UKULELE TEACHING TIPS
Helpful tips on teaching ukulele to
older beginners
MIDWEST CLINIC
Michelle Flint’s first report on the
Midwest Clinic
DEALING WITH THE VOICE
Handy hints for secondary school
choir directors
Simon Hocking House of Travel
The music tour specialists
Plan your performance tour now!
With so many exciting destinations around the world, draw on the expertise and experience of Simon Hocking
House of Travel to help organise your next performance tour. Let your musicians be inspired, motivated and
exposed to the international scene, broadening their performance skills and enhancing their musical experience!
ORCHESTRAS – CHOIRS – BARBER SHOP – JAZZ BAND – CONCERT BANDS – BRASS BANDS – WIND BANDS AND MORE
2012 FESTIvAL OPTIOnS:
2013 FESTIvAL OPTIOnS:
AUSTRALIA
• June – Brisbane Festival
• June /July – Sydney Festival
AUSTRALIA
• June – Brisbane Festival
• June /July – Sydney Festival
USA / HAWAII
• 24-31 March – Hawaii
• March-April – Pacific Basin Music Festival
• 16-20 June – LA Music Festival
• Chicago, San Francisco & New York Music
Festival
USA / HAWAII
• 20-23 March – Hawaii
• March-April – Pacific Basin Music Festival
• 19-23 June – LA Music Festival
• Chicago, San Francisco & New York
Music Festival
ASIA
• April – Beijing Festival
• July – Singapore MUSE Festival
EUROPE
• July – Summa Cum Laude International
Youth Music Festival Vienna
• July – 33rd International Youth Music
Festival Amberg-Sulzbach County
EUROPE
• July – Summa Cum Laude International
Youth Music Festival Vienna
• 18-25 July – 32nd International Youth
Music Festival Amberg-Sulzbach County
001989
These are just a few of the exciting festivals on the calendar. Call 0800 505 565
or email [email protected] to hear more on personalised group tour packages.
Simon Hocking
Northtown Mall, Timaru | 0800 505 565
[email protected] | simonhocking.co.nz
2012 KBB Music Makers
Catalogue OUT NOW!
Your one-stop Music
Education Resource
Catalogue of the year is
out now!
If you have not yet
received your free copy,
please email
[email protected]
with your name, position
in the school, and the
name of the school.
KBB MusicMoney for
Your School
When the school makes a purchase from
KBB Music, a 5% credit or KBB
MusicMoney is generated.
The school can then use their
MusicMoney on future purchases
from KBB Music - Awesome!
MusicMoney is not redeemable
for cash, but think of all the extra
music products you can get for
your school, or use towards your
next invoice.
Please note that KBB Music Money is not accumulated on
rentals, repairs or freight costs.
KBB Music Midwest Scholarship
APPLY NOW! A unique professional development opportunity open to
teachers and directors of bands and orchestras in New Zealand. Attend the
world’s biggest Band & Orchestra Conference in Chicago, USA, the Midwest
Clinic, and be inspired.
Read Michelle Flint’s (2011 scholarship recipient) article on her
experience at the Midwest Clinic on pages 11-12. For more information
and to download an application form, go to www.kbbmusic.co.nz/
KBB+Music+Midwest+Scholarship.html
APPLICATIONS CLOSE: 30 May 2012
CONTENTS
3 KBB Music Festival Update
4 Tips for Teaching Ukulele to Older Beginners
3
4
6 Kawai Pianist Inspires Young Students
8 Choral Briefs - Handy hints for Secondary School
Choir Directors: Dealing with the Voice
11 The Midwest Clinic - Report by Michelle Flint
13 Chamber Music Contest Turns 47
15 NZ Trio Awarded KBB Music/CANZ Citation
8
11
17 Music from the Shaky Isles
COVER PHOTO: Kathy, Will and William performing on the 2011 NZ Ukulele Festival main stage with the NZ Ukulele Development Squad. Photo by Trevor Villers.
Random Notes is a free magazine for music teachers
and educators in New Zealand published by KBB Music.
Enquiries should be sent to:
KBB Music, PO Box 9788, Newmarket, Auckland 1149.
Freephone: 0800 775 226 [email protected]
www.kbbmusic.co.nz
Freephone 0800 775 226
KBB Music Education
Ph 0800 775 226 ext 205
[email protected]
KBB Music Auckland Central & Piano Showroom
136 Karangahape Road, Auckland CBD
Ph 09 309-1140 [email protected]
KBB Music Epsom
157 Manukau Road, Auckland
Ph 09 630-2577 [email protected]
KBB Music Botany
Shop 42, Botany Town Centre, Auckland
Ph 09 271-2642 [email protected]
www.kbbmusic.co.nz 3
Get Creative in
the Classroom
with Avid
Avid/Sibelius TraIning
Workshop for Music Educators
FREE EVENT!
Thursday 7 June, 7pm
KBB Music Auckland Central,
136 Karangahape Road,
Auckland CBD
Join guest presenter Drew Parsons,
Products Specialists from Avid, for
an evening presentation covering
the world of Avid Music Technology
equipment aimed at Education and
Education Facilities.
Gear covered will be M-Audio Audio
Interfaces & Keyboard Controllers,
Sibelius Notation Software, Groovy
Music Software, Avid MBox Audio
Interfaces with Pro Tools Express
Recording Software.
This is a great opportunity to see how
Avid can help you and your students
Get Creative in the Classroom.
Entry by gold coin donation.
Registration Essential.
Email [email protected]
or call 09 309 1140.
