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The 2009 Midwest Clinic Clinicians

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The Midwest Jazz Interview
Frank Alkyer

Making Music Amidst the Madness: Rediscovering Our Musical Self

Milton Allen


	Clinician Name: Milton Allen E-mail Address: mdallen@eiu.edu Clinic Title: Making Music Amidst the Madness: Rediscovering Our Musical Self Clinic Synopsis: Music educators are quitting at an alarming rate. Arts education is in crisis. Low pay, poor conditions, helicopter parents, no support and the only measure of successful music education sits on the trophy shelf. Is this what you thought it would be like? Come reflect, recharge and/or rediscover that original passion for music. Enjoy an inspiring session that examines our personal musical journey and what impact that has on our students. What is the target audience for this clinic? Music educators who are already in the field, band/orchestra. What will the audience take away from this clinic? Ways to examine, re-energize and revitalize not only "our" artist-self, but by doing so, impacting the artistic lives of our students. What is included in the handout? Suggestions which begin the journey to re-establishing our musical self. A substantial amount of clarifying information is presented during the clinic as well as elaboration of the handout. Is there anything else you would like attendees to know about this clinic? This session is designed for both the head and the heart, containing both practical information and questions for healthy, musical self-examination. In fact, you can start this session right now by asking yourself this question: why? We'll start from there in Chicago! Biographical Information: Milton Allen serves as both Director of Bands and Instrumental Division Director at Eastern Illinois University, where he conducts the Wind Symphony and Collegiate Band, teaches undergraduate conducting, guides the graduate wind conducting program and oversees all aspects of Eastern’s band program. A 17-year veteran of the public school rehearsal room before moving to the university, Allen’s refreshing and practical approach to both music education and conducting has taken him throughout the United States, Canada, and the United Kingdom as a clinician and guest conductor. From British Columbia to Glasgow, Scotland and at conferences including the Midwest Clinic, MENC regional and national conventions and BASBWE International Wind Festivals, Allen’s humor, passion and experience combine to illuminate the possibilities of both music education and the live art of performance. Sponsor: Jupiter Band Instruments, Meredith Music Publications

Perform-Connect-Reflect: Three Keys to Maximizing Student Performance in Beginning to Middle Level Ensembles

Wendy Barden


	Clinician Name: Wendy Barden E-mail Address: bardenwp@ix.netcom.com Clinic Title: Perform-Connect-Reflect: Three Keys to Maximizing Student Performance in Beginning to Middle Level Ensembles Clinic Synopsis: This session examines strategies for engaging individual students and maximizing their learning in the large ensemble setting. Think about working differently, not harder. Topics include: Framing comprehensive rehearsals Providing individual feedback to improve performance Assessing music learning in addition to performance skills Developing rapport with students Guiding results-oriented independent practice outside of class Promoting students' self reflection on their learning. What is the target audience for this clinic? Directors of elementary and middle level bands and orchestras will find this session most useful, along with pre-service teachers. What will the audience take away from this clinic? The clinic audience will take away many strategies for planning and leading rehearsals, engaging students in individual and ensemble learning, and developing understanding through comprehensive musical experiences in beginning to middle level ensembles. What is included in the handout? The handout will include important elements that support productive rehearsals, sample activities and assessments that expand learning from concert repertoire, and sample assignment and practice logs. Is there anything else you would like attendees to know about this clinic? My goal in this clinic session is to give new purpose to some of the strategies directors are using in their rehearsals, and spark new thinking about activities and assessments—all with the goal of maximizing student performance in beginning to middle level band and orchestra. Biographical Information: Wendy Barden, a music educator in the Osseo, Minnesota school district since 1977, currently serves as the K-12 Music Coordinator. While in the classroom she was named a Yamaha National Mentor Teacher, MENC Nationally Registered and Certified Music Educator, and 1992 MMEA Band Educator of the Year. Barden has served on the Board of Directors of the Minnesota Band Directors Assn. and Chamber Music Minnesota, and is Past President of the Minnesota Music Educators Assn. Barden is a contributing author to Bruce Pearson’s Standard of Excellence Beginning Band Series, author of Standard of Excellence Music Theory and History Workbook Teacher’s Editions, and co-author of Artistry in Strings and Recorder Excellence. She is a graduate of the University of Minnesota, with BS and MA degrees in Music Education and Ph.D. in Music with emphasis in music education and musicology. Sponsor: Neil A. Kjos Music Company

Empowering Instrumental Music Students for Productive Practice

William I. Bauer, Stacey C. Kolthammer, Matthew D. Schatt


	Clinician Name(s): William I. Bauer, Stacey C. Kolthammer, Matthew D. Schatt E-mail Address: william.bauer@case.edu Clinic Title: Empowering Instrumental Music Students for Productive Practice Clinic Synopsis: Individual practice is essential for the development of the complex physical, cognitive, and musical skills necessary to perform fluently on an instrument. This interactive session will provide practical, research-based strategies to help instrumental music students engage in effective individual practice. Topics will include motivation, practice approaches, teaching students to practice, and structuring practice sessions. What is the target audience for this clinic? Instrumental music teachers at all levels What will the audience take away from this clinic? This interactive session will provide practical, research-based strategies to help instrumental music students engage in effective individual practice. Topics will include motivation, practice approaches, teaching students to practice, and structuring practice sessions. What is included in the handout? The handout includes references and citations for a variety of articles, books, and Internet resources related to instrumental music practice. It also includes examples of a goal-based practice chart and other strategies that will be described in the clinic. Is there anything else you would like attendees to know about this clinic? This clinic will be packed full of ideas and information that teachers can immediately use to help their students become better at musical practice. Biographical Information: William I. Bauer is the Director of Music Education and Associate Professor at Case Western Reserve University in Cleveland, OH where he teaches undergraduate and graduate level classes in instrumental music education, music cognition & learning, music education research, and the applications of technology to music teaching and learning. Stacey C. Kolthammer is an educator and researcher from Northeast Ohio, where she directed elementary and middle school bands for four years. She recently received her M.A. in Music Education from Case Western Reserve University. Matthew D. Schatt is an instrumental music educator with the Independence (Ohio) Local School District. He is currently pursuing a PhD in Music Education from Case Western Reserve University. Sponsor: na

Technology in the Practice Room
John Best

Terrific Tone at the Flutist's FIRST Lesson
Kathy Blocki

We All Perform On the Same Stage - Improving the Ensemble Skills Of Your Secondary String Players

Joseph Brennan


	Clinician Name: Joseph Brennan E-mail Address: jabdonor@mac.com Clinic Title: We All Perform On the Same Stage - Improving the Ensemble Skills Of Your Secondary String Players Clinic Synopsis: “We all perform on the same stage” and "Just because you can play it by yourself, doesn't mean that you can play it with the rest of us”. If these phrases apply to you and your students, then this session is for you. Learn ways to improve rhythmic accuracy, intonation, and artistic expression of string players in secondary ensembles. Give your students the skills necessary to participate more fully in the ensemble. What is the target audience for this clinic? Secondary string teachers and orchestra directors. Grades 6-12. What will the audience take away from this clinic? Rehearsal techniques, conducting gestures, use of technology, assessments, and chamber groups will be discussed. Rehearsal techniques demonstrated are rooted in the concepts of Music Learning Theory with the goal being that each student has an ownership of the musical content and skills necessary to perform better by design rather than by chance in any type of ensemble setting. Many of these rehearsal techniques can also be adapted for other types of instrumental, as well as vocal, ensembles. What is included in the handout? With this session comes a handout outlining the major points to be covered as well as 30 phrases and analogies that can be used in the rehearsal to help students improve their participation and understanding of what it means to perform in an ensemble. Is there anything else you would like attendees to know about this clinic? A hierarchy of musical skills and how they are manifested in the playing skills of an orchestral stringed instrument will be discussed. Musical examples are used to show how these skills are developed in each rehearsal. Biographical Information: Joseph Brennan is the director of the string program at Haverford Middle and High Schools, in Havertown, PA, a position he has held for 22 years. He received his Bachelors and Masters degrees in Music Education from Temple University while studying violin with Julian Meyer, in addition to performing in ensembles on Trumpet. In 2006, Mr. Brennan was recognized by the Pennsylvania Music Educators Association (PMEA) with the Citation of Excellence Award. Mr. Brennan has presented sessions at past American String Teachers Association (ASTA) national conferences, Music Educators National Conference conferences, PMEA Conferences, as well as a (MENC) sponsored string workshop at Temple University. Mr. Brennan has been a guest conductor for various Pennsylvania Orchestra Festivals. Since being a kidney donor, Mr. Brennan, has been an advocate for organ donor awareness.

Sousa's Marches, Classic Repertoire for Band
Keith Brion with his New Sousa Band

Kids are Kids and They Can All Learn!

Trent Cooper


	Clinician Name: Trent Cooper Clinic Title: Kids are Kids and They Can All Learn! Clinic Synopsis: This Clinic will present ways to build band programs in schools where urban and socio-economic challenges are prevalant. Topics discussed will be motivating students, advocacy with administrators, parents and community, how to get students to take ownership in a program, and how to define and create success with limited student financial resources. What is the target audience for this clinic? Band Directors of High School Programs What will the audience take away from this clinic? Attendees will leave with ideas to help create advocacy with their administrators, parents and community members. In addition, attendees will leave with pedagogical ideas that develop a knowledge of music, music history and ideas that help students to gain ownership in the program. What is included in the handout? A sample calendar of a band program with over 60% of the students in low socio-economic range, ideas on fund-raising and ideas on gaining administrator support. Is there anything else you would like attendees to know about this clinic? Hopefully attendees will leave with a renewed interest in what the power of music can have in reaching students from low-socio economic/disadvantaged areas areas. Biographical Information: Trent Cooper has been a TX music educator for 22 years. He began his career in Spring ISD at Wells MS as Asst. Band Dir. He continued as Head Dir. at League City Intermediate, where his bands received the highest ratings in State U.I.L. contests, were chosen to perform at the Midwest International Band and Orchestra Clinic, and were named 2nd and 3rd runner up in the State MS Honor Band Competition. He taught in Conroe ISD and Roundrock ISD, and returned to his roots in Spring ISD in 2003. Currently he is in his 2nd year as Dir. of Bands at Dekaney HS which opened in 2007. During its 1st year of existence, the DHS Wind Ensemble was chosen as Outstanding Performing Ensemble in a State Music Festival. The DHS Wind Ensemble received the highest ratings at its 1st State U.I.L. Contest. He holds a BME from the Univ. of Houston and an Ma. in Conducting from Sam Houston State Univ.

