic piano, which debuted in 2015, is a true acoustic piano that uses its soundboard to naturally amplify digital sounds, essentially turning the instrument into an acoustic speaker. Touchless optical sensors mounted under the keys convert every keystroke and pedal motion into digital data, allowing you to transform a TA2 upright piano into a Yamaha or Bösendorfer concert grand, an electric piano, harpsichord or organ.

TransAcoustic™ Guitar (2016)

These extraordinary guitars provide built-in reverb and chorus effects without the use of external pedals, processors or amplifiers. The LL-TA was the first TransAcoustic guitar to be shown at NAMM; its western body produces a rich sound with wide dynamics. The current line of TransAcoustic guitars also includes concert-size and small “parlor” guitars, as well as a nylon-string classical model.

Genos digital workstation (2017)

Electric keyboard. — *Genos digital workstation.*

The flagship Yamaha Genos Digital Workstation is a powerful and versatile songwriting and performance tool. It boasts 1,710 instrument Voices, 550 accompaniment Styles and 216 arpeggios, intuitive control via a 9″ color touchscreen and assignable buttons, sliders and knobs with their own OLED display. With Genos, you can apply various vocal harmony effects to your voice as you sing, or you can use its Synth Vocoder to superimpose the unique characteristics of your voice onto synthesizer and other sounds.

STAGEPAS portable PA system (2018)

Electronics. — *STAGEPAS 600i portable PA system.*

Yamaha STAGEPAS Series portable PA systems are simplicity itself. Each consists of two lightweight speakers, a pair of color coded speaker cables, a power cable, and a detachable mixer (with onboard effects) that fits neatly into the back of one of the speakers — and that’s it! With so few pieces to set up, you can have a powerful PA up and running within just a few minutes, quickly turning any space into a stage. The latest STAGEPAS 400BT, 600BT and STAGEPAS 1K models add wireless Bluetooth^® capability; all you have to do is pair your device and you’ve got instant audio streaming of backing tracks, break music, loops, even software instruments.

MONTAGE synthesizer (2019)

Large electronic keyboard. — *MONTAGE8 synthesizer.*

The flagship MONTAGE synthesizer was released to celebrate the 45th anniversary of Yamaha synthesizers. There are three models with 61-, 76- and 88-note keyboards, each equipped with a Motion Control Synthesis Engine, a tone generation system that combines a hybrid of AWM2 and FM tone generators with Motion Control to achieve continuous changes in complex sounds with a variety of control sources, allowing for smooth and dynamic expressivity.

Electronic instrument. — *YDS-150 digital saxophone.*

YDS-150 digital saxophone (2020)

The YDS-150 Digital Saxophone has a lot in common with its acoustic counterpart — yet it offers numerous exciting innovations. Both utilize a mouthpiece, reed and ligature to control nearly every aspect of the sound, so embouchure and articulation have the same approach. However, unlike on an acoustic saxophone, the reed on the YDS-150 is not what generates the sound; instead, that’s the job of a breath sensor mounted inside its body. The YDS-150 also offers a wide range of tonalities via 73 preset voices; in addition to standard sax sounds, there are non-saxophone sounds and other digital effects that simply are not possible on an acoustic sax, such as the sound of a soprano and bari playing at the same time. Like an acoustic saxophone, the YDS-150 has a brass bell, though it’s not used to project the sound (that’s done via an internal speaker); instead, it’s connected to internal componentry in order to provide the player with physical feedback that emulates that of an acoustic instrument.

Second-generation Revstar guitars (2022)

Large array of different colors of electric guitars. — *The full line of second-generation Revstar electric guitars.*

The second-generation Revstar guitars that debuted at the 2022 NAMM show represented a major leap forward in electric guitar technology. Though streamlined into three main categories Professional (RSP20), Standard (RSS20) and Element (RSE20), all second-generation models feature chambered mahogany bodies, a carbon-reinforced mahogany neck-through body design, rosewood fingerboards, jumbo frets (stainless steel on Professional and Standard models), humbucking or P90 pickups, new gloss finishes and satin finished necks that match the body color, as well as ivory-colored tuners that complement the unique headstock shape. Advanced features include a five-way selector switch (on Professional and Standard models) in combination with a unique passive boost on the tone control, as well as a “focus” switch — a passive boost that cuts the highs while boosting the low and mid frequencies to produce a sound similar to that of overwound pickups.

Discover the new breakthrough products just announced by Yamaha at the 2023 NAMM show.

Seraph Brass and the Next Generation of Female Wind Players

Written by Sonia Kanigel on April 7, 2023. Posted in Artists.

Mary Elizabeth Bowden wasn’t brought up to think she had to do things by the book. Growing up in Chicago in the 1990s, she watched her two older brothers take up the trombone and horn before she herself started playing at age 10. Although her father and mother weren’t musical themselves, they went all-in on their children’s interest.

Women holding a trumpet and smiling for camera. — *Mary Elizabeth Bowden.*

Bowden’s first instrument was a professional-level Yamaha cornet, and all three siblings took private lessons from respected horn player Tim Jones, who brought them to classical and chamber music concerts in the Chicago area. By the time she was 13, Bowden had switched to trumpet and knew music would become her career. At 14, she left traditional schooling to attend Joliet Junior College while playing principal trumpet in the Chicago Youth Symphony. After earning an associate’s degree at the age of 16, she began studying at the Curtis Institute of Music and the Yale School of Music, launching an orchestral career and landing a place in the Richmond Symphony.

By her late twenties, though, Bowden had started to feel she wanted something different. In 2011 she started the Chrysalis Chamber Players, a Florida-based non-profit ensemble that she still participates in today. She’s since performed as a soloist or in chamber groups across the United States, Finland, Switzerland, China, South Korea and other countries, releasing two solo albums: Radiance and Rêverie. She also played with Adele on the artist’s 2016 tour of North America.

Bowden’s defining contribution to the music world, however, might be Seraph Brass — the all-female quintet she founded in 2014. Besides showcasing the upper echelon of female brass players on the scene today, Seraph Brass is known for commissioning new works from composers representing underrepresented groups, including women. A Yamaha Performing Group, the ensemble released its first album, Asteria, in 2018. With the group now in its ninth season, Bowden talked with us about the unique background that launched her career, the inspiration behind Seraph Brass, and her advice for women making their way in music.

It seems unusual that although your family wasn’t highly musical, they started you on a professional-level instrument. Why do you think they did that?

My parents were very supportive of anything [my brothers and I] wanted to try. They felt that if we were going to do something, they should give us the best shot at it. I’m grateful to them for starting me on such a great instrument — and I still treasure that instrument to this day.

You became very independent at a young age, taking college courses and playing in high-level ensembles — even finding time to work and earn spending money on the side. How did that affect you growing up?

My parents raised us to be independent and able to take care of ourselves. They were supportive of unconventional ideas, and that approach to my schooling allowed me to put more time into practicing, attending concerts, and just becoming immersed in music and able to put in the time I needed on the instrument. My brothers had done the same thing — leaving high school for community college — so we were able to go to school together. They were my best friends, and we went to concerts together and really bonded over that.

That outside-the-box thinking was very inspiring for me. The skills that I was learning at a young age helped me to become very entrepreneurial. When I decided in my twenties to go from an orchestral career to becoming a soloist and forming Seraph Brass, I had the practical skills to make that switch. You can be a phenomenal player, but it takes more than that to succeed in a music career.

What inspired you to found Seraph Brass?

I think it was an observation that most of the chamber music groups I had heard at that point were all-male. I didn’t see that as a negative thing — it was just something in the back of my mind. I’d had some very influential women in my life when I was a teenager: I was very inspired by Barbara Butler, whom I’d seen perform around Chicago a lot. And my teacher at that age was Kari Lee, who was a strong role model for me and really taught me how to advocate for myself.

So the idea for Seraph Brass was always marinating somewhere in my brain. When I felt ready, after establishing myself as a soloist and coming together with the founding members, I said, “Let’s make this happen.”

Today, I’m the only founding member left. With any touring group, there is turnover because touring is quite intense; we do 60-70 concerts a year, and people’s lives change. But it’s been such a pleasure to work with the women that we’ve had in the group.

Five women in ballgowns walking down a path. — *Seraph Brass members Rachel Velvikis, Victoria Garcia, Mary Elizabeth Bowden, Cristina Cutts Dougherty and Raquel Samayoa. (Not shown: Jean Laurenz)*

What’s your approach to selecting repertoire, and especially to commissioning new works for the ensemble?

Commissioning new works is something we’re all really passionate about. We’ve commissioned a number of new works by women and also by underrepresented folks. We’ve joined a number of consortiums to help bring some of those new works to life as well. We’ll soon be performing a concerto by Jennifer Jolley for brass quintet and wind ensemble, and will be adding a new work by Jeffrey Scott next season. Our programs are a mix of new pieces and classical favorites, [with] some arrangements handcrafted specifically for the group.

What are some of your proudest moments with Seraph Brass so far?

When we first started the group, I wrote down some goals and dreams in a notebook. I’d been following different brass festivals, and I really wanted to go to Finland for the Lieksa Brass Week, so I thought I’d contact the artistic director, trumpet player Jouko Harjanne, in maybe five years when we were more established. And then in 2016 he wrote to me on Facebook and invited us. That was a proud moment for me because I had worked so hard to make the group happen and keep it alive and have that privilege of performing in front of an audience. So when you reach one of your goals — and reach it early — it’s a proud achievement. We’ve now been to the Lieksa Brass Week twice, and we’re returning this summer.

What are some of your goals for the group and your career in general?

My goal is to keep commissioning more trumpet concertos, and to share them globally. I love traveling the world, so I have a bucket list of places [I want to visit]. I also want to bring my husband (fellow Yamaha trumpet artist David Dash) into the mix more — to do some recitals together, which is quite fun. Seraph Brass is working on our second album now, and we’re recording a new arrangement of Anthony DiLorenzo’s Chimera for brass quintet and wind ensemble with the United States Army Band known as “Pershing’s Own.” (Listen to a performance of Chimera with the U.S. Army Band.) So the projects keep coming, and I’m sure something new will pop into my mind that I haven’t even thought of yet — which makes things fun and interesting.

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Seraph Brass before a performance with the U.S. Army Band.

Why did you choose to be a Yamaha artist and make Seraph Brass a Yamaha Performing Group?

Starting that relationship with Yamaha made sense because that trumpet is like my voice. I fell in love with the sound and the ease of playing. I love working with the company’s technicians too — their craftsmanship is incredible. At one point I dusted off my original Yamaha cornet, and I remember my husband looking over at me and saying, “Oh my gosh — that’s why you sound the way you sound.” I think that richness of sound that was in my ear at age 10 is the basis of the sound I still try to find every day.

What was it like performing with Adele?

It was a really interesting experience. She hired all female players for the tour, and some of the Seraph Brass ladies were on it for about 12 shows. It was fascinating to see how much goes on behind the scenes of such a large production — it made me grateful that I just have to set up my trumpets and stands! Plus I don’t know how Adele sang so many shows in a row, just belting the whole time. It was very impressive, knowing how draining tour life can be.

What would be your advice to young women seeking careers in music?

My advice would be, first, pick an instrument you feel connected to. My niece, who’s nine years old, just chose the trombone — she has my brother’s very first Yamaha trombone. I’d also tell them to think that anything is possible, and not to let anyone tell you what you can’t do.

As far as pursuing a career in music, remember that careers look different for every individual. Even if music isn’t what you do 100% of the time — my two brothers are computer programmers — that doesn’t mean you can’t create and learn and share it. If you really love music, you’ll want to grow every day, and you’ll enjoy the challenge of improving and making art and having interesting experiences. And I think it’s important to stay curious.

MORE ABOUT THE MEMBERS OF SERAPH BRASS

Raquel Samayoa leads a multi-faceted career as a teacher, chamber musician, recitalist, adjudicator and solo performer. She joined the University of North Texas College of Music in 2018, where she is currently Associate Professor of Trumpet, and Co-Conductor of the UNT Brass Band. Dr. Samayoa is also a founding member of Lantana Trio, a brass trio composed of UNT Brass Faculty.

Jean Laurenz is an eclectic musician who loves variety and collaboration. She is the Assistant Professor of Trumpet at The University of Wisconsin-Madison and has appeared with Adele, The Hanson Brothers, the Boston Pops and the Hong Kong Philharmonic.

Rachel Velvikis has been a permanent member of the Williamsburg Symphony since 2010 and has also appeared with the Virginia Symphony, the Virginia Opera, the Richmond Ballet, the Haddonfield Symphony, the New World Symphony and the Milwaukee Symphony. She has held the position of adjunct faculty at the University of Richmond since 2011.

Victoria Garcia is a freelance trombonist who has played with numerous orchestras in the New England area such as the Boston Symphony Orchestra, the Boston Pops and the Boston Pops Esplanade Orchestra. Victoria is also co-founder of a trombone quartet called “Boston Based” that won the Trombone Quartet competition at the 2017 International Trombone Association.

Cristina Cutts Dougherty graduated with honors from the Interlochen Arts Academy in 2015, where she was a pupil of trombonist Thomas Riccobono for two years. She received her Bachelor of Music in Tuba Performance from the Colburn School, studying with Norman Pearson of the Los Angeles Philharmonic.

Photos: Lisa-Marie Mazzucco

Find out more about Seraph Brass and Mary Elizabeth Bowden.

Women of NAMM

Written by Shelly Peiken on April 7, 2023. Posted in History.

If you’ve ever been to a NAMM (National Association of Music Merchants) show, you might have noticed that vendor representation is disproportionately made up of men. Yet there are troves of women with expertise and competence who could undoubtedly represent with distinction. Where have these women been?

Woman smiling for camera. — *Lisa MacDonald.*

To find the answer, I reached out to Lisa MacDonald, Director of Vertical Marketing at Yamaha Corporation of America and Chair of WoN (Women of NAMM) — a volunteer organization dedicated to connecting, supporting and growing women in the musical instrument (MI), pro audio and entertainment industries. Lisa and WoN are on the peaceful front lines of solidifying more visibility and opportunity for women in those fields.

Why do you and your colleagues believe women are so under-represented at NAMM?

There’s a school of thought that women aren’t taught to be good at leveraged business relationships like men are. We’re taught that transactional is distasteful. Women typically give without an expectation of getting something in return. It’s a “what can I do to help you” mentality.

There’s an article in the Harvard Business Review called Stop Telling Women They Have Imposter Syndrome that discusses why many women are made to feel like they don’t belong in the room. The premise being, it’s not that women don’t feel capable; it’s more that women don’t conform to the conventional male model of leadership so they don’t recognize themselves as leaders. But they are. They’re compassionate listeners and excellent communicators — standout qualities of leaders.

How has WoN made a difference?

WoN is dedicated to increasing female representation in the industry. Our primary goal is to build a network where women can connect, support each other and find personal and professional development. The organization chose to align with other women’s groups that have common interests and form a hub where everyone could come together.

It’s hard not to get angry with such a typically non-inclusive culture. How do you go about effecting change in a friendly way?

The best way to facilitate change is with positivity. WoN aims to educate without castigation — to give people practical information about how to be more proactive and how to create more equity. We talk to them about how to be aware because they might not even be aware of their (or their company’s) unintentional bias.

99% of people want to do good; they want to do better. You just have to give them the information and the opportunity. As for the 1%, it’s really easy to let them suck your time away from the 99% who want to make a difference.

Who are the core members of WoN and who do you aim to reach?

The organization welcomes corporate employees who work for manufacturers like Yamaha and others, as well as artists and people in the management side and production —the whole spectrum of music industry people. We currently invest most of our resources in early- and mid-career women — emerging women who are going to be impactful and critical to their business. WoN is excited to help them with tools, networking and support. But we are working on scaling benefits to all career levels in the industry.

How did you come to join up with WoN?

I worked in publishing for 10 years before entering the music space. It was Yamaha — who were early supporters (philosophically and financially) of Women of NAMM — that convinced me to join the organization. Yamaha is a company that has great respect for their employees and is passionate about their progress.

What are some upcoming events you’re excited about?

Several members of the organization will be presenting at the NAMM convention this year and speaking about issues surrounding our interests and concerns; WoN will also be hosting a networking reception at the show. Last year there was significant attendance from performers, songwriters, musicians, women in production and entrepreneurs.

Then there’s “Deep Dive” — an online bi-monthly facilitative conversation meant to bring women together in small groups to talk about a particular topic, aspiration or challenge. Men are invited too — especially those who are interested in being a better ally and want to participate in the conversation.

WoN also has an ongoing podcast called “ReVoicing the Future” that interviews women in all different facets of the industry who want to share their experience and help find and develop future talent.

WoN offers two scholarship programs. Can you tell us more about them?

The first covers travel and accommodations to bring six women to the NAMM show every year in order to meet people and get acquainted with people in the industry. We provide job shadowing and introductions, and we accompany the recipients to networking events. In addition, the scholarship recipients are provided with a year-long mentorship program.

The second program is a Leadership Summit — a three-day visit to NAMM headquarters in Carlsbad, California, where participants receive executive coaching and six months of follow-up.

THREE WOMEN OF NAMM SCHOLARSHIP RECIPIENTS

Miranda Altman, Director of Program Operations for Music Will

“Receiving a scholarship to the 2021 Women of NAMM Leadership Summit was truly a pivot point in my career,” says Miranda Altman, Director of Program Operations for Music Will, the largest nonprofit music program for schools in the United States. “I now find myself having this strong network of allies and the opportunity to both mentor and be mentored by a diverse and inspirational group of women. Being on the nonprofit side, partnerships and collaboration are essential to supporting the positive social impact of this industry. Through Women of NAMM, I now have a strong network of peers I can turn to for professional and personal support, synergy and innovation.”

Thea Paraskevaides, Founder of ARTISTS&

Thea Paraskevaides, founder of the production, performance and promotion agency ARTISTS&, had a similar experience. “Becoming part of the Women of NAMM organization and receiving a scholarship for the leadership summit came at the perfect time for me personally and professionally,” she says. “Having moved on from a business I had been in for over 10 years, it was a much needed reset and a deeply beneficially coaching and learning experience that helped me to identify my strengths, focus my career path and gain valuable experience and support from peers.

“The connections made have already lead to fruitful partnerships,” she adds, “and knowing there is a vast network of fierce and talented women just a message away is such a valuable resource in this industry.”

Kathleen Green, Senior Manager of Customer Engagement, Yamaha Corporation of America

Kathleen Green, Senior Manager of Customer Engagement, Yamaha Corporation of America, first got involved with Women of NAMM when she was one of 19 women selected to participate in the 2021 WoN Leadership Summit.

“During the three-day summit I learned a lot about leadership,” she reports. “We did team building, coaching and educational seminars as well as exploring our personal strengths and areas for development based on 360-degree feedback. But just listing those activities doesn’t encapsulate the magic that happened.”

Spending time at the NAMM headquarters also expanded Green’s thoughts on NAMM as an organization and helped to solidify the advocacy work that WoN does. “We work in an industry that changes people’s lives,” she says. “It gives people purpose, hope and an outlet for uncomfortable emotions. NAMM is a business association, but it’s very mission-driven to support the pleasures and benefits of music, making sure music is accessible for everyone.

“I absolutely cannot wait for the WoN network sessions at the upcoming NAMM show,” she adds. “While networking can conjure up images of forced conversations and awkward asks, it’s all about mindset. It’s really an opportunity to make new friends. There are many great opportunities to meet inspiring people with similar interests or career paths that could become lifelong connections!”

For more information about Women of NAMM, visit ww1.namm.org/women-of-namm

Baseball in glove on a base with a bat next to it.

Play Ball! 10 of the Best Baseball Movies

Written by Rich Tozzoli on April 6, 2023. Posted in TV & Movies. 1 Comment on Play Ball! 10 of the Best Baseball Movies

Spring has sprung and with it comes balls, strikes and baseball season. Here’s a list of 10 of the top baseball movies of all time.

1. A LEAGUE OF THEIR OWN

The title of this classic comedy directed by Penny Marshall refers to a fictionalized version of the World War II-era All-American Girls Professional Baseball League. Tom Hanks stars as a former Chicago Cubs slugger who manages a team called the Rockford Peaches. He’s an abrasive alcoholic who thinks the league is a joke … until the teammates bond and start to win their way to the World Series. Famous for the classic line “There’s no crying in baseball,” the movie also features Geena Davis, Madonna, Rosie O’Donnell, Garry Marshall and Jon Lovitz. Find out where to stream it here.

2. FIELD OF DREAMS

A riveting fantasy based on Canadian novelist W.P. Kinsella’s 1982 novel Shoeless Joe, the film version stars Kevin Costner as a farmer who begins getting mysterious telepathic messages telling him that he should build a baseball field in his Iowa cornfield, which he does, to the delight of his small daughter. To everyone’s surprise, the field attracts the ghosts of baseball legends of the past, including Ray Liotta as Shoeless Joe Jackson. Also making strong appearances in supporting roles are James Earl Jones, Burt Lancaster and Amy Madigan. Field of Dreams was nominated for three Academy Awards^® for Best Picture, Best Adapted Screenplay and Best Original Score (by composer James Horner). Find out where to stream it here.

3. 42

This inspirational biopic about baseball player Jackie Robinson explores the pressures and challenges he faced as the first black athlete to play in Major League Baseball™. It stars Chadwick Boseman as Robinson, with Harrison Ford as Branch Rickey, the firey owner of the Brooklyn Dodgers™ in the postwar era. The title refers to Robinson’s jersey number, which was retired across all of baseball in 1997. Find out where to stream it here.

4. THE NATURAL

This compelling drama was directed by Barry Levinson and stars Robert Redford, Glenn Close and Robert Duvall. Based on Bernard Malamud’s debut novel of the same name, it tells the story of Roy Hobbs (Redford) — a baseball prodigy whose career is shut down when he is shot by a mysterious woman. The film received critical accolades and was nominated for four Academy Awards and a Golden Globe^® Award in 1984. Find out where to stream it here.

5. THE BAD NEWS BEARS

You’re guaranteed to laugh out loud at this classic 1976 comedy, which stars Walter Matthau as alcoholic ex-baseball pitcher Morris Buttermaker, who becomes the coach of a youth baseball team known as the Bears. The cast includes Tatum O’Neal, Joyce Van Patten and Jackie Earle Haley. Interestingly, the score (by composer Jerry Fielding) adapts the principal themes of Bizet’s opera Carmen. Find out where to stream it here.

6. BULL DURHAM

This 1988 rom-com was partly based on writer/director Ron Shelton’s minor-league baseball experience. It centers around the Durham Bulls, a single-A minor league baseball team, where hotshot rookie pitcher Ebby Calvin “Nuke” LaLoosh, played by Tim Robbins, is guided by ex-major league catcher Lawrence “Crash” Davis, played by Kevin Costner … and also by “baseball groupie” fan Annie Savoy, played by Susan Sarandon. The movie won an Academy Award for Best Original Screenplay and a number of Golden Globe Awards. Find out where to stream it here.

7. MONEYBALL

If you’re interested in high-stakes financial wheeling and dealings, you’ll enjoy this flick about the 2002 Oakland Athletics and the attempt by their general manager Billy Bean (played here by Brad Pitt) to put together a great team despite having a limited budget to work with. Co-starring Jonah Hill and Phillip Seymour Hoffman (as legendary A’s manager Art Howe), Moneyball was nominated for six Academy Awards, including Best Picture, Best Actor and Best Supporting actor. Find out where to stream it here.

8. MAJOR LEAGUE

This comedy features an all-star lineup that includes Tom Behringer, Wesley Snipes, Charlie Sheen, Rene Russo, Margaret Whitton and Bob Uecker. The plot centers around a Las Vegas showgirl who inherits the poorly performing Cleveland Indians baseball team from her deceased husband. Wanting to move the team to Miami — which a legal loophole allows her to do if attendance falls below a certain level — she schemes to make them lose any way she can. Slowly, though, the team gels both personally and professionally and starts to win … to everyone’s surprise. Find out where to stream it here.

9. THE ROOKIE

Here’s a feel-good film, based on the true story of Jim Morris (played by Dennis Quaid), who made his MLB debut at the age of 35, struck out the first batter he ever faced on three straight fastballs and went on to play two seasons before retiring and returning to teaching in Texas. Find out where to stream it here.

10. THE BABE

John Goodman stars as Babe Ruth in this 1992 biopic that begins with the seven-year-old George Herman Ruth being sent to a reformatory school for boys, where Brother Matthias Boutlier first teaches him about the game of baseball. Ruth would sign with the Baltimore Orioles as a teenager and become a star pitcher for the Boston Red Sox before being traded to the New York Yankees, where he would make the switch to outfield and transform into the legendary slugger every baseball fan loves and reveres. Find out where to stream it here.

female working on laptop while holding a calculator

Financial Tips for Music Educators

Written by Don Stinson on March 31, 2023. Posted in Funding. 2 Comments on Financial Tips for Music Educators

I have never been shy about asking for funding or resources for my programs. Over the years, I have noticed some patterns that have led to success when it comes to requesting additional funding. Click on the links below for a few guidelines that I follow:

HOW TO ASK AND BE SPECIFIC WITH YOUR WANTS AND NEEDS
I ASKED AND THEY SAID YES! NOW WHAT?
I ASKED AND THEY SAID NO! NOW WHAT?
STRETCH THE MONEY YOU HAVE
USE IT OR LOSE IT

There is Always Money Somewhere

Multiple Departments: Funding for your program is not limited to one department. Additional money can come from various sources, including athletic and student activity accounts from other clubs (provided that this funding is allocated appropriately). If your performing ensemble participates in any entertainment at athletic events, take the pulse of your relationship with the athletic director and ask if there is money available to pay for pep sheet music or instruments used specifically for pep events.

I worked at one school where the athletic account covered drumline bleacher stands and pep-band drum sets. It also provided funding for five pep band charts annually. (I was appreciative of this and let a coach or two pick some of the pieces that we ordered.)

Some music directors may not see school spirit items as a priority, but it can free up money in other areas. Don’t hesitant to ask for or accept funding from larger departments that may have a surplus. Other small clubs have offered to buy the band music before for a specific event. We’re all in this together, so I gauge whether to accept the funds. If another group is running a fundraiser, I’ll do my best to keep costs down and either take care of or find another source for the music.

THE YEV ELECTRIC VIOLIN: Add an electric ensemble to your traditional program!

Grants and Resources: Grants are always an option for music programs. You may find success looking for available grants on your own, or you can ask a trusted parent or student leader to do some research. Start with your state and national music organizations. Stay updated with educational magazines and articles. Grants vary — some may be specific to a discipline, area or low-income programs, while others may have few restrictions. We all are aware that some college scholarships don’t get many applicants. The same is true for grants, so when possible apply to ones that you have a higher chance of getting.

When in doubt, apply for equipment or programs that will be beneficial to your students. Here’s a starting list:

The Meemic Foundation
National Association for Music Education Scholarships and Grants
The National Association of Music Merchants
The Country Music Association
The local chapter of Lions Club International, Rotary International, Kiwanis International or other social organizations
Local and state organizations that represent your student’s backgrounds.

It also helps to be aware of current events. For example, COVID-19 brought forth the Education Stabilization Fund as a part of the CARES Act. Some music programs were able to buy instruments and music software from this grant. While your administration will make the final decision, being aware of these situations can help you advocate promptly.

Additional Budgets: Some other “uncommon” solutions may exist. Does your school allocate textbook money? Probably. Create a proposal to request the purchase of method books or sheet music. Some schools allocate textbooks to departments with a rotating schedule. In most schools, the music department is usually not a part of this schedule. The powers that be assumed that we didn’t need or want these resources. After some written proposals with rationales, we were able to cover a classroom set of warm-up and technique books for our program.

Consider speaking to your administration about options involving capital outlay, which are funds used to acquire, upgrade, maintain or repair capital assets/equipment. Many districts consider $500 and above to determine whether an item falls under capital outlay. A $1,000 flute qualifies, but a $20 pair of sticks is probably a supply (consumable or non-consumable, depending on your district). At some schools, capital outlay is only for purchasing items; if the item needs repair or improvements, this comes from another budget, which is typically called something along the lines of “maintenance and repairs.” There is another option called “capital improvements,” but this is for improving an asset to add value directly to the asset. There is a chance that your district may already be paying for repairs out of a budget under the maintenance and repairs categories. However, some schools may benefit from looking into this.

Ask the Community for Money: Community members such as small businesses, alumni and even former music parents can provide financial support. Be clear and concise in your request. Be mindful of the companies that want to sponsor you. Reputation and ethics are more important than fundraising.

Another option is to offer community members the opportunity to donate materials that may help your program. Many people have forgotten instruments in their closets. They will often sell them for a low price or donate them to a music program. Always follow up with a handwritten thank-you note and a receipt for the donation.

I send out an email or letter around November to encourage end-of-year giving. I’ll sometimes send another one around spring cleaning. We typically get a good response and receive about five usable instruments for the program annually.

How to Ask and Be Specific with Your Wants and Needs

Which request do you think would have a greater chance of being considered?

I would like to ask if any funds are available for a new or used trumpet. The approximate price is $800, but I have some leads on a high-quality used instrument for $550. The $800 price includes the instrument and two mouthpieces. There are some cheaper horns available, but the brand I’m asking for would be a part of our program for at least 15 years with routine maintenance. If we can attain this instrument, it would be put immediately into use in three periods of band, marching band, pep band and jazz band. As you’re aware, over 75% of our students require a school-owned instrument. This instrument would benefit at least three current members and help us promote even more participation in our ever-growing program. Thanks for your consideration!
I am requesting more money for the music program for instruments.

In request 1, I get straight to the point by asking if there is money available for an instrument. I then give a price, some options that show I have done my research, support for longevity, an authentic sense of urgency, amount of students who would benefit, brief information about our program, a reminder of our recruitment efforts and a friendly closing.

Request 1 is long enough to provide supporting details, but short enough to not inundate an administrator with a run-on communication. It also doesn’t leave much to follow up on. I may receive an email back asking if I could pay for this out of my own budget, which I could then respond to with reasons why not (out of money, sudden expense, just a great deal coming up, etc.).

Response 2 offers a slim chance of opening up a budget discussion and provides very little for a decision-maker to work with.
Asking for what your program needs either gets a solution or raises awareness. Best-case scenario? You get more resources for your students. Worst-case scenario? Someone tells you no, but the people who make financial decisions are aware that there is a need for higher-quality items or an increased inventory.

Some teachers may feel anxiety and apprehension when asking for funding as if they are asking for money for themselves or that they may appear greedy. Others feel guilty about other programs. “The volleyball team doesn’t get a lot of funding, so what right do I have to ask for more?”

I got over any fear or uneasiness. First, this money is not for me. I’m asking for funds that the district or taxpayers make available for education. We are an educational program, therefore, we can ask for that money. Second, the volleyball coach can ask for his program, and I’ll worry about mine.

I Asked and They Said Yes! Now What?

Say thank you! Better yet, have a student write a handwritten thank-you note (and check off that sweet, cross-curricular/writing component that schools often want from each class). Second, don’t brag about it. Financial decision-makers may have quite a few programs coming to them for assistance, and they responded to you. If anyone wants to know how the school spends money, they can ask the people in charge of that area.

I Asked and They Said No! Now What?

Was it a “no,” or a “no, not right now?”

Either way, don’t take it personally. The “no” was not a direct attack on your program, but more than likely, a decision made with information that you might not have access to, such as future expenses, needs of other departments or account balances.

Reevaluate: Did you present the group’s case in the best way possible? Could you have been more precise? If you have a good relationship with your administration, ask them bluntly, “Is there anything I could have done differently that would have resulted in a different outcome?”

Follow-up: Ask your administration if you can revisit this request in three to six months. Chances are you won’t get a firm “no.” The administrator may invite you to visit this at another time.

Do not retaliate! You may feel that since you didn’t get a tuba, the school shouldn’t get a band at the pep assembly. Retaliation hurts the program and the school and can create a negative relationship between your program and the school. Don’t be known as someone who pouts when they don’t get their way.

Stretch the Money You Have

A Good Bow or Mouthpiece Can Go a Long Way: If your program cannot purchase or raise funds for a new instrument, consider purchasing good mouthpieces or bows that you can check out to students. A high-quality accessory can significantly improve the tone and control of a beginning or intermediate instrument.

Outsourcing is OK: I was often in the position of wanting to do auditions or placements but not having the money or time. Outsourcing these jobs is OK if your district is fine with it. I never want to take work away from those who depend on judging or clinics, but if you have a larger program and little funding, consider completing these digitally. We moved to pay $5 for initial chair placements. Students spoke an ID number into a recorder and then performed their excerpts. I compiled the digital files and emailed them to off-site adjudicators who were professionals on each instrument. Our band parent association paid the adjudicators $5 per audition, and they emailed back results and feedback to over 125 students within 24 hours. Remote or outsourced judges are also an excellent option for a rural school that may not have regular access to other music teachers.

Instrument Repair Hacks: Lastly, instrument repairs can eat up costs quickly. Check out this article I wrote on some money and time-saving tips when dealing with instrument repairs.

Use It or Lose It

Very few educators are in a place where they have a surplus of funds at the end of the year. Additionally, many budgets are “use it or lose it,” meaning that if you do not spend all your budget money, it cannot roll over into the next year. It’s gone.

In many cases, a school finance director may see a pattern of one program underspending by $200 a year, and another program or area in need of additional funding. A reasonable assumption would be to cut the first program’s budget by $200 and allocate more money to the other program in the next budgeting cycle.

I don’t advocate frivolous spending, however, many of us have experienced the reality of sudden expenses coming up. These often fall in the area of repairs, sheet music replacements or even a new student moving in who is in need of some supplies.

Create a surplus list for items that can be covered by a small amount of remaining budget money. I have tuners, metronomes, brass mutes, reeds and sheet music on this list.

What are your budgeting tips? Email us at educators@yamaha.com.

Slippery Rock University's wind ensemble's percussionist

A DEI Seed Takes Root at a University’s Music Library

Written by Dr. Jonathan Helmick on March 31, 2023. Posted in Case Studies.

In the words of the iconic “Golden Girls” character Sophia Petrillo, played by Estelle Getty, “Picture it. March of 2020!”

No, this is not another article centered on strategies for teaching during a pandemic. Rather, it is the story of a seed that was planted a few semesters ago in the most adverse of conditions that is just now starting to show signs of taking root. It is the narrative of a group of Slippery Rock University (SRU) undergraduate students — mostly music majors — who, when confronted with issues of equitable programming disparities, invested their time to leverage a solution. It is a reminder that, in those moments of uncertainty when it feels as though the world has been turned upside down, some of the most important anchors that we can provide to our students come in the form of connection, self-reflection, direction and purpose.

Engaging Students with Issues of Diversity, Equity and Inclusion

When the pandemic moved our classrooms online in 2020, I decided to present the students in the SRU Symphonic Wind Ensemble with a variety of possible directions to take our new online classroom. My goals were to keep them connected while they were apart and explore topics and ideas that were relevant to them.

I first surveyed the students to discover their interests. They were presented with a variety of topics around which I would design activities, lectures and projects. Survey choices included “Voodoo and the Wind Band,” “Wind Band Music and Social Justice,” “Landmark Works of the Wind Band,” etc. However, one topic overwhelmingly received the most responses — “Diversity in Wind Band Literature.” That was our seed.

The unit began with a quote from former First Lady Michelle Obama’s speech at the Summit of the Mandela Washington Fellowship for Young African Leaders: “No country can ever truly flourish if it stifles the potential of its women and deprives itself of the contributions of half of its citizens.” The message and spirit of that speech inspired the goals for this unit:

Goal #1: Reflect on your personal experience with wind band literature in relation to your own culture/identity/etc.
Goal #2: Reflect on your personal experience with wind band literature in relation to the culture/identity/etc. of others.
Goal #3: Explore music and discover resources that reflect/amplify the diversity reflected in our classroom and community.

Over the course of the unit, students were introduced to foundational aspects of sociocultural identity (visible and invisible), intersectionality, and they informally mapped and reflected on their own identity. They were encouraged to describe ways in which the components of their identity are represented and/or absent in the wind band music that they have performed, studied and consumed over their lifetime. The student responses were eye-opening.

Presenting students with resources to discover repertoire written by underrepresented voices led to questions about what it means to be seen in the art that we create as a community of musicians — it was a tale of two cities. Student contributions to discussion prompts revealed an inverted bell curve, students either felt that their identity was represented with some consistency in the music they studied and performed, or they did not feel as though that was the case at all. Overwhelmingly, students expressed that they wanted to continue the conversation and, when in-person performances could resume, perform works by the composers that they had studied during this unit.

Notably, the desire to perform works from the diverse composers we studied underscored the systemic problem: Our 100-year-old music library, like many, was overrepresented with Caucasian, cis-gendered, male composers. Further, the limited budget offered through the department to acquire new music to diversify the library amounted to only $500 split among the wind ensemble, concert band and marching band. To accomplish the modest goal of ensuring that we could develop diverse and inclusive programs for each of our concerts was going to require funding.