Musical Memos Calendar
MAY - NZ Music Month
Matamata Brass Festival of Music
20 May. Contact
[email protected] for details.
Big Sing Finale
16-18 August. Visit www.nzcf.org.nz for
details.
Early Childhood Council Conference
25-27 May, Auckland Sky City
Convention Centre. www.ecc.org.nz
KBB Music Festival
21-25 August, Holy Trinity Cathedral,
Parnell. Visit www.kbbmusic.co.nz or
www.kbbmusicfestival.co.nz for details.
KBB Music Midwest Scholarship
30 May. Applications close.
www.kbbmusic.co.nz/
KBB+Music+Midwest+Scholarship.html
SEPTEMBER
JUNE
Avid/Sibelius Training Workshop for
Music Educators - FREE
7 June. KBB Music Auckland Central.
To register: [email protected] or
phone 09 309-1140
Feilding 19th Festival of Bands
24 June. 19th Festival of Bands with
chief adjudicator, Selwyn Homes. Entries
close 11 May. Download entry from from
www.kbbmusic.co.nz or contact
[email protected] for details.
JULY
Brass Band Championships
4-8 July, Timaru.
www.brassnz.co.nz
AUGUST
NZCT Chamber Music Contest Final
3-4 August, Auckland.
www.chambermusic.co.nz
Waikato IMS Band & Orchestra Festival
10 August, WEL Performing Arts Centre
Entries close 29 June.
For more information email
[email protected]
Hawkes Bay Festival of Bands
12 August, Lindisfarne College,
Hastings.
Central Ukulele Festival
1 September, Arena 2, Palmerston
North. CUF is an annual fun celebration
of the ukulele for primary/intermediate
schools in the Central area of the
North Island. For school registrations
and info about professional learning
opportunities please visit
www.centralukulelefestival.org.nz
NZ Concert Bands Festival
14-16 September, Gallagher Performing
Arts Academy, Hamilton.
www.nzcba.org
NZ Woodwind Competition
14-16 September, Westlake Girls
High School. Annual competition for
Saxophone, Flute, Recorder, Clarinet,
Oboe & Bassoon players.
Entries close 1 August 2012.
www.flutefocus.com/woodwindcompetitions.html
OCTOBER
KBB Music Young Performers
Competition Finals
28 October, Raye Freedman Arts Centre,
Auckland. For entry forms and more
information, email [email protected]
DECEMBER
NZ Ukulele Festival
1 December, The Trusts Stadium,
Waitakere, Auckland.
www.nzukulelefestival.org.nz
To have your event listed in Musical Memos, please send dates
and a brief description of the event to [email protected]
May is NZ Music Month.
How is your school celebrating?
Post your photos and comments on our Facebook
page, and be in to win a copy of NZ jazz icon,
Nathan Haines’ latest album, The Poet’s Embrace.
/kbbmusicltd
4
Random Notes
Musical Instrument Specialists since 1888
Westlake Symphony at the 2011 KBB Music Festival Gala Concert, conducted by David Squire.
KBB Music Festival Update
An update on the 2012 KBB Music Festival by Chairperson Dr. Trevor Thwaites.
W
elcome to another year in which we hope that
the KBB Music Festival holds a special place in your
calendar as an event that enables your students to
perform and mix with some of the very best musical
talent in Auckland. Aspiration is a wonderful habit,
for we never truly attain the quality we seek in music,
those that do are smothered under a veil of selfdeception. I recently purchased a DVD by drummer
Tommy Igoe which even though it covers some basic
concepts of drumming, also intrigues me, because
I like to see how others teach. Igoe gives an
important, and probably not original, message: “It is
easier to have a closed mind than an open one!”
So open your diaries, and your minds, and mark in:
Tuesday 21 to Saturday 25 August, 2012 as the
dates for the Festival.
Venue: The Holy Trinity Cathedral and St Mary’s
Church, Parnell
The Gala Concerts will be held on Saturday 25
August to allow more parents and supporters to
attend; with possibly some fringe groups performing
in the morning but the timetable has not yet been
finalised. Work is underway to streamline warm
up procedures for ensembles performing in St.
Mary’s. The committee is also looking at an extra
commended award to raise the status of Bronze, so
that awards will probably run Gold, Silver, Bronze,
Commended. More details soon but note that
entries go live in the third week of May.
The KBB Music Festival is very fortunate to have
a great line-up of seasoned adjudicators who are
essential to the Festival’s success. They are Owen
Clark, Rupert D’Cruze, Miranda Hutton, Shelley
Wilkinson, Ron Samsom and Roger Manins.
The committee for 2012 is Rowan Bolley, Ross
Gerritsen, Nikki Hall, Christine Myhre,
Raewyn James, Rachel Snelling, Peter Thomas, Sally
Tibbles, Nigel Weeks, and Ryan Youens. Warwick
and Miriam Robinson are taking on administration
and finance responsibilities, Jennifer Hsu is the KBB
Music representative, with myself as Chairperson. Two
long standing members of the committee are leaving
because of other pressing commitments, Hamish
Arthur and Christine Peak, although they will thankfully
be around to help during festival week. Could I thank
Christine and Hamish on behalf of the committee for
their commitment and valuable input these past few
years. You will both be sorely missed.
At the end of 2011, committee members also
successfully lobbied our principal sponsor KBB Music
for some extra support and we thank Director Paul
Skipper for agreeing to increase KBB Music’s financial
contribution to the Festival.
May I wish you all a successful teaching year for 2012
and I look forward to meeting many of you at the
KBB Music Festival.