The Anatomy of Instrumental Conducting

Eugene Corporon


	Clinician Name: Eugene Corporon Clinic Title: The Anatomy of Instrumental Conducting Clinic Synopsis: Through insightful dialogue, unique multi-angle video demonstrations, and state-of-the-art motion capture animation, participants can study conducting gestures. Mr. Corporon will demonstrate an in-depth and accurate picture of body mechanics and architecture, yielding profound insights and approaches to conducting technique. What is the target audience for this clinic? All conductors What will the audience take away from this clinic? n/a What is included in the handout? n/a Is there anything else you would like attendees to know about this clinic? n/a Biographical Information: Eugene Migliaro Corporon is Conductor of the Wind Symphony and Regents Professor of Music at the University of North Texas. As Director of Wind Studies, he guides all aspects of the program, including the masters and doctoral degrees in wind conducting. He is a distinguished alumnus of California State University, Long Beach, and Claremont Graduate University. His ensembles have performed worldwide. His groups have released more than fifty recordings, two of which have appeared on the Grammy nomination ballot. Corporon is past president of the College Band Directors National Association. Sponsor: GIA Publications, Inc.

Exploring the Core Repertoire for High School Band

Paul Cummings, Brian Cardany


	Clinician Name(s): Paul Cummings, Brian Cardany Clinic Title: Exploring the Core Repertoire for High School Band Clinic Synopsis: Are there pieces in the wind band repertoire that are of such great musical merit that every high school student should have an opportunity to play them? If so, what criteria should be used for their selection, and how might they be incorporated into a balanced, diverse music program? These questions will be addressed in detail as the clinicians provide repertoire resources along with successful ways to incorporate great band works, on a 4-year rotation cycle, into high school music programs. What is the target audience for this clinic? High school band directors and anyone with an interest in high quality literature for wind band. What will the audience take away from this clinic? A wide array of repertoire resources, and tools for developing a comprehensive, four-year literature rotation cycle in which high school band students are exposed to music of high artistic merit. What is included in the handout? Handouts will include major repertoire lists, containing band works with a wide variety of difficulty levels and musical challenges, gleaned from universally accepted authorities in the world of band literature. The clinicians will also distribute a grid template to be used for constructing a core repertoire cycle that is customized for a specific band. Is there anything else you would like attendees to know about this clinic? Due to the wide variety of difficulty levels covered in the repertoire lists, directors of middle school or college bands may also find relevant material in this clinic. Biographical Information: Brian Cardany is the Assoc. Dir. of Bands and Assoc. Conductor of the Symph. Orchestra at the Univ. of Rhode Island, where he conducts the Concert Band and Opera Workshop Orchestra, directs the athletic bands, and teaches music education courses. He is active as a guest conductor, clinician and adjudicator, and serves as the Assistant Conductor for the American Band of Providence. Paul Cummings is currently an Assistant Professor of Music at Humboldt State University in Arcata, California, where he directs the Symphonic Band and Humboldt Symphony. He also serves as Coordinator of Music Education at HSU, and teaches studio clarinet. He holds a BM degree from the University of Cincinnati's College-Conservatory of Music, an MA from San Francisco State University, and a DMA from the University of Oregon.

Marching Band Show Production - How to Make The Dots Come Alive - Successful Pre-Production Concepts

Gary Czapinski


	Clinician Name: Gary Czapinski E-mail Address: chopshof@aol.com Clinic Title: Marching Band Show Production - How to Make The Dots Come Alive - Successful Pre-Production Concepts Clinic Synopsis: Marching Band Show Production. How to make the dots on the paper come alive – Successful pre-production ideas and concepts. Tools to help you develop ideas and be certain the pacing of your show will be an effective way to reach the audience through appeal and entertainment values. Tools to help you select the best show for your band. Methods that involve the students, providing beneficial classroom experience and strong commitment to the program. What is the target audience for this clinic? High School Marching Band Directors Color Guard and Auxiliary Instructors Dance Team Choreographers Visual Designers What will the audience take away from this clinic? How to make your marching band show more effective and entertaining. Learn to control when and how the audience will react to your show. Application of production ideas and formulas that are used on the Broadway stage. Spending valuable time on pre-production rather than trying to correct problems during post-production. Using less sets and gaining more entertainment value. What is included in the handout? A production worksheet for the band director and his staff to use to properly plan their show step by step. How to formulate a “sound poem” to give you ideas on how to pre-produce the music you have chosen and know ahead of time if you will be successful. These tools will ensure you have chosen music that will translate into an outdoor environment and entertain both the audience and the adjudicators. Is there anything else you would like attendees to know about this clinic? This clinic will provide you tools to help you select the best show for your band with a solid concept, multi-levels of music, staging, characterization and props. These methods can involve the students, providing beneficial classroom experience and strong commitment to the program. Biographical Information: Gary has taught master classes as visiting faculty teaching the performance of outdoor pageantry production to educators across the US, Canada, Japan and Europe. He has been a designer and coordinator for marching bands for 30 years and is famous for innovation in staging of winds and creative use of outdoor stage sets. He was an original member of the Board of Directors of Marching Bands of America. He taught undergraduate classes at DePaul University and Vandercook College. He has hundreds of graduates of his Private Design Workshops and Spacial Awareness Contemporary Basics Classes. He wrote 25 DCI Finalist shows in 15 years and is a member of the Drum Corps International Hall of Fame. He is a designer of championship winter guards and an international adjudicator. He is Education Director of the Midwest Color Guard Circuit and President of Visual Musical Designs, Chicago, IL. Sponsor: Arrangers’ Publishing Company

"I Can't Play Today Because..." Medical Problems Interfering With Students' Practice and Performance

William Dawson


	Clinician Name: William Dawson Clinic Title: "I Can't Play Today Because..." Medical Problems Interfering With Students' Practice and Performance Clinic Synopsis: This clinic discusses a wide variety of musculoskeletal problems that can affect students’ upper extremities (based on the speaker’s decades of hand and orthopaedic surgery practice). Attendees will also learn principles of recognizing and preventing these conditions, and strategies for facilitating students’ early and safe return to making music. What is the target audience for this clinic? Band,orchestra, and small ensemble directors; private instrumental teachers What will the audience take away from this clinic? An awareness of the wide variety of physical difficulties that interfere with students’ practice and performance. Also, the recognition of the music teacher’s role and responsibility in dealing with the causes, management, and prevention of playing-related musculoskeletal disorders in both private and ensemble students. What is included in the handout? The handout provides an easily understood outline, clearly written in lay terms, of the entire presentation. This will assist the music teacher in developing the necessary strategies for managing various aspects of students’ lessons and for dealing with the environmental variables unique to each academic teaching situation. Is there anything else you would like attendees to know about this clinic? NA Biographical Information: William Dawson, M.D. has successfully combined careers in both music and medicine. He is a retired hand surgeon and Professor Emeritus of Orthopaedic Surgery at the Feinberg School of Medicine, Northwestern University. An internationally recognized physician and clinician, Dawson is the author of the book, “Fit as a Fiddle: The Musician’s Guide to Playing Healthy.” The author of more than 130 publications on performing arts medicine topics, he also has presented numerous clinics and lectures worldwide. He is the Immediate Past-President of the Performing Arts Medicine Association and is the medical consultant to the International Double Reed Society and the Association of Concert Bands. A symphonic bassoonist and double-reed specialist for more than 50 years, Dr. Dawson has taught low reeds privately for 12 years in Chicago’s north suburbs; he belongs to MENC, IMEA, ACB and IDRS.

Mambo Jumbo and All that Jazz; A Multicultural Approach to Teaching Jazz Ensembles

Jose Antonio Diaz


	Clinician Name: Jose Antonio Diaz E-mail Address: joseantoniodiaz@mac.com Clinic Title: Mambo Jumbo and All that Jazz; A Multicultural Approach to Teaching Jazz Ensembles Clinic Synopsis: Is your jazz ensemble’s performance of Afro-Caribbean music lacking spark or just plain boring? Learn rehearsal techniques used to prepare Latin rhythm influenced jazz charts. Diaz will demonstrate a step-by-step process to prepare this genre. He will also cover the use of traditional Latin American rhythms and its fusion with American musical styles such as jazz, rhythm and blues, and hip-hop to enhance the students’ experience. Diaz will demonstrate basic dance steps. What is the target audience for this clinic? Band Directors at all levels, middle school to college. What will the audience take away from this clinic? The audience will receive an understanding of the use of Afro-Caribbean rhythms in jazz ensemble literature. Also, a suggested rehearsal approach for will be included. What is included in the handout? The handout includes written-out samples of Afro-Caribbean rhythms such as cha-cha, son montuno, and mambo, a description of each instrument’s role in a typical Latin big band, and suggested choreography and a description of how to perform the dance steps. Is there anything else you would like attendees to know about this clinic? The clinic is a participatory event. All attendees are encouraged to have fun and get involved with the activities. Biographical Information: Jose Antonio Diaz is the Director of the MacArthur HS Jazz Ensemble and Artistic Director for Diaz Music Institute in Houston, TX. His groups have performed with such artists as Eddie Palmieri, Jon Faddis, Poncho Sanchez, Dave Valentin, and Arturo Sandoval. Diaz's groups have performed for the Midwest Clinic, IAJE, MENC, OMEA, TBA, and TMEA. Diaz's success with the MacArthur HS Jazz Program was the subject of a featured cover story in SBO Magazine and Band Director's Guide Magazine. He received a Down Beat Magazine Award and was selected by FOX 26 and Univision TV stations as a Hispanic Hero. Recently, Diaz was inducted into the Texas Christian University Band of Fame. In June 2008 Jose received the prestigious Jefferson Award. Diaz is currently on the Board of Jazz Education Network and is co-author of Middle School Music Expressions™ and Jazz Expressions™ (Alfred Music). Sponsor: Diaz Music Institute, LP Music

A Conversation with Jacquelyn Dillon-Krass
Jacquelyn Dillon-Krass

The Habits of Musicianship: Musical Excellence from the Start

Robert Duke, James L. Byo


	Clinician Name(s): Robert Duke, James L. Byo Clinic Title: The Habits of Musicianship: Musical Excellence from the Start Clinic Synopsis: Nearly all teachers agree that the primary long-term goals of music performance instruction center on musical fluency, independence, and artistry.We illustrate in this session how to create experiences for young learners that emphasize these goals and facilitate meaningful music-making from the very first days of instruction. Our approach leads young instrumentalists to think and behave like accomplished musicians beginning on the first day of class and continuing throughout their musical lives. What is the target audience for this clinic? Teachers who work with beginning and intermediate bands; college students aspiring to teach instrumental music; music education faculty. What will the audience take away from this clinic? We intend for our session to stimulate thinking and challenge conventional approaches to learning in school. To the prospective attendee: If you are already strongly committed to teaching beginners in a way that you’re happy with, and you have no intention of even considering other options, don’t come. We’ll only annoy you. If you’re an excellent musician and you’re open to reconsidering how we do things in music instruction in school, you should come. We’ll help you think. What is included in the handout? All materials from the clinic are available cost free on the web site of the Center for Music Learning at The University of Texas at Austin http://cml.music.utexas.edu Is there anything else you would like attendees to know about this clinic? We present a very unconventional approach to teaching beginners that is predicated on a very conventional and fundamental view of music-making: the goal of music is convey expressive intentions to listeners. Making that a priority from the first day of band class represents a sea change in our thinking about how to create competent, confident, expressive musicians. Biographical Information: Bob Duke is the Marlene and Morton Meyerson Centennial Professor in Music and Human Learning, University Distinguished Teaching Professor, Elizabeth Shatto Massey Distinguished Fellow in Teacher Education, and Director of the Center for Music Learning at The University of Texas at Austin. Jim Byo is the Carl Prince Matthies Professor of Music Education and University Distinguished Teaching Professor at Louisiana State University. Sponsor: The Center for Music Learning at the Sarah and Ernest Butler School of Music at The University of Texas at Austin