From Students to Scholars

The student goal of programming concerts that more closely mirror our community has led to a multi-semester, student-driven research and grant-writing project that has resulted in successfully authoring three grants to diversify our available music library and concert programs. We have been awarded over $6,000 for new music! One award, an internal faculty-student research grant through Slippery Rock University, involves students developing a consortium to commission a composer to write a new piece for wind band that will be performed in the fall of 2023.

To successfully acquire those grant monies, the students in the SRU Wind Ensemble engaged in a self-study, cataloging the available demographic information of the composers within our permanent library, and analyzing the data. The goal was to identify the degree to which the available literature in the library reflected an overrepresentation of certain identities. They began by breaking themselves into teams. Each team of students used available resources (such as The Wind Repertory Project and the Institute for Composer Diversity) to research demographic and biographical data for each composer within the library.

This research was done after considering and acknowledging the limitations of the project. Some of those limitations included meaningful discussions on the following:

How can we accurately account for invisible diversity (sexual orientation, neurodiversity, etc.)?
How do we catalog the intersection of multiple identities?
What aspects of diversity can we realistically research given the resources and time available?
How can this project be scalable (timeline, workload, etc.) while still ensuring that it is meaningful?

The students drew several conclusions. First, this project cannot accurately account for the vast multitude and complexity of identity and diversity. Second, the students acknowledged that invisible diversity is not always easily accounted for nor is it always freely expressed. With these limitations in mind, the students chose to narrow their focus on three aspects of diversity: gender/gender identity and expression, race/ethnicity, and membership in the LGBTQIA2S+ community.

Once the raw data was cataloged, a team of student leaders analyzed the data and presented it to the members of the ensemble. The following is a summary of the findings, presented with the following caveats based on the review of available resources at the time:

The project leaders acknowledge that identity (both visible and invisible) may not always be accurately accounted for in the available resources. Further, identity may not always be freely expressed by the composers within the library.
Recognizing the potential limitations and inaccuracies of the available data, the students felt that this project was still worthwhile, anticipating that the result would reveal an accurate approximation of the demographics of the content of the library.

Of the 492 composers in the SRU Symphonic Wind Ensemble Library,

96.22% of the composers were categorized as male, 2.84% were categorized as female and 0.96% were categorized unknown.
90.3% of the composers were categorized as Caucasian, 2.1% as Latinx, 1.4% as Asian, 0.7% as Black/African American, with the remainder being categorized as unknown.
2.85% of composers within the library were categorized as being members of the LGBTQIA2s+ community.

Identifying the overrepresentation of Caucasian, male and non-LGBTQIA2S+ composers within the library, the students went so far as to compare the data from their study with the available demographic data of SRU. Contextualizing the data further reinforced the need to generate financial resources to diversify the contents of the music library.

Leveraging the Data

To diversify the library, the students set the goal of identifying resources in the form of grants that might apply to this project. Focusing efforts first on internal grants, the following grant applications were submitted through Slippery Rock University for two separate projects. Benjamin Johnston, an undergraduate oboist and officer in the SRU Symphonic Wind Ensemble, served as co-author of each grant application. The grants were as follows:

The SRU President’s Commission on Racial and Ethnic Diversity (application submitted)
The SRU President’s Commission on Women (application submitted)
The SRU Faculty/Student Research Grant (funded)

Through this process, two exciting projects emerged. The first two grants listed above are being leveraged to purchase existing music for our library that is written by underrepresented composers, our first project. The third grant is being used as the foundation for a consortium project to commission a living composer to write a new work for wind ensemble that will be premiered in the following year. Over the course of this project, the students will select a composer, develop consortium membership and premiere a new composition through a project that they initiated.

Moving Forward

The two projects are now at the stage where financial resources have been generated to successfully move forward and we could not be more excited or grateful. As we transition into carrying out these projects, it is an opportune time to reflect on the impact that this has had on the students and the program. As a teacher, it has been humbling to watch students engage with issues of diversity within the profession. Over the course of the journey, students have been able to:

Describe ways in which the aspects of their identity are represented and/or absent in the wind band music that they perform, study and consume (systemically).
Reflect on ways in which systems (publishing, programming, etc.) overrepresent dominant identities and underrepresent non-dominant identities in the band music that they perform, study and consume.
Identify and reflect on a variety of barriers to diverse and equitable programming.

We are still in the middle of this journey, but I hope that this article serves as a catalyst for generating more ideas on engaging students with relevant issues centered on diversity in the music that we compose, perform and consume. Most of all, I hope that it highlights how we as educators can encourage and empower students to make a difference and become

5 Ways to Conquer Procrastination

Written by Kathryn Drury Wagner on March 30, 2023. Posted in Self-Care. 1 Comment on 5 Ways to Conquer Procrastination

Writers are famously good at procrastinating. Just how good? While working on this article, I found myself shopping for a dog bandanna … and I don’t have a dog.

Many creative and artistic personality types, including music educators, struggle with procrastination, which affects up to 20% of adults. Interestingly, some parts of the country tend to have more procrastinators, including Northern California and Oregon, according to the American Psychological Association. You’ve probably noticed procrastination behavior with some of your students, too, especially if you teach teens. A 2016 study found that procrastination is most common in people ages 14 to 29.

What Causes Procrastination?

The word procrastinate has been around in the English language since the 1500s, with roots in the Latin prefix pro as in “forward” and crastinus, meaning “of tomorrow.” This makes me picture a bunch of monks playing foosball and drinking beer while a stack of manuscripts goes uncopied.

All humans procrastinate to some level, and that’s due to a cognitive bias: They falsely believe that 1) tasks will magically become easier, and 2) we’ll have more time for the task. According to research published in 2022 in the journal Nature Communications, MRI imaging can capture a brain procrastinating, with changes observed in the prefrontal cortex. With procrastination, we tend to enjoy the immediate rewards of procrastinating — whee, free time! — and underestimate the adverse consequence of procrastinating, such as stress, late fees or bad performance reviews.

Two Types of Procrastination

According to the U.S. Department of Education, procrastination comes in two flavors: active and passive. Active delay, a.k.a. active procrastination, is when someone chooses to wait until there is sufficient pressure to act. These are the people who file taxes on April 15 at 11:30 p.m. Or teachers who turn in student grades right before the administration comes calling for them. Some people simply prefer to work with a little — or a lot — of deadline weight bearing down on them.

Passive procrastination, in contrast, is when someone is paralyzed by a task, with that awful sensation of having no idea where to begin.

Procrastination and Mental Health

While it’s normal human behavior to procrastinate, it can be worsened by depression and anxiety. Writing in Psychology Today, Alice Boyes, Ph.D., notes a “chicken-and-egg” problem, where people deal with stress by procrastinating, which leads to more anxiety, which can contribute to a lack of momentum. One self-help treatment for depression is called behavioral activation, she says, where people schedule activities that are enjoyable and provide a sense of mastery and engagement. “Changing your behavior in this way can make your thinking style less depressed, even though you’re not specifically working on changing your thinking,” Boyes writes.

Try These 5 Strategies

Here are five ways to tackle procrastination:

Connect big-picture goals to tasks. Preparing a lesson plan or assessing a student’s composition might be the task, for example, but keep your eye on the prize: You went into music education because you have a passion for music and wanted to share that love of music with other people. Tapping into that emotion can help reframe tasks as less onerous and more meaningful.
Try the 15-minute trick. Set a timer and work on your task for 15 minutes. Just 15 minutes. When the timer goes off, you may find that you’ve gained some traction and are getting into the zone. Keep going if you want to. If not, take a break. Play the bassoon, pet your cat, call your sister. Then take another 15-minute whack. Time-management pros call this strategy “microproductivity.”
Visualize the future. Writer Robert Hanks suggests that procrastination is a failure to “identify sufficiently with your future self.” So, using as many details as possible, imagine yourself suffering the results of your procrastination. Picture your future self, super tired, swigging coffee after having stayed up way too late working on student evaluations. Or think about dirty dishes piled up in the sink. Now envision yourself getting a good night’s rest after you banged out that grading, or how nice it feels to walk into a clean kitchen in the morning.
Build in some rest days. Just as someone might have a “refeed” day if they are on a strict bodybuilding diet, pencil in an occasional cheat day for your brain. Burnout is one of the leading causes of procrastination, so support your mental health with time in nature or exercising. A rest day is the ideal time to recharge with some hobbies, time with friends and family, or just to putter. You’ll be back in business the next day feeling more refreshed and ready to handle your to-do list.
Go with it! According to research published in the Academy of Management Journal, moderate levels of procrastination enhance creativity. The study authors noted that an incubation of ideas allows people to see problems with fresh lenses and to synthesize various area of knowledge. “Our research is not intended to license procrastination, but rather to normalize it as a potentially productive part of the creative process under special circumstances — where the delays are moderate and the problem is interesting or a new solution is needed,” the study’s authors wrote. A too-high level of procrastination, they warned, could be counterproductive to creativity.

Conquering procrastination can lead to more life satisfaction, less stress and greater professional success. So, if, as English writer Edward Young wrote “procrastination is the thief of time,” maybe this article can nudge you to stop stealing from yourself. Now, who needs a dog bandanna?

The Best Music Streaming Services for Audiophiles

Written by Mike Levine on March 28, 2023. Posted in Music and Streaming. 1 Comment on The Best Music Streaming Services for Audiophiles

Almost ten years ago, TIDAL became the first streaming music service to offer music encoded with lossless compression. For those with keen enough ears to notice the reduction of quality inherent in music that utilizes a “lossy” codec like MP3 or AAC, this was a significant breakthrough.

These days, most streaming music services offer lossless options. Some charge more for the privilege, while others make it available in all their paid plans. Here’s a guide to the lossless options available out there.

Lossless vs. Lossy

The tricky part of streaming high-res files is that the better the quality (that is the higher the bit resolution and sampling rate), the bigger the file size and the faster the internet download speed required. Completely uncompressed audio at CD quality (16-bit/44.1 kHz) and better (24-bit/48 kHz up to 352.8 kHz) results in audio files that are too large to stream easily.

A codec (short for code/decode) algorithm is used to shrink digital audio files. Lossy codecs discard some audio information in order to accomplish that goal, while lossless codecs reduce file size without removing any data.

Though they provide lesser sound quality, lossy codecs are better at decreasing file size. An MP3 can often shrink a WAV file by 90 percent. Lossless codecs like FLAC (short for Free Lossless Audio Codec) ren’t able to cut the file size as much but still can shrink down a WAV file by 50 to 70 percent.

Many of the music services offer some content at 24-bit/192 kHz, which requires approximately 9216 kbps (9.216 megabits per second, or Mpbs for short) to stream in what we perceive as “real” time. The rule of thumb is that your internet download speed should be about twice the size of the most data-intensive files you’re streaming, or you might have issues. So with 9.216 Mbps files, you’d need about 20 Mbps or faster download speed.

For context, CD quality (16-bit/44.1 kHz audio) audio gets streamed at 1411 kbps — something that even a relatively slow connection of 3 Mbps or so can handle. (If you’re wondering about the speed of your internet connection, plenty of free browser-based speed tests are available online.)

Quality

Lossless high-res offerings vary in quality from one service to the next, but they all sound significantly better than compressed formats like MP3 or M4A. Here are the main differences between popular streaming services:

Amazon Music Unlimited’s premium plan offers up to 24-bit/192 kHz FLAC files.
Both Qobuz subscription levels (Studio and Sublime) provide 24-bit FLAC files, with sampling rates ranging from 48 kHz to 192 kHz.
Apple Music^® uses its proprietary lossless codec called ALAC (short for Apple Lossless Audio Codec). The songs available on the service run the gamut from 16-bit/44.1 kHz to 24-bit/192 kHz.
The Premium plan from Deezer provides music files at CD quality.
The classical-only streaming service Idagio also provides CD-quality audio.
TIDAL’s Hi-Fi Plus service is its most expensive tier. Many of the songs it makes available are from the TIDAL Masters catalog. They were encoded with a proprietary system from a company called MQA (Master Quality Authenticated) and range from 26-bit/48 kHz to 24-bit/352.8 kHz.

You may be surprised that Spotify^® hasn’t yet entered the lossless streaming space. Although it’s an industry leader in many ways, its high-res tier has long been under development but isn’t yet available.

Library Size

The capability to stream in high resolution is only advantageous if the streaming service offers a comprehensive selection of lossless files. The good news is that each of the services covered here offer millions of lossless songs. However, some services are vague regarding the percentage of their catalogs that are at their highest quality levels.

Amazon Music Unlimited features over 100 million total songs, with 50 million of them lossless. On its website, it says that “millions” of the latter are “Ultra-HD,” which Amazon defines as “better than CD-quality audio (up to 24-bit/192 kHz).”
Qobuz also offers more than a 100 million songs; however, only those streamed via the Qobuz Studio and Qobuz Sublime services are 24-bit.
Apple Music announced that its catalog exceeded 100 million songs in October 2022.
Deezer’s catalog contains 90 million songs, all CD quality (16-bit/44.1 kHz).
Idagio’s entire library of some two million classical pieces is also CD quality.
TIDAL’s Hi-Fi Plus service offers more than 100 million hi-res songs.

Offline Listening

When listening to high-res files, the ability to listen offline is important because you may find yourself in situations where you don’t have Wi-Fi and therefore can’t stream large files. The workaround is to download files to your device in advance. All the services covered here offer a download option.

Most also let you purchase the files you download. The advantage is that you’ll still be able to access them should you cancel your subscription at some point.

Additional Content

All the services mentioned here include music videos. Most also provide podcasts, although Apple recommends using its free Podcasts app, which offers a much larger variety.

Deezer is the only service that offers scrolling lyrics, synced to playback, for most of its songs. In addition, it gives you a free app called SongCatcher that can identify any music you hear elsewhere or that you sing or hum into your device’s microphone.

Classical music fans will be intrigued by Idagio’s Premium+ Concerts plan because it gives them access to the site’s lossless catalog as well as a selection of live and recorded concerts.

Which Streaming Site?

Audiophiles have plenty of options when it comes to streaming in high-res. Most of the services mentioned here offer 30-day free trials. After finding the most appealing feature set, you can use the trial period to audition your choice before committing to a subscription.

Here’s a table that compares and contrasts the different high-res options offered by various services:


Streaming Service	Free Trial	Cost per Month	Number of Songs	Audio Format and Quality	Other Content	Listen Offline	Purchase Music
Amazon Music Unlimited	30 days	Student $5.99, Individual $10.99, Family $14.99	Over 100 million	FLAC: 16/44.1 kHz up to 24/192 kHz	Podcasts, Videos	Yes	No
Qubuz Studio	1 month	Solo $10.83, Duo $14.99, Family $17.99	Over 100 million	FLAC: 24-Bit up to 192 kHz	Music -Related Articles and videos	Yes	Yes: 320kbps/128kbps lossy MP3 files to 24-bit/192kHz quality FLAC files
Qobuz Sublime	No	Solo $15, Duo $22.49, Family $29.17	Over 100 million	FLAC: 24-Bit up to 192 kHz	Music related articles and videos	Yes	60% discount
Apple Music	1 month	Student $5.99, Individual $10.99, Family 16.99	Over 100 million	ALAC: 24/48 kHz lossless up to 24/192 kHz	Videos and some Podcasts	Yes	Yes: (CD quality and high res lossless)
Deezer Premium	1 month	Individual $10.99, Family 17.99	Over 90 million	FLAC: 16-bit, 44.1 kHz	Podcasts, videos, Song Lyrics, Song Catcher	Yes	No
Idagio Premium+	14 days	Individual $9.99, Student $4.99 (website only price)	2 million (Classical only)	FLAC: 16-bit, 44.1 kHz	Videos	Yes	No
Idagio Premium+ Concerts	14 days	Individual $16.67 (website only price)	2 million (Classical only)	FLAC: 16-bit, 44.1 kHz	Videos, Concerts	Yes	No
TIDAL Hi-Fi Plus	30 days	Student $9.99, Military & First Responders $11.99, Individual $19.99, Family $29.99	Over 100 million	FLAC: 16-bit, 44.1 kHz, MQA: Up to 24-bit, 352.8 kHz	Podcasts, Videos	Yes	Yes
TIDAL Hi-Fi	30 days	Individual $9.99, Family $14.99, Student 4.99, Military & First Responders $5.99	Over 100 million	FLAC: 16-bit, 44.1 kHz	Podcasts, Videos	Yes	Yes (MP3 and FLAC versions

10 Cool Piano and Keyboard Blues Licks

Written by Jerry Kovarsky on March 27, 2023. Posted in Keyboard How-to.

In last month’s Well-Rounded Keyboardist posting, we talked about various forms of the blues chord progression. Now let’s learn some great phrases to use in your soloing.

The Blues Scale

The most common note choices for playing blues licks come from what is called a blues scale. In the key of C, these notes are:

Both bars 1 and 3 sound the same; the only difference is whether you call the fourth note a sharp or a flat. These notes work well over either a C dominant seventh chord or a C minor seventh chord, although many blues players will use the scale across the entire chord progression. The following 10 cool blues licks all use a blues scale.

1. Super-Simple

This first lick is just a short melodic phrase. As with all the other audio clips in this posting, I’m playing it slowly to aid in your learning, but this (and all the other licks) sounds much better at faster tempos.

The rhythm is just as important as the note choices, so it’s good to explore different approaches. Here’s a nice rhythmic variation:

2. Going Down

This next lick moves downward.

Another good way to develop variety is to change one or two notes to come up with a different phrase. For example, try these two ideas:

Leaving out a note is also a great way to change things up, and gives your lines a nice syncopated rhythmic, as in these examples:

3. Triplet Feel

Using triplets (i.e., dividing the beat into three equal parts) imparts a nice feel to many blues licks. For example:

4. Mixed Rhythm

You can create more interesting phrases by varying your use of eighth and sixteenth notes, triplets and rests, like this:

5. Double Notes

A classic blues (and rock and roll) technique is to play two notes repeatedly. This helps add power to a lick, as you can hear in the following example.

6. Major Blues Scale Licks

For a different sound, use a Major blues scale instead:

This has less color/tension notes as compared to the standard blues scale described above, plus it has a brighter sound. Let’s go back to our first few ideas and adapt them to use the Major blues scale instead:

7. Complex Blues Licks

Putting all these concepts together allows you to craft some great blues licks for your keyboard soloing. Here’s a perfect phrase to use for an intro into a blues shuffle:

8. Classic Rock and Roll Licks

Try out this riff next time you play a more rockin’ blues tune (note the two “crushed” notes played closely to the main notes in the first bar):

9. A Power Riff

This next lick uses notes played in fourths to give strength to your line.

It also sounds great on a distorted organ or a strong synth sound:

10. Use Both Blues Scales

This last lick blends seamlessly between both blues scales, closing with a classic ending figure:

All audio examples played on a Yamaha P-515

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Bass amplifier with headphones resting on top.

How to Choose a Bass Amp

Written by E.E. Bradman on March 24, 2023. Posted in Bass.

You’re happy with your bass, you’re getting great tone in your headphones, your regular practice sessions are showing results, and you’re ready to throw down with a drummer. The next step? An amp that’ll bring your bass lines to life.

In a world full of digital audio workstations, in-ear monitors, and clubs and rehearsal studios that provide “backline” amps of their own, you might wonder whether it’s worth investing in your own rig. The answer is almost certainly yes! In fact, learning how to sculpt the sound of an amplifier — the last part of your signal chain and a crucial factor in your bass tone — is just as important as choosing the right instrument and strings. Although in-ear monitors are more common than they used to be, they’re not as ubiquitous as amps; you never know when you’ll be asked to bring your own rig, so understanding how to get “your sound” makes all the difference when you encounter an amp you’ve never seen before.

BASS AMP BASICS

When we use the term “bass amp,” we’re usually talking about the combination of a preamp for tone control, a power amp that amplifies the signal, and a speaker inside a cabinet. Although some musicians prefer separate power amp and preamp units, many modern bass amps combine both elements into a “head.” A “combo” brings together a head, speaker and cabinet in one unit.

rocket-bass-family-1 — *Ampeg Rocket Bass combo amps.*

If you’re in the market for a head, you’ll notice the distinction between tube amps (renowned for their “warm” old-school sound and desirable distortion), solid-state amps (lighter, smaller and less expensive than tube amps) and hybrids, which combine tube preamps and solid-state power amps.

An amp’s power is expressed in watts. For most rehearsals and gigs, a 50-watt amp is underpowered, a 300-watt amp gets the job done, and a 1,000-watt amp is overkill. (In general, tube amps are louder than solid-state amps with similar power ratings.) If you buy a separate head and cabinet, you’ll have to make sure the speaker’s impedance, measured in ohms, meets the minimum impedance listed on the head. If you don’t have enough ohms, you risk frying your amp.

We refer to bass speakers and cabinets, known together as “cabs,” by the size of the speaker. Cabs come in several different sizes (usually between 10″ and 18″) and in many different combinations, where the first number denotes how many speakers there are and the second number denotes their size. The most common combinations are 1 x 10 (one 10″ speaker), 1 x 12, 1 x 15, 2 x 10, 4 x 10, 6 x 10 and 8 x 10. Many bass cabinets are also equipped with a tweeter, a small speaker focused on reproducing high-frequency sounds. It can be useful to think of speaker sizes in terms of low end and definition; generally speaking, bigger speakers have more bottom, while smaller speakers have more detail. Many players experiment with various combinations to get the sound they want.

Beyond these basics is a universe of options. Some amps have onboard effects such as compression; others use software to model various tones; many have built-in XLR direct outputs; and a few have more than one channel so you can quickly switch between two different tones, which is useful if you play both electric and upright bass, for example.

WHICH AMP IS RIGHT FOR YOU?

Here are some questions that can help you decide which amp is right for you:

How do you want to use your amp? Is it for low-power practice sessions or rehearsals and live gigs with a drummer? Do you also want to use it for recording?
What kind of tone do you prefer? Most modern amps are quite versatile, but a particular amp’s inherent tone may be closer (or farther) to your ideal tone than another.
How much power do you need? If you’re in a four-piece metal band, you’ll need more wattage than someone who plays with singer-songwriters or in a piano trio.
How important is portability? Bass amps usually weigh more than guitar or keyboard amps, and back in the day, “louder” equaled “heavier.” Thankfully, many of today’s lightweight heads, speakers and combos deliver plenty of volume.
What’s your budget? Many manufacturers offer models at both ends of the affordable-to-aspirational spectrum, but research and patience can put an expensive amp within reach.

Once you’re clear on your needs, you can jump into shopping mode.

LET’S GET READY TO RUMBLE

If you’re ready to buy an amp but are stumped about where to begin, learn what your favorite bass players use, and notice what amps you see and hear at shows. Ampeg^™is a well-known company that has been offering a wide variety of much-loved bass amps for more than a half-century, including the iconic B-15 combo (which you can recreate by combining a modern-day Ampeg PF-50T Portaflex tube head with a 1 x 15 PF-115LF Portaflex cabinet) and the powerhouse SVT stack (still manufactured by Ampeg today), augmented by modern-day models such as the compact Micro Series and versatile Rocket Bass combos. Browsing YouTube and reading reviews are also great ways to begin understanding the pros and cons of any amp you’re thinking of buying.

But nothing compares to trying out amps at a music store. If you can, play your bass (not one hanging on the wall) through every rig you’re considering so you can see how they sound together. How easy is it for you to get the tone you want? Are the amp’s controls easy to navigate? Then have a friend play while you stand a few feet away and listen. Pick up the amp and imagine carrying it upstairs or loading into a club. Are the switches and knobs solid? Do the wheels work well? If the amp meets or surpasses your expectations, it may be time to take it home.

In many ways, we live in the golden age of bass amplification. Today’s rigs are the lightest and most powerful they’ve ever been, and the overall standard has risen considerably since the birth of the bass amp back in the 1950s. It’s an amazing time to be a bass player, so plug in, tune up, turn up and let it rumble!

Photos: Jesper Van.

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Closeup of someone's hands on a game controller.

Seven Movies Based on Video Games

Written by Tariq Kamal on March 20, 2023. Posted in Gaming. 2 Comments on Seven Movies Based on Video Games

Console and PC-based games first became popular in the 1970s. According to the World Economic Forum, video games now generate more revenue than the music and film industries put together. Yet Hollywood was slow to catch on.

The first live-action adaptation appeared in 1993, capitalizing on the gaming renaissance brought on by the 1986 release of the Nintendo^® Entertainment System. Many more have followed, and several have generated big box office revenues. Let’s take a look at some memorable entries.

1. Super Mario Bros. (1993)

Super Mario Bros. had all the makings of a blockbuster: a built-in audience, high-profile actors, a big budget and a Disney distribution deal. Despite all those advantages, the film, based rather loosely on Nintendo’s massively popular Super Mario series, failed on nearly every level.

Some critics praised the special effects and the performances of Bob Hoskins (Mario), John Leguizamo (Luigi) and Dennis Hopper (King Koopa), but most were generally unimpressed by the writing, pacing and plot. And aside from two overall-clad plumber brothers on a mission to rescue a kindhearted princess, the film’s story and aesthetics borrowed little from the game. That could help explain why Super Mario Bros. failed to attract enough fans to recoup its production costs. Find out where to stream it here.

(Note: The Super Mario Bros. Movie, a computer-animated adaptation, was recently released and has already set new box-office records.)

2. Mortal Kombat (1995)

The original Mortal Kombat was already a massive arcade hit when it reached home consoles on Sept. 13, 1993 — a date many fans refer to as “Mortal Monday.” More than three million cartridges had been sold by Thanksgiving, but the game’s success was tinged with controversy. Mortal Kombat’s unflinching and, for the time, shockingly realistic depictions of violence, gore and death helped prompt the U.S. Senate hearings that led to the Entertainment Software Rating Board (ESRB) ratings system.

A little less than two years later, the first of three live-action film adaptations reached theaters. Based primarily on the first game with inspiration from its sequel, Mortal Kombat II, the movie pitted “Earthrealm” martial artists Liu Kang, Johnny Cage and Sonya Blade against a series of otherworldly combatants in a tournament staged to determine the fate of humankind.

Achieving a PG-13 rating required filmmakers to drastically tone down the violence, including the games’ signature “Fatality” finishing moves. But critics found plenty to like about the film, and so did audiences: Mortal Kombat held the top box-office spot for three weeks and has become a cult classic. Find out where to stream it here.

3. Lara Croft: Tomb Raider (2001)

In the days before The Hunger Games, Wonder Woman and Black Widow, female-led action-adventure movies were still considered a novelty … and female-led action-adventure video games were rarer still. Then came the Tomb Raider franchise and its inimitable heroine, the British archaeologist, intellectual and all-around badass Lara Croft.

Released in 1996 to critical acclaim and booming sales, the original Tomb Raider video game was the first in a series of 20 (and counting). Five years later, Lara Croft: Tomb Raider hit the silver screen, starring Angelina Jolie as the titular adventurer racing a gang of Illuminati members from Cambodia to Siberia to piece together a mysterious artifact.

The film generated $274 million in box-office grosses but failed to impress many critics. It was followed by a sequel, Lara Croft: Tomb Raider — The Cradle of Life (2003) and a reboot, Tomb Raider (2018). Find out where to stream all three here.

4. Resident Evil (2002)

The March 1996 release of the original Resident Evil set a new standard for scary video games. Among its fans was Mortal Kombat director Paul W. S. Anderson, who was so enamored of the game and its dark, zombie-filled world that he wrote a script that would later be reworked for the film adaptation, which debuted in 2002.

Rather than co-opt existing characters and plotlines, Anderson decided to make the movie version a prequel to the games. He also shifted the focus from survival horror to action horror, casting Milla Jovovich as Alice, a renegade employee of the evil Umbrella Corporation, where illegal experiments led to the creation of the zombie-generating T-virus.

Resident Evil overcame generally negative reviews to surpass the $100 million-dollar mark at the box office and spawn five sequels. A 2021 reboot, Resident Evil: Welcome to Raccoon City, aspired to return the film franchise to its horror survival roots. Find out where to stream them all here.

5. Warcraft (2016)

Warcraft (and, later, World of Warcraft) is a series of real-time strategy and online multiplayer games and novels, among other media. The film version, which was based on 1994’s Warcraft: Orcs & Humans video game (the first of a lengthy series), is regarded as a rather faithful adaptation. It’s set in the established fantasy world of Azeroth, whose residents face hordes of orc invaders from another dimension.

The movie earned more than $439 million at the worldwide box office and remains the all-time highest-grossing movie — live-action or animated — inspired by a video game. Yet despite its global commercial success, it failed to win over many critics, earning just a 28% score on Rotten Tomatoes and a 32/100 on Metacritic — worse than Super Mario Bros.’s 29% and 35/100, respectively — and low marks for character and plot development. Find out where to stream it here.

6. Pokémon: Detective Pikachu (2019)

Adapted from the family-oriented 2016 video game of the same name, Pokémon: Detective Pikachu is a rare example of a game-related film that won praise from gamers, moviegoers and critics alike.

Both the game and the movie center around aspiring Pokémon trainer Tim Goodman and a Pikachu who dresses like Sherlock Holmes and whose speech (voiced by Ryan Reynolds in the movie) can be understood by Tim, a rare connection for the species. The pair then team up to solve a mystery involving Tim’s father, a chemical concoction that causes Pokémon to go berserk, and a series of supporting human and monster characters.

The film was a runaway hit, earning more than $433 million at the worldwide box office, trailing only Warcraft among entries in this genre. Find out where to stream it here.

7. Werewolves Within (2021)

As for the highest-rated feature film adaptation of a video game, it’s not even close: Werewolves Within stands alone with an 86% “Fresh” Rotten Tomatoes score, beating 2022’s Sonic the Hedgehog 2 (69%) and the aforementioned Pokémon: Detective Pikachu (68%) by a mile.

The movie is based on the 2016 social-deduction game developed by Red Storm Entertainment and Ubisoft for virtual reality platforms. As in the game, a group of people attempt to figure out who among them is the werewolf menacing their community — a medieval village in the original and the remote, modern-day town of Beaverfield in the film adaptation. Reviewers praised the successful blend of horror and comedy and singled out the performances and chemistry of the amiable Sam Richardson (Veep and Ted Lasso) and actress Milana Vayntrub. However, despite the critical acclaim, the film was a commercial failure, bringing in less than $1 million against a multimillion-dollar budget. Find out where to stream it here.

Take your gaming and viewing experience to the next level by adding a Yamaha AV receiver or sound bar to your setup.

Closeup of someone playing a green violin/fiddle.

What’s the Difference Between Fiddle and Violin?

Written by Jake Uitti on March 17, 2023. Posted in Acoustic Strings.

In the world of stringed instruments, it’s a common question. After all, at first glance, a fiddle and a violin look alike. They seem to sound the same, too, when it comes to tone and range. But there must be a clear distinction, right?

Actually, no. In fact, there is no significant physical difference between the instruments. Rather, what demarcates the two is mostly the music being played and the musical approach being taken. When playing folk, country or bluegrass, for example, the instrument is understood to be a fiddle, but when playing classical music, it’s a violin. Want to know more? Keep reading …

THE VIOLIN

The violin is perhaps the most well-known instrument in the string family. The word “violin” comes from the Italian word violino, and the first instruments of the same name appeared around the 16th century. When a bow is pulled against the violin’s four strings (a technique called “bowing”), vibrations are created that are amplified by the instrument’s hourglass-shaped wooden body. The violin’s sound emanates from two f-shaped holes carved in the body, called “f-holes.”

View of violin from above. — *A Yamaha violin.*

A violin’s strings are tuned to the notes G, D, A and E. The instrument operates in the soprano range and its neck is fretless. Each string is tuned by one of four tuning pegs at the top end of the neck (the “scroll”).

Players hold the violin with one hand, using that hand’s fingers to press down on different areas of the strings along the neck, bowing the instrument with their other hand. (The strings can also be plucked with the fingers, creating a brighter, more staccato sound.) The chinrest at the bottom end of the violin is placed between a player’s chin and shoulder to steady it.

When performing, a violinist will typically take advantage of the instrument’s entire range of pitches, playing all over the fingerboard, from the notes nearest to the tuning pegs to those all the way up the neck. This, as you will see shortly, differs from common fiddle playing.

THE FIDDLE

The term “fiddle” is a generic, colloquial or even just an affectionate name for a violin. The word is likely derived from the Latin fidula — an ancestor of the bowed stringed instrument known as a lira. Like the violin, the fiddle has four strings tuned to G, D, A and E, and, again, a bow is used to create friction with the instrument’s strings to create the sound, which emanates from a pair of f-holes carved into the body. (As with the violin, the player can also pluck the strings with their fingers, though fiddle is mostly bowed.)

A fiddle often sounds as if it’s being bowed faster than a violin. One reason for this is that a fiddler will generally only play the notes nearest the tuning pegs, keeping his or her hand in what is known as “first position” (see illustration below). In contrast, violinists tend to utilize the entire fingerboard and full range of notes.

PHYSICAL DIFFERENCES

By and large, fiddle and violin are pretty much the same physically, but there can be some minor structural differences that are worth noting. For example, some fiddles may have a flatter (i.e., less arched) bridge as compared to violins. In effect, this brings the strings closer to the instrument’s neck and fingerboard for an easier “action,” allowing fiddlers to do things like play two or more notes at a time and facilitating faster playing.

Another difference is the type of strings preferred by violinists — gut or synthetic-core — versus the steel-core strings typically chosen by fiddlers, who prize the crisp sound those strings lend to the music.

Finally, some modern fiddles may include a fifth, lower C-string, although this distinction can be more of a grey area when considering contemporary electric violins, which are also often called “electric fiddles,” given that some electric versions of the instrument also offer a lower C-string.

FIDDLE VS. VIOLIN MUSIC

The fiddle is used in country and bluegrass, Cajun and Appalachian string bands, Irish and Celtic folk tunes, and even traditional West African music — genres that often call for solos or other musical embellishments. Fiddle music is usually performed at a fast tempo designed to get listeners up and dancing,

Violin is used mainly to play classical music, as performed by orchestras, symphonies and chamber groups, all musical environments prized for precision over creative interpretation. As such, violin music rarely, if ever, calls for improvisation.

Classical violinists are trained to be very precise in how they play a piece; there must be no deviation from the music as it was written by the composer. Fiddlers, on the other hand, are given the freedom to interpret the music they play in their own unique way, and are also encouraged to create their own signature playing style.

For an example of some great fiddle playing, look no further than country icon Alison Krauss, who both plucks and bows her fiddle in the country tune “Choctaw Hayride,” or check out Michael Cleveland & Flamekeeper’s “Lee Highway Blues.” An example of technical violin music can be found in this performance of a Beethoven Concerto, which involves more musical precision.

PLAYING DIFFERENCES

The biggest differences between fiddlers and violinists lie in the music they tend to play and the approach they take to playing their instruments. Fiddle music is more common during celebratory get-togethers like square dances, while violin music is mostly meant for more cerebral, contemplative musical performances. Fiddlers also often play “by ear,” without sheet music, whereas classical violinists adhere strictly to the written notation.

Playing style can vary subtly amongst violinists and fiddlers, but one common difference is the way a fiddle player holds their instrument. Fiddlers tend to rest their palm against the neck, instead of allowing space between it and their hand, as more technically-minded violinists might do. In addition, when using the bow, fiddle players sometimes place their hand higher up the bow than violinists would, making it easier to play at fast tempos. Finally, fiddlers often employ non-traditional playing techniques, such as string bending or extended double- and triple-stops (where two or three strings are bowed simultaneously).

Yamaha offer a wide range of student violins and electric violins.

My Introduction to Orff

Written by Aleah Fitzwater on March 16, 2023. Posted in Teaching Tips.

The first time I heard of Orff, I was a sophomore instrumental music education major at The University of Toledo. My advisor recommended that everyone in her Music for Children course accompany her to the international Orff conference in Atlantic City, New Jersey. She said that entry to the conference would be free for those who volunteered at the convention center. Two of my classmates and I decided to make the 14-hour trek from southern Michigan. The trip was well worth it.

After I registered as a student volunteer, I was assigned to be a door guardian to check the IDs of licensed educators. This allowed me to talk to hundreds of Orff-certified music educators from around the globe.

The conference was shocking in many ways. I first attended recorder workshops where I felt most at home because I play the flute. The classes that pushed me out of my comfort zone were the interpretive dance sessions on the second day. I planned to sit and simply watch the workshop, but I quickly learned that that’s not how Orff is done.

“Dance like a snowflake,” the instructor said.

I was assigned a dance partner who fluttered around me gracefully. Soon, our 20-person class had become a winter forest full of birds, trees, snowflakes and decaying leaves.

At first, I felt uneasy. This was so different from the band workshops I was used to attending. While the voice in my head was telling me to run away from this uncomfortable, childlike experience, I danced instead.