Dr. Trevor Thwaites
Chairperson
The KBB Music Festival Committee were
saddened to hear of the recent passing of
Peter Goddard. Peter was a founding member
of the Festival when it began in 1983, and
worked hard in the committee as secretary for
many years. Although not a musician himself,
he supported music with young people
whenever possible. Peter was also a founding
Peter Goddard
member of the Aotea Youth Symphony
Orchestra, serving on the executive committee for nearly 25 years
and helping to organise tours. The members of the KBB Music
Festival Committee wish to send their condolences to Peter's
family, especially his wife, Pat Goddard, who was also a founding
member and organiser of the KBB Music Festival for over 20 years.
Find out more about the KBB Music Festival at www.kbbmusicfestival.co.nz
Freephone 0800 775 226
www.kbbmusic.co.nz 5
Tips for Teaching
Ukulele to Older Beginners
By Maria Winder, music consultant, The Sound of Music Education
& Trustee of NZ Ukulele Trust
Kiwileles rehearsing at East Tamaki School
The ukulele is a happiness machine, a weapon of massed affection.
It encourages people to sing and it’s so easy to play and teach.
Tune-up
Always start with tuned ukuleles. You’ll have a better time
playing and singing! Right from the first lesson, encourage
your students to listen to and play the open strings G C E A,
sing My Dog Has Fleas, so-do-me-la, 5-1-3-6, or create other
phrases with the note letter names e.g. Give Compliments
Every Afternoon. Encourage students to identify if a string is
flat or sharp.
Strum a one-chord song
Strumming can be as simple as playing the down
beat with your thumb or index finger. Keep your
wrist floppy and relaxed as you strum. The wellknown song “We Will Rock You” by Queen can be
played with just one chord.
Learn a more interesting rhythm for “We Will Rock You” using
this speech pattern as you strum: down-down-chk-rest.
6
3-chord song: pat legs for chord
I, shoulders for chord IV and head
for chord V i.e. pat legs for C,
shoulders for F and head for G7.
Play a repeated sequence of chords
It’s amazing how many songs use the same chord sequence.
Repeat this 12 bar blues sequence, ending on chord C.
C
C
C
C
F
F
C
C
G7
G7
F
F
C
C
G7
G7
N.B. Bill Sevesi (the inspiration behind NZ’s ukulele revival and Patron of NZ Ukulele Trust) uses the above format when teaching children about chord changes.
The 12 bar blues is one of the favourites in the NZ Ukulele
Kiwileles repertoire.
Get ready to change chords
This works well as a warm-up activity. The leader plays the
chord changes and the class responds with body percussion.
For details on how your school can get involved in the 2012
Kiwileles, see the NZ Ukulele Trust website
www.nzukulelefestival.org.nz or email Maria Winder
[email protected] Maria coordinates the massed
Kiwileles Orchestra for NZ Ukulele Trust.
2-chord song: pat your legs for chord I and pat your head for
chord V i.e. pat legs for C and pat head for G7.
The 2012 NZ Ukulele Festival will be held on
Saturday 1st December at The Trusts Stadium, Waitakere.
Random Notes
Musical Instrument Specialists since 1888
FUNDING
Funding Assistance
for your School
Need new music equipment for your
school or band programme but don’t have
the budget?
Let KBB Music help you!
Have your Wish List ready and call us on
0800 775 226 ext 205, or email
[email protected] to find out more.
Students playing their new keyboards at Bruce McLaren Intermediate School.
“A
fter a couple of years knowing
about the funding programme, I decided
it was about time I gave KBB Music’s
offer of support in applying for financial
assistance a try. What a fantastic decision
that turned out to be after we received
$5000 worth of funding!
are able to offer them so many more
opportunities!
The music programme is now so much
more enriching for the students and we
Katie Ross
Bruce McLaren Intermediate School
Freephone 0800 775 226
I felt completely at ease throughout the
whole process and the guidance and
support from KBB Music was not to be
faulted.”
Bruce McLaren Intermediate
School’s Wish List
a2 x Acoustic Guitars
a6 x 61-Key Keyboards
a6 x Keyboard Stands
a9 x Headphones
a1 x Djembe Drum
a1 x Guitar Amp
a1 x Bass Amp
aLots of guitar strings and more
www.kbbmusic.co.nz 7
Stefan with Davyd Antipov of St Peter’s College (Auckland)
Students from Westlake Boys High School listens with Stefan
Kawai Pianist Inspired Young Students
In February, KBB Music was pleased to bring Australian
Kawai Piano Artist, Stefan Cassomenos into local New
Zealand schools to inspire young pianists.
Considered one of Australia’s most talented virtuosic
pianists, Stefan shares his knowledge and experience
with aspiring piano students in a series of masterclasses
that he gave at Westlake Boys High School, St Peter’s
College, Wellington College, Hutt Valley High School
and KBB Music’s Piano Showroom in Auckland Central.
“It was a pleasure to work with students during
masterclasses in New Zealand,” says Stefan. “We
worked on many facets of piano playing, naturally
including obvious technical pointers, but especially
on some of the more elusive aspects of performance
such as the sorts of sounds which are appropriate to
different compositional styles and context, and also
on developing an awareness of the importance of
atmosphere and how one can really draw the audience
into the music, creating a truly imaginative experience.”
KBB Music believes in the importance in giving as
many aspiring pianists as possible the chance to work
with someone of Stefan Cassomenos’ calibre. “We are
very pleased to be able to bring Stefan into our stores,
schools and communities,” says Andrew Chamberlain,
KBB Music General Manager.