Social-Emotional Leadership: Engaging Your Ensemble with Positive Psychology

Curt Ebersole, Louis J. Alloro


	Clinician Name(s): Curt Ebersole, Louis J. Alloro E-mail Address: jce10603@gmail.com Clinic Title: Social-Emotional Leadership: Engaging Your Ensemble with Positive Psychology Clinic Synopsis: This clinic will introduce the principles of Positive Psychology, and demonstrate the utilization of these ideas to advance an atmosphere of growth in music ensembles and other groups where the personal exchange of dynamic ideas is the key to success. Social-Emotional Leadership provides the framework, and this clinic will enable conductors and educators to inspire the ensembles to new levels of cooperative learning. What is the target audience for this clinic? Instrumental conductors and educators at every age and experience level What will the audience take away from this clinic? Attendees will gain insight into the new field of Positive Psychology and how it can help conductors, directors, educators, and organizers of any type of group to motivate, inspire, encourage, and develop the skills of its membership. What is included in the handout? The handout will include all presentation slides, a resource and reading list, and suggested techniques for action. Is there anything else you would like attendees to know about this clinic? Teachers and conductors who are searching for new and alternate group strategies may find solutions in this clinic. If you are finding that your "tried and true" methods have become "truly tired," this clinic will provide means for a fresh approach. Biographical Information: Curt Ebersole has served as the Instrumental Music Director at Northern Valley Regional High School at Old Tappan, New Jersey since 1982. He founded the Music Educators of Bergen County Wind Conducting Symposium in 1987, which continues to serve conductors locally and nationally. In 2008 he was named Conductor/Music Director of the Westchester Symphonic Winds, ensemble-in-residence of the Tarrytown Music Hall, Tarrytown, New York. Louis J. Alloro, M.Ed., MAPP is a change-agent who consults with individuals and systems, particularly school districts, communities, and families. His workshops and consulting services integrate best practices in education with cutting edge Positive Psychology research. A teacher at heart, Louis also coaches individual clients interested in learning to become their best selves using his framework of Social-Emotional Leadership. Sponsor: NA

Set Up for Excellence: Preventing and Fixing Common Problems in Young Cellists
Eric Edberg

Technology on a Dime - How to Incorporate Music Technology in Your Classroom Without Breaking the Bank

Mike Fedyszyn


	Clinician Name: Mike Fedyszyn E-mail Address: mike.fedyszyn@lcs.k12.wi.us Clinic Title: Technology on a Dime - How to Incorporate Music Technology in Your Classroom Without Breaking the Bank Clinic Synopsis: This session will focus on unique ways to include technology in any music classroom on a limited budget. Session attendees will learn about low-priced and open-source music hardware and software, cost-effective audio and video recording solutions, pursuing grant money, and other practical ideas that incorporate technology into a music curriculum. What is the target audience for this clinic? All music educators who are interested in integrating practical uses of technology into the rehearsal and concert setting. What will the audience take away from this clinic? The audience will leave the clinic with numerous ideas to infuse technology into their curriculum and classroom, no matter what kind of funds they have available. They will also discover exciting methods and ways to "stretch" their budgets. What is included in the handout? The handout will include resources that supplement the ideas presented at the clinic, including numerous links, implementation plans, and other teaching ideas to use in the classroom. In addition, a detailed outline of the clinic will be found in the handout. Is there anything else you would like attendees to know about this clinic? Today's students not only enjoy using technology in the classroom - they expect it to be there. In order to best reach the 21st century learner, we must embrace technology to motivate our students. Never let budgetary concerns get in the way of creativity - there are numerous ways to incorporate technology into your classroom with little to no funds. This clinic will show you how to inspire and excite your music students using these practical ideas. Biographical Information: Mike Fedyszyn is the Instrumental Music Director at Lake Country School in Hartland, Wisconsin, a K-8 school which is part of the Arrowhead Area School District. At Lake Country, he is responsible for three bands, a string program, and instrumental lessons. Mike is in consistent demand as a clinician at state and national conferences and seminars on the topic of technology as it relates to music education. Mike’s primary instrument is trumpet; he currently is a freelance performer in the Milwaukee area. He holds a Bachelor of Fine Arts degree from UW-Milwaukee in music education. An executive board member of the Wisconsin Youth Band Directors Association (WYBDA), he is active in numerous other professional organizations, including the National Band Association (NBA), Music Educators National Conference (MENC) and Wisconsin Music Educators Association (WMEA).

Piccolo Can Make or Break Your Band: Artistry in the High Register

Leonard Garrison


	Clinician Name: Leonard Garrison E-mail Address: leonardg@uidaho.edu Clinic Title: Piccolo Can Make or Break Your Band: Artistry in the High Register Clinic Synopsis: Playing piccolo is a high wire act—every note is audible. This clinic shows how even young piccolo players can achieve artistry and make a positive contribution to your band. The presenter draws upon decades of experience, including study with leading orchestral piccolo players such as Walfrid Kujala, performance in many ensembles (Chicago Symphony, Tulsa Philharmonic and Opera Orchestra, Blue Lake Festival Band); two solo piccolo recordings; and years of successful flute and piccolo teaching. What is the target audience for this clinic? College and High School Band and Orchestra Directors, Flutists, Woodwind Specialists What will the audience take away from this clinic? The audience will learn the basics of good piccolo playing, including differences between flute and piccolo, selection of an instrument, care and maintenance of the piccolo, tone (embouchure, purity, beauty and color, vibrato), intonation and blending with other instruments, special fingerings, selected excepts from the band repertoire, recommended study materials, and other resources for more information. What is included in the handout? A detailed outline of the presentation, including lists of piccolo brands sorted by price range, warmups and exercises for tone, intonation, charts of useful fingerings, a list of top band excerpts for piccolo, studies and methods, and recommended print and online resources. Is there anything else you would like attendees to know about this clinic? Attendees will develop a sense of the problems inherent in the piccolo-especially in large ensembles--and how to fix them. Biographical Information: Leonard Garrison is Assistant Professor of Flute at the University of Idaho, flutist in the Northwest Wind Quintet and the Scott/Garrison Duo, Principal Flute of the Walla Walla Symphony, Chair of The National Flute Association, and faculty at Blue Lake Fine Arts Camp and the Red Lodge Music Festival. He has released several CDs and performed in the Chicago Symphony and the Tulsa Philharmonic, on American Public Media’s "Performance Today," as winner of the 2003 Byron Hester Competition, and at numerous National Flute Association conventions. He has taught at The University of Tulsa, Bowling Green State University, the University of Arkansas, and the University of Wisconsin at Eau Claire. The Flutist Quarterly and Flute Talk have published his articles. Leonard holds a Doctor of Music from Northwestern University and studied with Walfrid Kujala, Samuel Baron, and Robert Willoughby.

Teaching the Nitty-Gritty: Who Has Time for Anything More?

Doris Gazda, Scott Laird, Sean O'Loughlin, Matt Turner, Larry Clark


	Clinician Name(s): Doris Gazda, Scott Laird, Sean O'Loughlin, Matt Turner, Larry Clark Clinic Title: Teaching the Nitty-Gritty: Who Has Time for Anything More? Clinic Synopsis: What is the most important ground to cover in terms of technique and literature? What are the best ways to enrich traditional skills? How many alternative styles should you add to a program? At what level of instruction do we have time to make use of the numerous enrichment resources available? This session will answer these questions and provide an overview and evaluation of the many facets of teaching, offering various ways for teachers to place all opportunities in manageable perspective. What is the target audience for this clinic? Instrumental teachers at all levels of instruction. What will the audience take away from this clinic? A better sense of what should be essential in curriculum, tips for better time management, and the knowledge that good curriculum incorporates as many different styles of music as time will allow. What is included in the handout? A full outline of the clinic’s topics and discussions for reference, helpful classroom tips, and a list of suggested resources. Is there anything else you would like attendees to know about this clinic? Attendees will be afforded the unique experience of a panel discussion between respected teachers, editors, and composers from varied and prestigious backgrounds. Biographical Information: String educator/composer Doris Gazda, string educator/clinician Scott Laird, orchestral/band composer and conductor Sean O’Loughlin, improvisational cellist and jazz/composition educator Matt Turner, and educator/composer/Carl Fischer Music Vice President Editor-in-Chief Larry Clark join in a riveting panel discussion about the essentials of a dynamic music program. Sponsor: Carl Fischer Music

A Sure Start for the Beginning Bassist

Robert Genualdi


	Clinician Name: Robert Genualdi Clinic Title: A Sure Start for the Beginning Bassist Clinic Synopsis: This session is a presentation of “how to teach beginners string bass” with live demonstrations of teaching and playing techniques. It begins with how to hold the instrument and sequences through several basic techniques including fingering, using the bow to produce a characteristic tone, note reading, shifting and bowing techniques. With a solid foundation, bassists can proceed successfully to the intermediate and advanced levels. A sequence of materials is included. What is the target audience for this clinic? String teachers, primarily at the elementary and middle school level, anyone who teaches beginners on string bass. What will the audience take away from this clinic? An understanding of: a good set-up, left and right hands. basic concepts needed to produce a good tone on the string bass. how to introduce shifting a sequence of material for beginning bassists What is included in the handout? 1. Set-up 2. Introduction to fingering 3. Using the bow 4. Note reading 5. Shifting 6. Bowing techniques 7. Sequence of materials Is there anything else you would like attendees to know about this clinic? Teaching techniques will be demonstrated using volunteers from the audience as students. Biographical Information: Robert Genualdi is the Music Director Emeritus of the Greater Bridgeport Youth Orchestras in Connecticut. He is a string bass player in the Greenwich Symphony and the Greater Bridgeport Symphony Orchestra and is a private teacher of string bass. Mr. Genualdi was Headmaster of Fairfield High School in Fairfield, Connecticut after teaching instrumental music, both band and orchestra, in the public schools of Illinois and in Westport, Connecticut, as well as the University of Wisconsin and the University of Bridgeport. He has served as a guest conductor for orchestras in Connecticut, Illinois, Wisconsin, New York, and Maryland. He has composed several chamber music compositions and two works for full orchestra. Two of his original compositions are included in the Carl Fischer Inc. publication, “Melody Book for Strings.” He is co-arranger of "Masterworks Melody Book for Strings.