What is Orff?

Orff, a developmental approach to music, was pioneered by German composer and music educator Carl Orff, who believed that any child could learn music, and that music was meant to be social. The key aspects of the Orff approach are music, movement, drama and speech that mimic children’s play.

While teaching at Günther-Schule, a school of music and dance, Orff and Dorothee Gunther, a colleague and dance instructor, began creating the methodology in the 1920s.His book of principles, “Orff-Schulwerk” (school work in German), was published in 1930.
The pedagogy was further developed by one of his students, Gunild Keetman, who became Orff’s colleague and, eventually, co-developer. That’s why the later era of the Orff method is referred to as Orff-Keetman.

Keetman integrated the recorder and created many Orff-style percussion arrangements. She co-wrote books with Orff and also penned “Elementaria,” a handbook for teaching rhythm, melody and speech, as well as how to guide students in movement training.

Orff principles were introduced to the United States in the 1950s after music educator Doreen Hall returned from studying in Europe. She is considered the first Orff teacher in the U.S. and set the improvisational stage for decades to come.

Becoming Licensed in Orff

The American Orff-Schulwerk Association (AOSA) believes that there are four stages to learning music: imitation, exploration, improvisation and composition.

There are hundreds of local Orff chapters around the country. After I was licensed, I joined the Rossford/Toledo chapter in Ohio. During conferences and meetings, you can earn hours toward your license renewal. Student memberships are around $30/per year, while educator memberships are around $95. Conferences cost about $300 to $800, depending on how long you plan to attend, if you have a membership, and when you register.

There are three Orff levels after which you are certified in Orff-Schulwerk. You are allowed to take only one level per year, and each level takes at least 60 hours to complete. AOSA recommends completing the levels within seven years, so you retain the material.
Orff levels aren’t as sequential as you might think. The method involves revisiting the same themes but making them more complex — something that music educators have described as holistic.

In the introductory level, there are a lot of folk dances, pentatonic melodies, ostinatos and bordun accompaniments. As you work your way up to levels 2 and 3, you will learn more involved music theory and perform gradually more complex improvisations.

Elemental Music

One of the staples of Orff is something called elemental music. According to Orff, “Elemental music is never music alone but forms a unity with movement, dance and speech. It is music that one makes oneself, in which on takes part not as a listener, but as a participant.”

Elemental music is easily digestible and accessible to all. It is something that is meant to foster participation, which I learned in the interpretive dance workshops on the second day of my first Orff conference! I think of elemental music as Orff’s mission statement.

Orff Vs. Kodaly

Orff is often compared Kodály, a musical concept developed by Zoltán Kodály in Hungary in the 1920s after he became frustrated with the poor quality of music education. Both approaches were started at the same time and have similar philosophies: they start with the pentatonic scale, introduce sound before symbols (i.e., no musical notation to start) and promote the belief that music is social.

However, a key difference is that Orff believes we should start young musicians out on instruments, whereas Kodály begins with voice. Overall, Kodály uses more vocals and believes that music must be introduced in a specific sequence. (See “Teach Composition to Older Beginners Using Kodály Philosophies.”)

Orff Lessons I Used

Some free Orff resources I have utilized include:

My playdough sculpture lesson is based on an Orff lesson I saw when attending a local chapter meeting. I also regularly use Orff stories in my class, which gives students creative license over the instrumentation that each character or action in the book is assigned. Joshua Block’s arrangement of “Step Back, Baby” for percussion and voice is an excellent lesson for more advanced elementary students.

Whether you choose to get your certification in Orff, Kodály, Suzuki or another method, I always find it eye-opening to learn about new pedagogies by attending a conference and talking to other music educators.

teen girl writing in notebook with open laptop in front of her

Teach Composition to Older Beginners Using Kodály Philosophies

Written by Bryant Montalvo on March 16, 2023. Posted in Teaching Tips. 1 Comment on Teach Composition to Older Beginners Using Kodály Philosophies

Teaching high school students who have never had any formal music training the language of music can leave a profound impact on not only their love for music but also contribute to their cognitive development and improve their literacy skills. One of the best ways to do this is by creating a course on music composition that can be available to anyone. You can accomplish it all with limited resources.

In my music composition classes, I incorporate the Kodály Concept, a student-centered, sequential teaching philosophy inspired by Hungarian composer and educator Zoltán Kodály (1882-1967) that focuses on learning music through singing and extensive physical movement. In this way, the learning environment is not a torture but a joy, says Kodály, for students as they experience music through three different modes: kinesthetic, auditory and visual.

CLICK ON THE LINKS BELOW TO READ ABOUT MY FOUR TIPS:

1. START WITH THE BODY

2. USE MUSIC STUDENTS KNOW

3. TREAT MUSIC COMPOSITION LIKE A LANGUAGE CLASS

4. INCORPORATE TECHNOLOGY

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1. Start with the Body

Regardless of your students’ age, music learning should start with the body. One of the six principles of the Kodály philosophy — the body is an instrument — may be used as the basis for learning. It may or may not come as a surprise that many high school students have a hard time keeping a steady beat. If students are lacking the heart of the music, how can we teach them to be music literate in the absence of steady beat?

Rhythmic activities that require students to move their bodies and experience music standing up will dramatically transform their musical skills and competencies. Some may think of singing games and beat-passing activities as rudimentary, but when you add the element of competition, you will never see a group of high school students so focused to not drop the beat … or else they are out!

I have used basketballs and drumsticks (click on the links to the see the videos) to teach students about keeping a steady beat. Plus, activities like these get students away from their computer screens, out of their chairs and focused on strengthening their collaboration and relationship-building skills — a prime opportunity for the educator to make intentional connections with Social-Emotional Learning competencies in their arts-based learning environment.

2. Use Music Students Know

The best way to teach concepts and skills of composition is through music students know and love. Another principle of the Kodály philosophy — using folk music or music familiar to students — may be seen as one of the earliest practices of culturally responsive teaching. The folk music of students today is popular music. We have a responsibility as music educators to bring the music of our students into the classroom and embed it within the curriculum. The latest rap, pop, hip-hop, EDM song or whatever is trending on TikTok (like sea shanties for a brief moment in time) all have a place in the music room. Use these sources to teach certain concepts like rhythm patterns, intervals or melodic contour.

Moving from the known (folk) to the unknown (world musics) may strengthen students’ musicianship and provide deeper connections to music in their daily lives. Identifying similarities of stepwise motion in a popular song to Beethoven’s “Ode to Joy” may provide a more holistic experience to music learning while giving some credibility to the old, dead white guys. It may be equally important to show our students how “old” songs like “The Blue Danube” by Johann Strauss often reappear in popular media like Nickelodeon’s SpongeBob SquarePants. Or how the simplicity of Strauss’s three-pitch motive can be like the simplicity of the main motive in “Happy” by Pharrell Williams, also created primarily with three different pitches.

3. Treat Music Composition Like a Language Class

Another one of the Kodály principles is that music literacy is equal to language literacy. Every child has a right to be music literate, which serves as the beginning of their musical understanding. Kodály cautioned that a lack of musical understanding may be “worse than illiteracy.” Reading, writing, hearing and playing music must all be incorporated into a music composition course.

Begin with basic rhythmic patterns, typically starting with playing and listening, then moving on to reading and writing. Repeat the same process with short melodic phrases. Using body percussion or chair drumming (playing the seat of the chair as the snare and the back of the chair as the hi hat) along with a popular song is a quick way into practicing rhythmic concepts before students create their own. If keyboards are available to your class, have them play short, known melodies to strengthen their aural and reading skills.

Throughout all these activities, embed music theory so that students can ground their knowledge. Use numbers to count rhythms according to the meter so older students can quickly determine the difference between time signatures. Incorporate relay races or other challenge-type games to identify notes written on the grand staff to ensure that students are accountable for their musical knowledge. If you ever want to get an entire room of high school students completely silent and focused on their listening skills, create a game to correctly identify the intervals of step, skip and leap.

And like all other languages, the cultural relevance of musical terms is important. Just like the Spanish words “jalapeño” and “quesadilla” are pronounced in a specific way, so should the Italian musical terms of “dal segno,” “fortissimo,” “accelerando” and “crescendo.”

4. Incorporate Technology

Today’s music composition class is also a technology class. Although technology is not one of the principles of the Kodály philosophy, music being at the core of the curriculum is. Technology is what will allow our music students to become more globally aware and competent with 21st-century skills.

Most public high schools provide Chromebooks to students via 1:1 or have technology available for student use in the school building. The power these devices have to transform and enhance the learning environment is often taken for granted because they are in our students’ hands every day. But if students never receive the opportunity to explore the world of creating music on their Chromebooks, what good do they serve beyond the functions of email and Google? Using a browser-based notation software will not come intuitively to most students. You may recall typing programs that you used as a child that taught you how to type and increase your words per minute. The same can be true for music notation programs.

Begin with short activities that allow students to recreate music they know and love into a notation software. Arranging a basic melody in stepwise motion with quarter notes and eighth notes is deceptively simple. Knowing how to change note values and pitches with ease will be paramount in your students’ success in your music composition course. Continue plugging in known and analyzed short musical pieces into the notation software until students are confident and comfortable. Also, the shortcuts of cut, copy and paste are often built into the notation software, so students may continue practicing needed computer skills while learning about musical form and theory.

Achieve Music Literacy

At the end of the day, remember that a course in music composition is not meant to develop the next Mozart or Scott Joplin. Focusing on developing complete musical pieces may be too much for some students. Creating a short musical jingle for a popular brand may be the culminating project for some students, while others will be able to create fully through-composed pieces.

Yes, you may have stand-out students who will reach great heights, but the majority will simply gain a deeper musical understanding and have the possibility of becoming musically literate. And what a gift that is!

Vintage vs. Modern Yamaha Receivers: A Case Study

Written by Mike Levine on March 15, 2023. Posted in Audio Gear Guides.

Vintage or modern? When it comes to audiophile Hi-Fi gear, there’s a certain caché surrounding classic components from the analog era. But does it make sense to invest significant money in older equipment?

To provide more perspective on that question, we offer a case study comparing two audiophile stereo receivers from Yamaha, one modern and one vintage.

The contemporary model is the R-N2000A, which Yamaha released in 2022.

Closeup of front right of receiver unit. — *The Yamaha RN-2000A.*

The vintage receiver is the Yamaha CR-2020, which hit the market in 1977. It was priced at $750, but in today’s dollars, its equivalent would be $3,673, so it’s essentially in the same price range as the RN-2000.

View of receiver from above and front. — *The Yamaha CR-2020.*

Functionality

“A Hi-Fi receiver is tasked with three basic functions,” says Phil Shea, Content Development Manager for Consumer Audio at Yamaha. “Select a source, pre-amplify and sculpt the sound, then cleanly amplify the source signal to power the loudspeaker system.”

From a sound quality standpoint, the CR-2020 can hold its own with its modern descendant. “You still get your imaging and staging and dynamics,” Shea says. “All that stuff was there back then, and it’s here today. A quality receiver produces a listening experience that yields a realistic soundstage with a width, depth and height while accurately reproducing the vocals, instruments and even the acoustics of the performance venue itself.

“In some ways, the classics had it a little easier,” he adds. “They were only required to play back analog sources. The content was recorded in analog, mixed in analog and delivered in analog. And the equipment was optimized for that task. Digital audio wasn’t ‘a thing’ until the Compact Disc appeared in 1983. That’s why vintage products of the 1970s lack any digital inputs.”

Today’s receivers have to do a lot more than the basic functions. They must handle various digital formats, none of which existed when the CR-2020 was designed, such as Bluetooth^®, Optical, USB and HDMI ARC audio. Consequently, they require many more I/O connections and a digital-to-analog converter (DAC).

Connectivity

If you only use your Hi-Fi system to listen to vinyl, you’ll be happy with a vintage unit. But if you want to stream audio from your mobile device or laptop, send the HDMI ARC output from your TV through your system, or connect your router directly with an Ethernet cable, you’ll be out of luck, as you can see if you compare the rear panels of the two units, as shown below.

View of rear panel. — *RN-2000A rear panel.*

Contemporary receivers like the RN-2000A are like Swiss Army knives for digital sources, providing users with many more listening options, like these:

It is possible to “modernize” a vintage receiver for one type of digital source with a Bluetooth or streaming music adapter. Such devices convert modern digital signals to analog audio, which you can connect to the RCA aux inputs of your vintage receiver. Shea doesn’t recommend that approach, however. He says that vintage receivers were not designed to handle the wider dynamic range of digital music the way contemporary ones do. One metric he cites is the damping factor, which measures how much control the amplifier has over the woofer’s movement and, thus, the accuracy of the reproduction.

The RN-2000A’s damping factor is 200, whereas the CR-2020’s is only 40. “What will happen with a lower damping factor,” he explains, “is that, when the woofer moves, it will overshoot and undershoot the target a little bit.”

Design and Build Quality

Comparing the front panels of the RN-2000A and the CR-2020, you’ll notice some similarities. “We put in VU meters and paddle-shaped controls on the RN-2000A to get the retro look,” Shea explains.

Closeup of front panel. — *VU meters and paddle-shaped controls on the RN-2000A.*

Despite the nod to vintage design, the RN-2000A offers one distinctly modern feature on its front panel: an OLED display that shows helpful information. “When you’re changing inputs, volume, or streaming sources,” Shea says, “you’ll see the updated information scroll across the bottom.”

Closeup of front panel with item circled. — *RN-2000A OLED display (circled in red).*

Both units are similar from a power standpoint, as requirements haven’t changed significantly since the late 1970s. The CR-2020 puts out 100 watts per channel at 8 ohms, and the RN-2000A gives you 90 watts per channel at 8 ohms.

The build quality of Yamaha receivers was excellent back then and, if anything, is even better today, thanks to technological innovations in manufacturing. But with either the RN-2000A or the CR-2020, you’ll get a solidly built, reliable unit.

Control

“Controlling the equipment is something we take for granted,” Shea says. “Everything comes with a handheld remote control. IR [infrared] remote controls didn’t go mainstream until the early 1980s.”

If you like controlling your receiver’s functions remotely, the RN-2000A has it all over the remote-less CR-2020. “In the 1970s,” says Shea, “lack of a remote control was never thought to be much of an issue, considering you had to get up and flip your record over every 25 minutes anyway.” There’s also something to be said for the simplicity of a remote-less Hi-Fi system compared to the “new normal,” where you’re juggling multiple remotes and maybe also controlling music from a mobile device.

Which to Choose?

It’s a testament to the quality of a vintage unit like the CR-2020 that it can even be mentioned in the same breath as the NR-2000A — after all, today’s components are designed with technology that’s almost fifty years more advanced. Yamaha engineers and designers have built on the expertise of those who came before them and pushed the engineering envelope along the way.

And there’s no denying that classic gear has a distinct coolness factor. If you only use analog sources, an older receiver like the CR-2020, particularly when paired with vintage speakers, will give you excellent-sounding results. But if you want to integrate digital audio, a contemporary receiver like the RN-2000A is the hands-down winner.

Auburn University Studio: View of tracking room from the balcony

A New Recording Studio Reinforces Auburn’s Interdisciplinary Approach to Music

Written by Savy Leiser on March 10, 2023. Posted in Case Studies. 1 Comment on A New Recording Studio Reinforces Auburn’s Interdisciplinary Approach to Music

On the cutting edge of colleges for modern music students, Auburn University in Alabama is in the midst of a big project — building a new music recording studio on campus. A beautiful, 4,000-square-foot facility by Steven Durr Designs, this new studio follows two other debuts in the music department: a Music Composition & Technology major launched in 2019 and a Commercial Music degree launched in 2020. All of these developments are part of Auburn’s plan to foster an interdisciplinary approach to music education, which faculty members say will better prepare students for a professional career in the music industry.

When Director of Bands Richard Good took over as department chair seven years ago, one of his first priorities was expanding the music program beyond performance. According to Good and Doug Rosener, Percussion Professor and Coordinator of Commercial Music Studies, the music industry isn’t only about artistry; it also has strong business and technological components. “We’re a top-ranked research school,” Good says. “Business and engineering are very strong here, and music should tie into those components very easily.”

Both Good and Rosener believe this upcoming recording studio, which is slated to open in the fall of 2023, will help students bridge the gap between the business and the artistry of music.

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Mixing Music, Technology and Business

When students pursue a Bachelor of Music at Auburn, they have many concentrations to choose from. In addition to the Classical Instrumental, Voice and Piano Performance majors, which have long been a staple of the program, the past four years has seen the addition of the Composition & Technology and Commercial Music tracks. The upcoming recording studio plans to serve both of these new majors.

In 2019, the Composition & Technology major was launched, which prepares students for a composition career in film, video games and other media. According to Rosener, the new recording studio will provide students with opportunities to work with industry-standard equipment. “The Composition & Technology degree has coursework in audio engineering, where students can go into an actual recording studio atmosphere and learn how the system works,” he says.

The other primary major to benefit from this studio will be the Commercial Music degree, which was introduced at the beginning of the 2020-2021 school year. Rosener oversees this program and says that the coursework aims to prepare students for a myriad of careers in music. “It’s a hybrid of performance and business,” Rosener says. “There are so many different careers people don’t think about in addition to performing, such as music law, public relations, artist management, venue management. … That’s what our Commercial Music degree is designed to do — help [students] develop their artistry but also develop their practical business sense.”

Currently, about 45 students are enrolled in the Comp & Tech and Commercial Music programs, which accounts for about 28% of the roughly 160 total music majors at Auburn.

More than a Classroom

The new recording studio plans to meet students at that intersection between musical artistry and business. Beyond providing a space for students to record their own performances, the studio will also allow students to gain experience in record company management.

According to Rosener, Commercial Music students take a course that requires them to create a fictional record company. “They go out and get original songs, record in a studio and release the music on all major streaming platforms,” Rosener says. “They’ll use the studio to record for that class.”
Beyond coursework, though, the recording studio will also provide new opportunities to invite guest artists and lecturers. In planning the layout of the studio, Good and Rosener say that it will be big enough to include space for guest performances. “We can have singer/songwriter [performances] in there. We can have guest artists come in and do performances or talks in the studio environment,” says Rosener.

Good points out that the studio can also benefit students studying to be music teachers. By becoming familiar with multiple forms of technology, students will be better prepared for any situations that arise at their future schools. “I was terrible at learning how to record myself and using equipment,” Good says. “[When you start a teaching job], the first thing that happens is, the principal calls and says, ‘There’s a sound system. Get that working. You’re the choir or band guy, so you can figure that out.’”

According to Rosener and Good, the department also plans to open the studio as a commercial business. Any musician, group or ensemble will be able to book time in the recording studio for recording, mixing, mastering, voiceovers, etc. “We’re going to open it up to the general public and hopefully attract a range of outside clients,” Rosener says. “That will help generate revenue for the department and college and elevate our reputation musically and as a business.”

Recording in Progress!

Rosener and Good have big plans for the music studio but building a new studio is a long process. Currently, construction is in progress, and Auburn hopes to open the studio this coming fall. “Right now, the shell is just about done,” Good says. “We want to be cautious; we’re not ready to put equipment in there just yet.”

Outside of physical construction, another time-consuming aspect of building a recording studio is finding and hiring the right people to choose the best equipment and set it up correctly. “Right now, we’re hiring for an audio engineer. … We want someone who’s been in the studios, and we want that person to oversee the equipment,” Good says. “Nothing in a university goes quick, but right now we want to make sure we find the right person.”
Though the studio is still a few months out from opening, Good and Rosener are already looking forward to the ways it will amplify Auburn’s mission as a university. “Before we started this, I was of the opinion that, here we are, a large research institution that’s known for engineering, technology and business, and the music program had none of that,” Rosener says. “When Rick [Good] took over [as department chair], we were able to modernize, and adding technology and cutting-edge programs seemed like the smartest way to do that.”

Auburn University studio: Control room. — The control room of the Auburn studio.

Both the Comp & Tech and Commercial Music programs have seen significant growth during their few years in operation, and Rosener predicts that this growth will continue. “We currently have an additional 35 prospective students [applying] to the music department to start one of those programs this coming fall and expect more to apply throughout the spring” Rosener says. “Numbers are increasing quickly!”

While Good and Rosener would like to see the program continue to grow, numbers are not their primary metric. “Our main goal is to produce outstanding musicians with excellent prospects when they leave Auburn. Quality is more important to us than quantity,” Rosener says. “I do think we will continue to see rapid growth because students now have the option to study all types of music, and now different paths are available for those students who might not have a traditional music background.”

Auburn University is one of 10 distinguished colleges and universities selected to be part of the inaugural Yamaha Institution of Excellence program, which recognizes extraordinary commitment to innovation in the study of music. The Yamaha Institutions of Excellence were chosen for their dedication to providing unique and challenging experiences to music students through diversity of thought and curriculum. They are also recognized for exposing students to a wider variety of voices and opportunities and preparing them for the modern world of music.

It’s All About the Intention

Written by Yamaha Corporation of America on March 10, 2023. Posted in Artists, Drum Artists.

Yamaha Artist Nikki Glaspie is one of the premier drummers in music today. From her earliest days playing drums in church (at the tender age of seven!) to attendance at the Berklee College of Music, from live appearances and recording dates with jazz legend Maceo Parker and Ivan Neville’s New Orleans funk syndicate Dumpstaphunk to a five-year stint with Beyoncé’s backing band, Glaspie has developed a mastery of multiple genres and a deep conviction in the power of music to heal and inspire. “I try to spread love wherever I can,” she says. “Everybody needs love. That’s what I try to convey through my playing.”

Woman smiling and playing drums. — *Nikki Glaspie.*

We recently had a chance to sit down with Nikki and talk with her about her roots, her philosophy and her unique approach to drumming.

You started playing when you were quite young. What is your first musical memory?

I can actually go back to maybe when I was seven, sitting behind the drums at church. I can picture it and feel it in my bones. I [remember thinking], this is what I’m supposed to be doing; this feels like home.

How did you transition from church music into secular music?

It was a slow progression, but I always played in [school] band. If there were any drums to be played, that’s what I was doing! The first time I heard jazz was in jazz band. We listened to a recording of “Satin Doll” and then we tried to play it. It was terrible! [laughs] I was saying, “This doesn’t sound anything like that,” but I guess that’s why you keep trying. But I was always in every band: concert band, symphonic band, pep band, marching band, I played for the chorus, I was in the pit for the plays.

It was my friends in high school who exposed me to other types of music. I was in 10th grade when [Nirvana’s] In Utero came out and that was the record, you know. My dad introduced me to Van Halen and Eve 6 and Rage Against the Machine and the OJ’s and The Gap Band. So I kind of got it all and I fell in love with it all.

Then you ended up at Berkelee.

Entering [that] world was definitely a different experience for me because I now play a completely different style of music [than I did] when I got there. I [attended] the summer program first, before the fall semester started, to check it out. That’s when I became completely obsessed with Latin and Afro-Cuban jazz. I [thought], I’m going to figure this out. I’m going to make a living doing this. I eventually went to this club called Wally’s, on Mass Avenue. That’s when I really fell in love with funk and fusion.

Then I joined a cover band and made the rounds, started playing weddings; that’s how I learned to be versatile. I think my first gig in Boston was a blues gig with José Ramos. He called me up and said, “Do you know how to play blues?” I said, “I don’t, but I’m going to learn today because I’m hungry. I need some food.” That is how you put food on the table: play a gig. So that was my transition from Berklee into other styles of music. I mean, I went to class — sort of [laughs] — but I figured out that what I needed to learn, I could learn from my peers: the people around me who were also there studying and trying to get it together. And thankfully, my parents raised me to pay attention to everything. There’s something to learn from everybody, even if it’s what not to do. I’ll see or hear somebody doing something and I’ll say, “I don’t think that’s a good idea, I probably shouldn’t do that.”

Your next move was to New York. How did that happen?

Basically, a voice told me to leave and go to New York. I always tell people, high risk, high reward! I went to New York with 600 bucks in my pocket [laughs]. The most expensive city in the world! But I made it happen.

Then one day you got the call for the Beyoncé gig.

Well, it was a worldwide call. It was on the radio: Beyoncé’s holding auditions, looking for an all-female band. I didn’t really take it that seriously, but then people started telling me, “You’ve gotta go to the audition! Are you crazy?” And I was, okay, I guess I’ll go because everybody’s telling me to go. So I went and I didn’t think that anything would happen because I didn’t hear anything for almost a week. Then they called me and said congratulations, you’ve been selected to come back to another round of auditions [laughs].

So I went back and did another round. At the end of the day they said, we can’t decide, you’ve got to come back again tomorrow. It was an intense process. But finally, when there were 10 of us in the room, they said this is it, this is the band. I was there for five years.

You know, I really do believe in the power of visualization. You see yourself somewhere, you believe that you can do something, you make it your goal. You have to see it, believe it.

Do you feel that you were born to be a musician?

I think so. For as long as I can remember, I have been beating on things. My parents told me, “You were pulling pots and pans out of the cabinet and beating on them with spoons or whatever you could find.” So I feel I was born that way. It was just kind of, A plus B equals C. If there’s a surface, I’m going to hit it with something.

Some people say, man, I don’t have rhythm, I don’t have a rhythmic bone in my body. That’s not true! You have a heartbeat: that’s rhythm. If that stops, you die. So we all have rhythm. We all live by rhythm. We are rhythm, we breathe it.

You’re one of the founding members of the soul band The Nth Power. How did that come about?

I think it came to be because it needed to be. We were all like-minded individuals and honestly we just kind of all crashed into each other: “Hey man, I think we should play music together.” That’s literally what happened. I’ve known the bass player, Nate Edgar, for a long time — we used to play a lot in Boston at Wally’s.

So then [along with guitarist Nick Cassarino], we just started writing and recording. We talked a lot about philosophy and religion and spiritual things and life: what people go through, feelings, emotions, all of that. And we decided that it would be our mission to spread love, because that’s what everyone needs. The world is just so insane, riddled with war and disease and everything, it’s just so crazy. We just want people to heal. We believe in the healing power of music, and that’s what our mission is.

What’s the difference between playing for someone and being in a band?

It’s different because of the collective intention. Our collective intention with The Nth Power is what we decide it to be, but when you play with an artist, it’s what they decide it is. It’s different for every artist, but I try in every musical situation to fill the role, to play the music that is required, not whatever I’m trying to do.

How do you feel music connects us?

Music is the universal language. Different people that come from all walks of life and have different beliefs can hear something and experience an emotion from it. That’s why music has the power to heal: because it can reach everyone, anyone that can hear it.

What keeps you motivated?

I love music. I am forever a student. I want to learn more. I want to hear something that I’ve never heard before. I want to play something that I’ve never played before. I want to create something that’s never been created before. I feel that’s what every artist, every musician wants: they want more. It forever keeps you a kid because it’s the gift that keeps on giving. It doesn’t stop.

You know, it’s called “playing” for a reason. ‘Cause it’s fun! And if you’re not having fun, you’re doing something wrong [laughs].

How has music challenged you personally?

Woman playing drums with lit up sign behind her that says "The Viper Room". — *Gigging at The Viper Room in Los Angeles.*

It’s challenged me in so many ways. I always say, if I try to become a better person, I become a better musician, because it comes out in the music. I love music so much, I would do anything — and have done anything — to play it. Lots of sleepless nights, camping out in hotels, the airports, driving in cars for 36 hours, vans breaking down, losing tires, all kinds of crazy things, always trying to get to the gig, to get to that feeling. It’s chasing the dragon. It’s always, when’s the next time I’m going to be on stage? When is the next time that I can play music?

You miss a lot of things [when] you’re out on the road. But I take solace in knowing that I am hopefully providing something for someone else, giving someone an escape from their reality and giving them hope. It’s, you know what? It’s going to be okay. It might look terrible right now and it’s daunting, but we have tomorrow. This too shall pass: that was yesterday, but we’re here today and it’s awesome.

How did you find your voice, and how do you continue to shape it?

I just kept playing, kept searching for things. I kept studying and listening to everything that I could listen to. I always tell young musicians to play with everybody and play every style of music. You never know if you’ll have to pull out that bossa nova you learned 20 years ago on a gig one day. So keep playing. Keep playing and the chops will come. You can’t get frustrated and think, “I can’t do this.” There’s no can’t — there’s only can and will. If you want it, then you can have it and you can do it. I’m still searching for it every day.

I’m primarily a funkateer, but I’m also a rocker, a punk rocker. I love to bash. A lot of people don’t know that side of me, but it’s always been there. [So] my voice is a combination of lots of other voices, lots of influences that come out in different ways. I just try and play what I want to play and put the intention behind it — whatever I want the intention to be. I think intention is really important. What is the message that you’re trying to get across? If you focus on that, then that’s what it will be.

For more information, visit www.nikkiglaspie.com/

March Madness^® On TV

Written by Rich Tozzoli on March 9, 2023. Posted in TV & Movies. 1 Comment on March Madness^® On TV

With the month of March upon us, it’s hoop time! But there’s no need to go to the arena — here’s a list of ten basketball-centric shows you can watch on your big-screen TV in the comfort of your home.

1. SURVIVOR’S REMORSE

This series ran from 2014 to 2017 and was produced by LeBron James, who also appeared in a few episodes. It explores the life of Cam Colloway (played by Jessie T. Usher) immediately after he signs a pro basketball contract. After moving his family from Boston to Atlanta, he has to deal with a crazy entourage who takes advantage of his kindhearted nature and generosity. Find out where to stream it here.

2. HANGIN’ WITH MR. COOPER

This ’90s sitcom starred Mark Curry and Holly Robinson Peete. Set in Oakland, California, it follows the evolution of a fictional NBA player who gets cut from the team after getting taken down by Charles Barkley, then rises from being a lowly substitute high school teacher to head coach for the boys basketball team. Find out where to stream it here.

3. BIG SHOT

This is one comedy that skips the cliches, portraying some of the obstacles women face in sports. Premiering in April of 2021, it featured John Stamos as a temperamental basketball coach who is fired from an NCAA^® Division 1 job after throwing a chair at a referee. He then moves to California to coach at an elite girls school, where he meets a quirky cast of characters, including the no-nonsense dean of the school (Yvette Nicole Brown) and the good-natured assistant coach (Jessalyn Gilsig). Find out where to stream it here.

4. THE WHITE SHADOW

This compelling drama aired in the late 1970s / early ’80s and starred Ken Howard as a white professional basketball player who retires from the Chicago Bulls after a severe knee injury and takes a job as head basketball coach at a mostly Black and Hispanic high school in Los Angeles. While retaining some elements of humor, it addresses many serious topics ranging from physical and mental disabilities to sexual orientation and child abuse. Find out where to stream it here.

5. ONE TREE HILL

Premiering on the WB Network in 2003 and running for nine seasons, this show is set in the fictional North Carolina town of Tree Hill. It followed the lives of two half-brothers who compete for positions on their high school basketball team, starting out as enemies but eventually bonding over the years. Find out where to stream it here.

6. HOOPS

How about some basketball animation? This 2020 Netflix^® comedy depicts the frustrations of Coach Ben Hopkins, a bad-tempered high school basketball coach, and his assistant Ron … who just happens to be dating Hopkins’ ex-wife. There are numerous twists and turns as the coach tries to turn around the team’s poor reputation and reconnect with his estranged wife. Guest voices include Guy Fieri as Himself and Damon Wayans Jr as Damian Chapman. Find out where to watch it here.

7. SWAGGER

Inspired by NBA star Kevin Durant’s youth basketball experience on the AAU circuit, “Swagger” premiered in October 2021 on Apple TV^®. The 10-episode series garnered critical acclaim for its social commentary, writing and acting. Starring O’Shea Jackson Jr as Ike Edwards and Isaiah Hill as Jace Carson, it explores the multifaceted dramas swirling around ambition, opportunities, corruption and basketball dreams. Find out where to stream it here.

8. LONG SLOW EXHALE

Created by Pam Veasey for BET, this drama premiered in April of 2022, starring Rose Rollins as J.C. Abernathy, head coach of a women’s championship college basketball team in Atlanta. The plot revolves around a sexual abuse scandal wrapped in secrets that threatens all the coach has built. Find out where to stream it here.

9. WINNING TIME: THE RISE OF THE LAKERS DYNASTY

Based on the book Showtime: Magic, Kareem, Riley and the Los Angeles Lakers Dynasty of the 1980s by Jeff Pearlman, this show premiered in March 2022. It presents a dramatization of the personal and professional lives of the ’80s Lakers and features an all-star ensemble cast that includes John C. Reilly as Jerry Buss, Quincy Isaiah as Magic Johnson, Jason Clark as Jerry West, Adrien Brody as Pat Riley, and Solomon Hughes as Kareem Abdul-Jabbar. Find out where to stream it here.

10. BASKETBALL AND OTHER THINGS

This fascinating documentary series features NBA players such as Julius Irving and Allen Iverson discussing the lessons of life they’ve learned throughout their careers, exploring both the dark and bright sides of their personal and professional lives and talking about what playing basketball has taught them. The interviews are interspersed with animated clips, making for some great hoop-watching with the family. Find out where to stream it here.

Ready to watch some great basketball-centric movies? Check out this blog posting.

Silent Guitar leaning up against audio equipment.

The Future of Guitars

Written by Robbie Calvo on March 8, 2023. Posted in Gearguide.

The past couple of decades have seen a ton of innovation in digital technologies such as modeling and AI (Artificial Intelligence), but what about guitars themselves? For this month’s posting, I thought it might be fun to take a stab at some futurist predictions.

Note that none of these ideas are based on any kind of “inside” information — they’re just my personal wish list. I certainly don’t have a crystal ball, but I do have some market awareness of the current innovations, and an opinion on what might be valuable to the evolution of our six-stringed musical companions.

An Electric SILENT Guitar™?

It’s hard to believe that the commercial release of the Yamaha SILENT Guitar was over twenty-one years ago. In four more years, it will be a vintage instrument!

Despite its longevity on the market, this portable powerhouse (available in both nylon- and steel-string versions) is still relatively unknown within the guitar community, and in my opinion, underrated and unrivaled. If you play live gigs, you’ll appreciate its feedback-free tones and lightweight construction. Want to warm up before the show using headphones, backing tracks, a tuner and effects? They’re all onboard, ready to rock ’n’ roll. What’s more, it’s extremely transportable; the upper bout of the frame can be removed and packed away neatly in a tiny gig bag, allowing the instrument to be easily stored in airplane overhead bins or car trunks.

Silent guitar leaning against other sound equipment. — *The Yamaha SILENT Guitar.*

All these features make the SILENT Guitar enormously useful, but wouldn’t it be great if Yamaha made an electric guitar version, complete with pickups? Maybe we’ll see that happen sometime in the future.

TransAcoustic Too?

TransAcoustic guitars first hit the market in 2016. These remarkable instruments offer built-in reverb and chorus effects, negating the need for outboard amplification and pedals. It’s a technology that graces several models and body shapes within the range — everything from small parlor-sized portability to dreadnought warmth for the singer-songwriter.

Acoustic guitar on its side on a leather couch. — *Yamaha FSC-TA TransAcoustic guitar.*

As with the SILENT Guitar, I’m hoping this mind-blowing musical addition to acoustic guitars will find its way into electric guitars at some point, with the range of effects and features expanded.

New Materials

Natural timber resources are in limited supply, expensive, heavy, and subject to climate and environmental changes. Carbon-fiber, however, can be mass-produced, crafted into almost any shape, is incredibly strong, and isn’t affected by moisture or changes in temperature. When used to make guitars, it provides excellent tuning stability, and the manufacturing cost is almost certainly cheaper than crafting exotic tonewoods. Carbon-fiber guitars can also sport photo representations of custom artwork — even highly figured quilted maple.

Does carbon fiber resonate and sound the same as seasoned timber? No, but when paired with electronic pickups, modeling and the other musical advancements in technology, does it really matter?

Many tone purists may be pulling their hair out at the very thought of this, and I agree to a point, but I can see a time in the near future when modeling technology is included in the physical guitar that allows the instrument to produce the tones of a wide range of pickups, tonewoods, amps and effects.

The Complete Guitar

It’s entirely conceivable that the guitar will eventually evolve into a complete touring rig, studio tone engine and practice companion, with onboard looper and recording software built in.

I expect that you’ll be able to send the output signal from that instrument wirelessly— without the kind of signal degradation that’s currently a limitation— via Wi-Fi, Bluetooth^® or radio transmitter directly to the Front of House engineer (at live gigs) or to your DAW (when recording) for further digital manipulation. All that messy cable spaghetti will be a thing of the past!

I also predict that guitars will also soon integrate the smart technology found in our phones, which allows us to communicate around the world via satellite, with our personal and digital information stored in the “cloud.” These digital archives host a library of inspirational and educational tools ready for our consumption, so I can foresee a time when a D major scale can be displayed on our guitar fretboards directly from those data banks using voice command, or even by personal thought processing: “Hey SiriGuitar … display two voicings of an E7(#9) on the fretboard and the corresponding E minor pentatonic scale in a position that I can use to improvise over.”