“The masterclass was a great opportunity and it
was a great pleasure to play for Mr Cassomenos. His
expertise really helped me perfect the piece I played. I
was impressed with his knowledge and by the way he
explained everything to the group. I am hoping to go to
another of his masterclasses in the future”
- Davyd Antipov, St Peter’s College
“Stefan was a delight to work with. He had such
a positive encouraging manner with our pianists regardless of their level or experience. Each student was
given personal advice and two of our junior students
have been particularly inspired by him in their piano
playing. It was particularly interesting for me to hear
Stefan promoting the use of pedal in Bach - I agree!!
We are very grateful to KBB Music for making this
masterclass possible.”
- Raewyn James, HOD Music,
Westlake Boys’ High School
“Mr Cassomenos was very friendly and put us as
ease. He taught me a lot and it was helpful for me
to be allowed to take part in the masterclass. The
most important thing was that he was able to explain
everything very clearly. He gave me some new ideas to
work on. I hope to be able to play for him again in the
future.”
- Leon Liu, St Peter’s College
Do you have students that could benefit from instrumental masterclasses? Let us know!
Email [email protected]
8
Random Notes
Musical Instrument Specialists since 1888
Freephone 0800 775 226
www.kbbmusic.co.nz 9
CHORAL BRIEFS
Handy hints for Secondary School Choir Directors
Dealing with the Voice
by David Squire, Schoir Ltd
T
he beginning of the year is usually a frantic time for
choir directors and music departments in general, and
any preparation that has already occurred at the end of
the previous year pays dividends at this time. By now
I’ve usually sorted almost all of my repertoire for the
year, and most of my choirs are auditioned and ready to
go (more on this in a future edition of Random Notes!),
so it’s just a case of getting going.
If you’re like me, there’s probably a little trepidation
mixed in with the excitement of the first rehearsal.
While there is hopefully refreshment and optimism
post-holiday, there is also the realisation
that everything starts from scratch again
and the first sound that you hear from the
choir will likely be raw and probably either
somewhat insipid or rough. Never fear! This
is the perfect time to instill some good skills
in your singers and set them on a course for
musical success.
of the vocal mechanism and how to enable them to
work in a healthy, functional manner. If you are based
in a more remote region where there are no singing
teachers suitable for this, consider inviting one to your
area to take a weekend workshop. You could even
band together with other like-minded people in order
to spread the costs of such a venture. If this is still not
feasible, try borrowing or buying some suitable books
about vocal technique for choral singers. Some of these
are from a somewhat scholarly perspective (e.g. Richard
Miller) and some provide tips for a more practical, chalkface scenario (e.g. Tim Seelig).
“...the best choirs enhance the musicianship of
their members and make them better singers,
since it is more than likely that these choirs
demonstrate elements of healthy vocal technique
in order to achieve their distinctive choral sound.”
The first thing is to get them singing,
and spend some time developing vocal
technique in a group setting as soon as they get going.
The advantage of this is that you can achieve a better
sound almost instantly, and develop good vocal habits
that can be applied to all the styles of music being
sung. The group approach to vocal technique is a much
lower threat to those singers who might be nervous
about being singled out, and also enables you to craft
a choral sound that is more consistent across the choir.
Note that this does not need to happen in isolation
– use your repertoire and highlight areas that need
attention as the singers learn the music.
Since the choral director deals with only one instrument
(albeit an instrument with many variations), it makes
sense that they should know at least the basics of vocal
technique. This is particularly important when dealing
with adolescents, as most are in the crucial phase
of the changing voice. I would strongly recommend
getting on-side with a competent singing teacher and
asking them to either assist you in rehearsal or, at the
very least, give you some idea of the different facets
10
Random Notes
Some singing teachers refuse to allow their students to
sing in choirs. There are a number of reasons for this
(and not all are valid), but the fact remains that a good
choir consists of a majority of capable singers who
have at least a basic understanding of how their voice
works. I also believe that the best choirs enhance the
musicianship of their members and make them better
singers, since it is more than likely that these choirs
demonstrate elements of healthy vocal technique in
order to achieve their distinctive choral sound.
There are two major differences between singers and
other musicians. The most obvious one is that the
instrument is not ‘attached’ to the body like a violin,
trumpet or piano. Since the sound is created almost
completely inside the body, it is much more difficult to
explain to a young singer how to alter their technique.
The science of singing (or vocal pedagogy) is constantly
changing as experts develop a greater understanding
of how the voice works, or revise obsolete ideas
that may have once been considered gospel. This
Musical Instrument Specialists since 1888
can make it difficult for choral directors to stay up to
date with current knowledge, and can be more than
a little intimidating. Therefore the relationship with a
competent singing teacher is all the more important.
However, there are a few basic aspects of vocal
technique that can be covered by a choral director with
relative ease, and will definitely make your choir sound
better. You could start by ensuring that your singers
know about the following terms, and how to approach
them when it comes to singing (with grateful thanks to
Morag Atchison, voice teacher at Auckland University,
for checking this list for me):
Posture
The singer should stand with shoulders aligned with
pelvis and ankles, in a tall but not tense stance.
Shoulders should be straight across and not rounded
forward. The neck should be long in the front and the
back, so that the head sits straight.
Jaw
This should be ‘unlocked’ and relaxed. It should not
be forced open into a position where the throat is
‘crushed’, and should be dropped and ‘hung’ rather
than forced either forward or back.
Tongue. The tongue should sit forward and relaxed
on the bottom row of teeth, just behind the lower lip.