How Use of the Alexander Technique Can Improve Your Quality of Life and Your Professional Performance

Cody Gifford


	Clinician Name: Cody Gifford E-mail Address: cody@giffords.us Clinic Title: How Use of the Alexander Technique Can Improve Your Quality of Life and Your Professional Performance Clinic Synopsis: Used for a century by those suffering from aches and pains and frequently used by musicians, actors, and dancers who want to improve the quality of their performance, the Alexander Technique helps users develop greater self-awareness and eliminate harmful physical tension from their bodies so that they can live and perform with greater ease and efficiency. In this session participants are introduced to some principles and applications of the Alexander Technique in an interactive setting. What is the target audience for this clinic? All Midwest Clinic attendees. What will the audience take away from this clinic? Select principles of the Alexander Technique will be introduced through gentle experiential activities and demonstrations with some time for discussion following each activity. Participants leave this workshop with knowledge of the origin of the technique and a basic understanding of some of its principles. What is included in the handout? The handout will include reference material for the workshop and a list of resources for exploring the Alexander Technique further. Is there anything else you would like attendees to know about this clinic? The activities used to demonstrate Alexander Technique principles are simple, ordinary actions including sitting, standing, and speaking. As space permits, some participants may lie on the floor on mats during one of the activities. Biographical Information: Cody Gifford, a certified teacher of the Alexander Technique, studied the technique in Tel Aviv, Israel, and is a member of the American Society of the Alexander Technique (AmSAT) and the Israeli Society of Teachers of the Alexander Technique (ISTAT). Mr. Gifford is a graduate of Arkansas Tech University with a Bachelor of Arts degree in Music Education (summa cum laude) and the University of Colorado at Boulder with the Master of Music degree in Instrumental Conducting. A student of Allan McMurray, Gifford is completing his dissertation for the Doctor of Musical Arts degree in Instrumental Conducting at the University of Colorado. Mr. Gifford has taught instrumental music in Colorado and Israel. He is currently Conductor of the Front Range Youth Symphony in Arvada, Colorado and Band Director at Thornton High School in Thornton, Colorado.

Time: Care and Feeding

Gordon Gottlieb


	Clinician Name: Gordon Gottlieb Clinic Title: Time: Care and Feeding Clinic Synopsis: This clinic is aimed at all musicians and its goal is to solidify and strengthen inner pulse. The time sense of many musicians is outer directed: i.e. guided by an outside source like a metronome or a conductor. My hope is that musicians can rely on their own innate sense of pulse, and through South Indian syllables, learning how to work with a metronome/click track, rhythm exercises, understanding clave, musicians in all fields of performance can develop and rely on their inner pulse. What is the target audience for this clinic? Musicians--particularly percussionists and drummers What will the audience take away from this clinic? My hope is that each member of the audience will come away rhythmically emboldened by way of the specific tools presented to solidify and ground each person's inner pulse. What is included in the handout? Single pulse exercise featuring South Indian syllables, metronome exercise involving all four limbs, Agbekor--African rhythm looked at through various meters/feels, group participation of Samba involving all four limbs and voice (rhythmic independence), demonstration of Afro-Cuban clave concept for independence & inner pulse. Is there anything else you would like attendees to know about this clinic? This clinic is directed to ALL musicians. As I've mentioned, percussionists and drummers are the primary targets. Biographical Information: Gordon Gottlieb has had a varied career that has included performing with the New York Philharmonic, Stevie Wonder, Miles Davis, recording with Michael Jackson, Steely Dan (Two Against Nature-winner of 4 grammys in 2001, including album of the year, Everything Must Go in 2003, solo albums with Donald Fagen & Walter Becker) and Sting, playing with an escola de samba in the carnival parade in Rio de Janeiro, recording Stravinsky's Les Noces, Histoire du Soldat and Renard with Robert Craft, and teaching at Juilliard and Yale. Sponsor: Yamaha, Vic Firth, LP, Paiste

Meeting the Standards with Your Concert Programming
Christopher Heidenreich

The Magnificent Sax Machine

Frederick Hemke


	Clinician Name: Frederick Hemke E-mail Address: f-hemke@northwestern.edu Clinic Title: The Magnificent Sax Machine Clinic Synopsis: In its day, The Brown Brothers and other saxophone ensembles were "hot stuff". Today the Saxophone Ensemble is a legitimate music making ensemble in educational institutions around the world. With standard transcriptions, the new literature being written for the ensemble is exciting and accessible. The clinic will address the organization of an ensemble, finding literature and fitting it into a music curriculum. Northwestern University students will highlight this powerful, engaging new sound. What is the target audience for this clinic? High School and Collegiate saxophone students, teachers, performers, woodwind ensemble directors, and band directors. What will the audience take away from this clinic? A listing of Saxophone Ensemble repertoire, an outline of the clinic and sheer enjoyment of the event! Just as important, they will leave with an understanding of the musical and educational value of forming a saxophone ensemble. As a pedagogical tool for all levels of young saxophonists, the Saxophone Ensemble provides a complete learning and musically challenging and motivational experience. What is included in the handout? Outline and program of the Clinic. A listing of Saxophone Ensemble repertoire. Is there anything else you would like attendees to know about this clinic? Bring along your soprano, alto, tenor, baritone or bass saxophone. The final 10 - 15 minutes of the Clinic will be be devoted to reading a special arrangement for as LARGE a saxophone ensemble, as there are players. Biographical Information: Frederick L. Hemke Louis and Elsie Snydacker Eckstein Professor of Music Charles Deering McCormick Professor of Teaching Excellence Director, Northwestern University Saxophone Ensemble The Henry and Leigh Bienen School of Music Regenstein Hall 60 Arts Circle Drive Northwestern University Evanston, IL 60208-2400 email: f-hemke@northwestern.edu Sponsor: Rico International and Conn-Selmer

Failure Is Not An Option!: A Practical Team-Building Approach for Directors, Staff, Students and Boosters

Jerry Hoover, Belva Prather


	Clinician Name(s): Jerry Hoover, Belva Prather Clinic Title: Failure Is Not An Option!: A Practical Team-Building Approach for Directors, Staff, Students and Boosters Clinic Synopsis: Teaching colleagues Jerry Hoover and Belva Prather have taught together at Missouri State University for 23 years. They bring a combined total of 91 years of teaching experience from the public schools and university levels. They illuminate the principles of “team” and believe their ability to work together casts light on them as role models for the professional teaching teams across the country. The clinic presentation will identify achievable goals applicable to your teaching team. What is the target audience for this clinic? Directors, teachers and administrators in a team-teaching environment (i.e. band, orchestra or choir). What will the audience take away from this clinic? Clinic information will highlight basic goals for strengthening the band program via specific strategies for the professional teaching team who serves as role models for their students. Attendees will have the opportunity to assess their professional situation, become a better team player, and set new goals for their unit. The clinic will show how the committed professional team can elevate the band program and nurture professional and personal growth among colleagues. What is included in the handout? Materials will promote a greater understanding of your personal expectations of your colleagues and provide guidelines for the individual team member self-improvement. In addition, clinic materials will provide stepwise methods to implement the cohesiveness and camaraderie that develops when all members join hands for common goals. Is there anything else you would like attendees to know about this clinic? This clinic is suitable for any teaching unit, i.e. band, orchestra or choir. The presentation will include references and printed material about the structure of the senior staff at Missouri State University as a model for others to follow. Biographical Information: Professor Jerry Hoover is Director of Bands at Missouri State University in Springfield where he directs the Symphonic Band, Jazz Band, Lab Band, the 300-member PRIDE MARCHING BAND, entertainment ensembles and the Bear Mania Basketball Bands. He developed award-winning concert, marching and jazz bands in the public schools prior to accepting the band position at New Mexico State University. Mr. Hoover has been in his present position at Missouri State since 1985. Belva Worthen Prather is Professor of Music at Missouri State University where she conducts the Wind Ensemble, Wind Symphony, and the Concert Band. In the Graduate College, she teaches Graduate Research, Advanced Conducting, and Wind Band Literature. Professor Prather’s forty-one year career has included teaching and administration on the elementary, junior high, high school, and university levels.

A Conversation with Donald Hunsberger
Donald Hunsberger

Ensemble "Circle of Acceptance": Setting Expectations for Maximum Performance Potential

Shelley Jagow


	Clinician Name: Shelley Jagow E-mail Address: shelley.jagow@wright.edu Clinic Title: Ensemble "Circle of Acceptance": Setting Expectations for Maximum Performance Potential Clinic Synopsis: What is your Circle of Acceptance? Manage time and focus on key ingredients for developing maximum performance potential with your instrumental program. This clinic looks at several approaches for solving common wind band performance errors. Explore rehearsal methods for engaging students in the process while elevating their standard of acceptable performance. Become more aware of your ensemble's expectations and learn how to prepare each rehearsal with an appetite for excellence! What is the target audience for this clinic? Instrumental directors (band and orchestra) from beginning through high school and college levels. What will the audience take away from this clinic? Participants will learn the most common performance errors identified at Concert Band Festivals, and explore ways to improve the identified performance issues. What is included in the handout? A handout provided to each participant includes: a) Top Five Performance Errors, b) Five Factors Affecting Tone Quality, c) Three Steps to Balance and Blend, and d) Factors Affecting Intonation. e) Also included will be tips for effective rehearsal techniques for approaching a higher standard of acceptance in performance quality. Is there anything else you would like attendees to know about this clinic? A small chamber group may be used to demonstrate some practical applications of rehearsal technique. Biographical Information: Shelley Jagow, Professor of Music at Wright State University (Dayton) is director of the Symphonic Band and Saxophone Quartet; and instructor of Saxophone and Music Education courses. She earned degrees from the University of Saskatchewan (Canada), the University of Missouri (Columbia), and the Union Institute & University (Cincinnati) where Timothy Foley and Frank Battisti served as mentors. Shelley has presented numerous clinics and performances, is a Selmer artist clinician, and is often invited to conduct bands at the local, state, and national levels. Her articles may be found in various periodicals, and she is a contributing author to The Music Director’s Cookbook/ (Meredith), Teaching Music Through Performance series (GIA), and is Author of the book and DVD of *Teaching Instrumental Music: Developing the Complete Band Program* (Meredith). Sponsor: Meredith Music/Hal Leonard

The Centered Musician and Conductor: Toward a Higher Level of Artistry

James Jordan, Nova Thomas


	Clinician Name(s): James Jordan, Nova Thomas Clinic Title: The Centered Musician and Conductor: Toward a Higher Level of Artistry Clinic Synopsis: Most performing artists will agree that their best performance and teaching and conducting happens when they are centered. This unique workshop will focus on philosophies of centering and techniques that enable one to be centered for performance. An emphasis on physical activities and breathing exercises that center will be demonstrated and shared. This session is applicable to conductors, ensembles, and solo performers alike. What is the target audience for this clinic? Any music educators looking to improve their performances What will the audience take away from this clinic? Attendees will receive information concerning aspects of a concept of musicianship called “centering.” The techniques, principles, and exercises presented are suited for use by solo performers and conductors, and will enhance, deepen, and clarify both the rehearsing and performing experience. The session is led by two of America’s most respected performing artists, one from the opera/stage world and one from the conducting/teaching world. What is included in the handout? The handout will contain a complete outline of the history, philosophy, and practice techniques for arriving at a centered rehearsal and performance through imagery and breath. Both clinicians will share their inspirational philosophy for guiding performers. Is there anything else you would like attendees to know about this clinic? Attendees will gain an intimate, working knowledge of the profound and far-reaching work in centering by the legendary M.C. Richards, Artaud, and Stanislavski. For the first time, Jordan and Thomas present their work, connecting the work of Richards, Artaud, and Stanislavski to musical rehearsal and performance and the creative life of performing artists. Material presented can form a foundation of deepened performance that has at its core honesty and authenticity. Biographical Information: Widely acknowledged as one of the most influential conductors in America, James Jordan has brought about far-reaching pedagogical and philosophical changes in choral music as well as orchestral conducting, wind conducting, piano, and music education. As Senior Conductor at Westminster Choir College of Rider University, he conducts and teaches undergraduate and graduate choral conducting. He is one of the country’s most prolific writers on the subjects of the philosophy of music making and choral teaching. Nova Thomas is Assistant Professor of Voice at Westminster Choir College of Rider University, and Professor of Professional Practice and department chair at the New School for Drama, New School University in New York City. She is a recipient of New School University’s most prestigious award for “Excellence in Teaching” and is in demand as a master class teacher and speaker. Sponsor: GIA Publications, Inc.