The Video

Carefully selecting guitars that work well together is the first step to creating a complimentary composition, as I demonstrate in this video, which combines the sounds of a Yamaha FSC-TA TransAcoustic guitar with Pacifica 612 and Revstar RSS20 electrics.

The next step is to faithfully capture those elements and further shape them with digital sound enhancements, as I’m doing here with custom tones I’ve created for the Line 6 Helix effects processor. As you can hear, this polish can add sheen to a natural source, or can even surgically transform the sound until it no longer represents its original acoustic waveform.

The Guitars

FSC-TA

I purposely detuned my FSC-TA down a half tone (to E♭) for this piece. I wanted to use specific voicings, but in a lower key. I like how the frequencies of less guitar-friendly keys speak musically to inform fresh melodic ideas. Try it sometime!

I used the onboard hall reverb and chorus effects to broaden the tones and also double-tracked the finger-picked part, panning the two guitars hard left and right. Being able to match your own finger-style patterns takes practice, but is very much worth it when it comes to recording acoustic guitars.

Pacifica 612

I also detuned my Pacifica 612 to match the voicings on the FSC-TA, this time playing arpeggiated chords with a little tremolo shimmer to accentuate the individual tones within each chord.

Detuning a guitar with a floating tremolo requires patience. There is technology available to do that digitally, but you’d have to hear the original key and the detuned sound together. (Unless you use headphones, of course.)

The single-coil Seymour Duncan pickups in the Pacifica 612 are perfect for clean, arpeggiated lines, and they have a brighter tone than the FSC-TA. I kept this guitar part central in the mix until the lead guitar part comes in … at which point, I panned the signal off to the right by 10 percent.

Revstar RSS20

There’s something special about the harmonic overtones produced by the RSS20. I think it’s a combination of the Alnico 5 pickups, focus switch (passive mid-boost) and chambered body that really makes single notes jump out in a busy mix.

The jumbo frets also make bending a breeze on this guitar. You’ll hear me sequentially bend a semi-tone, whole-tone and a tone and a half during the solo section of the video performance.

The Wrap-Up

When you think about it, none of these ideas are far-fetched — they are just a combination of existing technology that we’d need to leverage and implant into one central location: your guitar.

After all, at the end of the day, beauty is in the ear of the beholder. If it sounds good to you, it is good!

“Hey Siri … what do you think?”

Photos courtesy of the author.

Check out Robbie’s other postings.

12 Best Vinyl Tracks to Demo Your Headphones

Written by Jeff Dorgay on March 3, 2023. Posted in Vinyl.

Headphones excel at blocking out the external environment, allowing you to fully appreciate the mixing engineers’ craft and providing an extremely immersive experience, especially when listening to vinyl.

Here are 12 of the best vinyl tracks to listen to on headphones.

1. “Welcome to the Machine” – Pink Floyd

This powerhouse from Pink Floyd’s psychodrama Wish You Were Here begins with a pulsating bass line that bounces back and forth between your ears, sounding like an elevator is going up about 20 floors. The rest of the track is full of synthesizer bits panned from hard left to hard right, taking you on an auditory roller-coaster ride to the point where it might actually make you a little dizzy. Be careful with the volume first time around, as “Machine” goes from very quiet to very loud very quickly!

2. “Saturday Night Special” – Lynyrd Skynyrd

All jokes about “play some Skynyrd” aside, this band was one of the originators of the three-lead guitar approach, and as you listen to this track off their Nuthin’ Fancy album, you’ll be treated to layer upon layer of blazing guitars, and more.

3. “Great Day” – Lindsey Buckingham

The production genius behind Fleetwood Mac takes it up a notch on his own records, and this, the opening track from the Gift of Screws LP shows off Buckingham’s chops with a massive sonic landscape. Guitars are everywhere, mixed in with the main and backing vocals, along with some killer reverb effects. The rest of the album is also as good as, or better than, any Mac effort.

4. “Lady Cab Driver” – Prince

1999 is like “Where’s Waldo” for studio effects. The mix is BIG, with Prince playing nearly all the instruments. Listened to on premium headphones like the Yamaha YH-5000SE, you can almost feel The Purple One standing next to you at the console pulling faders up and down. Bonus: Try to guess who the backing female vocalist is. Where’s Waldo indeed!

5. “Helpless” – Crosby, Stills, Nash, & Young

Neil Young takes the lead on this track from Déjà Vu, but the way the vocals swell when Crosby, Stills & Nash join in is breathtaking — you can pick out each individual vocalist with ease. This is one of those tracks that truly comes alive on vinyl, and through headphones paints a soundstage that’s much bigger than what you’ll hear on speakers.

6. “Got to be There” – Michael Jackson

The version of this track from The Stripped Mixes album shows just how much Michael Jackson’s brothers often got a little buried underneath the lush instrumentation that was a Motown trademark. With this remix, Michael seems to burst out from about five feet directly in front of you, with a pair of Jacksons in each ear.

7. “Autobahn” – Kraftwerk

The 1974 LP of the same name is one of the groundbreaking electronica records of all time. The pulsing analog synthesizers on this track combine with a hypnotic beat that will mesmerize, particularly when listened to on vinyl and over headphones. The band claims the song was designed to “capture the feel of driving on a motorway,” but whose car is used for the very lifelike sample at the beginning? Kraftwerk founder Ralf Hutter claims it’s his Volkswagen.

8. “Oxymore” – Jean-Michel Jarre

Like Kraftwerk, Jean-Michel Jarre is another founder of electronic music, and everything in his catalog is a masterful sonic journey. Sit yourself in a comfy chair and dim the lights to best experience this ephemeral track over headphones.

9. “Tempted” – Squeeze

East Side Story is the best album from this clever British band, and this is their most recognizable track. Though producer Elvis Costello suggested that Paul Carrack take the lead vocal, Glenn Tilbrook and Chris Difford are heavily represented in the harmonies, with Costello himself popping in and out of the second verse. There’s so much information in this track, you might not catch it all in a single listen.

10. “Hello It’s Me” – Todd Rundgren

You’ve probably heard this staple of ’70s rock a zillion times, but if you haven’t heard it on a great pair of headphones, chances are you’re missing much of Rundgren’s magic. Each side of Something/Anything? has a different feel, going from psychedelic to power pop and back, but Rundgren himself says he loves this track in particular because it’s the first song he ever wrote.

11. “Excellent Birds” – Laurie Anderson

This song from the 1984 album Mister Heartbreak stands the test of time … and, as a bonus, you get Laurie Anderson, Peter Gabriel and Adrian Belew all along for the ride. It’s a multi-dimensional masterpiece, with a lot of hidden nuggets, especially when enjoyed on vinyl and listened to over headphones.

12. “Day Tripper” – The Beatles

We can’t end a headphone-centric collection without including The Beatles. Their entire catalog begs to be listened to on headphones because, like CSN&Y, Todd Rundgren or Prince, there’s such a high level of talent on both sides of the console. For that reason, trying to pick a single Beatles’ track is next to impossible, but a great choice for headphone listening is the stereo remaster of “Day Tripper” from the 1 album, which allows you to clearly hear all four of the Fab Four playing their hearts out.

Check out these headphones from Yamaha.

Live Sound Troubleshooting Tips, Part 2

Written by Steve La Cerra on March 1, 2023. Posted in Live Sound.

In Part 1 of this two-part article, we talked about ways to troubleshoot some of the common problems that plague PA systems. This time, we’ll discuss how to identify and fix distortion, hiss, input issues, and the gremlins that sometimes lurk beneath the surface of digital consoles.

Distorted Mix from Passive Speakers

This problem will likely come from one of two places:

The L/R master bus is being overloaded. When the L/R master fader is set to unity, the meters should show an average signal level of around -6 dB, with peaks ranging from 0 to +6 dB. If the level of the L/R bus is too hot, lower all of the channel faders. Ditto for aux outputs.
Inputs to the power amp are being overloaded. Lower the volume controls on the amp.

Distortion or Hiss from a Powered Speaker

Many powered speakers have a switch to select between mic or line level input. If the speaker is being used with a mixer, set the switch to line level — otherwise, the mixer will overload the input, resulting in distortion.

When connecting a microphone directly to the input of a powered speaker, set the switch to mic level or you’ll hear a lot of hiss when you turn up the gain control.

No Signal from a DI

While many audio interfaces and mixing consoles designed for recording offer inputs specifically designed for connecting instruments, few live sound mixers do. In that case, you’ll need to use an external DI box (short for Direct Inject) to connect instruments such as keyboards, bass or electric guitar to mixer mic inputs at the proper level. If you’re not getting signal from the DI, here are the steps to take.

Confirm that the instrument is producing sound by connecting it to an amplifier. If not, change the instrument cable.
Determine if the DI is active or passive. An active DI requires a power source such as phantom power or an internal battery; a passive one does not. If it’s an active DI, turn on phantom power at the mixer input or replace the battery.
If phantom power is turned on and an active DI still doesn’t operate, swap it for a condenser microphone (using the same connecting cable) and have someone speak into it. If the condenser mic works, then you’ll know that phantom power on that channel is working and the DI is faulty. Swap in a new one and all should be good.

View of a battery — *The battery compartment in an active DI.*

If the DI is passive, substitute a dynamic microphone (again using the same connecting cable) and have someone speak into it. If the microphone works, you’ll know that the cables are good and the DI is faulty.

Buzz or Hum from a DI

Buzz or hum from a DI being used in conjunction with an instrument amplifier (as is often the case with bass) usually indicates that there’s a ground loop between the amp and the mixing console. This is due to the fact that the bass is connected to ground via the bass amp and again via the direct box connection to the mixing console. Fortunately, all DIs feature a ground lift switch that safely allows you to break this loop by disconnecting the audio ground.

Ground lift switch — *The ground lift switch (left) on a DI box.*

Set the switch to lift the ground and see if the noise stops. If the noise persists, then change the cable.

Buzz or hum combined with low level and/or a loss of low frequencies usually indicates that one of the three connections on an XLR cable is faulty — a condition that some live sound engineers refer to as a “leg up.” If changing the cable doesn’t work, then you may need to use a hum eliminator as discussed in Part 1.

Distorted DI

Replace the DI with a microphone. If the signal is still distorted, change the cable.
Turn on the DI pad switch or lower the output level of the instrument.
Check the gain setting on the input channel. If the gain is set to minimum and the output of the DI is still overloading the input, turn on the input channel pad.

No Signal from a Microphone

Change the mic cable.
If the cable is plugged into a stage box (a box with multiple XLR connectors) or a snake (a multi-trunk cable designed to carry signals over long distances, i.e. from the stage to the Front of House [FOH] mix position), try a different channel.
If the mic is a condenser, confirm that phantom power is turned on at the associated mixer channel.
Eliminate the possibility of a phantom power issue by replacing a condenser mic with a dynamic mic.
Connect the microphone to a different mixer channel.
If there’s an analog insert patched on the channel, check that the send and return are connected correctly, and that the outboard device is powered on.
Change the microphone. It’s uncommon for a microphone to fail, but it does happen.

Yamaha controls — *Input gain knob and phantom power (+48V) switch.*

Distorted Input Channel

Confirm that you’re using the correct input. Use the mic input for microphones and DIs, and the line input for track playback, background music devices, DJ mixers or audio feeds from video devices.
Check the input level and gain setting for the channel. It’s okay to see the red LED on an input meter blink once in a while, but it should not be constantly lit.
A loud source may be overloading the microphone. If the mic has a pad switch, turn it on, or reduce the output level of the source.

Noisy Input Channel

This is usually caused by the combination of a low-level source and excessive input gain. Here’s how to troubleshoot it:

Check that microphones or DIs are plugged into mic inputs.
If the source is an instrument connected to a DI, raise the output of the instrument or turn off the pad on the DI.
If the microphone has a pad, turn it off (or turn off the pad on the input channel).
Be aware that some ribbon mics produce low output and require a lot of gain to achieve acceptable level. Some microphone preamps will be noisy at higher gain settings.
Hiss can also be caused by excessive high-frequency EQ. Turn down the HF gain knob if necessary.

Low Volume on Main PA, Monitor Output or a Single Input Channel

This type of problem is usually caused by one of two things:

The power amp volume is turned down. You can usually set amplifier volume controls all the way open but before you do, bring down the L/R or aux send master to ensure you don’t cause feedback or damage to the equipment.
A compressor that is over-compressing due to a very low threshold and/or a high ratio. As stated above, bring down the output master before you raise the threshold or change the ratio.

In a similar fashion, excessive compression on an input channel can cause that channel to be very low in level, even with the channel fader raised up all the way.

Intermittent Audio

A defective cable is the most likely suspect when you hear intermittent audio, but another possibility could be the settings on a gate that’s inserted on a channel or output. If the threshold is set too high, the gate will remain closed and mute the channel. Audio that “chatters” on and off is also an indication that gate threshold is set too high.

Screenshot of music controls — *The settings on this gate could cause an input to be muted.*

Digital Dangers

Unlike analog mixers, most digital mixers provide the option to route any bus to any physical output, so it’s up to the user to decide which jacks output the main L/R and monitor mixes. For example, Yamaha TF Series models feature 16 “Omni” outputs that can be assigned to any bus.

Screenshot of controls — *The Yamaha TF1 output assignment page.*

Typically, the two highest-numbered jacks are used for the L/R mix (Omni 15 and 16 in this case), and the lowest-numbered jacks are used for the aux sends/monitor mixes. This enables matching the monitor mixes to the Omni outputs so that monitor mix 1 feeds Omni out 1, monitor mix 2 feeds Omni out 2, etc. — which helps prevent confusion. If you’re not getting signal from an aux send or L/R output, confirm that the output bus is assigned to the correct jack.

No Input to a Digital Mixer

Many digital mixers also have the ability to connect to a variety of input and output devices. Yamaha QL Series, CL Series and RIVAGE PM mixers can route audio via the “local” (built-in) XLR connectors, Dante^® network, or expansion card slots — or a combination of all three simultaneously.

Lack of audio to multiple input channels of a digital mixer usually indicates that the channels are not set to receive the correct input device. For example, the input channels may be set to receive signal via Dante when in fact the microphones are connected to the local inputs. This parameter can be changed using the input patch window.

Screenshot of channel controls — *The input patch window for Yamaha QL mixers.*

Similar problems with mixer outputs can usually be traced to the output patch, which can be set using the output patch window.

Screenshot of patches — *The output patch window for Yamaha QL mixers.*

It’s also worth mentioning that a mis-patched digital insert can cause a channel to stop sending signal. If a channel or output uses an insert, confirm that both the insert output and input have been properly assigned.

Screenshot of insert portion — *The insert portion of the Insert/Direct Out window for Yamaha QL mixers.*

Troubleshooting problems in a PA system takes a bit of skill and patience, but as you gain experience, the process will become easier.

Photographs courtesy of the author.

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Proactive, Reactive and Restorative Disciplinary Measures

Written by Don Stinson on February 28, 2023. Posted in Teaching Tips.

Teacher to a random student in the hallway: “Please take your hat off!”

Kid: “No.”

After standing there dumbfounded for a few seconds, the teacher thinks, “… Well, what do I do now?”

Being a teacher today does not come with an automatic status of respect. In fact, like it or not, we must prove ourselves and our position more and more.

Here is yet another multi-leveled task with options. You can:

Ignore it now and deal with the repercussions later.
Earn the respect of the students and just worry about ourselves.
Earn the respect of the students and then use this new relationship to teach them how the world works, in turn allowing them to have a better educational experience and teaching them strategies to work in new environments.

Click here to see PROACTIVE disciplinary measures.

Click here to see REACTIVE disciplinary measures.

Click here to see RESTORATIVE disciplinary measures.

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Why Do Kids Misbehave?

Teachers should not excuse behavioral issues, but we may benefit from understanding where the students or even the behavior stems from. Many of us may ask, “How could someone act like this?”

Always remember that this isn’t personal. Most kids do not start their day premeditating how they will make your life difficult. There are a multitude of reasons that student behavior may not meet your expectations.

I’ve worked in many districts, including those in low-income and underserved areas. These students are often perceived to have a higher instance of behavioral issues. Depending on the grade level you teach, you may be dealing with students who haven’t been supported throughout their lives. Exposure to toxic stress and a lack of proper support may have negatively affected their learning and behavior. Oftentimes, negative behavior may be due to a lack of coping skills, misdirected anger, and instances of students not getting other educational and social-emotional needs met in the proper way.

We can focus on the why but it’s more productive to address the issues at hand to ensure that the right action is taken to foster a healthy and safe environment for everyone.

What Doesn’t Work

Quick Fixes: I’ve found that quick fixes don’t usually work long-term. We could yell, threaten discipline, pile on false or excessive praise, let too much slide, be too harsh or ignore the problem. These tend to be Band-Aids at best and will sow seeds of discontent at worse.

Inconsistency: On the other side of the coin, we may try alternative approaches, but we just don’t stick with them long-term. The inconsistency of disciplinary approaches creates a confusing and even unfair environment that students can’t rely on.

“Should” Statements: Another approach that does more harm than good are “should” statements. Simply put, when we state that something “should” work a certain way (this student should know how to behave, the school should support my way of thinking or this content should be easy for you), we are denying reality and setting ourselves up for disappointment or even failure. Here are some other common “should” statements.

Kids should just behave for teachers. (Not all of them will).
Parents should understand how hard we are working and support us. (Not all of them will.)
I shouldn’t have to worry about absolutely everything! (Maybe that’s true).

How it “should” be won’t happen without some work. So how do we get it to work? I like to think of respect and discipline measures falling into three categories: proactive, reactive and restorative.

Proactive Measures

Rules and Guidelines: If you took an inventory of your rules and guidelines, would they make sense to everyone involved? I often find that young teachers either have far too many rules or very little guidance offered in terms of classroom management. For those with too many rules, remember that students must be allowed to solve their own problems. If they’re missing a piece from their choral folder and can find another original on their own without distraction, let them take care of the job. Too many rules can paint you into a corner, create more work and shift the class focus from music-making and consumption to strict compliance.

On the flip side, too few rules can backfire — and not just in your classroom. The “cool” teacher who allows students to break district rules undermines the rest of the faculty and sends the wrong message to students that we don’t all have to follow the rules. These teachers make it especially difficult for newer teachers or teachers who are not as comfortable with confrontation. Everyone’s job becomes harder when you hear that “Mr. or Ms. So-and-So let’s me put my feet up on the desk!”

Building Relationships: Negative associations with teachers or authority figures may cause a student to be leery or even antagonistic. Have an honest conversation with the student. We should address disrespect but consider telling a student that you will be working hard to earn their respect. This could be the start of restoring a student’s relationship with educators and education.

Ask or observe, but don’t assume: Getting in trouble for something that you didn’t do feels terrible. Furthermore, educators must work to reduce bias and stereotypes. Implicit and explicit bias is linked to disparities in punishment for students of color. Of the two, explicit bias (conscious thoughts and attitudes toward someone or a group) has a more significant impact on discipline disparities.¹

Give Kids a Chance: I’ve certainly blown my chance at first impressions multiple times. I was very grateful when people gave me second and third chances. If another teacher warns you about a student, thank them for the comments and information. Allow the student to create a first impression with you. Some students react differently to different teachers and settings. Avoid characterizing students by their older siblings’ or parents’ actions.

Understand Resources: Understand the resources available within your school. Education loves acronyms, and it can be confusing to keep BHT (Behavioral Health Team), BIP (Behavior Intervention Plan) and BMP (Behavior Management Plan) straight. However, speaking with your guidance counselors and social workers about possible resources for students in need can help you react quickly and effectively. We don’t have to do it alone, and — gasp! — someone else might be better equipped than you to help a student’s situation!

Don’t Waste Time / No Free Days: People don’t like having their time wasted, including students. My band knows that I give no free time or days off. We play every single day. We play the first day of school, the day after concerts and even right up to the last day of school. Consistency helps reduce the dreaded “are we playing/learning today?” question. I also want our groups to be “caught” doing the right thing. These set routines create structure for some students who lack this at home. Commitment to our time goes for low attendance days and rehearsals as well. If three out of 20 kids in a jazz ensemble show up, we can still teach. We may have to adapt significantly, but we need to show students that their time and commitment is valuable. There is always something to teach.

Reactive Measures

Now let’s say that you put multiple proactive measures in place, but something still happens. Or, a student approaches you for assistance with a social-emotional or physical health and safety issue. We can consider some reactive measures to ensure that our approaches are effective and that our classroom remains respectful and safe for all learners. Listed below are a few items for consideration that may fall under reactive measures.

Escalation / Everyone Loses: Avoid escalating the situation. Some students may feel like they have nothing to lose. For their sake and yours, avoid escalating and arguing. Not saying the first thing that comes to your mind or saying nothing at all could be helpful in stressful situations. Listening is always an effective strategy. Everyone loses when the teacher and student lose their cool.

Planning for Tough Situations: Plan for security options, if necessary. Some students may get to a point where they may harm themselves or others. Address these situations swiftly and effectively. If you’re not sure who to call to assist in breaking up a fight or similar situations, ask your head of discipline. People who are in charge of discipline and safety may be a dean or, at a smaller school, a principal or assistant principal.

Negotiations / Gray Areas: Sometimes, you may have to live in gray areas. Sleeping in class may require specific disciplinary action. However, some teachers may not feel comfortable doling out this punishment if they know that a student is working late at night or doesn’t have much support at home. You may determine that certain situations need some leeway. However, make sure that you are not undermining consistency.

Wait to React: You can also choose not to react. If it’s a small issue that’s going to derail things, opt to leave it alone or wait to deal with the issue. If a student is messing around and distracting others from learning, I ask them to see me after class. Why? Often, it’s because I don’t know what to do right at the moment, but I know I don’t want to distract the class anymore. I get annoyed by this behavior, but this buys me time to get myself in check and ask the student if everything is OK before addressing the behavior.

Restorative Measures

When something breaks, we have to fix it or possibly rebuild it. This can include relationships. If we’re wrong, we must apologize. Not just to model the correct behavior, but to show that value and respect are important.

We can revisit rules and guidelines. Things change. If we feel locked into a guideline that just isn’t necessary anymore, talk it over and agree on change or deletion.

When we have a negative encounter with a student, we can make efforts to learn more about the student, including their background and history. Knowing our students on a deeper level can help us take the next steps to repair the relationship.

We can consider restorative practices in our classroom (my go-to resource is The Restorative Practices Handbook for Teachers, Disciplinarians and Administrators by Bob Costello). These approaches can go a long way toward addressing accountability and rebuilding relationships.

Doing Too Little: Let too much slide, and you quickly lose control of your classroom, you lose respect, and other students feel like they are wasting their time. Some students may even call you out on this, and it’s never a good feeling to be called a pushover by anyone. Student autonomy should not be confused with a lack of structure. If anything, there may be more systems in place, but the arrangements are precise, valuable and efficient for the learning environment. Acknowledging that small issues may lead to more significant problems is an essential part of effective classroom management.

False or Excessive Praise: Sometimes we might try to make students feel good by giving them false praise. False or excessive praise can be a manipulative strategy. Instead of recognizing a student for a legitimate ability or work ethic, we tell the student how we would like them to be. Students will pick up on false praise and contrived accomplishments.² Some students may get the message that you think they cannot achieve what you are praising. It’s OK to speak with students with respect and careful honesty. “Many educators view positive reinforcement as a good thing, as when offering praise to students, but J. Martin Rochester (in the book, ‘Class Warfare: Besieged Schools, Bewildered Parents, Betrayed Kids and the Attack on Excellence’) argued that its overuse leads to overtly extrinsic, manipulative learning.”³

We want to encourage students to consider the long-term effects of music education. An immediate and empty reward or stimulus creates a conditional relationship that may not be sustainable for our lifelong learning goals.

Being Inconsistent: Rules or guidelines that are difficult to enforce can cause inconsistencies in classroom management. If a teacher does not follow through with a planned action to a reaction, the teacher may be showing that:

They do not agree with the rule.
They consciously or subconsciously favor one student over another.
They believe that there is a gray area and that discipline should be handled on a case-by-case basis.
They fear retribution from the student, the class, parents or administration. Said retribution could be as simple as “the student no longer likes me” up to fear of parent backlash.

If you find yourself in areas of inconsistency, consider whether the policy or guideline is appropriate for your class or program. Implicit biases may also affect consistency. Asking why we reacted in a certain way can lead to a better understanding of ourselves and our students.

Being Rigid / Too Harsh: Here’s my hypocrisy showing again. I just talked about inconsistency, but I don’t believe that rigidity is the antonym to inconsistency. The zero-tolerance policies that became popular in the 1990s didn’t improve student safety and school climate.⁴ Strict and harsh punishments harmed students, especially minority students.⁵ Harsh penalties, such as suspensions and expulsions, increase the dropout rate. If a student breaks a minor rule, consider the fine details that accompany the offending action. Extenuating circumstances may guide you toward different timing or pursuing another type of conflict resolution.

Not Admitting Mistakes / Not Apologizing: One of my favorite things about growing up in a low-income area and teaching low-income students is the honesty. Remember, some of our students may be living with adult responsibilities at home. Some won’t hold back on letting you know if you’re wrong in delivering content or mistreating someone. Once, in front of the whole ensemble, I got after a kid for missing a rehearsal. The student getting the reprimand didn’t say anything, but another student did.

“Hey, Mr. Stinson,” this student said. “This is between you and him. Don’t bring his stuff up in front of all of us.”

And you know what? He was right. I spoke to the student after class about the rehearsal. I also apologized to him for not allowing him some dignity in front of the class. With his permission, I reiterated this apology to the group and thanked the other student for standing up for his classmate.

Teachers can make mistakes and be wrong in delivering content and classroom management. It is not weak to admit to mistakes. Apologizing to students and parents is treating people with dignity and respect or restoring a relationship when a situation like the one above occurs.

Don’t Give Up on the Student: Some of our students have already experienced significant trauma in forms of parental separations or uncertain financial situations. The added stress of a teacher or trusted mentor writing the student off can have profoundly adverse effects. Psychologist Martin Hoffman suggests that withdrawing love or support has a lot in common with more severe forms of punishment.⁶ He suggests that the withdrawal of love through timeouts, walking away or ostracization pose threats of abandonment or separation. ⁷

Some students can be challenging, and there are times where people need a break from each other. Evaluate your relationships with the student to communicate this effectively. “I’m not giving up on you; I just need some time to figure out how to give you what you need” is a more effective and humanistic approach than the silent treatment.

What’s A Good Starting Point? Model the Behavior You Want to See.

You guessed it: We must walk the walk. Students will absolutely call out hypocrites! Modeling what you consider to be the right behavior is easier said than done. What do I want from my students?

I want them to be focused in class by not multitasking or having phones out.
I want students to be respectful of me and one another in class.
I want students to be consistent, including being on time, having materials out and participating.
I want students to complete assignments to the best of their ability and in a timely manner.

This sounds cut and dry, but I urge teachers who may be struggling in this area to take a look at their own actions and procedures before taking other actions. A friend of mine observed a very well-known marching band’s rehearsal. It was November and freezing out. My friend noticed the thermostat was off in the press box and asked the director if they could turn the heat on. The director’s response? “If the kids are cold, I’m cold.”

How do we model respect to our students? I occasionally have students who are disrespectful by talking back or getting loud. My response is always the same: “I understand you’re upset right now, but do I talk to you like that?” This usually gets us to a common ground where we can actually talk about the issues at hand. The first one to lose their cool is often the one who puts themselves in a more difficult situation.

It Can’t Just Stop with Us

Building a relationship with a student and teaching them to respect us is not the end point. If we stopped there, we would be giving the student an unrealistic view of the world — that they only need to adhere to certain rules, guidelines and norms to the people who put significant effort into them. Schools are trying their best to create individualized education programs for every student, and although I applaud these efforts, conformity and social norms are not always a bad thing. People achieve more by working together.

So, once the kid is on “our side,” the job is just beginning. We now have that student’s attention, and we can be the ones to guide and encourage them to give other teachers who they may not like as much a chance, or to work together with a group they normally wouldn’t work with. We can share our struggles and let them know that sometimes we do have to work with people we didn’t agree with or even liked, but that our goals were more important than our egos and perceptions of others. We can teach students that we need self-respect to stand up for ourselves, but that we can also give people a chance to help us instead of assuming that we can’t trust them.

¹Morrison, Nick. (2019, April 5). “Black Students “Face Racial Bias” In School Discipline.” Forbes.com.

²Kohn, Alfie. (1999, 2018). “Punished by Rewards: The Trouble with Gold Stars, Incentive Plans, A’s, Praise, and Other Bribes” (2nd ed.). Boston, M, Houghton Mifflin.

³ Rochester, J. Martin. (2004). “Class Warfare: Besieged Schools, Bewildered Parents, Betrayed Kids and the Attack on Excellence.” San Francisco, CA, Encounter Books.

⁴ American Psychological Association Zero Tolerance Task Force. (2008). “Are zero tolerance policies effective in the schools?: An evidentiary review and recommendations.” American Psychologist, 63(9), 852–862.

⁵ Thompson, K. (2018, January 18). “Zero-Tolerance Policies and the School to Prison Pipeline.” Shared Justice.

⁶ Hoffman, M. L. (1970). “Conscience, Personality, and Socialization Techniques.” Human Development, 13(2), 90–126.

⁷ Hoffman, M. L. (1975). “Moral internalization, parental power, and the nature of parent-child interaction.” Developmental Psychology, 11(2), 228–239.

Set Up Your First-Year Flutes for Success

Written by Aleah Fitzwater on February 28, 2023. Posted in Winds. 1 Comment on Set Up Your First-Year Flutes for Success

It can be challenging to teach an instrument like the flute if it isn’t your primary instrument. Here are some tips to set up your first-year flutes for success, even if you don’t play the flute very often. But first, let’s tackle the obvious question: Why is the flute so difficult for those who are just getting started?

Common Challenges for Beginning Flutists

The flute is long and awkward to hold.
There’s no reed, so minor changes in air direction make a gargantuan difference in your sound.
The flute requires more air than a euphonium or tuba.

No other band instrument is held sideways. The flute is a “partially blind instrument,” which means that you can’t see your fingers when you’re playing it. This is the opposite of a piano, for example, where you can see all the keys all the time.

Holding a flute correctly can be tiring, but holding it incorrectly causes a host of problems, including poor tone and muscle strains or sprains. Flutists are especially prone to neck pain and carpal tunnel, so it is imperative to keep an eye on their posture. Be sure that your flutists sit up straight and curve their wrists into a “C” position. Flutists should not lean their heads to the right (toward the flute).

The lack of a reed means that a millimeter’s worth of change on the flute can be huge. Flutists are often easily frustrated with how the flute responds one moment, and not at all (nothing but air) the next. Because the flute is blown across, two-thirds of the air you put out goes around and across the instrument instead of inside. This means that it takes far more air to make a sound on the flute than it does a tuba.

On top of this, the flute tends to favor those with symmetrical lips. That being said, here are some tips and tricks on how to create different embouchures for people with asymmetrical lips. But my main message is: Don’t fret. Anyone can learn to play the flute.

THE 400/300/200 SERIES FLUTES: Help your beginning flutist choose their ideal first instrument!

Take Time with the Headjoint

Many method books, such as the Essential Elements series, start flutists on the headjoint. This is a great first step, but many directors don’t spend enough time on it. Even in beginning flute books, the headjoint how-to section is too brief, so most folks don’t linger on it.

However, it is essential to work on the headjoint for longer than you think. Be sure to have your students practice high and low partials to home in on making a solid sound. Other things you can try in order to practice different embouchures on the headjoint are covering the headjoint (to help students find and play a lower pitch), bending the note up and down (to help get a focused sound) and articulating different rhythms in order to make sure students are tonguing correctly. I like to use clapping exercises to help with rhythms.

Don’t Get Technical Too Soon

It’s difficult to get a steady sound on the flute when you are getting started, so don’t get into quick passages too soon. If you want to work on band pieces with faster notes, have a flute section where you slow it down and do some tone exercises that focus on transitioning to these notes in a sequence before you put it all together in rehearsal. To really home in on each note, have students practice the passage with each note as a quarter note at the rate of 60 bpm. I use this technique in my own daily practice to set muscle memory in both my fingers and embouchure.

Hire a Part-Time Flute Sectional Instructor

If you aren’t a virtuosic flutist, hire a part-time sectional instructor to save you a lot of headaches. Contact a flute major at a local college, a member of a local orchestra or community band, or even alumni from the school you teach at. Sectional instructors who are experts on their instrument will benefit the entire band, but I believe them to be most essential for flutists, double reed players and French horn players. These are the traits I look for in a sectional instructor:

Experience
Accountability
Relatability / Sense of Humor
Confidence

Finding players with experience is important, but they also need to be able to connect to your students when you’re not in the room. Sectional instructors can introduce your students to new solo pieces and duets and get them practicing their instrument in a new context. Plus, if this instructor is available in the summer, they can also help your woodwinds at band camp if you teach at the high school level.

Another essential facet to hiring a sectional instructor is the logistics. In order to get approval, prepare to talk to your administration about the hiring process, including hourly rates and background checks. Be sure to schedule at least one formal interview per qualified candidate and bring along another licensed teacher from your district to get a second opinion.

Start Class with Intentional Listening

Pupils are sponges and learn from repetition. A large part of becoming a rich and strong flute player is to watch professional musicians like Jean-Pierre Rampal, Emmanuel Pahud, William Bennett and Denis Bouriakov. My college flute professor told me to also listen to vocalists like Maria Callas to help me get a vocal quality to my playing.

When I taught instrumentalists in a large group setting, I would rotate the different types of instrumental solos to expose my students to professional playing without taking too much time from their playing. Segments of the following instructional videos and pieces will go a long way:

Rampal on Articulation
Bouriakov’s Carmen Fantasy / Encore Version
Pahud’s Fantaisie
Bennett’s Mel Bonis Sonata

Blowing Down, Note Bending and Long Tones

While many band directors believe you should encourage students to blow across the flute, I think it is more helpful to tell students to blow down in the direction of their lap. While blowing across the tone hole will produce a sound, it is often a tone that has out-of-tune harmonics and lacks consistency. Also, blowing straight across sounds airy, and the note usually phases in and out. Blowing down and rolling in the headjoint to an extreme can cause the pitch to be flat, so when you start blowing down more, you will need to push in your headjoint to compensate.

Another thing that is somewhat related to blowing down is note bending. This is a practice that flutist William Bennett swore by. He encouraged young flutists to bend the pitch of their note both up and down while they practiced long tones. This will help students strengthen their embouchure muscles, familiarize them with their instrument and find their tonal center.

Note bending is not the same thing as blowing down. It can be done in a variety of ways. You can roll the headjoint in as you play (to make the pitch flatter) or roll it out (to make the pitch sharper). You can also tighter and loosen your corners or change the direction or velocity of your air. Overblowing will lead to a higher pitch, while underblowing will lead to a lower one. The goal of note bending is to explore the instrument, and a way to alter pitch that best works for you. In the long run, note bending will help you control your tone and wrangle out-of-tune notes into something beautiful. Blowing down, on the other hand, only aids in producing a better tone. It doesn’t help you get to know the ins and outs of the flute as much as note bending does.

It’s worth nothing that note bending doesn’t have to be done in isolation. Brass players and other woodwinds will find this exercise helpful, too. Brass players can use their corners to manipulate their pitch or make the size of the space inside their mouths smaller. The exact method of note bending varies on each instrument, which is again, why sectionals can be valuable.

Help Students Find What’s Comfortable for Them

Posture and embouchure are essential for flute players. Pupils often wonder if they should raise their flute higher. Or, how they can give their arm a break while still producing a good sound.

The most important tip to set up your first-year flutes for success is to help them find what is comfortable for them. Ask guiding questions about tone, such as: “I heard you produce a richer sound in that passage. How did you change the way you played your instrument in order to get that sound?” When flutists can self-reflect during practice, they will be more likely to experiment with embouchure and position.

I hold my arms at a lower, more relaxed position. Standard marching band posture will have flutists holding their instrument parallel, for aesthetic reasons. I find that a slight angle down is best for concert band and solo playing. Principal flutist Joel Tse of the Toledo Symphony also plays with his arms angled down slightly. I believe this position to be more ergonomic.

Some teachers insist that your embouchure must be centered, but this simply doesn’t work for students with a cupid’s bow or teardrop in the lip, which can cause the air to split into two streams, making it difficult to focus and control your sound. To solve this, you can play with an embouchure that pulls to the left. This is what is referred to as an “offset embouchure.” Bouriakov (the principal flutist of the Los Angeles Philharmonic) uses this embouchure, and so do I.

One way to tell if a flutist is getting a good sound is when the condensation on the lip plate is triangle-shaped. Encouraging students to practice with a mirror allows them to see for themselves if that triangle is present. By watching themselves in mirrors, students can notice large shifts in their embouchures and will begin to narrow those large lip shifts down into small, controlled movements that hit the target of each note in a way that works for them.