Judy Bellingham (voice teacher at Otago University)
describes it as being “like a good steak: thick, fat and
juicy.”
Soft palate
The soft palate sits behind the hard palate at the roof of
the mouth and the top of the throat. It should sit high,
but not be forced up. A useful indicator: if the choir
members sing an open vowel and block then unblock
their noses repeatedly, the sound should stay virtually
the same if the palate is high enough.
Larynx
The larynx contains the vocal folds, and should sit low
in the throat, but not forced down. The singers can feel
Freephone 0800 775 226
the larynx move up and back down if they gently
place their fingers on the front of the throat and
swallow. A stage whispered “cat” sound will produce
a higher larynx, while a stage whispered “hot” sound
will produce a lower larynx.
Diaphragm
The diaphragm is a large involuntary muscle at the
base of the lungs, and controls breathing. Since
breath is the fuel for singing and also the cause of
many vocal faults in young singers, it is useful to know
how to breathe in a way that uses the full capacity
of the lungs. A ‘sleeping breath’ is the most natural
form of breath, since it is completely unassisted,
and therefore the best type to model for singing.
This breath is placed much lower in the body than
the typical manipulated breath seen in many young
singers. A useful indicator: during a good singing
breath the stomach and lower ribcage will extend and
the shoulders will not rise.
Note that the reason for numbers 2-5 is to create
more space for vocal resonance, and therefore vocal
colour and volume.
Once you start using these terms and their associated
techniques to create a more uniform vocal sound,
you will find that the singers begin to respond only to
the term itself, putting the onus of responsibility back
on them to ensure that they are singing correctly,
which gives you more rehearsal time to concentrate
on musical rather than mechanical details.
And the second major difference between singers
and other musicians? We’ll have a look at that next
term!
David Squire is musical director of the New Zealand Youth Choir
and several secondary school choirs, orchestras and bands in
Auckland. Formerly a HOD music, he is now a freelance itinerant
teacher based at Westlake Girls & Boys High Schools, Long Bay
College and Kristin School. A conducting mentor for the New
Zealand Choral Federation Association of Choral Directors, he is
available for choir workshops and conductor training. Contact him
at [email protected] or check out his website
www.davidsquire.co.nz
www.kbbmusic.co.nz 11
EDUCATION SPECIALS
Music for Young Musicians
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Includes 88 songs: Alphabet Song • Baa Baa
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Collection of 110 songs that kids love: Do-ReMi • Eensy Weensy Spider • Hakuna Matata
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Easy piano arrangements for over 100 kiddie
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Easy Notes Theory Book
Level 1, Level 2
Easy Notes Magnetic
Stave & Characters Set
68 pages of theory packed with
stores, pictures and exercises
making teaching and learning
notes fun and easy!
Includes 2 Free Theory
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an easy way to teach the notes
One of the hardest things for a piano beginner to learn is
to read the notes, and yet it’s so crucial to their progress.
The Easy Notes theory books teach the notes through
stories, which makes learning the notes fun and easy.
This is Bug B sitting on the middle line of
Treble Stave Street, because here she is as
‘snug as a bug in a rug’.
The Magnetic Stave and Characters strengthen note learning
with hands-on activity. It works! Kids love it! It’s easy to use!
12
Random Notes
For more information go to
www.easy-notes.com
DEVELOPMENT
The Midwest Clinic
In December last year, Michelle Flint from St Paul’s Collegiate School arrived at the world’s
largest music education conference in Chicago on the KBB Music Midwest Scholarship.
This is her first impressions of the Midwest Clinic.
S
urprisingly enough the weather
was quite mild and a mere one degree
when we landed at Chicago Airport.
We were carrying big winter coats,
thick woolly socks and hats, scarves and
gloves in anticipation for the freezing
temperatures we were expecting in
Chicago for December.
Finally, I was here, after a 12 hour flight
to San Francisco and then a 4 hour
flight to Chicago, I was all excited to
be attending the 65th Midwest Clinic in
Chicago Illinois. We landed at 8pm on
Monday 12th December, very confusing
since we left NZ at 7.30pm on Monday
12th December. So, after 24 hours
we had arrived on the same day and
practically the same time as we had left!
I really had no idea what to expect and
couldn’t wait to get going.
Our taxi took us to the very wonderful
Sheraton Hotel. We were on the 17th
floor and couldn’t believe the wonderful
view we had from our hotel room.
We overlooked the city, in its entire
splendor. The scene was beautiful
with Christmas lights everywhere and
a slight of anticipation of snow as the
temperature was set to drop. KBB Music
I couldn’t thank you enough!
I had one day before the conference,
to find my feet, establish my bearings
and prepare for the conference on the
following day. So, on Tuesday morning
I was up bright and early, caught a taxi
to McCormick Place, the venue for the
Midwest Clinic.
When I arrived I couldn’t believe the
sheer size of the place. The venue was
very impressive with 2.6 million sq feet
of exhibit halls, 173 meeting rooms,
600,000 square feet of meeting room
space, 4 ballrooms, 2 of which are the
largest in the
city, assembly
“Many visitors to the conference have been
seating for
18,000 people
there since its first event, 65 years ago, and
and 5000
they still attend every year. This says something
parking spaces.
This was to be
about the experience of the Midwest Clinic. It is
the third year
certainly the best professional development
that the Midwest
Clinic had been
experience that a music educator can have.”
held in this
venue.
the task of reading my table of contents
and planning my clinics, labs and
“How on earth am I going to find my
concerts for the next four days. The
way around here?” I thought to myself!