Pod Savvy: A Guide to iPod Use in the Performing Music Classroom

Kathleen Kerstetter


	Clinician Name: Kathleen Kerstetter E-mail Address: kerstetk@fiu.edu Clinic Title: Pod Savvy: A Guide to iPod Use in the Performing Music Classroom Clinic Synopsis: One of the most influential pieces of hardware developed for the music classroom in the past decade has been the iPod. Many iPod users are unaware of the potential for the device to aid in music instruction. Due to the diversity of capabilities of the iPod, they provide an inexpensive way to create media-rich environments. This demonstration will concentrate on three areas of non-traditional iPod use for the performing classroom: recording, video playback, and music applications. What is the target audience for this clinic? All who want to get more use out of standard technological equipment. What will the audience take away from this clinic? Increased knowledge about how to use the iPod to its full potential in the classroom. What is included in the handout? The handout will include an overview of the iPod and with information about the different 'generations'. It will also include instructions for audio recording and video playback, 3rd party hardware and applications, and descriptions of useful applications for the iPhone/iPod Touch. Is there anything else you would like attendees to know about this clinic? na Biographical Information: Kathleen Kerstetter is the Assistant Professor and Coordinator of Music Education at Florida International University. She has taught middle school instrumental music, and music K-8 in south Florida over the last decade. She earned her undergraduate degree in Music Education from Towson University, and her Masters’ and Doctorate in Music Education from the University of Miami. Kerstetter has spoken nationally and internationally about podcasting and technology in the music classroom. She is a member of several professional music organizations including MENC, TI:ME, Florida Bandmaster Association (FBA), and Kappa Kappa Psi and currently serves as the President of the Florida College Music Educators Association.

Music Assessment: A Comprehensive Approach

Paul Kimpton, Delwyn Harnisch


	Clinician Name(s): Paul Kimpton, Delwyn Harnisch Clinic Title: Music Assessment: A Comprehensive Approach Clinic Synopsis: This session will provide an overview of the process and implementation of a total music assessment program for your institution. Ten years of data shows that a strong assessment system develops higher-quality performers, self-motivated players, thankful parents, supportive administrators, and more effective music educators. Sample assessments will be shared covering aural skills, written theory, and performance standards. Using data to improve instruction is the key to a strong music program. What is the target audience for this clinic? All music educators What will the audience take away from this clinic? Music educators will see firsthand an actual working 4-year assessment program that was developed over 18 years and is now in print, Scale Your Way to Music Assessment. Paul Kimpton, with 34 years of music teaching experience, and Del Harnisch, an international assessment expert, explain the how’s and why’s of creating and using music assessments to improve performances and music instruction. Attendees will leave this session understanding how to implement a total music assessment program. What is included in the handout? Handouts will be distributed at the end of the presentation so attendees are able to listen and process the information being discussed. The handout will highlight the main points of the presentation about how and why music educators should be using assessment to improve performance as well as instruction. Is there anything else you would like attendees to know about this clinic? This session is not a theoretical discussion on assessment, but rather a practical approach that has been successfully implemented in an existing music program. Attendees will leave the session with an understanding of how to develop a program of assessment and adapt it to their individual school’s needs. Biographical Information: Paul Kimpton, an educator for 34 years, recently retired as Director of Bands and Department Chair at Hinsdale South High School in Darien, Illinois. He received his Bachelors and Masters in Music Education from the University of Illinois, an Administrator's Certificate from Western Illinois University and a Guidance/Counseling Certificate from Northern Illinois University. Delwyn L. Harnisch received his doctorate in Educational Psychology from the University of Illinois at Urbana-Champaign. Currently, he is a Professor of Educational Psychology at the Department of Teaching, Learning, and Teacher Education, College of Education and Human Sciences, University of Nebraska Lincoln (UNL). He is also the Senior Research Scientist for technology supported assessment program at UNL as part of the newly funded National Center for Information Technology in Education (NCITE). Sponsor: GIA Publications, Inc.

Expressive Conducting - Making the Investment in Your Students and Your Rehearsals

Craig Kirchhoff


	Clinician Name: Craig Kirchhoff Clinic Title: Expressive Conducting - Making the Investment in Your Students and Your Rehearsals Clinic Synopsis: This clinic will reveal how expressive conducting translates directly to effective rehearsal techniques and enhanced music making with ensembles of any level. The guiding philosophical principal is that conducting is a “listening” art and that what we hear guides our conducting. The session will present practical and effective strategies for teachers to add to their conducting vocabulary, to share with their students, and to immediately employ in their rehearsals. What is the target audience for this clinic? Conductors at all levels of education. What will the audience take away from this clinic? The audience will observe how expressive movement that is motivated by the score and guided by the conductor’s inner ear can elicit a musical response from any ensemble. Conductors will also observe how expressive conducting can influence tone quality, balance, intonation, dynamics, articulation, and musical line, and how it motivates the breath of the ensemble and empowers the ensemble to listen. What is included in the handout? The handout will include information about the role of score preparation, the mission of the conductor as an advocate for the composer, the importance of the torso and face in non-verbal communication, the physics and metaphysics of conducting, and essential theories of movement. Is there anything else you would like attendees to know about this clinic? The intent of this clinic is to reveal the power of body language, the power of the torso and the face, and the power of the breath in the music making process for all conductors. Expressive conducting, motivated by the intent of the composer and the passion and commitment to communicate that intent, has the potential to lead performers and audiences alike to compelling musical experiences. Biographical Information: Craig Kirchhoff is Professor of Conducting and Director of University Bands at the University of Minnesota where he conducts the University Wind Ensemble and guest conducts in the University Opera Program. He has won critical acclaim from composers Warren Benson, Henry Brant, Elliott Carter, Michael Colgrass, John Corigliano, Karel Husa, Libby Larsen, George Perle, Vincent Persichetti, Stephen Paulus, Einojuhani Rautavaara, Gunther Schuller, Joseph Schwantner, Steven Stucky, Chen Yi, and others. Professor Kirchhoff is an advisor to the BandQuest Series published by the American Composers Forum, he joins James Galway, Eddie Daniels, Wynton Marsalis, and Dawn Upshaw on the Advisory Board for SmartMusic produced by the MakeMusic Corporation, and he serves as the Artistic Advisor for the Windependence Wind Band Series published by Boosey & Hawkes. Sponsor: University of Minnesota School of Music

Encouraging Our Oboists: Resources and Tips for Directors

Nora Lewis


	Clinician Name: Nora Lewis E-mail Address: lewisn@ksu.edu Clinic Title: Encouraging Our Oboists: Resources and Tips for Directors Clinic Synopsis: This session introduces resources and offers tips to directors who want to guide their oboe players toward better tone, intonation, embouchure, and vibrato. An approach to identify and address reed problems will be introduced as well. What is the target audience for this clinic? The clinic is geared toward band and orchestra directors at all levels as well as anyone interested in learning about the oboe and its pedagogy. What will the audience take away from this clinic? The audience will learn tips and exercises that encourage good habits for beautiful oboe playing. Exercises include a "reed alone" exercise to develop a flexible embouchure and vibrant tone, as well as a "voicing" exercise for improved intonation. Tips include an approach to clear articulation in every style, a strategy to increase dynamic range, and suggestions to encourage a natural sounding vibrato. What is included in the handout? In addition to an overview of the exercises and tips presented, the handout includes a list of oboe resources. These resources include oboe reed and instrument suppliers, interesting web resources, and books about the oboe and reed making. Is there anything else you would like attendees to know about this clinic? The well-known and witty American poet Ogden Nash (among numerous others) is credited with the phrase, "The oboe... it's the ill wind that no one blows good." Fortunately, the sentiment of this catchy phrase is not as true as many of us think. With some focused tips and encouragement, young (and not so young) oboe players can be sent down a rewarding path toward great sound and fluid technique. Biographical Information: Nora Lewis is Assistant Professor of Music at Kansas State University where she teaches oboe and music history and performs with the Konza Winds. Previously, she taught at Austin Peay State University in Tennessee and served as an editor for The Instrumentalist. During the summers, Lewis is on the faculty of Blue Lake Fine Arts Camp. 2009 highlights include a recital at St. Paul’s Covent Garden, London, a performance at the IDRS conference in Birmingham, UK, workshops for young oboe players in Bath, UK, and a performance of Corigliano’s Oboe Concerto with the K-State Orchestra. In 2010, Lewis looks forward to a concerto performance with the K-State Wind Ensemble at the CBDNA Southwest Regional Conference. She has performed with such ensembles as the Chicago Symphony Orchestra and Boston Lyric Opera and received her degrees from Northwestern, Yale, and Lawrence Universities. Sponsor: Kansas State University Department of Music

The Dynamic Marching Band - Rehearsal Techniques that Work

Wayne Markworth


	Clinician Name: Wayne Markworth E-mail Address: wmark@woh.rr.com Clinic Title: The Dynamic Marching Band - Rehearsal Techniques that Work Clinic Synopsis: Young band directors often find the marching band to be an overwhelming task with few resources and scarce clinics to help. Here are some successful techniques that will make the marching band rehearsal efficient and productive. The information presented will also produce long lasting results, not only in the marching band, but in the entire band program. What is the target audience for this clinic? Marching Band directors and college students preparing to be directors What will the audience take away from this clinic? Participants will learn some useful "step-by-step" procedures and methods to make rehearsals more effective. Good rehearsal techniques must be built on a solid philosophy with practical goals, which will be addressed in a relevant manner. Young directors and college students will learn some specific skills and approaches to save them years of "trials and errors." What is included in the handout? a) Rehearsal Philosophy & Goals b) Rehearsal Methods c) Rehearsal Etiquette d) Rehearsal Procedures e) Rehearsal Set-ups Is there anything else you would like attendees to know about this clinic? Most of the rehearsal techniques presented will work equally well in all music ensembles - concert band, jazz ensemble and marching band. Since marching bands are often active throughout several months of the year, including the beginning of the school year, the marching band can establish a solid foundation for the total band program in terms of musical development, rehearsal etiquette, attitude and social skills. Biographical Information: Wayne was Director of Bands at Centerville High School in Ohio for 35 years. During his tenure the Centerville Band program involved over 250 students including three concert bands, three jazz ensembles, marching band, and Winter Guard and Percussion. Wayne developed the marching band, known as "The Centerville Jazz Band", into a unique and entertaining ensemble of 200 members that performed an all-jazz format on the field. They were finalists in Bands of America Regionals and Grand Nationals 57 times, with fourteen regional championships and the 1992 Grand Nationals Championship. Wayne received a Bachelor of Music Education degree from Indiana University and a Master of Music degree from Northwestern University. In 2007, he was inducted into the Bands of America Hall of Fame. He is currently teaching at Wright State University and is author of The Dynamic Marching Band. Sponsor: Marching Show Concepts, Inc.