Flutists must be given the time to explore their instrument and determine what is safe and comfortable for their bodies!

Learn to Play the Blues on Piano and Keyboard

Written by Jerry Kovarsky on February 27, 2023. Posted in Keyboard How-to. 1 Comment on Learn to Play the Blues on Piano and Keyboard

The blues is a form of music that developed in the late 19th century as a way for African Americans to express their suffering and emotional state. It has evolved greatly over the decades and now incorporates numerous variations adopted from rock ’n’ roll, jazz, gospel and many other styles of music.

Here’s a guide to the most common forms that make up the blues universe today.

The Basic Blues

Musicians refer to the blues as being a I-IV-V progression, but what does that mean? Those roman numerals stand for the root, fourth and fifth scale tone chords that occur within any given key. For example, these are the scale tone chords in the key of C:

So in this key, the C, F and G chords are used to play the blues:

However, it’s common for all the chords in a 12-bar blues progression to be played as dominant seventh chords, where a flatted-seventh is added to each chord, as shown below.

There are many examples of famous pianists using this classic blues form. Check out this Ray Charles performance, and then compare it to this Otis Spann song performed by guitarist Albert King. Both are using the same telltale I-IV-V chord progression, and seem to point the way for how rock ‘n’ roll grew out of rhythm and blues. When played at slow tempos, the blues can evoke strong emotions, as you can hear in this recording from blues legend Pinetop Perkins.

Two Common Blues Variations

Rather than staying on the I chord for the first four bars, here’s a variation that’s often used instead. It adds a IV chord in bar 2 before going back to the I chord in bar 3:

The last bar also goes back to the V chord for what is called a turn-around, which is a way to set up the song to repeat. This variation is extremely popular and can be heard in many blues performances — for example, in this session featuring Johnnie Johnson and this wonderful Ray Charles recording.

Jazz musicians often inject a little more colorful harmony into the blues, using what some call a gospel lift. Here, the IV chord in bars 5 and 6 moves through a diminished chord on the sharp-four scale tone before coming back to the I chord in bar seven. Also, in place of the V chord going down to the IV chord in bars 9 and 10, many players like to use the jazz-centric ii-V movement. In the example below, that gets accomplished with the use of some functional harmony in bar 8, with the A7 setting up the D minor nicely, and the B-flat seventh doing so for the A7:

You can hear this approach on the classic Charlie Parker tune “Now’s The Time.”

Minor Blues

For a music style often used to evoke pain and sadness, it should come as no surprise that there’s a minor blues form as well. In a natural minor scale (which uses the key signature of the major key a minor third higher, in this case E-flat), the IV and V chords both end up being minor, which doesn’t give much harmonic “pull,” as you can hear in the audio clip below.

That’s why the minor blues is formed from the melodic minor scale instead. This allows the V chord to still be a dominant seventh:

The result is this common minor blues form:

Here’s a good example of how such a chord progression can be used in a minor blues, as played by piano great Bill Evans.

A common variation substitutes a dominant seventh VI chord for the iim7♭5, so you’d play an A♭7 instead of the Dm7♭5:

This can be heard in Aretha Franklin’s performance of B.B. King’s famous “The Thrill Is Gone.”

Next month we’ll learn some keyboard licks to play over these blues forms.

All piano examples played on a Yamaha P-515

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Click here for more information about Yamaha keyboard instruments.

Getting Your Bass Into the Groove

Written by E.E. Bradman on February 24, 2023. Posted in Bass.

“Groove!”

For many bass players, it’s a sacred commandment, a call to action and a mission statement more important than technique, gear, music theory, wealth or (in some select cases) personal hygiene. Being complimented on one’s groove by another musician is the highest form of praise, and anecdotal studies have demonstrated that bassists who know how to groove get more gigs and generally live better lives. But can you define “groove”? And can anyone develop it?

The answer to both questions is a resounding yes.

KNOW IT AND GROW IT

“Groove” is the heartbeat and pulse of a piece of music. It transcends genre: Beethoven symphonies, Burt Bacharach tunes, Black Sabbath riffs, Dave Brubeck standards, B.B. King classics, Bad Bunny bangers, Blake Shelton sing-alongs and Beyoncé jams all have that oh-so-persuasive rhythm that makes it hard not to shake our hips, snap our fingers and nod our heads.

As bass players, it is our job to understand the right groove for each situation, which requires honing our “feel” — intuition plus knowledge, fine-tuned by experience — and settling into the pocket with the rest of the band. The best way to develop your relationship to the language of groove is to listen deeply to those whose grooves inspire you, while paying close attention to the way that masterful musicians support the flow of energy in a given piece of music.

PRACTICE TIPS FOR GETTING IN THE GROOVE

Developing a strong relationship with time by playing scales, chords and bass lines using a metronome like the Yamaha MP90 provides a great foundation for grooving. Many of us naturally play in front, on top of, or behind the beat, so work on whatever doesn’t come naturally. Rock bassists, for example, are frequently asked to play ahead of the beat, while reggae bassists are best known for playing behind the beat.

Yamaha metronome standing upright — *The Yamaha MP90 metronome.*

That said, playing with a drum loop is a lot more fun and interactive than working with a metronome, plus it’s a great way to refine your relationship to the kick drum — every bass player’s best friend. Most digital audio workstations, including Steinberg Cubase, offer plenty of beats to choose from. There are also plug-ins like Groove Agent SE (included with Cubase) that provide collections of audio loops of realistic sampled drum sounds, as well as MIDI loops (in Groove Agent SE, called “patterns”) that allow you to change the drum sounds at will. These kinds of apps make it easy to play along and refine your relationship to the groove without a live drummer.

Screenshot of Steinberg — *Steinberg Groove Agent SE.*

Screenshot of Steinberg grooves — *Some of the many Groove Agent SE MIDI patterns.*

But as much fun as it can be to jam with virtual drums, the bassist’s primary job is to connect rhythm and harmony, so the most important thing is to practice along with actual music. Playing along to tracks you love is a great way to understand how the players you admire groove in particular situations. I have a collection of albums without bass parts — everything from piano/drum duets to Middle Eastern percussion ensembles — and I enjoy the challenge of finding the right notes and rhythms without the benefit of sheet music or chord charts.

Finally, recording yourself and listening back is like looking into a mirror that clearly reflects your strengths and weaknesses. As you listen, take notice of your rhythmic impulses. Working on your weaknesses and cataloging your strengths will pay huge dividends when you do play with a live drummer.

THE RHYTHM SECTION

Having a conversation with a drummer through music is one of the great joys of being a bass player, especially when you listen to each other. Your drummer may feel things differently than you do, so don’t be afraid to talk it out. If you’re still not gelling, start by simplifying your bass part and following the kick drum. Being part of a rhythm section that’s in sync is one of the best feelings in the world, but tension can be juicy, too, as long as it serves the music.

As you settle in with your groove partner, here are some ways to take care of business on bass:

Tone. Supporting the rest of the band with a strong, confident approach helps everyone groove.
Time. Rushing (unintentionally playing ahead of the beat) or dragging (unintentionally playing behind the beat) can kill the groove.
Dynamics. Learning when and where to turn up or play delicately is crucial.
Silence. Knowing when to lay out is important, too. If the groove is in jeopardy, simplify.
Note length. Being purposeful about playing short notes or long ones can make all the difference.
Ghost notes and dead notes. Ghost notes are low-volume notes played between main notes as part of a phrase, while dead notes are “thumps” with no discernable pitch. Knowing how to use these options helps make something “funky.”
Repetition. If you’ve been to a dance club, you already know that repetition makes your body move.
Relax! Being self-conscious and uptight makes it harder to give the music what it needs.
Genre. To relax and groove, you must be familiar with the genre you’re playing in.

AUDIO EXAMPLES

To illustrate these concepts, here are some audio clips that feature a guitar riff accompanied by a drum loop, then by real drums. First, I provide a “minus-one” version, followed by the same clip with me grooving along on bass. Note that spacious rhythm section parts reveal different aspects of the guitar line, and also take note of how each drummer’s phrasing changes my approach.

Here’s the first example without any bass:

… and here it is with me playing a Yamaha TRBX174EW 4-string bass with the E string tuned down to D. As you can hear, I’ve added a sturdy melodic figure next to the drum loop, switching to whole notes and then octaves on the way out.

Here’s example 2, minus any bass …

… and here it is with me again playing the TRBX174EW, this time in standard tuning. My approach here was to match the syncopation of the drummer’s off-kilter part, lean into his triplets, and then go up the neck.

Next, example 3, minus any bass …

… and here it is with me playing along on a Yamaha BB435 5-string, sitting in the pocket with the side-stick pattern, and then going to eighth notes on top of the beat when the drummer switches to the ride cymbal.

Finally, example 4 with no bass …

… and the same clip with bass added, also played on the BB435. Here, I hug the kick drum for the first section, play long tones over the syncopated groove, and then meet up again as the drummer gets busier.

THE BIG PICTURE

Groove can be a slippery concept, but learning to articulate and refine it helps us do our job as bassists, which is to be fully present to whatever the music needs. Once you’ve internalized the elements discussed above, you’ll be better prepared to give in to the music — which will make your drummer, the rest of the band and the audience groove until the proverbial cows come home.

Check out E.E.’s other postings.

A History of Yamaha Studio Reference Monitors

Written by Rich Tozzoli on February 22, 2023. Posted in Recording. 2 Comments on A History of Yamaha Studio Reference Monitors

Everyone wants to win a Grammy Award^®, but when a speaker wins one, you know you’re onto something. That’s exactly what the venerable Yamaha NS-10 achieved when it garnered a Technical Grammy^® in 2007. A mainstay in countless recording studios for more than four decades, these beloved white-coned monitors continue to be a force to this day.

But the line of Yamaha reference monitors includes more than just the NS-10. Let’s take a look at the long history behind them.

WHERE IT ALL STARTED

The NS-10 was first launched in 1978 … but not as a studio monitor. Instead, it was originally designed as a Hi-Fi speaker for consumers, designated the NS-10M, complete with a cloth grille. While it did not do well on the consumer level, it soon became a phenomenon in recording studios (sans grille), thanks largely to engineer/producer Greg Ladanyi (Fleetwood Mac, Don Henley, Jackson Browne), who brought a pair of NS-10s to the U.S. after a trip to Japan and became one of the first early adopters of the speakers.

The NS-10M had a modest frequency range of 85 Hz to 20 kHz, and power handling of just 25 -50 watts, yet its admittedly less-than-perfect sound turned out to be a secret weapon in the studio. Almost magically, it exposed any sonic flaws in the audio, allowing for corrections to be made during the production process. You literally had to work hard on them to make your recordings sound great. Music mixed on NS-10s would translate well to the end users listening to playback systems in their living rooms, bedrooms and cars. It wasn’t long before these mysterious speakers started to become a mainstay in recording studios around the world.

TECHNICALLY SPEAKING

Weighing just over 13 pounds, the 8-ohm NS-10M was housed in a particle board cabinet that measured 15.0″ x 8.5″ x 7.8″. It had two drivers: a 180 mm (7″) paper woofer and a 35 mm (1.4″) soft-dome tweeter. The iconic white bass/mid driver cone was manufactured from a flat sheet of pressed pulp paper, giving the NS-10 a distinctive look.

View of front of speaker. — *Yamaha NS-10M.*

The NS-10M had a limited bass response, with a rolloff beginning at around 200 Hz, and a prominent boost in the upper midrange of some +5 dB at around 2 kHz, but it did have an extremely fast transient response (that is, it responded especially quickly to changes in level) thanks to its extremely lightweight drivers and unported, enclosed design. Unfortunately, this also resulted in a somewhat over-bright upper treble response. As a result, many engineers were known to tape tissue paper over the tweeters, sparking an endless (and somewhat silly) debate about the brand and ply of toilet paper required. This decidely low-tech correction would, it was felt, not only help tame the high frequencies but also create a quasi-comb filtering effect, with some frequencies reflected back into the tweeter.

VARIETIES OF A GOOD THING

Yamaha discontinued the NS-10 in 2001 when it became too difficult to source the pulp needed to make the low frequency drivers. However, six different versions of the speaker evolved over the 23 years it was being manufactured.

The NS-10M PRO, NS-10M Studio and NS-10MC were released in 1987, each with subtle changes to the original. All had an improved tweeter and could handle more power — up to 120 watts. The latter two were designed to be used horizontally and had an improved crossover network, as well as better bass response, down to 60 Hz.

These were followed by the NS-10MX (1993) and NS-10MT (1996). Both were designed to be deployed vertically and were magnetically shielded so they could be used in close proximity to computer monitors. The MT model utilized a bass reflex design with a rear-facing port (all previous NS-10 models were unported) and so had extended low frequency response, all the way down to 43 Hz.

A comparison chart between the models can be found here.

MSP AND MSP STUDIO

In 1998, Yamaha introduced the MSP5, a speaker specifically designed to provide faithful playback of the original sound that is demanded from studio reference monitors. Most significantly, it was self-powered, eliminating the “X”-factor of how the quality and rating of a separate power amplifier (along with the quality and length of the cabling used to connect it to speakers) impacts on the performance of the monitoring system. The MSP5, and the subsequent flagship MSP5 STUDIO model introduced in 2006, incorporates dual high-performance integrated power amplifiers and a crossover network perfectly matched to the speaker drivers.

View of front of speaker with filter cover removed. — *Yamaha MSP5 STUDIO.*

The MSP5 STUDIO boasts impressive specs, including a frequency range of 50 Hz to 40 kHz. Its 5″ cone woofer is driven by a powerful 40-watt amplifier, while the 1″ titanium-dome tweeter is driven by a separate 27-watt amp. Both speaker drivers are housed within advanced magnetic structures for exceptionally low distortion, and the tweeter utilizes a unique waveguide horn for broad, uniform high frequency dispersion over 120 degrees for optimum balance regardless of listening position. Even the enclosure is specially designed to help eliminate unwanted resonance and increase sonic accuracy, with a rounded baffle and a specially treated polypropylene cone with low damping rubber surrounds for better frequency response.

THE HS SERIES

In 2006, Yamaha released the HS Series of powered speakers. Available in both black and white, they build upon the lineage of the classic NS-10 (complete with white woofer!) to provide precise and accurate studio reference monitoring. All feature newly developed transducers, dual high performance amplifiers, a low resonance enclosure and an advanced speaker port design. They also offer handy controls for adapting to rooms and surfaces of various sizes and shapes: ROOM CONTROL for attenuating high end, and HIGH TRIM for flexible control over the high frequencies.

Five speakers in black and in white, plus a subwoofer in black. — *Yamaha HS Series studio monitors.*

There are five HS Series speaker models, as well as five equivalent “I” models that have identical specs but include mounting points on four surfaces.

The HS8/HS8I pairs a 8″ woofer with a 1″ dome tweeter and 120 watts of output power, and is capable of reproducing frequencies from 38 Hz to 30 kHz.
The HS7/HS7I pairs a 6.5″ woofer with a 1″ dome tweeter and 96 watts of output power, and is capable of reproducing frequencies from 43 Hz to 30 kHz.
The HS5/HS5I pairs a 5″ woofer with a 1″ dome tweeter and 70 watts of output power, and is capable of reproducing frequencies from 54 Hz to 30 kHz.
The HS4/HS4I pairs a 4.5″ woofer with a 1″ dome tweeter and 26 watts of output power, and is capable of reproducing frequencies from 83 Hz to 20 kHz.
The HS3/HS3I pairs a 3.5″ woofer with a .75″ dome tweeter and 26 watts of output power, and is capable of reproducing frequencies from 85 Hz to 20 kHz.

There’s also an HS Series subwoofer: the HS8S, which includes a 150 watt amp powering a 8″ powered driver in a bass-reflex enclosure, for frequency range from an ultra-low 22 Hz to 160 Hz. In addition to HIGH CUT and LOW CUT controls, it offers a PHASE switch that makes it easy to determine ideal placement.

A subwoofer speaker. — *Yamaha HS8S subwoofer.*

From the original ground-breaking NS-10M introduced nearly 50 years ago to the latest HS Series and flagship MSP STUDIO models, Yamaha monitors have become an integral part of recording the world over, from the top professional facilities to the most modest bedroom studios. An impressive history indeed!

The Music of Mardi Gras

Written by Marc Hopkins on February 20, 2023. Posted in Music and Streaming.

It’s been called America’s greatest block party … and it runs for two solid weeks every year, starting on Fat Tuesday — the English translation of the French words “Mardi Gras.” New Orlean’s unique celebration is marked by costumes, parades, beads, food and sustenance of the liquid variety, all in abundance.

But music plays a big role, too. Let’s take a closer look at the genres that predominate the festivities, along with a list of the top Mardi Gras songs you’ll want to add to your streaming playlist.

Zydeco and Cajun

Louisiana is host to a confluence of cultures, including that of Native Americans, Africans, Canadians, Haitians and the French, among others. This has led to continuous creative strides in jazz and blues, as well as the development of regional music such as zydeco and Cajun, both of which are today considered part of the foundation of American music.

The two genres grew up in the bayou and are closely related, with similar instrumentation: guitar, accordion and/or fiddle, upright bass and some kind of percussion, which can range from a simple triangle or washboard to a full drum kit. Early on, many practitioners became more reliant on the accordion than the fiddle, possibly because the accordion did a better job of overcoming noisy revelers on crowded dance floors.

Examples of Cajun music include “Pauvre Hobo“ and “Le Chanky Chank Francais,” as performed by the group Beau Soleil. For zydeco music, listen to “Beast of Burden” and “Hey Hey Hey,” by Dwayne Dopsie & the Zydeco Hellraisers.

Native American Influences

There are times when inspiration for new music springs from the communities that consume it. Such is the case with the Mardi Gras Indians, who are Black Americans that mask and dress in traditional Native American attire while parading in order to honor American Indians who helped protect enslaved people who fled from bondage — a practice that has existed for more than a century. Their street chants, once used in battle, are found in songs like the Meters’ “Hey Pocky A-Way” (see below). “Street music was the root of all the songs that got to be known as New Orleans rhythm and blues,” says George Porter Jr., bassist for the Meters and leader of the Runnin’ Pardners.

Much of the music associated with Mardi Gras arises from historical events. A good example is “Corey Died on The Battlefield” — a song inspired by a fight in a neighborhood where a Native American was killed. “Being folk music, it changes over time,” says Louisiana State University ethnomusicologist Joyce Marie Jackson. “Sometimes Corey’s a man, sometimes a woman.”

Top Mardi Gras Songs

These are some of the songs you’re likely to hear performed by marching bands (along with brass arrangements of modern R&B favorites) if you’re lucky enough to attend a Mardi Gras parade in person. Who dat!

When the Saints Go Marching In

There’s no song more closely associated with Mardi Gras than this jazz standard popularized by trumpeter and vocalist Louis Armstrong with his 1938 recording. Also known as “The Saints,” the song started as a Christian hymn, with the earliest renditions adopting a slow tempo. While the song’s writer remains unclear, a number of composers have sought copyright, including Luther G. Presley, Virgil Oliver Stamps and R. E. Winsett

Carnival Time

New Orleans native Al Johnson, sometimes called Al “Carnival Time” Johnson, is best known for his performances of this song. First recorded in 1960, the tune has become a staple of the Mardi Gras celebration.

Hey Pocky A-Way

Adopted from the street chants of Mardi Gras Indians, “Hey Pocky A-Way” is a carnival favorite. The song was first released in 1974 by the New Orleans funk band The Meters, led by the late singer/songwriter Art Neville. Its title comes from early Native American vernacular, and is sometimes written as “Two Way Pak E Way,” which means “get out of my way.”

Iko Iko

This tune drew little traction during its first release in 1953 under the title “Jock-A-Mo” by James “Sugar Boy” Crawford and his Cane Cutters. More than a decade later, the Dixie Cups gave the song new life as “Iko Iko.” Singer Barbara Hawkins has said that the rhythm came together by happenstance. “We were just playing around with it during a session using drumsticks on ashtrays,” she recalls. “We didn’t realize Jerry and Mike had the tapes running.” Legendary songwriters Jerry Leiber and Mike Stoller, who served as producers for the recording, then enhanced the track with bass and percussion.

Go to the Mardi Gras

This R&B favorite, which encourages listeners to visit New Orleans and participate in Mardi Gras, was co-written by Professor Longhair (Henry Roland Byrd) and released by him in 1949. (His 1959 rerecording featured a young Mac Rebennack on guitar, long before he became known as Dr. John.) Byrd is credited with originating a “rhumba boogie” style that fused elements of blues, barrelhouse and Caribbean influences.

Big Chief

This homage to Mardi Gras Indian groups became a local hit in New Orleans when Professor Longhair released his version in 1964 and is today a staple of most brass bands marching in Mardi Gras parades. Longhair’s recording features a whistled first chorus in a rollicking blues piano style, with lyrics written in mock-American-Indian pidgin. (Check out Dr. John’s instrumental version here.)

Mardi Gras Mambo

This catchy tune was first recorded in 1954 by the Hawketts, whose members included Art Neville, later of the Meters, who would release their own version two decades later. According to Hawketts drummer John Boudreaux, the group first tried to play the song in a calypso style before settling on the now-familiar mambo instead.

Eric Wortham Takes the Stage

Written by Yamaha Corporation of America on February 17, 2023. Posted in Artists.

Yamaha Artist Eric Wortham II is an accomplished pianist, composer, songwriter and producer who has served as accompanist for Adele since 2016, touring worldwide with the multiple Grammy^®-winning singer and appearing on her Adele at the BBC and Adele Live in New York City television specials

The Philadelphia-born Wortham has also recorded and toured with a wide variety of pop, jazz and gospel artists, including Seal and Jill Scott (for whom he served as musical director shortly after graduating high school). He’s performed at the Grammy Awards^®, the NAACP Image Awards^® and the Marian Anderson Award, and has made appearances on The View, Good Morning America, Live! with Kelly and Michael, The Ellen Show, The Jimmy Kimmel Show, The Tonight Show Starring Jimmy Fallon and Saturday Night Live.

In this far-ranging interview, Wortham discusses the strong influence church music has had on his life and the steps he took to prepare for working with A-list artists, as well as his personal take on Black History Month.

How would you describe yourself as a musician?

Music and the piano have become my voice. There are a multitude of languages around the world, and they allow a human being to express their thoughts, feelings, and emotions, but there are certain things that just can’t be expressed. The language of music has allowed me to express those things that I can’t utter with just basic words. So it’s my world, my language. It’s the most accurate version of myself.

What are some of your earliest musical memories?

My dad was a bishop in a church, so gospel music was the first sound I remember hearing. And gospel music is very powerful. Its goal is to lift the spirit of the people who deal with a lot of heaviness in their day-to-day life. Man, it was beautiful growing up! That church background is the cornerstone for me for sure.

When did you first start playing piano?

My first instrument was the drums. I was maybe six years old, and at this one particular church youth convention, I had to sing in the choir, which I didn’t want to do. I wanted to beat the drums, I wanted to bang on stuff.

But my parents made me get on the choir loft, and because I was short, I was standing in the front, watching the organist play. It looked like he was just mashing a series of buttons, like he was nonchalantly smearing his hands on the organ, but I noticed that what he was playing was causing the people to either worship or dance. It was the succession of his notes [that set] the mood for the service. I thought that was a huge responsibility. I just connected with it, and I felt like I could do it.

I have two other sisters, and at that time, they were both taking piano lessons. When I got back from that convention, I started tinkering away [on their piano]. It just came naturally for me. And I fell in love [with piano] within the first couple of days.

What did you do to prepare yourself to be able to work with A-list talent?

I think the first thing was my desire for excellence. I don’t think you can teach that — it’s just something that’s innate. For me, after I was six years old, my path became very clearly defined and illuminated.

You know the saying, “practice makes perfect”? I had a teacher that said, “perfect practice makes perfect.” You could practice doing the wrong thing and develop a lot of bad habits. But if you practice doing the right thing [over and over again], it’ll become habit. I had great instructors and great mentors, but even [more important was] having the appetite: I was very, very hungry. I was gifted in math and sciences, so I was going to go to the high school for engineering and science in Philadelphia, but instead, I enrolled myself into the High School for the Creative and Performing Arts. The teachers there pushed me to not be complacent: learn all your scales, all your modes, hands separate, hands together, hands opposed; learn your Bach inventions, try to learn them in all 12 keys. [They] guided me in the right direction because I had that desire and I had that hunger.

Over time, you develop confidence in a form of artistry that you must have in order to perform with and stand under the pressures of working with someone like an Adele. And that is trusting your heart, trusting your instincts, trusting your skill set, and also, learning the lyrics to a song and embodying what it means and what it feels. It’s one thing to show off your talent, but it’s about evoking emotion and a feeling, and you’re providing that as a tapestry for an artist of that ilk, because then they’re able to comfortably and confidently do their thing.

How is solo practice different than practicing, playing and performing in a group scenario?

I used to practice four to five hours a day. Then I went to see [Cuban jazz pianist] Gonzalo Rubalcaba play at the Philadelphia Art Museum and he asked me, “Dude, how many hours do you practice?” I said four or five — I thought that would be impressive. He’s like, “Yeah, you’re doing way too many hours.” I was like, why? He said, “When you practice you’re supposed to work on what or where you have a block. You’re not supposed to just rehearse all the things you can do just to impress yourself. You want to start right where there’s that wall and push past that.” So for me, when I’m practicing by myself, I’m not putting in massive amount of hours to just rehearse my own ability. Because then when you get up on this bandstand, you can’t be fresh; you’re just going to keep recycling. So I just spend an hour working on pushing past that wall, and then you start focusing in on other disciplines, [keeping] fresh by practicing in ensemble and duet situations. Learning how to practice is a very important discipline. Learning how to learn is very important.

The scariest thing is to be true and vulnerable to yourself. It takes a lot of bravery, a lot of character and courage. And, honestly, I get so much of that from the artist that I accompany.

A pianist onstage with singer Adele and three backing singers.

What has it been like working with someone as creative as Adele?

Well, she’s a perfectionist, and she’s a complete musician. That makes my relationship with her extremely easy. [Everything] is crafted and thought out by a musician. It’s music by a musician.

With an artist such as Adele, there’s a certain spirit there, a certain excellence. It’s not a fluke. Trust is everything in any relationship. Establishing the confidence that you can depend on me under any circumstance — that’s what defines the relationship. I like being counted on. I want you to count on me. I want you to have faith and trust in me.

When you’re playing in a band setting, there are more points that have to be locked in; after all, a chain is only as strong as its weakest link. So if the guitar player isn’t feeling it today, no matter how much the rest of the band is trying to lock in and be in sync, well, we still got this. When it’s just me and the singer, that’s like heaven for me: I’m at your disposal. Adele’s show and music are perfect for a piano player because they encompass so much emotion. Yes, there’s a full orchestra [too], but as a pianist, this gig is perfect.

What does Black History Month mean to you?

On some levels, I respect it a great deal, and I respect its gesture towards the community. But I’ve always felt that it was very, very hard to cram Black History into a month. I think people tend to appreciate and remember the things that they want to know, but if you make someone learn something … it’s almost like everything that I was made to learn, I have forgotten.

I personally think that there are things that could be far more impactful to the Black community. I would like to see more of the actual things that would be life-changing, not only to the Black community, but to the human race at large. As long as we see each other as separate, there’s always going to be a divide. That’s the root of so many negative things that have plagued the planet; a lot of the things that plague humanity come from a lack of self-respect, lack of a way to acquire self-respect, a lack of history. So while I appreciate the gesture of Black History Month, I would like to see better efforts.

How has your culture influenced your music?

Growing up in church influenced my music a lot, but the experience of growing up as a Black man in Philadelphia in the early 1980s provided me with a unique outlook on life. I have two great parents who took it upon themselves to make sure that my two sisters and my little brother and I were educated, not just by what the school system was providing, but about the world that we live in, about what the world has progressed from, and ultimately about what human beings are. That provided me with a strong core as I navigated life, because the truth of the matter is that ignorant people treated me ignorantly, while kind and loving people treated me lovingly. I do believe that we are like plants: You feed us negativity, guess what’s going to happen? We are going to be horrible people. But if you give us love and opportunity and positive virtues, that’s what you get in return. If you give whoever’s listening something true and honest and healthy and spiritually edifying, it makes you feel good, makes you want to dance.

If I can provide that to my listener, I am leaving a piece of me behind that is good, and we all want to be remembered for something. I don’t want to contribute to humanity in a negative way; I want to contribute in a positive way. When looking at the history of what was done in this country to men and women that wore my skin, I could easily be angry. It’s very easy to be angry and have that anger fester and turn into an appetite for more anger, all because of the hate that happened.

But I had parents that taught me that we wrestle not against flesh and blood, but against principalities and evil spirits, that it can happen to you. And the fight that you want to be on is a fight on the side of right. Just find the root of the tree and stand for what’s right.

Photo credit [stage]: Raven B. Verona @ravieb

For more information, visit www.yamaha.com/artists/ericworthamII.html

Playing With Tempo

Written by Robbie Calvo on February 16, 2023. Posted in Guitars How-to.

What’s the difference between a drummer and a drum machine? Two bars at the end of the song!

I jest, of course, and have the utmost respect for my amazing drummer friends. But most musicians who play live will understand that quite often tempos will race ahead during a show, due to the excitement of the performance and the resultant adrenaline rush. This is quite normal and can sound — and feel — really good … as long as everyone continues to lock into the drummer and his or her fluctuations.

Bands that work with recorded tracks and MIDI programming will instead use a click track to stay locked in to the tempo. Though often set to a single fixed tempo, these clicks can be “mapped” — that is, painstakingly worked out on a bar-by-bar basis to make sure the music feels good rhythmically and melodically at those speeds.

Here’s a guide to playing with tempo – not just playing in tempo. There’s a difference, as you’ll soon see. First, though, let’s start with the basics.

What is Tempo?

Tempo is the speed at which a piece of music is (or should be) played. You can consider tempo as being the pulse or heartbeat of the music; in many ways, it’s the very foundation of all music.

Tempo is measured in beats per minute (BPM for short). Each beat receives the rhythmic value of a quarter note, so 60 BPM constitutes one beat (one quarter note) every second, while 120 BPM constitutes two beats per second, etc.

Tempo markings (in BPM) are usually written to the left of the song title on a chord chart or manuscript. The producer, bandleader or artist may change those markings by a few BPM as they work through the arrangements.

It’s important to understand that tempo is not the same as rhythmic feel. However, the tempo can affect how a piece of music is felt or perceived by the listener. A normal resting heart rate for adults ranges from 60 to 100 BPM … which may explain why music in those tempos somehow feels “right” to most of us.

How Is Tempo Used?

Composers use tempo to create excitement, anticipation and sadness, to great effect. The tempo for a car chase scene in a movie, for example, would most likely be at a high BPM, while the music accompanying a romantic embrace or moment of sadness would likely be played at a slower tempo, with less rhythmic complexity.

Songwriters and vocalists use tempo to support the pace of melodic and lyrical delivery. If the phrasing of a lyric is rushed, its clarity and meaning may be lost or incomprehensible to the listener. For that reason, acoustic versions of songs are sometimes performed at slower tempos than the original recordings, which of course changes how the song feels. I use this technique on certain songs during my live performances. For example, I play the classic rock song “Boys Of Summer” fingerstyle and at a significantly slower tempo, much like a ballad. I take the same approach to the iconic Tom Petty tune “Free Fallin’” and the pop singalong “Jessie’s Girl.” My audiences seem to love the more relaxed delivery.

It’s also worth pointing out that people who are learning to read music are often encouraged to use slower tempos to facilitate the execution of even the simplest of melodic lines. Tempos can and should be raised gradually as note recognition and performances improve.

The Internal Metronome

When I first started learning guitar, I worked religiously with a metronome. This instilled a strong rhythmic foundation for my development as a musician, and helped me understand how musical information fits within measures of music.

As an instructor, I’ve seen students who’ve never worked with a metronome really struggle with timing, tempo and the basic framework of rhythmic subdivisions, so I consider it a vital part of learning to play guitar … or any musical instrument, for that matter.

As a solo performer, you’ll need to develop an internal clock that you can feel within you; this will allow you to establish your tempos and grooves. Those tempos and grooves may change slightly in every performance, depending upon how you, as an artist, are feeling at that moment in time. We should feel the music we play and let our emotions inform the performances, allowing the art form to breathe a little.

The Importance of Pocket

As a musician, you’ll often hear the term “pocket.” I like to explain it as the perfect rhythmic placement of a musical element within the context of an arrangement (i.e., “playing in the pocket”). Tempo plays a huge part in the creation of pocket. If the tempo is too fast or slow, the pocket may be lost.

Speed and Accuracy

There are guitar players out there — some of whom are quite famous — that I humbly consider “sloppy” in their delivery. The energy is all there, but their accuracy often suffers as a result of the tempo and complexity of the phrases they choose to play. Nonetheless, they’ve had incredible careers, and I salute them for that and their musical approach. It’s a part of their unique style too!

But if you’d prefer your phrases to sound clean, articulate and rhythmically consistent, I advocate playing slowly and perfectly, bringing any ideas up to “speed” over time, while retaining accuracy. Improvisers with incredible chops may find playing exotic bebop lines or fiery metal solos no problem at all. Mere mortals like me pay very close attention to tempos. You’ll never hear me playing fast, because quite simply, I can’t. I’d rather articulate and deliver a phrase cleanly than try to show off. I’m profoundly aware of those limitations within myself, and I created a style around it.

The Video

It took me a little while to find the correct tempo for the guitar riff in this video to sound comfortable. I knew that I wanted to double that riff with the bass guitar, and I didn’t want either element to feel rushed. In the end, I found that a tempo of 88 BPM worked best.

I’ve placed the lead guitar lines in-between those guitar riffs, utilizing space in the arrangement for them to stand out so that they define their own presence in the mix.

The Guitars

Rhythm Guitar Parts

The Yamaha Pacifica may well be one of the most versatile electric guitars on the market today. It’s been a staple in the company’s guitar range for over 30 years, and with good reason. The range of tones and textures available from this double-cut workhorse are astounding, making it the perfect guitar for both recording sessions and live performance.

I used a Pacifica 612VIIFM exclusively for the rhythm guitar parts in the video, which were double-tracked using the coil-tapped humbucker and middle pickup configuration (position two), panned hard left and right in the mix.

Playing guitar in his studio. — *Playing the Yamaha Pacifica 612VIIFM.*

Lead Guitar

The slide and single-note lines in the video were played on a Yamaha Revstar RSS20. I wanted a warm, rich tonality for those lead guitar parts, and as you can hear, the Revstar humbuckers offered just the right amount of growl and depth.

Robbie playing guitar in studio. — *Playing the Yamaha Revstar RSS20.*

The Wrap-Up

We can combine rhythmic feel, groove, pocket and tempo with harmonic structure, melodic sensibilities and a lyrical narrative to create everything from a ballad to electronica.

Every creative element within the composition will have a profound effect on the others, so careful considerations need to be made before committing to the final blend, paying special attention to your tempos. Experiment with them until they let the music ebb, flow and breathe naturally. That’s a true recipe for success!

Check out Robbie’s other postings.

Spotlight on the WS-B1A Portable Bluetooth^® Speaker

Written by Yamaha Corporation of America on February 15, 2023. Posted in Audio Gear Guides.

Looking for a portable Bluetooth^® speaker that looks and sounds great? You’ll want to check out the new Yamaha WS-B1A.

The WS-B1A is lightweight and small enough to be held in your hand, yet it’s packed with features like these:

Bluetooth wireless connectivity at the push of a button
IP67 waterproof- and dust-resistant rating so it can be used almost anywhere
2 1/8″ speaker driver and two passive radiators plus a built-in 10-watt amplifier for powerful sound
Clear Voice technology that instantly brings podcasts and soundtracks to life
USB Type-C charging, with full charge in 3 hours or less
Up to 12 hours of playback on a full charge
Handheld size for portability
Wall-mountable

Let’s take a closer look.

COMPACT POWERHOUSE

The ultra-compact WS-B1A is just 3 1/2″ x 4 1/8″ x 3 1/2″ (W x H x D), making it literally small enough to fit in the palm of your hand. Yet with its 2 1/8″ speaker driver, two passive radiators and built-in 10-watt amplifier, it delivers the high-quality sound of a full-sized speaker, making it perfect for enhancing the sound of your smartphone, tablet or laptop. Music becomes punchier, podcasts are more engaging, and there’s an extra degree of realism in the videos you watch.

RUGGED YET STYLISH

The WS-B1A boasts a robust IP67 grade waterproof performance, allowing you to play your music anywhere, anytime — even where it’s wet. It’s also dust-resistant, for extra durability.

The WS-B1A looks as great as it sounds, too. Its stylish exterior is covered in a luxurious fabric that’s acoustically transparent, ensuring crisp and clear sound.