Suddenly I felt very daunted. The venue dilemma one faced, however, was what
to choose? The programme consisted of
itself was open for traders to set up
88 clinic sessions, 38 concerts, 2 reading
and groups to rehearse. I realized that I
sessions and 5 rehearsal labs.
maybe shouldn’t have been there until
the next day. However, I was eager
Interestingly, in addition to this, the
to have a look around and possibly
Midwest Clinic event this year featured
register.
clinics and concert presentations that
had subject matter content focused
So, up the escalator I
on new teachers and college students.
went. At the top I was
They titled these sessions “Generation
greeted with a big sign
Next”. These presentations specifically
saying “Registration”.
targeted young teachers and college
Here many booths were
students in order to address their
open and I was able to
unique needs. They were designed to
chat to a very nice lady
be timely and relevant with practical,
who gave me the 2011
information rich clinics presented
conference book for me
by educators with a diverse and
to take away and look
comprehensive range of experience.
through! I must add that
the conference book was
So, day one of the conference arrived.
the size of our Yellow
There was a complementary shuttle
Pages!
So, back to the hotel
room I went and started
Freephone 0800 775 226
Continued on page 12
www.kbbmusic.co.nz 13
service from the hotel to McCormick
Place. The shuttle service ran every 30
minutes both to and from the venue. I
knew, however, that once I was there I
would be there for the duration of the
day. I sat on the bus that first morning
in anticipation of what the day would
bring. I had my programme “directory”
with me and had highlighted the
sessions I intended to attend that day.
This included the initial welcome and
concert by the USA Army Band and
a welcome address by members of
the Midwest Board of Directors. The
president of the Board of Directors,
Richard C. Crain delivered an inspiring
speech. He reminded us as educators
that everyone of us can make a
difference, every one of us can change
a music programme for the better. We
can all deliver new ideas but most of all
we can all inspire young people to be
musicians.
The opening welcome finished around
9.50 am and everyone then headed
up to the Exhibit Hall for the opening.
The Exhibit Hall, pictured above, was
impressive with 273 exhibitors featuring
everything from instruments to music,
software to marching band equipment,
school tour packages to Army, Navy
and Air force recruitment. All exhibitors
giving out free CDs, chocolates and
goody bags!
So, 10.20am arrived and I set off to my
first clinic, “Different Ways To Think
About Music, Teaching and Advocacy”.
This was followed by “Brassed On: A
Guide to Expressive Brass Playing”,
“You Are Only as Good as Your Last
Breath: Improving Brass Pedagogy” and
“It Sounded Better At Home: tips and
Techniques to Manage Performance
Anxiety”. My day was complete with a
concert by the United States Army Band
“Pershing’s Own”. I didn’t think I could
absorb any more but this proved to be
the highlight of the day.
The Band played many wonderful
pieces, including “Hail the Dragon”
by Philip Sparke, who incidentally was
sitting 5 seats away from me! Can’t get
better than that! This was a common
occurrence throughout the conference;
the composers of various works would
sit in on the performance! So, having
set off from the hotel room at 7.30am, I
arrived back at 7.30pm, exhausted but
none the less totally inspired and raring
to go the next day.
One important thing I learned on my
first day was to choose carefully! It is
really important to pick a mixture of
Clinics, Performance/Rehearsal Labs
and Concerts. Also you need to make
time to visit the Exhibit Hall. It would be
easy to miss some spectacular rehearsal
labs by excellent technicians if you just
visited the clinics. Listen to the advice
of people who have visited before. The
Conference is full of people who are
willing to share information. They take
one look at your name tag, read that
you come from New Zealand and are
absolutely dumfounded at the journey
you have taken to get there. Many
visitors to the conference have been
there since its first event, 65 years ago,
and they still attend every year. This says
something about the experience of the
Midwest Clinic. It is certainly the best
professional development experience
that a music educator can have. In my
next article I will discuss some of the
highlights from the clinic.
I would like to take the opportunity
to thank KBB Music for giving me
this opportunity and in particular Paul
Skipper and Jennifer Hsu. If you are
interested in applying for next Year’s
KBB Music Midwest Scholarship then
I suggest you visit the Midwest Clinic
Website at www.midwestclinic.org
Here you can view some of the concerts
and find out more about the clinic.
Special thanks also to Simon Hocking of
House of Travel for organising all of my
travel and accommodation.
2012 KBB Music Midwest Scholarship
APPLY NOW!
This year’s KBB Music Midwest Scholarship is now open for
application. If you are a director or teacher of concert bands
and orchestras ready for a unique professional development
opportunity, apply now.
For more information and to
download an application form,
go to www.kbbmusic.co.nz
Applications close: 30 May 2012
14
Random Notes
Musical Instrument Specialists since 1888
The Jones Trio from Burnside High School, Winner of the KBB Music Award at the
2011 Chamber Music Contest Finals. From left: Lena Taylor, Juea Park and Sam Jones.
PHOTO: Chamber Music New Zealand
Chamber Music Contest Turns 47
T
he NZCT Chamber Music Contest is the longest running
youth music competition in New Zealand and is the only
nationwide chamber music competition for young secondary
school musicians and composers in the country.
In its infancy in 1965, only 250 students were involved. This
year’s Contest reached a milestone with 503 groups entered
into the Instrumental Performance section – that’s 1763 young
people – and 29 budding composers entering the Original
Composition section, including 10 entries for the new junior
category. And it’s not just the main centres that are getting
behind this competition. We have district competitions
throughout June from as far north as Whangarei to the south
of the south in Invercargill.