Creating a Beautiful Trumpet Sound

Freddy Martin, Chris Martin, Michael Martin


	Clinician Name(s): Freddy Martin, Chris Martin, Michael Martin Clinic Title: Creating a Beautiful Trumpet Sound Clinic Synopsis: The fundamentals of creating trumpet tone, musicianship and ensemble playing. Through explanation and demonstration the Martin’s describe the road to playing the trumpet professionally. From beginning fundamentals to rehearsals and performances with the Chicago Symphony and Civic Orchestras Chris and Mike discuss how it feels, and the rewards of what it’s like, to work at the instrument every day. What is the target audience for this clinic? All band directors, trumpet players and aspiring professional musicians. The fundamental information will be helpful to all teachers. What will the audience take away from this clinic? What is included in the handout? A fundamental approach to the instrument and suggestions of study habits and practice opportunities. Thoughts on colleges and conservatories and the direction a student might consider in going toward a career in an orchestra. Is there anything else you would like attendees to know about this clinic? This will be an informal clinic with questions, demonstrations and quite likely a few guest moments. Biographical Information: Freddy Martin is band director at the Westminster schools and is entering his forty first year in teaching. He is adjunct faculty for brass at Emory University and is Brass Coordinator for the Phantom Regiment Drum Corps. He is a member of the Drum Corps International Hall of Fame. Chris Martin is Principal Trumpet in the Chicago Symphony and is adjunct faculty for trumpet at Northwestern University. After receiving his degree from the Eastman School of Music Mr. Martin performed with the Philadelphia Orchestra, Atlanta Symphony Orchestra before joining the Chicago Symphony. Michael Martin has recently completed his Masters Degree from Northwestern University in trumpet performance and is a member of the Chicago Civic Orchestra. He is a former national trumpet champion as a soloist and also is a composer and performer with the Northwestern Trumpet Ensemble.

THAT Wasn't In The Book! Lessons After 2 Years of Teaching

Stephen Meyer, Nicholas Conner


	Clinician Name(s): Stephen Meyer, Nicholas Conner E-mail Address: stephenj.meyer@gmail.com Clinic Title: THAT Wasn't In The Book! Lessons After 2 Years of Teaching Clinic Synopsis: Undergraduate music education programs typically focus on preparing young directors for the instructional challenges of the performance music classroom. Often, there is not enough time for these programs to attend to the numerous other skills necessary to successfully execute a quality performance music program. The purpose of this clinic is to share the experiences and challenges we faced and what we learned from them. What is the target audience for this clinic? College Students and Beginning Teachers What will the audience take away from this clinic? We hope that this clinic will show college students and beginning teachers some challenges that they think they might never experience as a music teacher. The goal is to show them our faults in handling these situations and what we would have done differently in hopes that they can better plan and prepare for when these issues arise. What is included in the handout? Included in the handout is a list of the topics to be discussed, the issues we faced, and samples of various ways to solving those problems. Is there anything else you would like attendees to know about this clinic? N/A Biographical Information: Stephen Meyer is the Associate Director of Bands at Harrison High School in Kennesaw, GA as well as the Assistant Conductor of the Cobb Symphony Orchestra. He also serves on the faculty for the Georgia Youth Symphony Orchestra program, conducting the Philharmonia Wind Ensemble and the Camerata Wind Ensemble. Originally from Cleveland, Ohio, Stephen Meyer graduated magna cum laude from the Indiana University Jacobs School of Music with a Bachelor of Music Education degree. Nicholas Conner currently teaches band and chorus for grades four through eight at Fairview South School in Skokie, IL. Originally from Shelbyville, Indiana, Nicholas Conner graduated magna cum laude in 2006 from the Indiana University Jacobs School of Music, earning a Bachelor’s of Music Education. While a student, he served in leadership roles in both Tau Beta Sigma and the Indiana University chapter of MENC.

A Conversation with Ron Modell
Ron Modell

Keep Me Out Of Trouble: A Legal Primer For Music Teachers

Barry Morgan


	Clinician Name: Barry Morgan Clinic Title: Keep Me Out Of Trouble: A Legal Primer For Music Teachers Clinic Synopsis: This clinic explores the legal issues related to music teachers in the current litigious climate. Through real case studies the attendee will be shown techniques to avoid legal pitfalls. Specific subject matter covered is Civil/Criminal Liability, Booster Liability and the dangers of Facebook/MySpace. What is the target audience for this clinic? All teachers who interact with students and parents will benefit from exposure to the legal dilemmas facing those in the field of music education. What will the audience take away from this clinic? The audience will understand basic legal principles that apply to the teaching profession. What is included in the handout? General legal principles relating to booster club and personal criminal/civil liabilty. Is there anything else you would like attendees to know about this clinic? The format of this clinic will be fun, yet informative. With over twenty years in the legal profession and 32 years in the music education field, the clinician will provide real life experiences which will give the audience a clear understanding of the legal issues relating to the teaching profession. Biographical Information: Barry Morgan is currently serving his fourth term as Solicitor General of the State Court of Cobb County. Before becoming a prosecutor, Barry served twelve years as a high school, middle school and elementary school band director with the Cobb County Georgia School District. In his spare time Barry conducts the Jazz band at Cobb County’s newest school, Allatoona High, where his son is a percussionist. Barry holds a Bachelor of Music degree from the Georgia State University and a Doctor of Jurisprudence Summa Cum Laude from the John Marshall Law School in Atlanta, Georgia. Barry has served as an adjudicator for the band activity since 1978 in contests across the United States and currently serves as an adjudicator for Music for All. As the circle has come to be complete, Barry and his wife Sara are involved as boosters for the Allatoona Band Booster Association.

The Seven Deadly Sins of Low Brass

John Mueller


	Clinician Name: John Mueller Clinic Title: The Seven Deadly Sins of Low Brass Clinic Synopsis: This clinic addresses the seven most fundamental, but often neglected problems that low brass students and their teachers face. Most of the playing difficulties that low brass players in high school and college deal with have very benign beginnings in earlier band experiences. Designed for band directors, studio teachers and performers, this presentation will offer practical suggestions on preventing and correcting these issues before they have dire effects on musician's “musical life.” What is the target audience for this clinic? Jr. and Sr. High Band directors, studio teachers, high school and college students What will the audience take away from this clinic? This clinic will show how simple techniques can prevent serious difficulties for low brass players as well as remedies for common problems. Included in the presentation will be tips on individual routines, surviving marching band, switching students to low brass and keeping an eye and an ear on the “back row” of the band. What is included in the handout? Included in the handout will be samples of basic exercises, warm-up drills, and remedial exercises for individual and group use. There will also be a list of recommend resources for brass pedagogy and literature. Is there anything else you would like attendees to know about this clinic? na Biographical Information: John Mueller, D.M.A., is currently Associate Professor of Trombone and Euphonium at the Rudi E. Scheidt School of Music at the University of Memphis, where he is also serves as trombonist with the Memphis Brass Quintet. He joined the faculty at the U. of Memphis in 2001 after a 21-year career with The U.S. Army Band in Washington, D.C. Mueller has enjoyed a variety of musical experiences on both trombone and euphonium that include performances with the National Symphony Orchestra, the Memphis Symphony Orchestra, and the Jazz Orchestra of the Delta. As a soloist, clinician, and adjudicator, he has appeared throughout the U.S., as well as Japan, Australia, Brazil, and Europe. Mueller earned his B.M. in Music Education from the University of Illinois, and his M.M. and D.M.A. in Trombone Performance from The Catholic University of America. Mueller is a Meinl-Weston artist. Sponsor: Meinl Weston

“Wow, I Figured Out a Tune by Myself” – Musical Problem Solving as the Ultimate Motivator

Martin Norgaard


	Clinician Name: Martin Norgaard E-mail Address: mnorgaard@sasaustin.org Clinic Title: “Wow, I Figured Out a Tune by Myself” – Musical Problem Solving as the Ultimate Motivator Clinic Synopsis: Students love to figure out tunes on their own. However, for some students this skill seems elusive as component skills remain underdeveloped. This includes the ability to sing on pitch, to convert sung pitches to motor movements, remembering pitches and being willing to make mistakes. In this interactive session, the clinician will demonstrate how to incorporate these skills in the beginning string and band curriculum so that ALL students will experience success. Bring your instrument. What is the target audience for this clinic? Directors of beginning band and orchestra What will the audience take away from this clinic? Methods for teaching songs by ear to beginning band and orchestra students. A belief that ALL students can learn by ear. Class exercises that incorporate musical problem solving. What is included in the handout? A breakdown of the sub-skills needed to learn by ear and suggestions for how to develop those skills. Is there anything else you would like attendees to know about this clinic? The clinician will argue that teaching by ear motivates beginning students and is a valuable tool for developing a perfect setup. Biographical Information: Martin Norgaard, Ph.D., is a Yamaha Certified String Educator and the orchestra director at St. Andrew’s Episcopal School in Austin, TX. He is the author of ten jazz string method books for Mel Bay Publications including Jazz Fiddle Wizard and Jazz Fiddle/Viola/Cello Wizard Junior and several orchestra pieces with The FJH Music Company. His recently completed dissertation, Descriptions of Improvisational Thinking by Artist-level Jazz Musicians, is a qualitative investigation of the cognitive processes underlying improvisation. Norgaard is a frequent clinician at state, national and international conventions such as Singapore International String Conference, ASTA, TMEA and IAJE, and has taught at summer workshops such as the Santa Fe Suzuki Institute, the IAJE Teacher Training Institute and Strings Without Boundaries. Sponsor: Yamaha Corporation of America