Black bluetooth speaker. — *The exterior of the WS-B1A is covered in an acoustically transparent fabric.*

WIRELESS CONNECTIVITY

With full support for Bluetooth (including the latest Bluetooth 5.0), the WS-B1A can be used up to 33 feet away from your device — simply pair it up with the push of a button and you’re good to go.

GET CHARGED UP

It’s easy to charge the WS-B1A using the included standard USB Type-C cable — just plug it in to your device or any USB wall charger. What’s more, it gets fully charged in only three hours, giving you up to 12 hours of play time.

You can also place your WS-B1A on a Yamaha CC-T1A charging cradle (not included) for a convenient way to ensure that your speaker is always fully charged, ready to grab and go whenever you are.

Black charging cradle — *Yamaha CC-T1A charging cradle.*

EASY TO USE

Using the WS-B1A is simple and straightforward, with four touch keys on the top panel that put full control at your fingertips. At just the push of a button, you can increase or decrease volume, skip back to the beginning of the song or ahead to the next track on your device, or turn Clear Voice (see below) on or off.

Top view of black Bluetooth speaker — *WS-B1A top panel.*

CLEAR VOICE TECHNOLOGY

The WS-B1A offers the same proprietary Clear Voice technology that you’ll find in many Yamaha sound bars. Simply hit the top panel Clear Voice button and podcasts and video soundtracks instantly sound better than ever, with background noise and sound effects lowered and dialogue brought front and center, making voices easier to hear and understand.

Arrow pointing to button — *WS-B1A Clear Voice button.*

IT’S MOUNTABLE TOO

A standard 1/4″-20 threaded socket allows you to easily mount the WS-B1A anywhere. Hang it on the wall of your dorm room, bedroom or patio — any place you like to listen to music and podcasts or enjoy videos.

Arrow pointing to socket — *A standard threaded socket on the rear of the WS-B1A enables easy wall-mounting.*

Learn more about the WS-B1A portable Bluetooth speaker.

How To Write A Love Song

Written by Shelly Peiken on February 13, 2023. Posted in Creativity.

How do you write a love song?

Easy. Fall in love. And be willing to share your revelations about it.

Of course, you might well ask, “How do I know that I’m falling in love?” Well, there are certain clues:

Your attention keeps returning to a certain someone more than anyone else in the room
You find their smile to be infectious
The tone of their voice draws you in
You’re curious to see them again as soon as you separate
“Out of sight, out of mind” isn’t working
When you hear “My Funny Valentine” or “Make You Feel My Love,” or whatever song expresses how you always hoped to feel about a soulmate, your heart literally beats faster — the equivalent of a positive result on an at-home are-you-falling-in-love test.

If any of the above apply, start scribbling. What are you waiting for? Writing about something in real time will capture its essence with way more clarity than writing from the memory of it.

If the object of your affection is someone you’ve loved for awhile — whether a romantic partner or a family member who’s been in your life since the day you were born — you might want to look at photos of them, revisit music you’ve listened to together, reread letters, texts or emails they’ve written. All will connect you with the words to express why they matter. Don’t be surprised if you’re overwhelmed and frozen with love at first … especially if your thoughts wander to the idea of living without them. But if you want to write a compelling love song, those are the feelings you must be brave enough to face and share.

As for the one that got away — well, this could be the most challenging and gut-wrenching of all categories. It requires reliving painful memories and of course the letting go. But it has to be done in order to move on and to honor that love is love whether it loved you back or not. Who knows? Maybe your song will serve to help someone else find the strength to get through a similar situation.

So get busy. No matter where you are on your love timeline, write as much as you can possibly put into words. Then put down your pen and let the feelings marinate. In a few days, reread your scribblings and highlight the bits that resonate most profoundly.

When you feel ready, get with your instrument of choice (or a co-writer) and marry the words to melodies and textures that organically call to your fingers and your voice. As you do so, close your eyes and picture the person you love. Most of all, trust the vibes. There’s no magic crystal ball that will deliver a better love song than the honest-to-goodness vibrations in your heart. I hope your heart — and the heart of the one you love — lets you in.

Here’s a conversation between producer Eve Nelson and myself about how we approached recording my one-that-got-away love song “Almost Doesn’t Count,” covered by Brandy back in 2000.

Check out Shelly’s other postings

neon sign that reads "No Music, No Life"

Advice for First-Year Music Educators

Written by Yamaha Staff on February 12, 2023. Posted in Teaching Tips.

Starting your career as a music educator is an exciting time! Who better to offer some words of wisdom than the Yamaha “40 Under 40” music educators for 2023?

Below are 122 tips that will help you navigate your first year of teaching.

Susan Wines
Orchestra Director
Wade Hampton High School
Greenville, South Carolina

1. Find an encouraging and wise mentor — this can be life-changing! A mentor will keep you abreast of current teaching trends while also helping you keep your head above water with all the other ‘minutia’ required in education. You are so valuable, and students need YOU! To the world you may be one person, but you truly have an opportunity to change the world, one student at a time.

2. Whenever you can, go watch a successful teacher. This teacher doesn’t have to be another music educator. Take your planning period and go observe the teacher of the year within your building. Watch the conductors at your Region Event and All-State and glean every rehearsal technique you can.

3. Be vulnerable – video tape yourself teaching. Watch it and reflect and, if you can, share it with your mentor to receive feedback.

The Yamaha Educator Newsletter: Join to receive a round-up of our latest articles and programs!

Franklin J. Willis
Adjunct Professor of Music Education, Vanderbilt University, Blair School of Music
Community Impact Director, CMA Foundation
Nashville, Tennessee

1. Be organized and create a plan. This will help you stay on top of all the tasks that come with being a music educator.

2. Get to know your students and their interests. This will help you create lesson plans that are engaging and relevant to them.

3. Connect with other music educators in your area. This is a great way to get advice, ideas and support from those who have been in your shoes before.

Jeremy Williams
Band Director
L.H. Marrero Middle School
Marrero, Louisiana

1. It is not always about what you like or even want. Example: Just because you may really like a song, it may not be a good fit for your group at that particular time. Not every kid who comes into the band room is going to be a band director one day. You will have students come to you with a variety of different interests, levels, backgrounds and needs. Make sure that the decisions you make are what is best for the band and the program as a whole. Every school, every program and every situation is a little different.

2. Know the repertoire for the level you are teaching. Picking the correct repertoire can be the make or break for so many things for the program and band member retention. If the band learned fundamental musical concepts playing the repertoire, and the band had fun and continues to play at the next level — then you did your job. Plaques, trophies and awards are not the reason we do what we do, period.

3. Don’t be afraid to reach out to other band directors. As band directors, we are often on an island. Most schools have one band director (unlike the English and Math departments where there are multiple other teachers teaching the same content). There will likely be no department head (or if there is, it is not uncommon for them to have a totally different specialty.)

Tyler Wigglesworth
Choir Director, Performing Arts Academy Coordinator, Vocal Music Director
West Covina High School
West Covina, California

1. Get to know the community, as well as the individual students who you serve. They are each unique humans who bring so much to the table in the music-making process, and every community and student is unique.

2. Always look to foster relationships with your colleagues as well as other music/performing arts professionals. Not only does this open up pathways for potential collaborations, but it is also a great way to demonstrate respect, inclusion, and love for others to our students.

3. Cut yourself some slack. “Rome was not built in a day,” and your music program won’t be either. Have an ambitious and hopeful vision for the current year, the upcoming year, the next five years, even the next 10 years. Having a vision for your program, and a dedication to an excellent execution of that vision, will help you begin to develop and shape your program into something really wonderful. Take on one thing at a time but do it excellently, and it will grow!

Greg White
Director of Bands
Ronald Reagan High School
San Antonio, Texas

1. Become the BEST musician you can possibly be. Listen to great music, STUDY your music and perform as much as possible.

2. Focus on communication. There is no such thing as overcommunication. Most people only get to know you through email, so make the craft of writing a priority.

3. Take time for yourself. This profession is hard, but worthwhile. Make sure you are taking every opportunity to lengthen the sustainability of your career.

Sara Weir
Music Teacher
Park View Middle School
Cranston, Rhode Island

1. Listen to your students, and respond to them like humans, not children who must obey! If you bring respect to the table, the students will follow suit.

2. Admit when you don’t know something, and model looking it up!

3. Build relationships first through structure, routine and consistency.

Nicole Wakabayashi
Director of Music and Drama
Notre Dame School of Manhattan
New York, New York

1. Go above and beyond. Being a music educator to high schoolers means that you not only need to be a strong musician/conductor/producer but you must also be emotionally available for your students. A level of mutual trust must be built.

2. If you are an instrumentalist or vocalist, continue to perform and develop your own craft. Find ways to still be on stage and hone your own performance rituals that you can pass on to your students. If you are asking your students to perform, you also need to remain a performing artist.

3. No matter your age, stay up to date with all current music from every genre.

Miriam L. Vazquez
Music Teacher
Duane D. Keller Middle School
Las Vegas, Nevada

1. Perseverance: This has been my word since I started teaching. I kept hearing that “it gets better,” and I finally figured out that we, as educators, get better! I remember going home crying during my first year and feeling exhausted from all the extra hours and weekends I would put in. But I always remembered that it took my teacher six years of not giving up before I finally joined her mariachi class, and I cannot express how grateful I am that she persevered because I would not be where I am today if she had given up.

2. Self-Care: Yes, your program needs lots of attention, but we tend to forget about ourselves. Sleeping, eating and even things as simple as setting a specific time when work ends are important in ensuring long-term success and sustainability, not only for the program but also for the teacher. Students notice self-care. And we need to care for ourselves in order to be more present for our students.

3. Always remember your WHY: As we continue with our busy lives, schedules and performances, and as our music programs start to run like well-oiled machines, things can become stagnant, where the focus is on the result, rather than the process. The process is the why — taking students from not knowing anything about music to being national performers — and all of the meaning that students take out of that process — makes what we do vitally important. We cannot simply focus on the student outcome of “learning an instrument,” “performing for whomever” or even “Keller Middle School — Superior.” The sense of community is why we do what we do, and we must remember that.

Trevor Tran
Head of Performing Arts, Director of Vocal Arts
Fort Myers High School
Fort Myers, Florida

1. The structure of learning cannot be built without the foundation of relationships

2. You can’t pour into your students if you are empty

3. You absolutely deserve to be where you are, if you put in the work

Jabari Tovar
Instrumental Music Teacher, Percussion Specialist
Salem Public Schools
Salem, Massachusetts

1. Have a plan. Plan out your goals for the school year and how you’ll implement them (dream big but be realistic). Plan out how much time it’ll take to get your students where you want them to be. Plan to take time for yourself! Teacher burnout is real and doesn’t help anyone.

2. Remember, everything you do must be for your students. If you try something and it doesn’t work out, that’s OK. The key is to always keep the students in mind.

3. Be honest. Students appreciate transparency. We tell our students that making mistakes is OK, but sometimes we as teachers don’t give ourselves the same grace. Own it, learn from it and move on.

Theodore Thorpe III
Director of Choral Activities
Alexandria City High School
Alexandria, Virginia

1. Be curious, be brave and ask as many questions as possible that come to your mind. There’s someone there to help you who has been there before. They certainly helped me.

2. Give yourself grace. You will make some mistakes. Just try not to make the same ones. Also, don’t be afraid to say, “I don’t know.” Students will value your honesty with them and your honesty with yourself.

3. Join your local and national professional music organizations (NAfME, ACDA, BOA, etc.). Networking with fellow music educators is extremely valuable in our professional development.

Taylor Spakes
Director of Performing Arts
West Rowan Middle School
Salisbury, North Carolina

1. Keep high standards. Students will rise to your expectations and will be thankful in the long run for being held to them.

2. Don’t be afraid to take risks and chances. Your students will surprise you and learn things you didn’t think were possible.

3. Ask for help. If you’re struggling to figure out everything it takes to run a music program, you’re not the only one! Other educators have their tricks that work for them. Don’t be afraid to reach out to those in your community with more experience. They want to help!

Marcus D. Smith
Choral Director and Music Educator
Baltimore City College
Baltimore, Maryland

1. Pace yourself and accept your reality. So many times, we envision our perfect ensemble. Work the ensemble in front of you to progress to be the desired ensemble that you envision. It takes day-by-day building. Give yourself and your students grace; it takes time.

2. Become a connected educator. Advocate for your program by building relationships with students, parents, faculty, alumni, administration and the community. Remember that you are not alone. Communicate with your ensemble’s village.

3. Be passionate. Continuously show love for your discipline. Always be at your best. Demonstrate love for your craft. It will become contagious. This contagious spirit will become enjoyable for all.

Dylan Sims
Director of Bands
York Middle School
York, South Carolina

1. Find your tribe. Surround yourself with a community of support and people who you can go to for help when you’re stuck. It’s so important to have people who can help you work through a problem, remind you of upcoming deadlines or calm you down when you’re in a panic. It’s okay to ask for help — you’re not in this alone!

2. You’re going to make mistakes, and that’s OK. We’ve all been there — we have all forgotten to turn in grades, respond to that parent email or remind students about their concert attire. These are all learning experiences, and you will learn from them. It doesn’t mean you “failed,” it means you’re growing!

3. Take time for reflection. It’s going to be hectic and you’re going to be overwhelmed sometimes, but take time to reflect on what you’re doing correctly and celebrate those small victories. Likewise, reflect on things that could use some improvement and get creative about ways to address those situations. Use your tribe to celebrate and help you!

Dr. Timothy S. Sexton
Associate Director of Bands
Tarpon Springs Leadership Conservatory for the Arts
Tarpon Springs, Florida

1. Video record your teaching and conducting on a weekly basis. This will urgently refine your own delivery/tone, pacing of information, ear training, etc.

2. Find a positive mentor teacher in your life who is dedicated to your students’ growth, dedicated to your growth as an educator and constructively honest in conversation. (Thank you, Dr. Joshua Boyd, Ryan Murrell and countless others, for being my mentors.)

3. Develop curricula through Understanding by Design (UbD) / Backward Design. Begin with the end in mind with all things.

James Sepulvado
Performing Arts Department Chair, Associate Professor of Music
Cuyamaca College
Rancho San Diego, California

1. Always remember the music and people. If your college training was anything like mine, the things that matter most are not discussed as much as they should be. The most important things about this job are music and people. If you wake up on fire to make music every day, and you care about your students deeply as people, then everything else about the job will come with time. If you aren’t passionate about music and/or you don’t care about your students, there is nothing you can learn that will make up for that.

2. To do this job well requires about 300 hours of work a week. You must get comfortable with the fact that there will ALWAYS be more work to do than can be done. Once you figure that out, then learn how to get better at delegating, training, asking for help and prioritizing your time.

3. The truth is in the score. This somewhat cryptic saying comes from Elizabeth Green and it is a way of saying that we are not the source of energy when you conduct. We are the conduit through which the music passes, and it is our job to do everything we can to communicate the music that wants to pass through us to the musicians in your ensemble and then ultimately to the audience. When you make it about you, whether it’s your ego, your pride or your competitiveness, you are missing the point. The more you make it about the music and what your students need, the more powerful your music-making powers will become

Caleb Schepart
Music Teacher
Dr. Kenneth B. Clark Academy
Dobbs Ferry, New York

1. Make sure you are organized, and don’t be afraid to ask for help if you need it.

2. We call it “playing music” for a good reason, so remember to make sure that you and your students get to have some fun doing music stuff in your class. If you don’t think it is important, if you don’t enjoy it, then it isn’t realistic to think that your students will, too.

3. Discipline and respect are essential to good music-making in the classroom, so be sure to find an approach that fits your personality and demeanor. It may be difficult at first — maybe you are concerned that the students won’t like you — but in the long run, they will lose respect for you and stop liking you anyway if you aren’t able to respect everyone’s time by decisively addressing disciplinary issues.

Noelle Rader
Orchestra Teacher
Mendive Middle School
Sparks, Nevada

1. Don’t overlook middle school and middle schoolers! It is a great place with fantastic students. Be open to jobs at the middle school level, it’s a very special place where you can make a huge impact.

2. Give yourself five years! A fantastic mentor told me this at the beginning of my career, and it’s been a game changer. The first five years are when you are experimenting and figuring it all out — and these first years are tough! But around year five, you start to feel settled, and you have the confidence that you know what you are doing. Never stop improving and give yourself some grace those first years.

3. Create an organized system for all your digital and physical files from day one! You will save yourself so much time if you always know where things are. Even if you change it later, at least you have somewhere to start.

Dr. William Oliver
Director of University Bands, Assistant Professor of Music Education
Huston-Tillotson University
Austin, Texas

1. Keep your desk clean. The entire enterprise runs through your office.

2. Keep your due dates and your deadlines from being too close to each other. For example, field trip forms are due to the office on Friday, so they are due to the director on Tuesday, NOT Thursday.

3. Record yourself teaching. Monitor your talking versus teaching ratio. Feedback is one of the most significant drivers of growth.

Emily Meyerson
K-12 Music and Drama Educator
North Baltimore Local Schools
North Baltimore, Ohio

1. Don’t be afraid to ask for help! I felt like I could barely keep my head above the water my first year, and that’s OK! Being a new teacher is scary sometimes and there are a lot of things you don’t learn about in college.

2. Growth takes time. When you try new things or try to turn a program around, you won’t see results right away. In fact, you may see things get worse before they get better. Stay the course, and be patient. You will see those changes, but it can take years to turn a program around.

3. Set boundaries. Being a music teacher is hard work. We oftentimes provide the only safe space our students have and that leads to a lot of sharing. It’s important to be there for your students, while also setting boundaries to protect your own emotional well-being and mental health. Boundaries are important.

Nerissa Manela
PhD Student, Teaching Assistant
University of Miami
Coral Gables, Florida

1. Connect with your community. Whether it’s your school district, state or somewhere else, find experienced teachers who you can turn to with questions and gain insights from. Music teachers often feel isolated, but in building your network, you will know you are supported and have a team of cheerleaders behind you!

2. Set boundaries. There’s so much pressure in the professional world, especially in the teaching sphere, to go above and beyond. There is nothing wrong with having high expectations, but burnout is not a badge of honor. Do everything in your power to leave work at work and find something truly recreational or relaxing to include in your routine.

3. It’s just music! Mistakes happen and the first year of teaching certainly has a huge learning curve, but remember that your job is to make music with children — never lose sight of the joy that music brought you, and enjoy the wonderful opportunity you have to bring joy, wonder and success to your students!

Paul Lowry
Director of Bands, Percussion and Jazz Studies
Department Chair, Performing Arts
Del Sol Academy of the Performing Arts
Las Vegas, Nevada

1. Routines and structure are key.

2. Give your students reasonable opportunities to make responsible choices.

3. Work hard but have fun doing it.

Johanna M. Kitchell
Orchestra Director
Riverside Junior High School, Riverside Intermediate School
Fishers, Indiana

1. Learn the names of your office staff, counselors and custodians. Treat them with kindness. They hold the walls together. Music programs demand more than other subjects and having a good relationship with these people will make a difference.

2. Ask, beg and borrow. All those great ideas, activities and assignments your colleagues have? Chances are they got them from someone else. We are here to support one another. So, ask for a copy, ask for their thoughts, ask if you can use it. I bet they’ll say yes.

3. Never forget that your students are in your class by choice. The students in front of you choose to participate in music, for one reason or another. It is your responsibility to create an environment in which they want to stay, and an experience in which they thrive.

Professor Larry Jenkins
Professor and Assistant Director of Bands
Tennessee State University
Nashville, Tennessee

1. Give yourself GRACE! There will be trial and error and moments that you don’t “get it right.” Realize you aren’t the first and won’t be the last to experience those feelings, learn from them and give yourself grace as you move forward.

2. Plan ahead and be prepared but be ready to PIVOT. Proper preparation allows you to be confident in your instruction but always be prepared to pivot and try something else if need be in order to best serve the needs of your students.

3. Remember that “there’s more.” Think outside the box. Allow your students to think outside the box. All great innovations started with an idea!

Dr. Joseph L. Jefferson
Director of Jazz Studies, Associate Professor of Trombone and Euphonium
Southeast Missouri State University
Cape Girardeau, Missouri

1. Be a good human, be patient and allow yourself some grace.

2. Continue to learn and improve your teaching and performance skills so that you can teach students at every level.

3. Create an inclusive and diverse learning environment that is welcoming for all students!

Lisa Hatfield
5th-Grade Band and Orchestra Teacher
Batavia Elementary Schools
Batavia, Illinois

1. It’s OK not to know everything. Even now, I will still get asked about a fancy fingering or music history question that I don’t know the answer to right away. Just go do your homework and share your findings. Those questions may knock your “but I’m a musician!” pride down a notch, but they will make you a better teacher.

2. Take risks! Want to try something you saw online? Have a weird idea to teach a musical concept? Try it! The worst thing that will happen is that it doesn’t give you the results you were hoping for, and you move on to try something else.

3. Be empathetic. If I could compare my first year to now, the amount of empathy I have for my students and their families has grown exponentially. People are dealing with so many outside and uncontrollable factors that sometimes music is their only saving grace, or alternatively, it gets pushed to the side. Instead of taking offense, find out how you can help.

Matt Gullickson
Band Director
Eastview High School
Apple Valley, Minnesota

Pick any three from below:

1. Don’t be afraid of mistakes, just try not to repeat the big ones.

2. Go for it! Don’t wait until you know all the steps to join the dance.

3. You’ll never forget your first year, so enjoy it the best you can.

4. The hard part about your first year is the psychoanalysis that follows every rehearsal. You spend so much time thinking about the ins, outs and what ifs that occurred or didn’t occur. This tip is simple: Only spend time thinking about what you can fix in the next rehearsal, everything else is folly.

5. Don’t let the stuff you can’t control rent space in your brain.

Kylie Griffin
Elementary Music Teacher
Dozier Elementary School
Erath, Louisiana

1. Ask many questions! The first year of teaching is difficult for everyone.

2. Think outside the box. There is a world of music to explore across multiple cultures and races.

3. Talk to your students. Ask them how their day or weekend was. Ask about their baseball games, dance competitions, etc. Make your students know that they belong and that you care about what’s going on in their lives.

Corey Graves
Director of Bands
Tony A. Jackson Middle School
Forney, Texas

1. Find a mentor who you trust and admire. There is always a teacher with more experience waiting and willing to help guide you in the right direction. No teacher worth their salt wants to see you fail!

2. Get out of your band hall and see master teachers work their craft. Go to all types of conferences, camps and other schools to absorb all the information you can!

3. Be stubborn about your goals and flexible about your methods. Just because a plan is not working the first time (or ever) does not mean the goal should be trashed. That is the beauty of the alphabet … if Plan A will not work, there are 25 more letters from which to choose! Be flexible enough not to panic and destroy the momentum you’ve created!

Andrés González
Music Director
Play on Philly
Philadelphia, Pennsylvania

1. Find places where you have safe opportunities to teach and implement what you learned in school, ideally with role models around where you can learn real teaching experiences and techniques.

2. Design and plan → Implement → Self-reflect → Improve. Do this for the rest of your life! We need to be constant thinkers and be the first person to give feedback to ourselves.

3. Be meaningful all the time. We are changing the world, and it takes a lot! Show your students that there is always a pathway and that you’re willing to guide and support them

Dr. Derek Ganong
Assistant Professor of Trumpet, Director of Jazz
Boise State University
Boise, Idaho

1. Find your people and collaborate on everything

2. Get organized. Otherwise, you won’t have enough time to do anything but stay afloat, which is bad for students

3. Have a clear sense of your learning objectives. Are the things you are doing actually addressing those objectives? Constantly ask yourself constantly “why are we doing this?”

Jasmine M.T. Fripp
Director of Choral Activities and General Music
KIPP Nashville Collegiate High School
Nashville, Tennessee

1. Embrace the process of becoming a better teacher. You won’t always get it right, so embrace those mistakes and grow from them.

2. In the great words of one of my many mentors, Jeffrey A. Murdock: “Teach the kids in front of you, not the kids you wish you had.”

3. When students feel confident, that they belong, that can be their authentic selves, and that they are being pushed to a high level of excellence, you have created “The Ultimate Classroom Culture.”

Brandon J. Duras
Director of Instrumental Music
Brunswick High School
Brunswick, Maine

1. Trust your abilities as a musician, educator and director. Your students are capable of so much, so don’t be afraid to challenge them to sound musical — you know what that sounds like. Don’t feel obligated to say yes to every request for your group. You know what is reasonable and possible — don’t get pushed around.

2. Make connections with both music and non-music colleagues. They share the same students and can offer a lot of advice. There are a lot of times when you can feel isolated because of how busy you are, so it is helpful to know you’re not.

3. This may sound scary, but your students notice everything. They notice if you’re having a good day or a bad day (my students notice when I don’t end rehearsal by saying have a great day!), they notice how you interact with and support (or don’t support) them, their peers or your colleagues. So, treat everyone with fairness and kindness. Along those same lines, this is a thankless job, so even if you don’t feel appreciated, know that you are.

David Davis
Music Teacher
Park Spanish Immersion Elementary School
St. Louis Park, Minnesota

1. Exemplify a growth mindset. The best teachers are constantly learning and adapting.

2. Put your students first. Often, this means questioning the status quo, being skeptical of things that “have always been done this way,” prioritizing student choice over compliance, and leaning into discomfort in order to advance systemic change.

3. Schools are learning institutions, not entertainment venues. Music education should be about liberating students’ creative voices and seeking musical growth for all, not just about progression of technical skills and competitions. In my opinion, concerts should be an optional component of a curriculum, not the primary way of demonstrating learning outcomes. “Teaching to the concert” is akin to “teaching to the test” and does not result in well-rounded, literate or imaginative musicians.

Dr. Leah N. Claiborne
Associate Professor of Piano
University of the District of Columbia
Washington, D.C.

1. Find your voice and encourage your students to find theirs as well.

2. Never be afraid to say you don’t have the answer. I think when we show up in certain spaces there is a misunderstanding that educators must have all the answers. The moment I was able to celebrate that I am a life-long learner, I was able to realize how incredible my network of scholars on any area was — and they were at my disposal! I celebrate not having all the answers for my students because it allows me to open up my network to them as well.

3. You can love what you do and still be burnt out. I don’t believe the saying, “If you choose what you love to do, you never have to work a day in your life.” Sometimes, the work is hard and draining. Having a good work/life balance is important so that you never lose sight of why we are in this profession in the first place

Rob Chilton
Creator
RC Theory
Frisco, Texas

1. Teach beginners early in your career. Nothing strengthens your pedagogy like teaching a child to play an instrument from square one. They only know what you’ve taught them. It’s the ultimate litmus test of your ability as a teacher. Furthermore, you’ll intimately learn the instruments, making you a better ensemble teacher!

2. Learn to play every instrument you teach. The best decision I ever made for my pedagogy was to learn how to play a new instrument every summer when I was young and still had the time. I can still remember the summer I spent practicing clarinet. I gained a strong appreciation for what it feels like to be a beginner again, and I figured out how to troubleshoot all the strange sounds I was hearing in class but wasn’t sure how to address.

3. The first three years are the hardest. One of my mentors once told me that your first year you’ll be drowning. Your second year you’ll tread water. The third year you’ll start to swim but be unsure of the destination. Once you hit the fourth year, you’ll start to swim with purpose. This couldn’t have been more accurate for me, and I’ve seen it ring true for so many of my former student teachers over the years.

Logan Burnside
Band Director
Jordan High School
Jordan, Minnesota

1. Everything you know matters — your experiences, your pedagogical and musical knowledge. However, you must remember that you are teaching humans in front of you, each of whom have hopes and dreams about “what band is,” what they hope to accomplish and what it means to be a part of an ensemble. Additionally, they have worries and stressors in other areas of their lives that will affect their performance in your class. I think it is important that as music educators, we address the entire individual and be a positive force for good in their lives.

2. Students will feed off of your genuine joy of music-making. They will mimic your stress and frustration if you show those emotions, but they will also mimic your vulnerability, technique and passion. Lead by example and demonstrate sensitive and encouraging musical energy.

3. Get students to buy in to what you are doing through building genuine relationships, showing them that you care and fostering trust. Especially if you are stepping into a high school band program, I strongly recommend not changing about 90% of the program norms for the first year. The 9th graders in front of you likely never encountered your predecessor, but to the 12th graders, you are the teacher who took the job of “their” band director. Show them you are on the same team and want the same thing through honoring their band experience and add new things where you can.

Gabriella Burdette
Orchestra Director
Grace M. James Academy of Excellence
Louisville, Kentucky

1. Utilize all the resources available to you. It’s important to take advantage of any grant, partnership or help from the community to enhance your program. Students will notice how much you are investing in them and their success.

2. Celebrate the growth of your students as much as possible, no matter how big or small. Students want to be seen and heard. They need positive reinforcement in their lives to provide them with motivation to achieve excellence.

3. Collaborate with your department and seek help when needed. Do not try to do everything on your own. We can grow and support each other and our programs.

Dr. Emily Williams Burch
Coordinator of Music Education, Professor of Music
University of South Carolina Aiken
Aiken, South Carolina

1. The first year was hard for all of us — keep showing up and asking for help. It will get easier! Just remember to be YOU! You’re the only you there is on this planet, so be yourself and don’t try to be like anyone else (it’s OK to not follow the imaginary ruler or yardstick of life — just do you!)

2. Make sure you’re eating well and sleeping enough — you can’t rock a classroom full of folks if your engine isn’t running correctly

3. It’s OK to say no, and it is more than OK to ask for help — not only in year one but forever. I wouldn’t be able to do anything I do today without my mentors. Collaboration is one of the keys to loving life!

John Aguilar
Director of Bands
Robert Eagle Staff Middle School
Seattle, Washington

1. Document everything! Your first year will always be the year in which you lay the groundwork/foundation for the rest of your career. Keep every physical/digital file that you use and store it for future reference. They will come in handy later!

2. Ask lots of questions and seek lots of answers. Let your mind be inquisitive. You never know where those generated ideas will take you and your students!

3. Enjoy each moment and take time to care for yourself whenever you can. Try to not bring the work home as much as possible. If you are great with your students, strive to be even greater with your family, friends, spouse, children, pets, etc. Maintaining a healthy work-life balance will give you longevity and energy in this field of work.

Check out tips for first-year music teachers from the 2022 “40 Under 40” and 2021 “40 Under 40” educators for more invaluable advice!

10 Best Blues Albums to Own on Vinyl

Written by Jeff Dorgay on February 9, 2023. Posted in Vinyl.

Every record collection should have a healthy dose of the blues. And because so many great blues records are analog in nature, with a raw, stripped-down production ethos, they’re best enjoyed on vinyl.

From Muddy Waters to John Lee Hooker to Janis Joplin to Eric Clapton, there are so many great choices, but here are 10 must-haves:

1. The Complete Collection – Robert Johnson

There are other compilations of blues originator Robert Johnson’s music, but this one far and away sounds the best. For years only available as a two-CD collection, this vinyl import is your gateway to the genre on so many levels. Johnson’s heartfelt playing is simple, gritty and as raw as it gets. And he’s the guy that everyone has borrowed from since.

2. Howlin’ Wolf – Howlin’ Wolf

Wolf is a cornerstone of the blues. The way he rips through these classic tracks makes you feel like you’re sitting on his porch in Mississippi, taking it all in. Some aficionados say that he provides all the blues you’ll ever need. That may or may not be true, but the amazing set presented on this album might convince a lot of folks.

3. Jail – Big Mama Thornton

Unsurprisingly, jail and the blues seem to go together. Even though Elvis gets all the credit for “Hound Dog,” this is the lady that was there first, and her version has much more grit, chock full of horns that would do James Brown proud. Remember Janis Joplin’s “Ball and Chain”? Big Mama wrote that one too (though she gave up her publishing rights). Amazing songs … and wow, what a voice!

4. Live in Cook County Jail – B.B. King

Speaking of jail, this 1971 release recorded in Cook County Jail in Chicago is an off-the-beaten-path treasure. The versions of “Every Day I Have the Blues” and “Sweet Sixteen” included here are incredible, and this album also arguably delivers King’s best rendition of his signature tune, “The Thrill is Gone.”

5. I Do Not Play No Rock and Roll – Mississippi Fred McDowell

Hunting down the origin of the Rolling Stones’ tune “You Gotta Move” (later covered by Aerosmith) sent me to the source: Mississippi Fred. On this record, he breaks it down old-school with slide guitar so drippy wet, you’ll practically be reaching for an umbrella!

6. Peter Green’s Fleetwood Mac – Fleetwood Mac

It’s easy to forget that Fleetwood Mac started as a mega blues band in the ’60s. This collection of blues tunes is full throttle from start to finish, and so heavily laden with wailing guitars (courtesy of guitar hero Peter Green and six-string dueling partner Jeremy Spencer), you almost can’t hear Mick Fleetwood’s powerful drumming … which is saying a lot.

7. Second Winter – Johnny Winter

Everything is bigger in Texas, they say, and here’s your proof. The albino bluesmaster kicks some serious you-know-what on this record, which offers a great mix of Winter originals and classic tunes. Don’t be fooled by the fact that this two-record vinyl set only has three sides of music on it, with a blank fourth side. As Johnny says in the liner notes: “It was important for this album to be as loud as technically possible. We didn’t want to give you more and we didn’t want to give you less.” Mission accomplished.

8. Couldn’t Stand The Weather – Stevie Ray Vaughan

Stevie Ray Vaughn is the artist that brought the blues back to the forefront for another generation. His debut album Texas Flood hit the airwaves in 1983, when a lot of people were still pogoing to Devo and the B-52s. When it became an instant hit, it took everyone by surprise, thrusting Stevie Ray to the forefront of the world’s top players … and this follow-up album did even better. In addition to being imbued with incredibly tasty guitar licks, all of SRVs vinyl releases are executed to audiophile standards.

9. Still Got The Blues – Gary Moore

Though many remember Moore for his work with the rock group Thin Lizzy, he was a bluesman to the core. This platinum LP combines masterful playing, grit and sorrow — all the necessary requirements for a great blues album. Moore’s choice of material is fantastic, and includes two great covers of “Walking By Myself” and “Too Tired,” where he’s joined by Albert Collins. A stealthy gem.

10. Blue & Lonesome – The Rolling Stones

Arguably, no one did more to push the blues to the forefront of our consciousness than the Rolling Stones. This 2016 release, a collection of classic tunes presented in a stripped-down manner that’s true to the genre, should be on your list, if for no other reason than it provides such a great tribute to these songs.

Check out these turntables from Yamaha.

Celebrate Failure: Teach Through Music

Written by Jayme K. Hayes on February 7, 2023. Posted in Teaching Tips.

We all fear the horrible F word — failure. Who wants to fail at something? How often do people purposefully put effort into failing? It is something we avoid at all costs, are ashamed of, or even lie about, right? So why am I writing an article about celebrating failure?

Let’s talk about failure, and what I mean when I say we should celebrate failure in our classroom. In his book, “Failure: Why Science Is So Successful,” Stuart Firestein says “Although ignorance and failure are commonly thought of in a negative light, in science they are just the opposite: They are where all the interesting action is.”

Think about the scientific method: You write a hypothesis, conduct the experiment and analyze the outcome. Physicist Enrico Fermi is quoted in Firestein’s book, “If your experiments succeed in proving the hypothesis, you have made a measurement; if they fail to prove the hypothesis, you have made a discovery.”

How do we create this space of discovery in our classes for different ages and levels of playing?

Harmful Failure

First, let’s address those failures that are harmful or even life altering. We miss deadlines and lose our job, we run a red light and get into an accident, a surgeon makes a fatal mistake during surgery, we get angry and break something, we overspend and overdraft our bank account.

This article is not about these types of harmful failures that are very difficult to come back from. These failures can be unforgiveable, unacceptable and should be avoided at all costs. Hopefully, we are taught the skills to avoid them.

However, we must respect that these failures are real and realize that this article is about education and how to develop lifelong learners who are self-motivated to succeed. Accepting failure is crucial to helping our students develop these skills.

Fantasy vs. Reality

When I first became a teacher, I believed that anything less than the top rating at festival meant I was a failure. I had this fantasy about what it meant to be a band teacher. I was going to have the best groups in the area! I was this fun, energetic teacher, my kids would love me, and in turn, they would be amazing musicians simply because I was the person in front of them. I would teach them how to play faster, higher, louder, with more emotion, in tune, with balance. I was going to get my name out there! Thankfully, I learned pretty quickly that this was not reality.

Reality was hearing students say that they can’t, they aren’t good enough, they’re just bad at it, they’re smart enough, they just don’t get it, it’s too hard. I’m not exaggerating when I say that I heard almost all of these comments every single day during my first two years of teaching, sometimes from my best players. I had no idea how to get through to them, how to help them see what I saw: their potential. It was exhausting.

How was I supposed to show them how to work through the hard stuff to get to the good stuff? How do you do that when they are ready to quit the second a challenge comes their way?