The purpose of the Chamber Music Contest is to encourage
young musicians regardless of standard or experience to
perform together and strive towards excellence. It has a
series of prizes, including the KBB Music Awards which are
presented to groups with wind, brass and percussion players at
district contests who the adjudicators judge to be striving for
excellence in their music making. The awards are in the form of
KBB Music vouchers which are awarded to each member of the
group.
The Contest has developed into so much more than simply string
quartets, and now includes brass, wind and percussion ensembles
and a junior and senior original composition section. It is seen as
the breeding ground for developing young New Zealand musical
talent with musical heavyweights such as Michael Houstoun, Rae
De Lisle and Wilma Smith – to name but a few – having been
finalists in this Contest.
The NZCT Chamber Music Contest also acknowledges support
from ABRSM, the Wallace Arts Trust and SOUNZ.
The 2012 National Finals will be held in Auckland on 3 and 4
August 2012.
2012 NATIONAL FINALS
Auckland
Concert Chamber, Town Hall, THE EDGE
Friday 3 August
Semi Finals
Saturday 4 August
National Final
Tickets on sale 1 June 2012 | 0800 BUY TICKETS (289 842) | www.buytickets.co.nz
www.chambermusic.co.nz |
Freephone 0800 775 226
/ChamberMusicNZ | 0800 CONCERT (266 2378)
www.kbbmusic.co.nz 15
EDUCATION SPECIALS
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ARIOSO UP118 Classroom Piano
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16
Random Notes
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PHOTO: JOHN CRAWFORD
New Zealand Trio Awarded Citation
Glenda Keam on the recipient of this year’s prestigious KBB Music/CANZ Citation for Services
to New Zealand Music.
T
he NZTrio (Ashley Brown, Justine
Cormack and Sarah Watkins) will be
presented with the KBB Music/CANZ
Citation for Services to New Zealand
Music on the evening of their concert
on Sunday May 27 at the Maori Court
of the Auckland Museum. As part of the
NZ Music Month celebrations, the Trio
has scheduled a programme of all-local
music, by Jack Body, David Farquhar,
Rachel Clement, Lyell Cresswell,
Victoria Kelly and Anthony Ritchie. In
typical style, three of these works were
commissioned by the trio, and the work
by Body will receive its world première.
alongside works from Japan, Australia
and China, and Flourishes includes
NZTrio commissions from Eve de CastroRobinson and Wayan Yudane alongside
music by Mozart, Ravel and Pärt. They
also appear on the John Psathas 2011
album Helix, and further recordings are
due to be released this year.
The standard of the Trio’s performances
has gone from strength to strength,
and they have championed much of the
most challenging piano trio repertoire in
this country. They have also broadened
the range and style of their music by
collaborating with such musicians as
Horomona Horo (taonga pūoro), the
Annually awarded by KBB Music and
Finnish Accordion/Bass duo Lepisto
the Composers Association since
and Lehti, and a trio of Cambodian folk
1976, the Citation recognises a person
musicians. The Trio has toured NZ with
or organization that has made an
outstanding contribution to New Zealand their extraordinary repertoire, including
smaller regional centres, and taken
music. The NZTrio has been bringing
NZ music to many countries including
stylish, challenging and beautiful music
Australia, France, Great Britain, the USA
to audiences in NZ and beyond for a
and South American countries, China,
decade, during which time they have
Taiwan, and other parts of Asia.
commissioned works by nearly 20 NZ
composers, and played many more. They
have to date produced three CDs of their Their performance in Sydney in April
2010, as part of the International Society
performances: their 2006 album Spark
for New Music’s World New Music
featured works by six NZ composers;
Days, was a major highlight of that
bright tide moving between (2008)
festival. Featuring the works of six NZ
included Gillian Whitehead’s Piano Trio
Freephone 0800 775 226
composers, the concert was broadcast
live via ABC’s radio networks and
streamed through the ABC website, and
received high praise from the Festival
organizers, who lauded the quality of
their performance and the quality of
the music they presented. Likewise,
the trio’s appearance at the Asia-Pacific
Festival held in Wellington in 2007 was
a highlight of that extraordinary festival.
The Trio also appears regularly at the
International Festivals held biannually in
Wellington and Auckland.
Forthcoming concerts by the Trio
over the next few months will include
performances in the Auckland region
and around the South Island (April/May),
a collaboration with Vector Wellington
Orchestra in August to première a brand
new triple concerto by Chris Gendall,
and a tour to China in mid-September
with a programme that includes two
works by John Psathas.
CANZ is delighted that KBB Music has
continued to sponsor this Citation;
we have come to love and trust the
adventure, commitment and quality
of each Trio concert, and we are very
much looking forward to making the
presentation on May 27.
www.kbbmusic.co.nz 17
NEW MUSIC
FROM THE
SHAKY ISLES
By Glenda Keam, President of the Composers’ Association
of New Zealand (CANZ)
Jack Body
H
aving endured a year in which one of our favourite cities
kept wobbling, and things kept tipping off a boat in the Bay of
Plenty, here is some of the music that has been shaken out of
our local composers, and is coming to you through this year:
The New Zealand
International Arts Festival
in Wellington has again
presented some very
special experiences. Top
of my list would be Jenny
McLeod’s opera Hōhepa,
which tells the story of the
Māori chief Hōhepa Te
Umuroa, presented by a
cast of outstanding local
opera singers and the Vector
Wellington Orchestra.