A Conversation with Mark O'Connor
Mark O'Connor

Playing "Both Sides" of the Saxophone

Matt Olson


	Clinician Name: Matt Olson E-mail Address: Matt.Olson@furman.edu Clinic Title: Playing "Both Sides" of the Saxophone Clinic Synopsis: The modern saxophonist is expected to be versatile and to perform in a wide variety of musical settings. This clinic will focus on the skills and techniques required to achieve this versatility. It will emphasize fundamental areas of saxophone performance that are important to developing versatility as a performer, including tone production, articulation, and interpretation. It will also provide an overview of saxophone equipment, focusing on the mouthpieces and reeds appropriate for each style. What is the target audience for this clinic? High-school and college saxophonists and their teachers What will the audience take away from this clinic? Attendees will take away a better understanding of the challenges of playing multiple styles of music on the saxophone. The will understand both the similarities and differences in playing classical and jazz saxophone, as well as some approaches to being successful at playing both musical styles. What is included in the handout? An outline of the presentation as well as some specific exercises that I have found useful over the years, both as a player and teacher. Is there anything else you would like attendees to know about this clinic? My main position is that saxophonists must first achieve proficiency in every technical and musical sense. From there, we adapt our fundamental performance skills to correctly interpret any number of musical styles. I hope to convey that to all of the attendees, and take a bit of the mystery out of the process. Biographical Information: Matt Olson is Assistant Professor of Saxophone and Director of Jazz Studies at Furman University. He holds a DMA from the University of Illinois, and a MM in Jazz Pedagogy and BM in Saxophone Performance from Northwestern University. Matt has performed with Randy Brecker, Kurt Elling, Benny Carter, Ken Peplowski, Kevin Mahogany, Chris Vadala, Doc Severinsen, Manhattan Transfer, Aretha Franklin, Natalie Cole, Lou Rawls, the Temptations, the Four Tops, and the Milwaukee and Charlotte Symphony Orchestras. Matt has performed at numerous conferences of the North American Saxophone Alliance and World Saxophone Congress. He has also been a guest artist and clinician at Northwestern University, Arizona State University, University of Idaho, and high schools throughout the United States. He has been published in Downbeat magazine, and his debut jazz recording, Vortex, was released in March 2006.

French Horn SOS! First Notes, Fundamentals, and Fixing It: Teaching Strategies and Resources Every Director Should Know for Their Beginning to College Level Horn Players

Abigail Pack


	Clinician Name: Abigail Pack E-mail Address: alpack@uncg.edu Clinic Title: French Horn SOS! First Notes, Fundamentals, and Fixing It: Teaching Strategies and Resources Every Director Should Know for Their Beginning to College Level Horn Players Clinic Synopsis: French Horn SOS! First Notes, Fundamentals, and Fixing It: Teaching strategies and resources every director should know for their beginning to college level horn players. What is the target audience for this clinic? The target audience is Instrumental Music (Beginning to College level) Educators interested in teaching tools/resources to help with horn instruction. What will the audience take away from this clinic? The audience will take away teaching tools and resources, including instructional tips and ideas, repertoire lists and equipment lists. “Trouble-shooting” and FAQ’s will also be addressed. What is included in the handout? The handout will include the clinic synopsis plus a detailed explanation of clinic topics in addition to instructional samples, resources, repertoire lists (solo and etude/technical) and equipment lists. Is there anything else you would like attendees to know about this clinic? NA Biographical Information: Abigail Pack, Assoc Professor of Horn at U of NC – Greensboro (BMA ECU, MM U. of Iowa, DMA UW-Madison) has held teaching positions at James Madison University, Knox College, Western State College and taught in the Gunnison Watershed School District. She has held positions with the Barton Symphony, Quad Cities Symphony, Des Moines Symphony, Cedar Rapids Symphony, Green-Bay Symphony, the Wisconsin Chamber Orchestra and currently performs with the Roanoke Symphony, the Wintergreen Summer Music Festival, the SW Chamber Orchestra, Opera Roanoke, Iowa Brass Quintet, Western Slope Brass Band, and Massanutten Brass Band. Recent presentation highlights include the Southeast Horn Workshop, performances at the Natl Flute Association, the Intl Horn Symposium (U of Cape Town, South Africa), the Intl Midwest Band & Orchestra Conference, and The Kennedy Center of the Performing Arts.

What Do I Do with These Students In the Back of My Bandroom?

Chaz Paxton


	Clinician Name: Chaz Paxton E-mail Address: cpaxton@lex3.k12.sc.us Clinic Title: What Do I Do with These Students In the Back of My Bandroom? Clinic Synopsis: This clinic will explore techniques and strategies for more effectively teaching percussionists, specifically the middle school percussionist. Topics to be discussed will include what the goals of the director should be, as well as the What, How, and Who of teaching percussion. Other ideas and strategies will also be discussed such as positive and negative aspects of a homogenous class setting, master class ideas, and recruitment/testing methods. Included will be links to resource material. What is the target audience for this clinic? middle school/high school band directors What will the audience take away from this clinic? The attendees of this clinic will gain techniques and strategies for teaching percussionists that they will immediately be able to implement into the classroom. What is included in the handout? resource links, method inventory, musical examples Is there anything else you would like attendees to know about this clinic? Information given in this clinic will be both practical and useful. Biographical Information: Chaz Paxton is Director of Bands at Batesburg-Leesville High School (SC), where he directs the Symphonic Winds, Percussion Ensemble, Jazz Ensemble, and the award winning Panther Marching Band. The Panther Marching Band is a consistent South Carolina AA State Finalist and is the 2008 SC AA Marching Band State Champions. Chaz is an active clinician and guest conductor and has worked with various high school bands in South Carolina as a consultant, arranger, and designer. Paxton received the Bachelors of Music Education degree from Southern Wesleyan University where he studied percussion with Paul Buyer. In 2008, Paxton was named Batesburg-Leesville High School Teacher of the Year and in 2009 received a Distinguished Alumni Award from the School of Education at Southern Wesleyan University. In addition to his teaching duties, he is an Innovative Percussion artist. Sponsor: Innovative Percussion, Inc.

Re-energizing the Beginning String Classroom: Many Roads to Success

Bob Phillips


	Clinician Name: Bob Phillips Clinic Title: Re-energizing the Beginning String Classroom: Many Roads to Success Clinic Synopsis: Demonstration and discussion of multiple ways to approach some of the following concerns for a beginning string classroom: • Starting Class • Media and technology • Moving to music • Procedures • Flashcards/Powerpoint • Telling is not teaching: nonverbal teaching • Aural skills • Retention • Beautiful bow arms for beginners • Setting the right tone from the beginning • Pacing and classroom control • Pedagogical games • Method books and supplementary materials for strings What is the target audience for this clinic? Beginning string orchestra teachers, whether veterans of the classroom or a rookies. Also great for band directors who teach beginning strings. What will the audience take away from this clinic? Teachers will take away very specific strategies and teaching tips to use in their beginning string classrooms. A discussion of the many ways to approach technical and classroom management issues enabling teachers to leave with renewed ideas for and confidence in their teaching. Often multiple strategies will be presented so the teacher can choose the ones that are appropriate for their teaching situation. Broad principles will be presented to aid in this process. What is included in the handout? The handout is an outline of the techniques demonstrated to allow for simplified note taking. The topics in the clinic synopsis will be broken down into lists of tips and strategies. Is there anything else you would like attendees to know about this clinic? This will be a very practical clinic aimed at illustrating how many different, successful approaches there are to teaching beginning string students. Strings are taught in a wide variety of settings. No single teacher may implement every strategy but there will be ones that fit most situations. Each teacher must select what works for them. Broad principles will be presented to aid in this process. Biographical Information: Bob Phillips, pedagogue, teacher trainer, and composer, is renowned as an innovator in string education. He brings a wealth of knowledge and a sense of humor to his clinics, drawn from his 27 years as a public school string teacher in Saline, MI. Bob built a string program with over 700 students that was a national model of excellence in both classical and alternative music. He is an expert in large group pedagogy and a leader in the use of alternative styles. One of today’s premier educational composers and arrangers, his pieces are performed by thousands of string students each year. A prolific writer authoring many book series including the groundbreaking Fiddlers Philharmonic and String Explorer, Bob currently serves as string editor for Alfred publishing. His conducting resume includes professional, all-state, and youth orchestras. Sponsor: Alfred Music Publishing

It’s Not Just Scales and Chords: Equipping Your Beginning Improvisers with Tools of Expression.

Matt Pivec


	Clinician Name: Matt Pivec E-mail Address: mpivec@butler.edu Clinic Title: It’s Not Just Scales and Chords: Equipping Your Beginning Improvisers with Tools of Expression. Clinic Synopsis: There is no need to have a complete knowledge of scales and chords to begin expressing oneself through improvisation. Many jazz masters use simple, but expressive musical devices. This session focuses on helping teachers equip their students with the tools of expression demonstrated by jazz masters. These tools (melody embellishment, timbre, inflection, etc.) are useful in facilitating confident and expressive improvisation as the student's harmonic knowledge develops over time. What is the target audience for this clinic? This clinic is designed for middle/high school jazz ensemble directors, private instructor, and young jazz students. What will the audience take away from this clinic? Audience members will learn how to develop their students' expressive capabilities through examination of devices demonstrated by the jazz masters. Excerpts from several historically significant jazz recordings (each demonstrating a specific technique) will be presented. Attendees will also learn to present the material in a manner that encourages student curiosity and promotes successful improvisation. What is included in the handout? 1. Transcribed examples of expressive tools as demonstrated by jazz masters. 2. Sample lesson plan and teaching suggestions. 3. Discography of suggestions for additional listening. Is there anything else you would like attendees to know about this clinic? This particular clinic is highly interactive. All attendees will be engaged in active listening. Students who attend will have the opportunity to demonstrate concepts through improvisation. Biographical Information: As a performer of jazz and popular music, Matt has worked with Ray Charles, The Temptations, Dave Rivello, Bob Brookmeyer, Maria Schneider, Julia Dollison, Melvin Rhyne, and the Buselli-Wallarab Jazz Orchestra. Matt received the Doctor of Musical Arts (Saxophone Performance and Literature) and Master of Music (Jazz Studies and Contemporary Media) degrees from the Eastman School of Music in Rochester, New York. He received the Bachelor of Music Education degree from the University of Wisconsin-Eau Claire. Currently, Matt is the director of jazz studies at Butler University where he conducts the Jazz Ensemble 1 and teaches courses in the jazz studies curriculum. In February 2009, Matt founded the Butler Youth Jazz Orchestra, a select jazz ensemble comprised of high school students from the Indianapolis area. Sponsor: NA

In the Beginning...Building Blocks for Success with Band Students During their First Two Years