Changing the Narrative

I remember talking to a veteran teacher from a neighboring district about this. He told me, “Kids are just different nowadays. They don’t try any more, they give up and they want everything handed to them. They’re lazy.”

Thankfully, our conversation ended shortly after he said this. I took what he said and refused to accept it! But the wheels started turning. I soon realized what the problem was for my students and for many students — I was teaching music to them rather than teaching them through music.

I changed the narrative in my classroom. We started talking about our mistakes outside of class first. I would share with them mistakes I had made the day prior. This became a daily routine at the beginning of every single class. Things started out small, students would share things like forgetting to wipe the table after dinner, missing three questions on their math test, forgetting to remind their mom about practice tonight. Then we started to talk about mistakes we made in the music.

The students already felt comfortable talking about the little mistakes they made in their personal lives and how they would learn from them. When we started incorporating mistakes made in class, they automatically shared what they would do to fix that mistake next time. They immediately began to analyze their own music and playing. Unintended benefit right there!

Overcoming My Fear

I was afraid for my students to hear me sound bad on an instrument. I thought I had to keep up this persona that I could play all the instruments well. I seriously don’t know where this mentality came from.

I am a tuba player, so I started with brass. I began playing the trumpet more often. One day in class, I commented to my trumpet section that a particular part of their music sounded so much better. A student from the section responded, “Yeah, we were talking about your trumpet playing the other day. You’re getting better, and we weren’t okay with you sounding better than us, so we had a sectional this weekend.”

I kept my cool, but I wanted to scream to the world that my kids held their own sectional and improved! This became a regular occurrence in all the sections without me implementing or pushing for anything. The students simply took charge.

From Noise to Music

Have you ever taught a beginning band or orchestra class? Those first few weeks can be, well, interesting. Those beautiful colorful sounds, screeches, squawks and flubber sounds happen regularly, but we know that they will turn into music soon. We know these noises are part of our students developing their embouchures, bow holds, finger placement.

Failure is literally built into beginning band and orchestra. On what day in their learning did we decide that failure is no longer acceptable? Why?

Oftentimes, we do not even realize we stopped accepting those failures. We begin the internal, or sometimes external, monologue that they should know this already, we’ve been doing it for weeks, they never practice, why is the trumpet section still missing that F sharp? Will my clarinets ever play a B natural instead of a B flat without me telling them?

Many of us stop accepting the failures as part of the learning and begin dictating what’s right and wrong. I still find myself falling back into this, especially right before a concert or festival.

I Want to Hear Your Mistakes

How often have you said to a student or section that is not playing or singing out, “I want to hear your mistakes” and meant it? How many times have you said this during rehearsal, and when that mistake happened, you stopped the group and made a comment on the right note or rhythm? Have you ever heard those mistakes and literally applauded that student or section? If not, try it, genuinely.

I encourage you to say you want something and then accept it with open arms. After you thank them for playing out and allowing you to hear it, then you can kindly fix it. The next time, they will play a mistake so you can fix it before the concert. We have all had that one student who waits until the concert performance to finally play out.

Before my students sight read a new line in their book or a new piece, we go through the regular criteria: key signature, time signature, rhythms, notes, etc. We have an organized process and check all the boxes.

Before we play the first note, I always ask, “Are you going to make mistakes?” to which my students yell, “Yes!”

“Are you going to stop playing and put your instrument down?”

“No!”

“Good, let’s begin.”

Once I started this call-and-response, my students quit putting their instruments down and giving up. They stopped saying, “I can’t.” In fact, I have not heard those words from any of my non-first year students in the last three years. It is no longer a part of our class. I am hearing it less and less in my beginning groups, too.

Perfection is Not Our Goal

On playing assessment days, I go down the row and the students play one by one. I kindly tell those who freeze up that I will come back to them and suggest they finger along, and I keep going. Not only does this keep up the momentum, but it allows students to know that they can try again. Plus, other students who may be freaking out as their turn is coming up are reminded that this is a safe place.

Every time I come back to a student, they do better than their first attempt. No one has ever been upset that someone else got a second try. The support for each other to succeed is there.

Of course, we talk about the reality of performances and how we do not get a second chance, and that even professional musicians make mistakes during concerts. We need to teach our students that perfection is not our goal, nor is it realistic. The more they can play through a mistake and anticipate them, the more successful they will be. Hearing conductor, composer and educator Jack Stamp talk about mistakes and the unrealistic expectation for musicians when compared to sports and academics was life changing for me.

Turning Failure into Success

Have you ever taught students how to improvise or compose? During these two processes that are highly dependent on failure, we learn what we like and what we don’t. We sometimes use a process of elimination as we work through the kinks.

As students are learning the 12-bar blues, they are singing the bass line and imagining what their solo will sound like. Then they pick up their instrument and play … and it sounds nothing like what they imagined. They can either give up, never try again, or keep going to find out what works and what doesn’t.

A past teacher of mine once told me, “There is no wrong note in jazz, just hold it ‘til it becomes the right note.”

Of course, I am aware this is not a rule we should live by, but the idea behind it is golden. Why is that note wrong now but right later on? When that wrong note finally sounds amazing in a different chord, that failure became a success, and students learn to love when it clicks. They need to work through those mistakes and failures. As Jennifer Lim says, “Mistakes are proof that you are trying.”

When we celebrate our students’ failures, we show them that their value is not connected only to their successes. They are valued for simply being themselves. This does not mean failures are not painful, it just means that they are not the end of something.

Students must learn from failure, and when we create a dialogue in our classrooms that we accept failure, students learn to accept them as well. They learn to be resilient and to have “grit,” the magical word that we hear all the time in staff meetings and training.
Students learn how to work through tough situations, knowing that if they keep going, they will be successful. They will be okay with not always being the best because they know if they keep trying, they can be.

Celebrate their failures, and you will begin to teach them through music instead of just teaching music to them.

Closeup of someone's hands playing a Yamaha piano.

Exercises to Strengthen the Fourth and Fifth Fingers

Written by Jerry Kovarsky on February 6, 2023. Posted in Keyboard How-to.

Do you find that you tend to favor your first three fingers (the thumb, index and middle fingers) over the your ring finger (fourth finger) and pinky (fifth finger) when playing piano or keyboards?

You’re not alone — most of us do. And there is a good reason why, as you’ll learn shortly. But if you want to be able to play smooth runs and passages, you need to make use of all your fingers. More than that, you need to be able to use them smoothly and with good control. Here’s a guide to achieving that goal.

The Physiology of the Hand

When people discuss fingers in relation to playing keyboard, they often use the descriptive terms “strong” and “weak.” However, the issue isn’t really the difference in strength between fingers; it’s about control and independence. The construction of the hand and the muscles and tendons beneath the skin causes us to have more independent control of the first three fingers, as you can see in this video:

Realizing this will help you to better understand the challenge of improving your use of the “problem” fourth and fifth digits. Fortunately, there are exercises that can help.

Start With These Tried-And-True Held Note Exercises

To get started, you don’t even need to be at a keyboard. Begin by placing your hand on a flat surface, with your fingers curled slightly underneath, like this:

Now just lift each finger repeatedly, while leaving the others in place. You don’t need to lift the finger too high. It’s also very important that you not force your hand to stay in touch with the surface — there should never be any tension in the hand.

These types of table-top exercises are great because you can do them anywhere, anytime.

Now let’s transfer this concept to the keyboard. Place your right thumb on middle C, with your other four fingers over the next higher white notes. Quietly press down and hold all the keys, and then practice playing each note repeatedly, like this:

The smaller notes in the parentheses remain held down: only one finger will be moving in each measure. Work slowly at first, and be sure to keep your hands relaxed, as well as your arm and shoulder muscles. Only speed up when you feel comfortable.

You’ll find lots of variations on this theme (i.e., exercises where you hold down notes while working on isolated fingers) in piano instruction websites and books, most famously in Essential Finger Exercises for Obtaining a Sure Piano Technique by Ernő Dohnányi. However, many contemporary instructors feel that this concept should be modified, because it doesn’t take into account the shared tendons for the ring and pinky fingers. You can’t fight the design of the hand, and in normal playing you’ll never need to hold down so many notes while playing an isolated figure, so I recommend you hold down less notes, allowing the fingers to move more naturally. For example:

The first measure is hard to play, but the second measure is much easier, since the pinky is free to move slightly along with the ring finger as it naturally wants to do. You’ll still get good benefit from this exercise, and you won’t be fighting the design of your hand.

Here’s another version of the held note concept, this time focusing on the pinky. The same concept is applied: by not holding the ring finger down, you can execute the second bar much easier, with less tension in your hand.

Don’t forget to do this with your left hand as well. Place your pinky on the C below middle C and span the adjacent white notes with your other fingers. Here’s the old-school version:

And here’s the recommended version (shown for the ring finger only):

Move On to More Advanced Held Note Exercises

Building on this concept are exercises that have you playing moving figures with the “weaker” fingers. Here’s a good one to get you started:

You should find the first measure easy to play, and the second measure (where you leave the middle finger free as well) is even easier.

Here’s another exercise that moves around the top three fingers:

Once you’ve mastered that, work on your left hand the same way:

Some Classic Exercises

These next exercises don’t involved holding any notes; they just work the harder-to-control fingers, and are inspired by such classic technique books such as Hanon’s The Virtuoso Pianist, Czerny and others.

This next one just alternates what note you start the two-note groups with:

Try this one to concentrate on the most difficult finger groups:

As always, be sure to work on your left hand as well:

Ready to Get More Advanced?

Players who have progressed a bit further might want to try tackling this next concept. It involves playing two notes at the same time, then moving these two-note groups around, like this:

You should raise your fingers just slightly up off the keys before striking each two-note group, and focus on striking both notes at the same time. As always, go slow and don’t tense up the hand.

Here’s the left-hand version of that same exercise:

Since these double-note exercises can also be done away from the keyboard, on any flat surface, there’s no excuse for not getting your practice time in. Soon enough, you’ll feel comfortable using all five fingers … which is as it should be!

All piano examples played on a Yamaha P-515

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A Brief History of Video Games

Written by Jake Uitti on February 3, 2023. Posted in Gaming. 2 Comments on A Brief History of Video Games

To tell the origin story of video games, we must look at the early days of computers. In the 1950s, engineers began to use rudimentary machines to design simple games to play. A big breakthrough came in 1962 when MIT student Steve Russell, along with friends, created Spacewar! This title featured controllable spaceships that had to avoid a star’s “gravity” while also engaging in battle against one another.

Though having no real commercial success (its popularity was limited to the relatively small programming community of the era), Spacewar! was so impactful that it is now in the Library of Congress. In the following decade, more innovation took place, with a preponderance of hugely popular games (and their theme songs) like Pong, Space-Invaders and Pac-Man. But it wouldn’t stop there. In this article, we’ll examine the origins of the video game industry and track its massive development. Today, it is a billion-dollar tech enterprise, providing unique experiences made even more immersive when enjoyed with gaming headsets like the Yamaha YH-G01.

THE GOLDEN 1970s

In 1972, North America was introduced to Pong. While today the title may seem overly simple, at the time it was mesmerizing. The game was essentially a digital version of table tennis, with a line down the middle and two digital “paddles” on either side of the screen that the player could move up and down. (Move it fast enough and you could even put a digital spin on the pixelated ball!) Like real ping-pong, the objective was to hit the ball back and forth until you could make your opponent (which could be another person or the computer) miss.

Six years later, the alien-fighting Space Invaders was released, followed in 1980 by Pac-Man. While these games were engaging and innovative, what made them supremely popular was the invention of the video arcade. The concept of the mechanized “penny arcade” had begun in the early 20th century. But the digital video game-based arcade began to pop up in the 1970s and was a magnet for young people.

Patrons would pump quarters into their favorite video games, which were housed in tall cabinets. As such, gaming was largely a public endeavor — kids would gather around and watch a friend try and beat a high score. At around the same time, the home gaming console was gaining ground in the market. By the mid-70s, Atari^® was offering gamers the chance to play their favorite titles — like Pong — in the comfort of their living room.

But that was just the beginning.

THE UP-AND-DOWN 1980s

When the 1980s hit, video games were peaking in popularity. In fact, there was so much money and interest in video games that the market famously oversaturated and crashed in 1983. Some even pinpoint the fall to one specific title — one that’s considered by many to be the worst video game of all time: E.T. the Extra-Terrestrial. Its creation was rushed, pushed to release by Christmas the year of the famous Steven Spielberg film of the same name. There is even an urban legend that thousands of its unsold cartridges remain buried somewhere in New Mexico!

But with the (temporary) downfall of arcades and video games came the potential for a rebound. Enter Nintendo^® with its Nintendo Entertainment System (NES) and its now-signature game, Super Mario Bros™, both of which were released in 1985. Gamers of today owe a great deal to the sibling Italian plumbers — Mario and Luigi — and their dedication to saving Princess Peach. NES games like Paperboy (1985), The Legend of Zelda™ (1986) and others sold like hotcakes.

COMPUTERS, CONSOLES AND THE 1990s

Nintendo released the first major handheld gaming system, Game Boy™, in 1990. Thanks to its success, the business of gaming grew immensely. Arcades were still relatively popular, but the focus was now more on home consoles and the burgeoning computer game market. With the advent of smaller yet ever more powerful “personal computers,” gamers at home were privy to titles with more advanced graphics like Wolfenstein 3D, a first-person point-of-view “shooter” game released in 1992 on CD-ROM.

Around this time, too, video game consoles rose in popularity. After NES, consoles like Sega Genesis and Super Nintendo found their ways into millions of homes, followed by the Nintendo 64 system, which featured the first-person shooter, GoldenEye 007 (1997). New video games with characters like Sonic the Hedgehog (1991) became household names. In addition, sports titles like Madden NFL ’94 (1993) and NBA Jam (1993) became prevalent. Not to be outdone, one-on-one fighting games like the bloody Mortal Kombat (1992) and Street Fighter II (1991) were fan favorites, played in arcades and at home.

BIGGER, BETTER 2000s

With the new millennium came new possibilities. In fact, the best-selling home console to date is Sony’s PlayStation 2^®, which first hit the market in 2000. That console improved on the first PlayStation^®, which debuted in the mid-90s and featured titles like the 3D flying game Star Fox (1993). In 2001, Microsoft made a power move and entered the fray with the Xbox™ console and its futuristic game, Halo: Combat Evolved (the first in the longstanding Halo franchise). From that point forward, the decade was dominated by bigger, better graphics each year and more in-depth titles featuring nuanced missions and heart-racing action.

THE GAMES OF TODAY

Today, gamers enjoy more options as ever before. There are handheld systems much more advanced than Game Boy, such as the Nintendo Switch™, which came out in 2017. There are also myriad titles of varying skill level available to gamers via their tablets and smartphones. Offerings like Angry Birds (2009) and Candy Crush Saga (2012) have generated millions of dollars and occupied almost as many hours of players’ free time.

Those who want more bang for their buck can dive into the über-realism of Second Life or the endlessly fascinating Minecraft™series on their computers. Also available is the latest innovation from Sony: the company’s PS5 (PlayStation 5^®). Even virtual reality gaming is growing, with titles like Beat Saber. Today, there are modern “open world” games that offer expansive, multi-faceted stages to navigate, and multiplayer games that give the chance for players to work in teams or compete against each another. Advanced titles like Red Dead Redemption II may even leave some speechless with their hyper-realistic details and advanced plots. No doubt about it: We’ve come a long way since Pong!

Dr. Leah N. Claiborne with young male student at piano

A Black Piano Professor Finds Her Voice and Mission

Written by Dr. Leah N. Claiborne on February 3, 2023. Posted in DEI. 2 Comments on A Black Piano Professor Finds Her Voice and Mission

As a child, Sunday mornings were my favorite part of the week. My mom always let me wear my favorite dress to church where I would sit as close as I could to the church pianist to see her fingers work magic as she led the congregation in song.

When we returned home, I knew my ears would be met with the sounds of Coltrane, Quincy Jones and Miles Davis. My dad created his own musical sanctuary, playing records on his turntable. Music was such an integral part of my life well before I ever decided to start taking music lessons.

Musical Inspirations

After church, I would sit with my dad and look at the pictures on these old record albums. He would give me a history lesson on all the artists, and I took it all in the way any 4-year-old could. But the voice and sound that he never needed to identify for me was that of Nina Simone. I was captivated by her piano playing and haunting voice, and I was enchanted by her majestic photos. I loved the stories of her activism and felt her music served as a time capsule that marked a significant turning point in American history. “It is an artist’s duty to reflect the times,” Simone once said.

I told my dad that I wanted to be Nina Simone. He responded by putting me in classical music lessons. Every week, multiple times a week, I took classical piano lessons and learned Bach, Beethoven, Mozart, Rachmaninoff, Chopin and Liszt. I especially loved Bach and felt I was on the right path with my pursuit of following in Nina Simone’s footsteps because she said, “Bach made me dedicate my life to music.”

I loved performing and participating in piano competitions. As I got older and began to navigate this space of classical music, I began to question what a Black girl like me was doing studying the music of dead white male composers? And what exactly do I have to say about it?

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Finding My Voice

I studied classical piano music in a conservatory and major university for more than 20 years, but I constantly questioned my place in this industry where people who looked like me were not only not celebrated, they weren’t even mentioned or included as part of the curriculum.

This all began to change once I entered graduate school at the University of Michigan, a time in my life when I was longing to find my voice. Fortunately, I had incredible educators who encouraged and helped nurture my musical talents. I began to research the contributions of Black composers, specifically in classical piano music. I was shocked with the amount of music that was readily available but not being utilized.

I realized very quickly that I wanted to dedicate my time to researching how the music of Black composers could be used at every stage of development in piano studies, and more broadly, how the compositions of Black composers could be utilized in curriculum development for music education.

Rummaging through Graveyards

Dr. Claiborne gives piano lessons in her home to local students in the Washington, D.C. area.

I set out on a path of discovery not knowing what I would find, but I was fully committed and assured for the first time that I found a place to make an impact in this industry of classical music that I loved so much. My first encounter with realizing how much music was available by Black composers was during my first trip to the Center of Black Music Research in Chicago.
Astonished and overwhelmed with the amount of music in this archival library, I was also deeply saddened because as I continued to visit other research facilities, I often felt as if I were rummaging through graveyards of scores. These scores had died with the composer, and no one had bothered to unearth them and celebrate their existence.

I quickly learned that my issue would not be about finding enough music, my challenge would be what to do and how to organize all my findings. I thought back about my own upbringing and thought to myself, “What would life be like for me, a Black girl studying classical music, if I had been aware of how much piano music was written by Black composers?”

For me, it became urgent and clear that I wanted to find music that could be utilized through pedagogical purposes at every stage of a child’s musical development. In doing so, a student would be made aware that there was and still is music being written by Black composers at the very beginning levels as well as at the most advanced levels of music education.

This is especially important because the music we use and deem as most important at the beginning stages of music development creates an expectation as to what we should expect to learn in the later stages of our musical journey. When we allow our students to experience diverse literature at the early stages of learning, we are modeling that they should seek out and value diverse literature at their advanced levels.

Finding My Mission

Whenever I speak, give lectures, perform or write articles on the contributions of Black composers in classical music, I like to discuss the pedagogical benefits that both teachers and students will gain from incorporating the music into their repertoire. Oftentimes, these composers have tackled technical and musical challenges for the budding musician in such a profound and unique way. By focusing on all the different ways a student will benefit from learning, there can be no denying the importance that this music brings to music education.
It has been important to me to continuously think of measurable and broad impact throughout my work. In doing so, I have partnered my research and efforts with some important arts organizations that share the same desire to build more inclusive pedagogy for music education. For example, as the Director of Diversity, Equity and Inclusion for the Frances Clark Center, I have created a course titled “Unsung Heroes: 20 Piano Pieces by Black Composers for Every Skill Level.” This course offers recordings, articles and pedagogical support with teaching piano music by Black composers.

I have also created a partnership with my non-profit organization, Ebony Music, Inc. and Music Teacher National Association to award the Ebony Prize to a pianist who gave the best performance of a piece by a Black composer in each age category at the national competition. These type of initiatives and resources are not only available through the world of piano music. There so many great resources, specifically by Black scholars who are also making profound impact in the field of music education. Some of these include:

African American Art Song Alliance
The Black Music Perspective / Eileen Southern Initiative (Harvard University)
“Encyclopedia of African American Music“ by Dr. Tammy Kernodle
“Black American Music: Past and Present“ by Hildred Roach
Sphinx Organization

In all my efforts to advocate for the inclusion of Black music in music education, I am constantly reminded by the words of Naomi Tutu when she visited the University of Michigan and talked about her advocacy. She reminded all the students, including me, that there are hundreds of thousands of people who are more talented and more capable than us. We were simply given opportunities that others were not. This has always stuck with me because I am fully aware that there is privilege in being able to research and educate the next generation of music performers, teachers and scholars. I have made it my mission to make sure that the next generation has a better understanding and appreciation for the many Black composers who have and continue to impact our field of classical music.

Photo Credits: Miles Davis photo by Palumbo, derivative work by Malik Shabazz, via Wikimedia Commons, Nina Simone photo by Kroon, Ron for Anefo, CC0, via Wikimedia Commons

Live Sound Troubleshooting Tips, Part 1

Written by Steve La Cerra on February 2, 2023. Posted in Live Sound. 1 Comment on Live Sound Troubleshooting Tips, Part 1

Troubleshooting any audio system can be tricky, but it’s not rocket science. In this two-part series, we’ll look at the common problems that plague PA systems, and ways to fix them.

Local Versus Global

One of the keys to troubleshooting your PA is recognizing whether a problem is “local” or “global.” A local problem affects only one or two channels, while a global problem affects the entire system. In this article, we’ll look at global problems; in Part 2, we’ll look at local problems and those particular to digital consoles.

Important: Always turn off power amps or powered speakers any time you are making or removing connections. Failing to do so (i.e., “hot-plugging” them) can result in a nasty pop that could damage speakers and/or scare the daylights out of anyone nearby.

No Power

The first step in troubleshooting any audio system is ensuring that all the components are plugged in and turned on. If you are having power issues, check the following:

1. Confirm that the power switches for all gear are turned on.

2. Check that all AC plugs are firmly seated, including those that are plugged into power strips or surge suppressors.

3. Confirm that all power strips are turned on and plugged into working AC outlets. Most power strips have a light indicating that they are active.

4. Check the circuit breakers on your power strips (usually a pushbutton on the side). If a circuit breaker has tripped, it’s possible that the devices plugged into the strip are drawing too much power — in which case you may need to reconfigure the power distribution so that the power strips are operating within their safety limits. Power requirements for most audio gear can be found in the owner’s manual.

5. Removable IEC power cables can work loose during transport or due to vibration. Be sure they are firmly seated.

6. If a device still won’t power up, check the fuse on the rear panel and replace it if necessary. Use only the fuse recommended by the manufacturer.

No Sound

1. Verify that all components are receiving power.

2. Examine the connections between the mixer and the power amplifier or powered speakers. Sometimes cables for the mixer L/R outputs get swapped with the monitor outputs.

3. Turn up the volume controls on the powered speakers/amps.

4. Raise the mixer master fader to 0 (unity gain).

5. Make sure the mixer master mute switch is off.

6. Send a signal from an input channel to the L/R bus of the mixer. You can play music from a laptop or smart device, speak into a microphone or use a test tone generator for this purpose. All current Yamaha digital mixers, including CL Series, TF Series, QL Series, and RIVAGE PM Series models, provide an onboard oscillator for use as a test signal.

Audio Is Coming from Just One Side of the PA

If you’re getting audio only from one side of the PA, there are a couple of possibilities — but cables are always the first suspect. Here’s how to troubleshoot this type of problem:

1. Monitor a signal that is panned center and assigned to the L/R bus. Raise the channel fader to 0.

2. Slowly raise the master fader to 0, then back it down to -10 or -15 while you continue to troubleshoot.

3. Ensure that XLR connectors are latched, TRS or TS plugs are fully inserted, and Speakon connectors have been turned and locked. RCA connectors are particularly prone to failure under heavy use due to the outer ground connection wearing out and becoming loose, so if a piece of equipment provides the option of RCA, TRS or XLR connectors, always opt for TRS or XLR.

Closeup of cable end connector. — *Speakon connectors should be locked in place before use.*

4. If you discover that the input connector to a power amp or powered speaker is partially plugged in (or not plugged in at all), temporarily power the piece of gear down while you reconnect the cable.

5. Swap the left and right output connectors on the mixer. If the problem changes sides, then the cable between the mixer and the amp is probably at fault. Change it.

6. If the problem remains on the same side, check the volume control on the amp or powered speaker.

7. Confirm that the amp is not in “protect” mode, whereby it may mute the outputs. This can be caused by shorted speaker cables.

8. For PAs using passive speakers with power amps, swap the speaker cables at the output of the power amp (make sure it’s powered off first!). If the problem changes sides, replace the speaker cable.

No Sound from a Monitor Mix

Monitor mixes can be tricky to troubleshoot because they can be affected by input channel settings. If you’re not getting sound from a monitor mix, here’s what to do:

1. Confirm that the aux send used for the monitor mix is pre-fader.

2. Using an input channel and source that you know is working, set the aux send to 12 o’clock.

3. Slowly raise the aux send master to unity gain.

4. Examine connections as previously described. If you are running multiple monitor mixes and some of them are working, swap cables at the aux output jacks on the mixer.

A cable tester is a handy device to have in your tool bag, and one that tests XLR, TS, TRS, RCA and Speakon cables can be purchased for under $50. Trust me: It will pay for itself on the first gig. If you’re experienced using a DMM (Digital Multi Meter), most can be set to indicate continuity with a “beep” — though using a DMM to test a cable will be a bit more time-consuming than using a dedicated cable tester.

Closeup of controls. — *A Digital Multi Meter.*

Any cable that’s questionable should ether be immediately labeled for repair, or tossed in the trash. You don’t want that same cable showing up at the next gig, causing problems.

Hum or Buzz from Both Sides of the PA

Hum or buzz in a PA system is often related to a ground problem that can be traced to either an AC connection or an audio cable. Here’s how to chase down a ground issue:

1. Turn off the amp or powered speakers and disconnect the mixer from the main L/R and monitor amps.

2. Turn on the amp and with the volume up, listen to the speakers. You should hear a faint hiss, but no buzz or hum. If you do hear buzz or hum, examine the AC plug and make sure that the ground pin (the round one) is intact. (Never remove it!) Replace the power cable if necessary.

Closeup of plug. — *The ground pin (the round one on top) should never be removed from an AC plug.*

3. Look around for nearby fluorescent or neon lighting fixtures or lighting dimmers, all of which can induce noise in audio lines. Turn such fixtures off, or set such dimmers fully clockwise so that no dimming is occurring.

4. Connect the L/R outputs of the mixer to the amp(s) for the main speakers.

5. Turn on the mixer, then turn on the power amp. Raise the master fader to 0, lower all channel faders all the way down, and raise the volume controls on the amp. You should not hear any buzz.

If hum or buzz persists, or reappears when you connect cables between the mixer aux sends and the inputs to the monitor amps, you may have a ground loop.

Ground Loops

A ground loop is a condition where audio equipment is grounded in more than one location and there is a small voltage between the grounds. That small voltage can cause a big noise! Here’s how to find and cure a system ground loop:

1. Plug all AC cables — amps, mixer, powered speakers, etc. — into the same outlet using a power strip. This may not always be possible because a single outlet may not be capable of handling all of the power requirements. In that case, try plugging all gear into a nearby location — for example, using only AC outlets onstage and not at front-of-house.

2. Use an AC hum eliminator. These are placed between the AC plug of a device and the AC outlet. A well-designed AC hum eliminator maintains a ground connection for safety while eliminating the noise.

3. If this doesn’t work, try an audio hum eliminator. These are passive devices (usually in the form of a small box) that use transformers to safely break ground loops. Hum eliminators are typically connected between a mixer and a power amplifier, allowing audio to pass through unaffected while removing ground-related noise.

In Part 2 of this series we’ll discuss how to troubleshoot distortion and input problems, as well as gremlins that sometimes lurk beneath the surface of digital consoles.

Photographs courtesy of the author.

Check out our other Tools of the Trade postings.

Honoring Black Composers

Written by Marc Hopkins on February 1, 2023. Posted in History.

Great composers should be honored all year long, but during Black History Month, it’s particularly fitting that we pay tribute to the Black composers whose music has brought so much joy to so many millions.

The 12 men and women on this list were relentless in expanding their creative boundaries with the uniqueness of their scores. Some were innovators of new genres like ragtime and jazz, while others were the first to gain access to bigger stages. These struggles continue. It was only two years ago that trumpeter Terence Blanchard made history as the first Black composer in 138 years to have their work, “Fire Shut Up in My Bones,” presented by the Metropolitan Opera. Blanchard’s trailblazing builds on the commitment of those listed below to always move the music forward.

Joseph Boulogne, Chevalier de Saint-Georges (1745 – 1799)

Saint-Georges, known as the “Black Mozart,” was a French violinist and the earliest European musician/composer of African descent to receive widespread critical acclaim. He wrote and published countless operas, string quartets, concertos, and symphonies between 1771 and 1779. A 2020 New York Times story presents a rationale for the “Black Mozart” moniker, noting “remarkable similarities between an excerpt from a Boulogne violin concerto … and a passage from Mozart’s K. 364.” The same phrasing recurs in Boulogne’s solo string writing: “a difficult sequence climbing to the highest register of the instrument, immediately followed by a dramatic dip — [one that] had never appeared in Mozart’s work until this Presto.” Boulogne’s compositions include “L’Amant anonyme, Ouverture: I. Allegro presto” and “Violin Concerto in D Major, Op. 3 No. 1: II. Adagio.”

Francis “Frank” Johnson (1792 – 1844)

Johnson is considered one of the forefathers of ragtime and jazz. Proficient on the bugle, violin and piano, he wrote over 200 compositions that encompassed operatic airs, Ethiopian minstrel songs, patriotic marches, ballads and quicksteps. He’s also the first African-American to have his songs published as sheet music. Johnson’s catalog includes “Princeton Gallopade” and “The Grave of the Slave.”

Henry Thacker Burleigh (1866 – 1949)

This American classical composer and arranger had a rich baritone voice that landed him a scholarship at the National Conservatory of Music in New York. He made Black music accessible to classically trained artists by introducing them to spirituals and arranging them in a classical style. During the late 1890s Burleigh started publishing his own arrangements of art songs, and eventually became the best-known composer of the genre. Among his prominent works are “You Ask Me if I Love You” and “The Prayer I Make for You.”

Scott Joplin (1868 – 1917)

Joplin was the “King of Ragtime,” one of the pioneers of a genre characterized by a strong syncopation in the melody with a regularly accented accompaniment in stride piano style. A composer and pianist of great renown, Joplin wrote over 40 ragtime songs, a ragtime ballet, and two operas. Ragtime underwent a revival in the 1970s when Joplin’s “The Entertainer” was used in the Oscar-winning motion picture The Sting. Here are renditions of two of his most famous compositions: “Maple Leaf Rag” and “The Entertainer.”

Harry Lawrence Freeman (1869 – 1954)

Harry Lawrence Freeman was the first African-American composer to write operas that were successfully produced. His first two projects, Epthelia, 1891 and The Martyr, 1893, were performed by his company, Freeman Opera, at the Deutsch’s Theater in Denver. In the early 1900s, the Freeman family migrated to New York’s Harlem neighborhood. In 1912, ragtime composer Scott Joplin was also in the city, and sought Freeman’s assistance in reimagining his three-act opera, Treemonisha, which had been stalled for a year. Here’s sample of Freeman’s music: “Chloe’s aria from Act II of Voodoo” and “Mando’s aria from Act I of Voodoo.”

Samuel Coleridge-Taylor (1875 – 1912)

Coleridge-Taylor was not only a composer and conductor, but also a political activist whose musical sensibilities were shaped by his multicultural parents: an English mother and a father from Sierra Leone. Always conscious of his heritage, Taylor’s classical compositions were greatly influenced by African musicians, transforming him into one of the most innovative artists of his time. His compositions include “Deep River” and “Nonet in F Minor.”

Robert Nathaniel Dett (1882 – 1943)

Robert Nathaniel Dett showcased his talents through the Hampton Institute Choir. Under his baton, 40 members of the Hampton Singers performed at Carnegie Hall in January 1914. The college, now called Hampton University, achieved another milestone on Dec. 17, 1926, when 80 members of the choir performed at the Library of Congress. Dett published about 100 piano, vocal and choral works, including arrangements of “Somebody’s Knocking at Your Door” and “I’m So Glad Trouble Don’t Last Away.”

Florence Beatrice Price (1887 – 1953)

Florence Beatrice Price was the first Black woman composer to have her music played by a major orchestra in the U.S. The premiere of Symphony No.1 in E minor on June 15, 1933 was driven by her first-place victory in the Wanamaker Competition during the previous year. She wrote over 300 works, including four symphonies and four concertos. Among Price’s most memorable compositions are “Mississippi River Suite” and “Ethiopia’s Shadow in America.”

William Grant Still Jr. (1895 – 1978)

This diverse composer wrote over 200 symphonies, ballets, operas and choral works. In the 1930s, Still arranged popular music for NBC Radio shows, and for movies such as Bing Crosby’s Pennies from Heaven (1936) and Frank Capra’s Lost Horizon (1937); he further distinguished himself by leading the Los Angeles Philharmonic at the Hollywood Bowl — the first African American to conduct a major American orchestra with his own music. Here are examples of Still’s work: “Afro-American Symphony no.1” and “Troubled Island.”

Edward Kennedy “Duke” Ellington (1899 – 1974)

Without question, Edward Kennedy “Duke” Ellington was one of the greatest and most prolific composers of the 20th century. According to Smithsonian Magazine, he wrote over 3,000 songs for his own band and for others. Ellington on his own, and in collaboration with co-writers like Billy Strayhorn, expanded the number of standards with songs like “Do Nothing Till You Hear from Me,” “In a Sentimental Mood” and “It Don’t Mean a Thing (If It Ain’t Got That Swing).” Following his death, trumpet legend Miles Davis said, “At least one day out of the year all musicians should just put their instruments down, and give thanks to Duke Ellington.”

Margaret Allison Bonds (1913 – 1972)

Margaret Allison Bonds was an American composer, pianist and arranger who is best known for her partnership with novelist/playwright Langston Hughes. It was the personal and professional relationship between the two that sparked her creativity, with Bonds providing a soundtrack for much of Hughes’ work. Their collaborations include “I, too, sing America” and “Songs of the Seasons.”

Julia Amanda Perry (1924 – 1979)

Perry was an American composer who merged her classical training at Westminster Choir College, the Berkshire Music Center (now Tanglewood) and Juilliard with her African-American sensibilities to cultivate her own voice. Her 1951 arrangements of “Free at Last” and “I’m a Poor Li’l Orphan” revealed her affinity for Black spiritual music. In 1954, her opera, The Cask of Amontillado, was first staged at Columbia University. Perry also penned several types of chamber music, including a violin concerto, 12 symphonies and two piano concertos. Among her most memorable compositions are “Prelude for Piano” and “Pastoral.”

Be sure to check out Yamaha Artist Lara Downes Rising Sun Music, a record label and history project honoring Black composers of the last 200 years.

Sepulvado James

Written by jkikuchi@yamaha.com on February 1, 2023. Posted in 2023. 2 Comments on Sepulvado James

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2023

James Sepulvado

Performing Arts Department Chair,
Associate Professor of Music
Cuyamaca College
Rancho San Diego, California

Providing opportunities for music students and music teachers to learn to be better players and educators has been a driving motivator for James Sepulvado, the Performing Arts Department Chair and Associate Professor of Music at Cuyamaca College in San Diego.

In 2008, a group of music teachers in San Diego discussed what music education should look like in the region. “We dreamt of creating a professional wind ensemble that could serve as a model for the plurality of young people in this country who learn what art is through their band class at school,” Sepulvado says. “We also thought of innovative ways we could employ the musicians of that wind ensemble to carry out educational outreach programs.”

Fifteen years later, that dream has grown into an organization that presents concerts and educational programs to thousands of students every year. The flagship program is the San Diego Summer Music Institute (SDSMI), which has become one of the finest summer music camps in the country. “We try to keep the big-picture goal of the camp simple: Connect the most passionate music students with the very best musicians and teachers,” Sepulvado explains. “Over time, we have improved on our ability to execute that goal, and students and musicians alike have come to recognize SDSMI as an exciting place to learn and teach.”

As SDSMI grew and improved, Sepulvado and his colleagues started to think, “Wouldn’t it be amazing if other music teachers could see what we’re seeing? This led us to come up with the idea to add an educators track to the camp, which we did in 2019,” he says.

They named the camp the Ryan Anthony Music Project (RAMP) after Ryan Anthony, who hailed from San Diego and was the Principal Trumpet in the Dallas Symphony Orchestra. Anthony dedicated his life to music and to his charity, Cancer Blows, until his death in 2020.