Hōhepa Te Umuroa
Also in the Festival, the NZ String Quartet presented Ross
Harris’ Variation 25, and together with Jonathan Lemalu they
premiered the newest work from Christchurch-based composer
Gao Ping: Three Poems by Mu Xin. The NZTrio worked with
percussionists Lenny Sakofsky and Jeremy Fitzsimons to
present works by American composers George Crumb and
Morton Feldman (rarely heard here) alongside favourites by
local composers Victoria Kelly and John Psathas, and a new
work by Jack Body.
The International Festival’s travelling component, ‘Art on the
Move’ included events by the Topp Twins and the extraordinary
songs of Maisey Rika, who also performed with four other
songstresses – local and international – as part of the Barefoot
Divas, with their ‘Walk a Mile in My Shoes’ show.
The NZ Symphony Orchestra has woven NZ music through
their year of programmes, the first being Ross Harris’ The
Floating Bride, which again brought the Wellington composer’s
talents together with those of soprano Jenny Wollerman and
poet Vincent O’Sullivan. In March, the orchestra’s national
tour included a new work by Kenneth Young, the orchestra’s
April concerts will include the classic Symphony No. 3 by
Douglas Lilburn, and in September their North Island tour will
18
Random Notes
include Anthony Ritchie’s Diary of a Madman: Dedication to
Shostakovich.
The orchestra’s NZ Music Month special concert, which happily
will again be presented in both Auckland and Wellington,
is titled “Wonderland”, and features Chris Cree Brown’s
and (artist) Julia Morrison’s Celestial Bodies for orchestra,
electroacoustic sounds and visual images. Lyell Cresswell’s
Concerto for String Quartet will bring together the NZSO and
the NZ String Quartet, and the orchestra will perform with
Helen Medlyn to present Gillian Whitehead’s monodrama Alice,
an award-winning work written for the Auckland Philharmonia
in 2002.
This year’s Auckland Philharmonia programme offers two
locally-based works in NZ Music Month, with Ross Harris’s new
Cello Concerto (written for, and performed by Li Wei Qin) on
May 3rd, and their ‘Remix the Orchestra’ collaboration with Hip
hop artists on May 31st. Their June programme includes a new
work by Jack Body.
The Christchurch Symphony Orchestra is offering an interesting
programme this year, an impressive achievement after
the challenges of the past year in finding an appropriate
performing space in their city. Their March concert included
Anthony Ritchie’s French Overture, in June Gareth Farr’s From
the Depths Sound the Great Sea Gongs will sit alongside other
works that relate to the sea, and in August they will premiere
a new work by Gao Ping. The end of NZ Music Month will be
marked by the CSO collaboration with The Adults, a trio of
lead singers from Shihad, Dimmer and Fur Patrol.
Our music will also be travelling to Los Angeles in April, where
a 10-day programme of NZ music will be presented, including
works by Chris Cree Brown, James Gardner, Ross Harris,
Samuel Holloway, Leonie Holmes, Michael Norris, John Psathas
and Gillian Whitehead. Most of the music will be performed by
American performers from CalArts (California Institute for the
Arts), together with a handful of NZ-based performers including
Richard Nunns, who will be on his return from performances in
London with the NZ String Quartet.
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“Here at Ormiston Senior College we
have been very excited about the new
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The students have taken their
performances to a new level and
developed a further understanding
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Natalie Robertson
Ormiston Senior College
Call 0800 775 226 ext 205 or email [email protected] to order
www.kbbmusic.co.nz 19
SONOR Smart Force
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ROLAND HD1 V-Drums®
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20
Random Notes
All prices include GST and valid until 30 June 2012 or while stocks last. E&OE.
ROCKSTAND Folding
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ANTIGUA MS-8R
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MANHASSET Fourscore
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Great for practice rooms.
Colour options available.
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Ex-Rentals that have been fully-serviced
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KBB Music Makers
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Xylophones & Metallophones
These xylophones and metallophones are ideal for school
and great in the classroom! Durable and come with extra F#
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www.kbbmusic.co.nz 21
GIUSEPPI GV10
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CREMONA SV175
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ST ANTONIO
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EDIROL R05 Portable Recorder
Compact high-quality stereo 24-bit recording
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(change tempo without changing pitch, loop
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Conductor Batons
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$
(normally $200) Be Quick! One only!
KALEIDOSCOPE Ensemble Music
Do you spend hours arranging music for odd assortments of
instruments? Kaleidoscope will save you time! Kaleidoscope
is especially arranged to suit almost any instrumental
combination and these varied ensembles are easy and
enjoyable too. So much scope for virtually any combination of
instruments and perfect for classroom use!
The series is succesful with recorders, guitars, percussion and
keyboard as well as with orchestral groupings. Whether there
are five or fifty players, every Kaleisdoscope title will work!
Just make sure that melody and keyboard parts are included all other parts are optional.
Random Notes Special
(normally $55 each)
45each
Kaleidoscope is superb for money - each set contains a score
plus around 50 parts, each one carefully written to suit the
needs of each instrument. For example, easy string parts
are in first position only whilst eay clarinet parts take care to
avoid the break. There are more demanding parts too, for
experienced players.
$
Get your order in now!
Four New Titles!
Kaleidoscope: Journey’s Don’t Stop Believin’ (featured on Glee)
Kaleidoscope: Leonard Cohen’s Hallelujah
Kaleidoscope: Bob Dylan Make You Feel My Love
(performed by Adele)
Kaleidoscope: Snow Patrol’s Run
Available for viewing now at KBB Music Epsom!
Call
0800 775 226
ext 205775
or email
Freephone
0800
[email protected] to order
www.kbbmusic.co.nz 23