RAMP is gaining traction as a premier professional development workshop for music educators around the country.

Sepulvado’s lastest project is an after-school music program for elementary students in the Santee and Lemon Grove school districts. “There is a renaissance of music education happening in east San Diego county,” he says. “After years and even decades of no music program existing in this area, more than 750 students in these two districts alone have started studying music. The model is catching on and spreading, and I think we are on the brink of seeing a generational cultural change that will improve our community for decades!”

On top of all this, Sepulvado wrote a book, “The Joy of Listening to Music.” “The core message I hope to convey in my book is that the act of listening attentively to a great piece of music is one of the greatest joys humans can experience,” he says. “Listening to music under the right conditions is healing and transformative in a very powerful way. When music is understood and experienced in this way, it becomes clear that great classical music is very relevant to our lives today and not some museum piece from a long past era.”

Sims Dylan

Written by jkikuchi@yamaha.com on February 1, 2023. Posted in 2023. 2 Comments on Sims Dylan

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2023

Dylan Sims

Director of Bands
York Middle School
York, South Carolina

The band program at York Middle School in South Carolina is above all, a nurturing environment, thanks to Director of Bands Dylan Sims. “I have a very diverse band program,” he says. “We have students of varying cultures, economic standings, and personal preferences and identities, and that’s something that I’m incredibly proud of. The magical thing about band and music in general is that it’s something that brings people together.”

Sims has a discussion with his students at the beginning of each year about how they are all different, how they all have talents to bring to the program, and how they all should be celebrated!

While Sims promotes the band room as a fun place where students come to make music together, he also has high expectations for student performance and behavior in and out of the band room. “As individuals, they are representing our program no matter where they are,” he says. “We hold each other accountable for our performance. When one of us is struggling, it’s not uncommon for students within a section to ask for a sectional or to schedule time to help each other out — yes, this can happen at the middle school level!”

The music curriculum is aggressive, but students are enjoying the challenge. Sims’ teaching approach is called “gradual release of responsibility,” which allows students to take ownership of their ensemble. “At the beginning of the year, I teach students how to rehearse, things to listen for and how to make intelligent musical comments,” he explains. “From there, they take on more of the ‘fixing’ responsibility. By the end of the year, many of my students are able to tell me what’s wrong, how we need to improve it, and many will even call sectionals with their sections to improve it.”

Technology plays a large part in Sims’ class, too, with the use of drones, tuners and metronomes during class, as well as software like SmartMusic and Canvas. Students can use these programs independently if they are in a practice room to improve their skills.

Sims has forged relationships with several local universities to help his students as well as to provide teaching opportunities to college students. York’s current partnerships with Winthrop University and Limestone University provides outstanding performance opportunities for Sims’ students. “It’s not uncommon for the band room to have studio teaching staff in the band room weekly,” he says. “Additionally, we offer our band room up to these universities for college music students to come in and teach masterclasses, private lessons and get some real experience of being a band director like dealing with finances and logistics.”

So far this year, York has been able to help eight future music teachers through this partnership!

For the 2023-2024 academic year, Sims moved to Gold Hill Middle School in Fort Mill, South Carolina, as the Associate Director of Bands.

Smith Marcus D.

Written by jkikuchi@yamaha.com on February 1, 2023. Posted in 2023. 1 Comment on Smith Marcus D.

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2023

Marcus D. Smith

Choral Director, Music Educator
Baltimore City College
Baltimore, Maryland

Baltimore City College, the third oldest high school in the United States, has always been a school of music excellence with wonderful performance opportunities. However, in 2021, the school’s choir received an unbelievable opportunity to perform with the Baltimore Symphony Orchestra and award-winning Broadway star André De Shields, an alumnus of City.

“We were invited in March 2021 and received the music a few months before the December performance at the Joseph Myerhoff Symphony Hall. We immediately began preparing measure by measure, song by song,” says City’s Choral Director Marcus D. Smith. “Mr. De Shields made this an unforgettable experience — he walked through our halls, inspiring the choir during rehearsal. He filled the room with his voice singing, ‘Believe in yourself as I believe in you!’”

This opportunity came at a time when students were just returning to in-class instruction and were required to wear masks during rehearsals and performances. “We tried our best to navigate through our new normal while keeping everyone healthy and maintaining a standard of excellence in music,” Smith says.

Another way Smith ensured that his music students have more opportunities is when the International Baccalaureate (IB) Music Performance course was brought back to City. “It was a team effort,” he says. “We believed it was necessary to include the music students in the holistic vision of the school. It was important that music students were afforded the same opportunities as students in the other IB disciplines.”

Smith also worked on a faculty recital series with colleague and the choir’s accompanist, Patrick Alston. “At City, we have faculty members who have professionally studied voice and instrumental music and they perform recitals and put on masterclasses for the students,” Smith explains. “As the school year progresses, more students participate in the masterclasses and recitals, which helps them with college auditions, life-long learning, and gives them a taste of various careers in music.”

Smith credits his work as the minister of music at Ark Church in Baltimore (a position he has held since he was a teenager) for helping him be a better music educator. “Being a church musician has taught me to be compassionate, patient, organized and to work hard,” he says.

Willis Franklin J.

Written by jkikuchi@yamaha.com on February 1, 2023. Posted in 2023. 1 Comment on Willis Franklin J.

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2023

Franklin J. Willis

Adjunct Professor of Music Education
Vanderbilt University, Blair School of Music,
Community Impact Director
CMA Foundation
Nashville, Tennessee

Think bigger in order to serve students! That’s the message you’ll hear from Franklin J. Willis, a trailblazer and catalyst for change in the music education space. As a former elementary music instructional coach for Metro Nashville Public Schools, Willis offers invaluable insight into the challenges and solutions that exist in music and arts education.

Nationally recognized for his commitment to student learning, passion for the profession and innovative teaching practices, Willis shares his unique and relevant pedagogy through professional development sessions for music teachers of all grade levels. One of his fundamental tenets is that every child has musical potential and deserves a music teacher who will see the best in them. “Music education is a vital tool to teach students about other cultures, create community and inspire a love for learning,” Willis says.

He consistently uses his network — colleagues, community organizations, local businesses, colleges and universities, and more — to advocate for the importance of music education in schools and to provide opportunities for students to utilize their passion for music for all to see. This includes producing music videos and stadium performances at CMA Fest, a four-day music festival in Nashville.

Willis is currently an adjunct professor of music education at Vanderbilt Univeristy’s Blair School of Music, where he teaches undergraduate courses that provide a robust and realistic experience of teaching music in the 21st century. He is also the community impact director at the CMA Foundation, where he paves the way for students to experience equitable access to opportunities in the music industry beyond the classroom.

In 2020, Willis wrote “Edward’s Rhythm Sticks,” a children’s book that shows how much music is a part of our lives. “I was inspired by my son’s exploratory behavior with music and his love for rhythm sticks,” he explains. “This story illustrates how fun music can be and how even the simplest things can be made into instruments.”

Parents and teachers can use the book to teach rhythm, pattern and sequence. “Most of all, they can use the book to bridge learning, music, literacy and having fun together,” he says.

Williams Jeremy

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023. 1 Comment on Williams Jeremy

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2023

Jeremy Williams

Band Director
L.H. Marrero Middle School
Marrero, Louisiana

People living in and around New Orleans have a deep affinity for the area’s music and culture. They also have incredible resilience to deal with natural disasters like hurricanes. Jeremy Williams, the Band Director at L.H. Marrero Middle School, definitely has both.

When Hurricane Ida hit in August 2021, it completely decimated the school’s band room. Williams jumped into “full-on rebuild mode and was living on the phone and computer all day, seven days a week, trying to find avenues to bring in resources to help,” he says.

Thanks to Williams’ relentless drive, the Marrero band went from having “a totally non-usable room, non-usable instruments and non-usable storage to students making music and giving performances again,” he proudly proclaims. “While the band program is still in the rebuilding process, the progress that we have made has been tremendous. The young people in the band have been extremely patient and learned many life lessons during this time. Now, they come to rehearsals eager and ready to make music!”

And the music that Williams prepares for them always includes some standard New Orleans repertoire. “Music in New Orleans is deeply rooted, it is embedded into our culture,” he says. “When something like music is such a large part of our lives (here in New Orleans) and the way we live, it is no longer a luxury, it is a necessity.”

Williams tells his students, “we live here, so it is our responsibility to keep our music alive. It’s our job to see that the music lives on and sustains to the next generation. I even joke that the heart of a true New Orleans musician naturally beats in a 3-2 clave pattern!”

Another way that Williams has helped to support music-playing is through the creation of a youth jazz band called The Next Generation Jazz Band of New Orleans. He initially went out like a talent scout and looked for students for the band. “I went out to listen to kids play anywhere and everywhere,” Williams said. “Many of the kids in this jazz group attend public schools. Many are on free and reduced lunch programs. Many do not have the resources for private lessons. Some can’t attend school where they can get exposed to great opportunities.”

Williams simply looked for children who wanted to play. The band has students of all ages and ability levels from young kids to high school seniors. In the summer of 2022, Williams and The Next Generation Jazz Band of New Orleans recorded an 11-track album of New Orleans tunes. “This gave exposure to many kids who would never have had such an experience. It was an incredible amount of effort to coordinate this group, but it was well worth it,” he says.

White Greg

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023. 1 Comment on White Greg

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2023

Greg White

Director of Bands
Ronald Reagan High School
San Antonio, Texas

Focus is the key to the success of the Ronald Reagan High School band program. Director of Bands Greg White says that keeping students focused comes primarily from the preparation he and his team put into rehearsals. “We hold that time sacred and never want to waste even a second,” he explains. “That means getting information from all the stakeholders in our program and creating a plan that fits all our needs. That plan then must be communicated to and then executed by our amazing team of teachers.”

This same focus and attention to detail goes into creating innovative shows. Last year’s “In Plain Sight” explored the idea of seen vs. unseen, misdirection or subtlety. “The music was based on the incredibly well-known ‘Adagio for Strings,’ but it was adapted in ways that were unique and unpredictable,” White says. “Additionally, we used visual effects such as costuming to create misdirection that drew the audience’s focus in ways that were surprising!”

White prefers to limit the use of props on the field because “we believe the biggest assets we have are our students! The more we can feature our incredible performers and their skills, the better,” he says. “We also believe that this gives us a unique ‘look’ that is clean and flexible to fit our needs.”

The students at Reagan have a variety of musical experiences available to them. The program includes a marching band, four concert bands, two full orchestras, steel pan ensemble, musical pit orchestra, jazz band, low brass ensemble, saxophone choir, chamber music program and three winterguards.

White is open to adding new groups, too. When student leaders approached him about forming a sax quartet, he worked with them to make it happen. The ensemble, called Quid Nunc, has grown over the years with meaningful performances and success in the competition realm. “My goal for the group is to spread the awareness of and participation in high-level chamber music,” White says. “Quid Nunc has toured across Texas and the Midwest throughout the years giving outreach concerts to students ranging from kindergarten through college.”

Outside of Reagan, White is involved with SASi, a group dedicated to developing student leaders in all areas, including student councils, athletic teams and marching bands. “I love having the opportunity to impact a large number of students — and directors! — throughout the country in my work with SASi,” he exclaims. “I strongly believe in the lessons and skills taught through the SASi curriculum and how they shape young leaders to be the best versions of themselves in order to serve the programs they work with.”

Wigglesworth Tyler

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023. 2 Comments on Wigglesworth Tyler

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2023

Tyler Wigglesworth

Choir Director, Performing Arts Academy Coordinator, Vocal Music Director
West Covina High School
West Covina, California

When charged with starting the West Covina High School Performing Arts Academy, Choir Director Tyler Wigglesworth jumped right in. Together with the theater, band and dance teachers, Wigglesworth’s goal was to provide high-quality performing arts education while still giving students a comprehensive high school experience.

“We require each student who wants to join the Performing Arts Academy to fill out an application and then audition,” he explains. “If selected, the student will declare an emphasis, called a pillar, which defines the focus of their performing arts education for the next four years. The four pillars offered are dance, instrumental music, theater (both acting and technical) and vocal music.”

The director who oversees that specific pillar works with the student, as well as their academic counselor, to provide a four-year academic plan that encompasses all the Performing Arts Academy, high school and college-entry requirements.

In addition to directing the choral department, coordinating the Performing Arts Academy and running its vocal music pillar, Wigglesworth is also the music director for the school’s musicals. “What excites me the most about my music program is simply the diversity of opportunities that are provided for each student to refine their craft as they find their voice at West Covina High School,” he says.

Encouraging students to find their voice is core to Wigglesworth’s teaching philosophy. “I truly believe that music and other performing arts disciplines are catalysts for students to unlock incredible levels of excellence as they work together toward a high level of performance,” he says. “However, we have to celebrate that these ensembles are made up of individuals who have unique backgrounds that they bring to the art of music-making. By simply participating, students are expressing their individuality, and it is the combination of all these individual voices that creates musical magic.”

Wigglesworth also finds unique and exciting performance opportunities for his students. “A couple years ago, I took two of my choirs to perform at Carnegie Hall in New York City,” he says excitedly. “Not only was that an incredible experience, but through that process we had the opportunity to bring to life a beautiful work that was written for our group in collaboration with composers Melanie Penn and AJ Harbison. It was such a thrill to be able to be a part of new music being written.”

In 2023, the school’s choir will be premiering another new work — a song co-commissioned with Los-Angeles-based singer and composer Joel Balzun.

Tovar Jabari

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023. 1 Comment on Tovar Jabari

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2023

Jabari Tovar

Instrumental Music Teacher,
Percussion Specialist
Salem Public Schools
Salem, Massachusetts

Developing a culturally responsive curriculum is one of the tenets of Jabari Tovar’s teaching philosophy. The instrumental music teacher and percussion specialist at Salem Public Schools in Massachusetts says, “I’m fortunate to work in a community as diverse as Salem. Our community is composed of families from many different backgrounds, and a large portion are from the Dominican Republic, so I’ve incorporated traditional songs from there when selecting repertoire.”

Recently, Tovar arranged the Latin American folk song “Pin Pon es un Muñeco” for his 4th-grade students, and last year, he taught a unit on Reggaeton to his 6th graders, focusing on the style’s roots from Jamaica and Panama (and how it migrated to the Dominican Republic), the importance of Dembow rhythm, and how students can perform Reggaeton patterns on their band instruments.

Because the core of Tovar’s job is working with beginner percussion students, “any repertoire must be at an appropriate level of difficulty for them but still challenge them,” he explains. “I do a lot of research and usually start by looking for folk songs or children’s songs that are melodically and rhythmically appropriate. I spend a lot of time on YouTube and Google finding pieces that fit my students’ needs.”

Tovar also reaches out to some of his Dominican-American faculty colleagues for guidance on repertoire. “Hearing the thoughts and perspectives directly from people who come from different cultures is invaluable,” he exclaims.

As a teacher, Tovar is all about the “small” wins. To reach those wins, he regularly pushes his students and himself. In 2019, he shifted the high school concert percussion ensemble to a marching one. For the first season, the group was a “standstill” ensemble. Marching elements were added the following year. “Shifting from a concert to a marching group has come with its own set of unique challenges, but it has been an incredibly rewarding experience,” he says. “I’m looking forward to further growing and developing the program for years to come!”

Tovar himself is an alumnus of the Salem music department, and he’s thankful to give back to the community that has given him so much. One way he shows this gratitude is to address the unseen obstacles faced by students and families that might prevent students from participating in the music program. “I try to look at everything we do from the perspective of students and parents,” Tovar says. “I consider everything from noise constraints when practicing at home, to making sure students can transport instruments to and from school depending on their mode of transportation. If there’s anything I can do to make the non-performance aspects of their musical lives easier, I’ll do it.”

Thorpe Theodore III

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023. 1 Comment on Thorpe Theodore III

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2023

Theodore Thorpe III

Director of Choral Activities
Alexandria City High School
Alexandria, Virginia

Described as “inspiring students to soar” by the Alexandria Times, Theodore Thorpe III, the Director of Choral Activities at Alexandria City High School (formerly TC Williams). in Virginia, is known to empower students by instilling discipline and work ethic. According to parents, Thorpe allows students to struggle instead of always coming in and fixing everything, which builds essential musical skills as well as tangible and transferrable life skills that ultimately prepares students to be contributors to society.

When Thorpe arrived at Alexandria 13 years ago, the choral program had 30 students. “I needed to hit the ground running to recruit,” he admits. “From creating barbershop quartet jingles that students would perform over the loudspeaker during announcements, to walking the hallways and listening for low-speaking voices for potential basses, to going to basketball and football games, I did it all.”

Thorpe says the biggest recruitment tool was the choir’s first few performances, which gave the middle schoolers a program to look forward to joining. In two years, the choir grew to 100 students. “Ultimately, the students sold the program much better than I could have,” he says.

His choir now has a long list of impressive performances, including an invitation to perform at the opening ceremony of the National Museum of African American History and Culture in September 2016, being the showcase choir at the Virginia Music Educators Association Conference in November 2017, and the televised performances at the Kennedy Center Honors and Christmas in Washington.

In addition to his roles a conductor, educator and musical director, Thorpe is also a vocalist, composer, arranger and pianist, which he says helps him in both the rehearsal and performance space. “I don’t have an accompanist for my classes, so I’m pretty much playing while teaching class,” he says. “I’m consistently teaching vocal technique within the ensemble setting, and my background in composition and arranging allow me to make musical choices that fit my ensemble, especially when it comes to melody, countermelody, harmony and the division of that harmony for balance and blend purposes.”

Sexton Timothy S. Dr.

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023. 1 Comment on Sexton Timothy S. Dr.

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2023

Dr. Timothy S. Sexton

Associate Director of Bands
Tarpon Springs Leadership Conservatory for the Arts
Tarpon Springs, Florida

Potential and progress are critical, not perfection. That’s the message that Dr. Timothy S. Sexton, the Associate Director of Bands at the Tarpon Springs Leadership Conservatory for the Arts in Florida, wants his students to embrace. “I am constantly looking for ways to show our students that I value them as people first and musicians second,” Sexton explains. “Sincere, daily conversations with our students has helped to make more meaningful connections with them. I remind our students that we never measure perfection, but rather potential and progress!”

When developing curricula, Sexton immediately begins with the end in mind, “so we address our most difficult segments of material first,” Sexton explains. “We joyfully try to cultivate deliberate practice plans, which allow our students to grow more confident when creating on their own.”

Tarpon Springs’ music program has a long history of success, but Sexton is not one to be satisfied with the school’s past accomplishments. He has set some lofty goals for himself, some of which call on performance and pedagogical skills he learned during his DCI days:

To help our students grow to be the best versions of themselves.
To expand our students’ vocabulary, both visually and musically. Sexton gained a versatile set of vocabulary in creating and refining more contemporary choreography when he was a performer with Carolina Crown and BLAST! Brass Theater, and he instills these skills with his students.
To consistently program high-quality, diverse repertoire for our students to prepare them for future performance experiences.
To partner with universities in collecting qualitative and quantitative data in regards to how our program operates.

Part of achieving goal #1 of helping students be the best versions of themselves, Sexton oversees the Tri-M Music Honor Society that has approximately 40 student members. The group regularly collects donations (clothes, food and living essentials) for Pinellas HOPE, a community nonprofit, which partners with Catholic Charities to provides a variety of services and shelters for underprivileged and homeless adults and youth within Pinellas County.

Tarpon Springs’ Tri-M chapter also helps with the annual Feed the Fosters, by donating toys, coloring books, candy canes, etc. Students also help by providing meals to children and families in need during its “Breakfast with Santa” event in December.

Oliver William Dr.

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023.

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2023

Dr. William Oliver

Director of University Bands, Assistant Professor of Music Education
Huston-Tillotson University
Austin, Texas

Dr. William Oliver proved that he was “all in” when he arrived at Huston-Tillotson University (HT) in Austin as Assistant Professor of Music Education. “I wanted to learn about the community, so I sought resources and connected with stakeholders to teach me the city’s history and our institution’s role in its development. HBCUs are goldmines, and when tapped, they demonstrate to potential students how our university can lead them to their dreams,” he says.

A large part of the music education curriculum at HT revolves around the serious study of the voice or instrument. “I made it my mission to seek and hire the highest quality applied faculty,” Oliver explains. “Some teach in person, and others teach via Zoom. They occupy positions in military groups, professional symphony orchestras and professional jazz ensembles. As a result, students can study with professors who ‘live the degrees we offer.’”

To develop curriculum, Oliver asks for feedback from HBCU graduates and first-year teachers to identify areas of their music education where they wish they had more training. “I have since purchased guitars and added a class to help students learn essential skills for the contemporary music classroom. Additionally, I added companion private lessons on students’ primary instruments once a week, emphasizing jazz skills and techniques,” Oliver says.

He also connected with Pandora, a company that prides itself on seeking opportunities to assist university and community music organizations with developing commercial music and technology programs. He demonstrated to executives the multitude of real-world outlets that commercial music provides to the ever-changing music industry. “I brought the project to life — writing and presenting a complete curriculum with potential courses in audio engineering, hip-hop production and software courses in Logic Pro and Ableton Live,” he says.

These efforts have led to a tripling of students in his program. “My mantra for recruitment and retention is, ‘The best ability is availability,’” he says. “Meaningful relationships are typically not forged through a single encounter, such as through university-sponsored events. There must be a sustained interaction between a faculty member and a potential student during the recruitment process.”

Through the summer months, Oliver and new students touch base weekly — discussing curriculum, planning senior recitals and post-graduate school options even before they attend their first college class. “This reinforces our commitment to their persistence to graduation,” he says.

Oliver fought to take his students to the Texas Music Educators Association conference in 2022. “Our future music educators must be exposed to professional development opportunities while studying to become certified music teachers,” he explains. “I met with the university president to discuss the benefits of our attendance, highlighting the presentations, live performances and networking opportunities. Without hesitation, she agreed to cover our trip, which emphasizes the value of instilling a lifelong love for learning in our students.”

Manela Nerissa

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023.

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2023

Nerissa Manela

PhD Student, Teaching Assistant
University of Miami
Coral Gables, Florida

Nerissa Manela is at a unique crossroads between teaching in K-12 classrooms and community outreach programs and pursuing her doctorate degree.

For six years, Manela taught in Title I public schools, where she often utilized innovative technology into her curriculum. “I appreciated the silver lining of home learning during the pandemic in that all students had access to devices and the internet,” she explains. “When we returned to school in the fall of 2021, I wanted to build on the technological skills my students had learned and practiced at home.”

She was awarded a $1,000 grant from The Education Fund to purchase a class set of Makey Makeys, and had her 5th graders bring their devices to music class on a regular basis. “I knew that incorporating literature, science, technology, engineering and math in music classes would enhance the cross-curricular instruction that is crucial in a 21st century education,” she says See the projects with descriptions, photos and videos here.

Manela also works with the Greater Miami Youth Symphony as a conductor, string coach and education coordinator. She developed a bottom-up curriculum to ensure that preparatory classes and beginner-level ensembles adequately prepare students to audition for and advance through four levels of orchestra and three levels of band. Manela also observes classes, provides feedback and coordinates professional development for teachers.

On top of all this, she is a board-certified music therapist. “I know that the patience, empathy and understanding I developed from my experience in music therapy settings made me a better teacher,” she says.

After interning at Jam Sessions, a music therapy socialization group and mentoring program for neurodiverse adolescents and young adults in San Diego, Manela launched the Miami branch in 2017. “Participants work alongside volunteer mentors to sing, play instruments and build relationships,” she explains. “The Jam Sessions program helps participants and mentors develop and practice the social and communication skills needed to foster a more inclusive community.”

Once she completes her doctorate studies, Manela is excited to work with collegiate students who share the same drive to bring the possibilities of music to their future students. She is also enjoying the research aspect of the doctorate degree that is focused on teaching neurodiverse students.

Lowry Paul

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023.

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2023

Paul Lowry

Director of Bands, Percussion and Jazz Studies
Department Chair, Performing Arts
Del Sol Academy of the Performing Arts
Las Vegas, Nevada

“When you are student- and ensemble-focused, great things can happen,” says Paul Lowry, the Director of Bands, Percussion and Jazz Studies at Del Sol Academy of the Performing Arts in Las Vegas.

Lowry was given the daunting task of reviving the band program at Del Sol Academy. “To revive any program takes the whole community, and each part is equally important. We set several wheels in motion at the same time,” he says.

Developing strong meaningful relationships across the building was essential. The school’s principal always says to “do what is best for the kids,” and Lowry took his advice to heart. “We have worked hard so that our arts programs exemplify this motto,” he says.

Lowry also worked with the academic counseling staff to discuss placing students correctly, promoting the program to prospective students, student enrollment and supporting his performing arts goals.

A booster program was started, and parents eagerly filled volunteer positions. The club now hosts banquets, cultivates fundraisers and solicits donations while building a sense of community. The boosters and administration joined forces with Lowry to gradually purchase equipment over several years, and Lowry applied for every grant possible to help put better instruments into students’ hands.

These “baby steps” has allowed the music program at Del Sol Academy to make leaps and bounds toward what it is today. “Over seven and a half years, the band program has grown from a single band of 70 students to three concert bands, three jazz bands, two percussion classes, a marching band and a 90+ philharmonic orchestra totaling over 500 students combined,” Lowry boasts. “We have experienced incredible growth thus far, but we are far from being done. I am excited for what the future holds!”

This growth has come because of a constant and never-ending recruitment and retention process. “Repetition and consistency are my real secrets to recruiting. Middle schooler students should see you often enough that they know your name,” Lowry says. “We always invite our middle school students to join us at several performances, including our pre-festival concert, community performances and our spring concert, which usually includes a combined piece that we put together with select kids from the middle schools. Allowing them to perform next to seniors excites them for the next level, bridges the gap between middle school and high school, and builds mentor/mentee friendships.”

Lowry emphasizes the importance of communication, especially when integrating band merchandise. “Branding our program has been a major tool in creating exclusivity within an inclusive program,” Lowry explains. “Students want to feel like they are part of a community, so we utilize common branding on flyers, bookmarks, pencils, buttons, pins, apparel and wristbands. Not only do these items advertise our website, concert program dates, upcoming events, but they also inform students on the process to join our program. Nothing goes to waste, as any extra merchandise gets sent over to our feeder school colleagues to give out as prizes and incentives.”

Jenkins Larry Professor

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023.

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2023

Professor Larry Jenkins

Professor, Assistant Director of Bands
Tennessee State University
Nashville, Tennessee

The band program at Tennessee State University in Nashville is often referred to as “A Band of Firsts.” Assistant Director of Bands Larry Jenkins explains that the band is the first HBCU band to perform during a presidential inauguration and on the White House lawn, the first HBCU band (the Jazz Collegians) to perform at the Midwest Clinic and now the first band to be nominated for both a GRAMMY® and an NAACP Image® Award in the same year. “We are proud to provide our students with one-of-a-kind experiences,” he exclaims. “And it looks like 2023 is shaping up to provide several more!”

The GRAMMY and NAACP nominations are for “The Urban Hymnal,” a collaboration between Jenkins and multi-disciplinary artist Sir the Baptist. “The concept — creating a new take on hymns by merging our band sounds with gospel and Black culture, ranging from hymns to hip-hop — was developed on a napkin at a Mexican restaurant in Nashville,” Jenkins says. “Sir and I wrote a plan outlining who we wanted to be featured and how we wanted to execute it. The sound of the TSU band would serve as the link between the music of our ancestors and the music of today.”

Sir the Baptist and music producer Dallas Austin came to TSU as part of the school’s Artist in Residency program, which provides students an insider’s point of view of the inner workings of the music industry. Jenkins says, “Through the expertise of Sir the Baptist and Dallas Austin, students learned a little bit of everything, from creating split sheets to licensing, sync and digital distribution.”

Jenkins takes his role as an HBCU professor seriously. “I am tasked with providing an educational experience that reaches beyond the musical notes and rhythms and dives into history, community and culture,” he says. “To go a step further, as an HBCU band director, I must make sure that our students are connected to the work of our pioneers and the proud traditions they left in place for us.”

TSU’s location in Nashville, “Music City USA,” is essential to Jenkins. “My ties to the city provides vital connections between students, the music industry and the community at large,” he says. “Through these connections, our students have garnered internships and performance opportunities. Also, it’s important for students to see me working in the field, which enhances the classroom experience.”

Jefferson Joseph L. Dr.

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2023

Dr. Joseph L. Jefferson

Director of Jazz Studies,
Associate Professor of Trombone and Euphonium
Southeast Missouri State University
Cape Girardeau, Missouri

Helping students find their passion and accomplish their goals are the best parts of being an educator, according Dr. Joseph L. Jefferson, Associate Professor of Trombone and Euphonium and Director of Jazz Studies at Southeast Missouri State University (SEMO). This comes naturally for him because he is a high-energy educator who is passionate about what he does!

“When I arrived at SEMO, participation and interest in the jazz program was very low,” he explains. “The situation at SEMO was unique on multiple fronts. In addition to recruiting current students for the jazz ensembles, I also had to recruit high school students to build a trombone and euphonium studio to support all the other instrumental ensembles at SEMO, and find ways to grow the jazz program.”

Jefferson first provided solid fundamental basics in jazz, which gave students insight on how to play jazz music and understand the culture of the genre. “My goal for jazz students is to offer them a comprehensive learning experience in both instructional and performance situations,” he says.

As interest grew, the school decided to expand jazz offerings. A jazz minor was approved in May 2020, and Jefferson started recruiting. “Rather than trying win students over, I take a genuine interest in their goals and overall fit for our music program,” he says. “One-on-one interaction with students is very meaningful during the recruiting process because it shows them that I am interested in them and their potential.”

The biggest recruiting strategy, Jefferson says, is the good work your current students do. “Their hard work is ultimately reflective of the program and the teachers who have helped them during their development,” he explains. “Potential students want to see themselves as part of your program, which is extremely critical when recruiting for the trombone/euphonium applied studio, jazz studies or the program as a whole.”

SEMO’s annual Clark Terry Jazz Festival is now in Jefferson’s capable hands. His goal for the festival is to continue to grow it in size and number of guest artists and educators who provide high-quality jazz education for local students and middle/high school directors. “We are in a rural area, so providing access in this region is critical,” he says.

Another annual performance, the Big Band Holiday Jukebox, is one of Jefferson’s favorite collaborative events. He plans to increase the quality of performances on the jazz front and to make it the premier holiday production for the region and state.

On top of his work in the music department, Jefferson is the chairperson as well as one of the founding members of the Holland College of Arts and Media Diversity Committee, which was formed in 2018. The goal of this group is to intentionally foster equity, diversity and inclusion within the college, university and service area through recruitment and retention efforts, curriculum advocacy and development, and creative activity.

Gullickson Matt

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023.

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2023

Matt Gullickson

Band Director
Eastview High School
Apple Valley, Minnesota

Connection is the key to Band Director Matt Gullickson’s program at Eastview High School in Apple Valley, Minnesota. “Music is an incredible catalyst,” he says. “For me, the greatest expression of teaching is having true connectedness with students.”

Although Gullickson implements some rigorous methods for his students — such as yoga, mental coaching and studying “7 Habits of Highly Effective People” — he gladly participates side by side with them. “I’m not afraid to do something with my students that I know will be good for them,” he explains. “And I’m not a fan of half measures — I prefer full measures. I’m sure the idea of 180 teenagers doing yoga in the wet grass sounds half-baked, but I see it as a pillar to teach vital concepts like stick-to-itiveness, gratitude and not sweating the small stuff.”

Plus, Gullickson sees another benefit. “When do teenagers get quiet time to themselves? They are always doing something,” he says. “Providing them a few peaceful minutes at the end of our yoga session to examine their own thoughts is a badge of honor for me!”

Known as a creative designer of unique, challenging and award-winning field shows, Gullickson is proud to be a part of an all-local team that has created a brand that is unmistakably Eastview. “My favorite part of designing for marching band is conjuring up ways to give students a one-of-a-kind role in our show,” he explains. “I’m always thinking: How can I use my spotlight as a designer to shine a light on a kid in a way that best fits their talents?”

The school’s 2022 fall show, “Baroque-n-Record,” was a mashup of Bach meeting Sir Mix-A-Lot. “We fed Bach to the football crowd and Dr. Dre to the competitive marching band crowd, and they were both better for it,” Gullickson laughs. “I knew I wanted to finish with Pachelbel’s Canon but not Phantom Regiment style. We used the famous chord progression as background and then put a rap over the top of it. I’d never seen rap being performed as part of a marching band show but figured it was time, and Pachelbel wouldn’t mind.”

He adds that the student who performed the rap was one of the most introverted students he’d ever taught. “To watch him perform in front of the homecoming crowd was unforgettable,” Gullickson proudly proclaims. “He had them in the palm of his hand!”

Gullickson likes to push students outside of their comfort zones. “My biggest learning moments came during times when more was expected of me than I thought I was capable of. That’s why I push students to flex different muscles,” he says. “What you believe about students becomes what you see, so it is only to your benefit to believe they are capable great things.”

Graves Corey L.

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2023

Corey L. Graves

Director of Bands
Tony A. Jackson Middle School
Forney, Texas

At Tony A. Jackson Middle School in Forney, Texas, the band hall is a fun place! That’s because Director of Bands Corey L. Graves has invested heavily in relationship building. “When you walk into our band hall, you see students who feel a deep sense of family and belonging,” he explains. “Our goal is to make every student in the program feel valued, heard and understood. When students know you care, they will go the extra mile every time!”

Graves enjoys teaching at the middle school level. “I love being a part of students’ introduction to music! Middle school is where the magic begins! Students are SO impressionable! I want every student to feel the same joy I had when I began my musical journey,” he exclaims. “Music was more than just a class for me. It was a space where I could be myself unapologetically!”

It is during these first influential years that students learn not only the fundamentals of making great sounds, but also how to practice, create self-discipline, push themselves to perfect skills, focus on teamwork and embrace delayed gratification. “Here students learn that failure is not the opposite of success, but a part of success,” Graves says.

It’s no wonder that his students love band. “It’s the first place most of them visit when they get to school, and the last place they leave before going home because the band hall is a strict ‘positive vibes only’ haven where everyone feels safe to be themselves,” he explains.

On top of this positivity, Graves runs a very structured and process-based program. “Our band culture is built on high expectation, not high pressure,” he says. “We strive for every student to reach their full potential by being their best, not the best. My students thrive on this type of accountability and usually far exceed their own goals! I stand in awe of the jaw-dropping music these young students are capable of playing.”

Graves credits much of his growth as a music educator to the 11 years he spent at Roma Middle School. “I received great mentoring from Dena Laurel, the Director of Bands at Roma High School and a team of teachers who were committed to high expectations, student-centered education, and a true passion for music. We were able to reach some remarkable heights with our students,” he says. “I’m often asked why I moved from Roma after seeing so much success with my students. In short, I was given an opportunity to move closer to my family and establish something new. I believe those same successes can be created anywhere if the students are a part of a culture where they feel connected, supported, valued and empowered! Kids can do ANYTHING!”

Duras Brandon J.

Written by jkikuchi@yamaha.com on January 31, 2023. Posted in 2023.

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2023

Brandon J. Duras

Director of Instrumental Music
Brunswick High School
Brunswick, Maine

The first year of teaching is always exciting and nerve-wracking, but for Brandon J. Duras, the Director of Instrumental Music a Brunswick High School in Maine, it was much more than that because the pandemic hit and schools were closed. “Admittedly, I think I was in denial about school being remote for the remainder of the year,” he says. “We were told that our school would be remote for two weeks, then another two weeks. We didn’t need to meet face to face as a group to rehearse, but I wanted to. I heard from the students that their time in online rehearsals was their favorite part of the day. They needed that interaction, and honestly, I did too!”

Duras took over a strong and established program and was navigating how to make the program his own while not shaking things up too suddenly for the students. “I was confident in my abilities but felt that I had to prove myself worthy of the position,” he says. “Luckily, I had great colleagues and students to help me through the transition.”

One way that Duras has made his mark at Brunswick High is by bringing in new music and diversifying the programming. “Over the past four years, we have added about 10 new works to the wind band repertoire through commissions and consortia,” he explains. “Through these works, we have been able to build relationships with some of the composers and work with them to bring their music to life.”

Balancing staples in the repertoire with new works, especially by underrepresented composers, keeps his program moving forward. “It gives my students the opportunity to learn about the past and be part of the future,” Duras says. “Even in a state that is 94% white, it’s important for my students to represent the greater wind band world through our repertoire.”

Duras is proud of what his program has accomplished, especially at a competition in Washington, D.C. over spring break last year. His students put together music in a few short weeks, and they swept their division! The D.C. trip ended in a special way for Duras and his students — with a police escort into town. “Any chance I see a student succeed and feel proud of themselves — and these moments do not need to be musical — is a proud moment for me,” he says.