Andrew Poor, Steven Tyndall


	Clinician Name(s): Andrew Poor, Steven Tyndall E-mail Address: poor_andrew@colstate.edu Clinic Title: In the Beginning...Building Blocks for Success with Band Students During their First Two Years Clinic Synopsis: This clinic presents topics related to teaching band students during their first 2 years. The materials are drawn from the motivational/instructional techniques used with the students in the Rising Starr M.S Band, a 2-time Midwest Clinic performer. Topics include: daily routines, practicing, recruiting/retention, mastery-based skill checks, rhythm, developing technique, and instructional routines for the individual and ensemble. The clinic is a glimpse into the Rising Starr Band from day one. What is the target audience for this clinic? Both new and experienced music educators who teach or will teach young instrumental students during their first two years on their instruments. What will the audience take away from this clinic? The audience will hopefully have a deeper understanding of our approach to teaching the beginning band students at Rising Starr Middle School. We have both taught in varied and often challenging settings over 40+ years, which have shaped our approach. We want to share our various approaches to teaching both the individual student and the ensemble during those challenging, yet very important first two years. The Symphonic Band gives the big performances, but it all begins during the 1st 2 years. What is included in the handout? In addition to an outline of the presentation. There will be detailed explanations of our various instructional strategies, philosophies, and curricula. Supplemental materials also include a repertoire list, rhythm system overview, sample class routines and lessons for the first two years, samples of supplemental technique exercises, overview of ensemble strategies, handout on selecting instruments and recruiting, and our mastery-based instructional program for our students. Is there anything else you would like attendees to know about this clinic? We hope that the information in the clinic will have relevance and application to music teachers in all types of educational settings. We have both taught alone as well as in team settings, and our approach is a synthesis of those experiences. We will provide practical, hands-on tips and advice that a teacher can take back to their classes. While our focus is on band, there will be several topics that have application in string classrooms. The handouts will expand upon topics presented. Biographical Information: Andrew F. Poor is a member of the part-time faculty of the Schwob School of Music at Columbus State University. In addition, he serves as the Associate Director of Bands at Starr’s Mill High School in Fayetteville, GA. Poor holds the DME degree as well as the MM degree in Trpt Perf. from the Univ. of Cincinnati CCM and the BME degree (High Honors) from the Univ. of Florida, and is a National Board Certified Teacher. Steven Tyndall is in his 25th year as a music educator and his 13th year at Rising Starr Middle School in Fayetteville, GA. He received the BSEd. in music from Jacksonville State University and the MMEd. from West Georgia College. The Rising Starr Symphonic Band has performed at the University of Georgia, The BOA /Music For All National Concert Band Festival, The Western International Band Clinic in Seattle and the Midwest Clinic in 2003 and 2008. Sponsor: Northeastern Music Publications, Inc

The First 100 Days: What Every New Teacher Should Know after Signing the Contract

Anthony Pursell


	Clinician Name: Anthony Pursell E-mail Address: apursell@ksu.edu Clinic Title: The First 100 Days: What Every New Teacher Should Know after Signing the Contract Clinic Synopsis: College students are typically prepared to enter the profession, however the amount of administrative tasks that challenge the new teacher may be plentiful. This clinic will show new teachers and those changing positions for next year a plan of action to make the new position a great experience for the students and themselves. What is the target audience for this clinic? New teachers and teachers who may be switching to a new position for the next school year. What will the audience take away from this clinic? Attendees will leave this clinic with a game plan in mind when they obtain their first job or move from one position into another. The clinic strives to assist in making the transition into the newly obtained position as smooth as possible. What is included in the handout? A plan of action for the new music teacher: Who to contact, What to do, What to look for, etc., that will assist in making the first 100 days "in office" as successful as possible. Is there anything else you would like attendees to know about this clinic? This clinic is for all music teachers who are entering the profession and those who will be moving from one position to another. Although my experience is at the high school and collegiate level for the past fourteen years, music teachers at all levels may benefit by attending this clinic. Biographical Information: Anthony Pursell, D.A., has served Kansas State University as Assistant Professor of Music and Assistant Director of Bands since 2005. In this capacity, he serves as the Assistant Director of the Marching Band, the director of the Concert Band, the director and coordinator of the Athletic Pep Bands, the assistant coordinator of the K-State Summer Music Camp and the coordinator of the Leadership & Auxiliary Band Camp. In addition to his ensemble responsibilities, Pursell teaches various undergraduate and graduate music classes in Marching Band Techniques, Arranging for Bands, and Conducting.

The Three Hats of the Music Educator: Finding Balance Among Multiple Roles
Tim Robblee

Band Rehearsal Techniques and Gestures: What are We Saying? What are They Thinking?

Thomas Rohrer


	Clinician Name: Thomas Rohrer E-mail Address: rohrer@hass.usu.edu Clinic Title: Band Rehearsal Techniques and Gestures: What are We Saying? What are They Thinking? Clinic Synopsis: This topic is specific to corrections in rehearsal, both musical and technical. Including suggestions on gesture, this session uses a live ensemble to foster a more non-verbal, music-centered setting. This clinic uses a live ensemble to demonstrate relationships between gesture and sound, but more specifically, it deals with sensitizing the ensemble to gesture through minimizing unimportant gestures and developing ensemble independence of pulse so gestures that ARE used can be more meaningful. What is the target audience for this clinic? Instrumental conductors from junior high through college What will the audience take away from this clinic? The clinic is intended to foster specific strategies to sensitize the ensemble to the conductor and to make rehearsals more efficient. Strategies can be transferred to any level from junior high through college. What is included in the handout? The handout will provide major highlights and strategies from the clinic, intended as a resource beyond the term of the actual session. Is there anything else you would like attendees to know about this clinic? The clinic uses a live ensemble for demonstration. Biographical Information: Thomas Rohrer is Director of Bands and Music Education at Utah State University where he conducts the Wind Orchestra and Aggie Marching Band as part of his leadership of a diverse collegiate band program and teacher training curriculum. Having established an international reputation, he is Music Director of the Salt Lake Symphonic Winds, the region’s most prolific adult band. An active composer, he has twice earned honors as a winner of the Dallas Wind Symphony's composition contest, completed several commissions, and had works performed at two conferences of the College Band Directors National Association. Rohrer has been cited numerous times for outstanding teaching and has taught courses at Bowling Green State, Florida State, Northern Arizona, and the University of Cincinnati. He also taught instrumental music in the public schools of southwest Ohio.

Advice for the Back Row: Good Ensemble Habits for the Trombone Section

Eileen Meyer Russell


	Clinician Name: Eileen Meyer Russell E-mail Address: russelle@southwestern.edu Clinic Title: Advice for the Back Row: Good Ensemble Habits for the Trombone Section Clinic Synopsis: The clinic begins with the questions “Is the trombone section frustrated and are they frustrating you?" and "What are the factors that work against the success of the trombone section." My intent is to answer those questions so that you and your trombone section can work together in the most productive and musical way. What is the target audience for this clinic? Junior High and High School Ensemble Directors What will the audience take away from this clinic? The audience will take away practical advice to improve the performance of the trombone section. Specific advice will be given about posture, breathing, articulation, left and right hand grips, intonation, slide technique, mutes and stand placement, and instrument maintenance. What is included in the handout? The handout has an outline of the presentation and citations of useful resources. Topics include the importance of posture, correct use of air, support of the instrument, production of a beautiful sound, accurate intonation, clear articulation, maintaining tempo, and timely entrances. Is there anything else you would like attendees to know about this clinic? This clinic was inspired by countless observations of trombone sections from the back of the rehearsal hall. My intention with the clinic is to bridge the gulf that sometimes exists between the podium and the back row. Biographical Information: Eileen Meyer Russell teaches low brass and theory at Southwestern University in Georgetown, TX, and euphonium and trombone at Blue Lake Fine Arts Camp in Twin Lake, MI. Russell graduated from Indiana University (BM and DM) and from the University of Northern Iowa (MM). She is a trombone clinician and artist with C.G. Conn, and she has presented clinics or performances at International Trombone Association festivals, International Tuba Euphonium Association conferences, the Midwest Clinic, the New York State School Music Association conference, the Texas Bandmasters Association conference, Texas Music Educators Association conferences, and the United States Army Band Tuba-Euphonium conference. She is published in several periodicals including the Instrumentalist and the journals for the International Trombone Association and the International Tuba Euphonium Association.

Stop Practicing! Making Music in the Instrumental Rehearsal

Shawn Smith


	Clinician Name: Shawn Smith E-mail Address: shawn.smith@tamucc.edu Clinic Title: Stop Practicing! Making Music in the Instrumental Rehearsal Clinic Synopsis: By focusing solely on practicing for the upcoming performance, we rob our students and ourselves of hundreds of potentially moving and inspiring musical moments. Smith will offer practical suggestions to change student and director perceptions of rehearsing from one of practicing music to making music. With an emphasis on performing music in rehearsal, we will find that the experience will be more enjoyable, students will be more engaged, and our performances will be more musically satisfying. What is the target audience for this clinic? High school band and orchestra directors What will the audience take away from this clinic? Teacher-conductors who create an atmosphere of music-making on a regular basis will have a greater number of students who will learn to love music more than trophies. These are also the students who will want to stay involved in music-making throughout their life. Those who attend the clinic will leave with some practical ways to create this atmosphere in rehearsals. By using these principles and ideas, we will create a more fulfilling rehearsal experience for teacher and student alike. What is included in the handout? The handout will include a detailed outline of the principles and ideas discussed in the clinic. Is there anything else you would like attendees to know about this clinic? It is my hope that this clinic will give those in the audience a helpful reminder of what music-teaching is all about, and inspire them to look at the rehearsal process in a new way. Biographical Information: Shawn Smith is Director of Bands at Texas A&M-Corpus Christi where he conducts the Symphonic Winds, teaches courses in conducting and music education, and serves as head of the wind and percussion division. Smith holds a Doctor of Musical Arts degree in conducting from Arizona State University, and Masters and Bachelors degrees from Louisiana State University and Boise State University respectively. In demand as a conductor, clinician and adjudicator, Smith has been invited to work with bands and give clinics throughout the United States. Previously Smith served as Director of Bands and Orchestra at one of the largest high schools in Idaho where ensembles under his direction were distinguished as among the finest in the state. Smith has been published in the WASBE Journal and has presented research on the music of Heitor Villa-Lobos at two national conventions. Sponsor: na

Is Your Conducting Helping or Hurting Your Ensemble? A Simple No-Nonsense Approach to Creating Clear and Consistent Conducting Technique

Gary Sousa


	Clinician Name: Gary Sousa E-mail Address: gsousa@utk.edu Clinic Title: Is Your Conducting Helping or Hurting Your Ensemble? A Simple No-Nonsense Approach to Creating Clear and Consistent Conducting Technique Clinic Synopsis: Every musician knows that great musical performances require strong fundamental technique. Poor tone quality, bad pitch, inaccurate rhythm, unclear articulation, or any one of a myriad of technical problems can hurt the musical intent of the performer. The need for clear and consistent physical technique from the conductor is no different. This clinic will teach clarity and simplification of technique, and help you to determine whether your conducting is helping or hurting your ensemble. What is the target audience for this clinic? Middle School, High School, and University Teachers and Conductors What will the audience take away from this clinic? Good fundamental technique is as essential to the conductor as it is to an instrumentalist. This clinic will provide attendees with simple and basic concepts of movement and nonverbal communication insuring that they will be helping their ensemble’s performance in the future. What is included in the handout? The handout includes basic concepts of movement and nonverbal communication as they relate to conducting technique including posture and grip, preparation and release gestures, pattern and articulation clarity, left hand use, tempo changes, and facial expression. Is there anything else you would like attendees to know about this clinic? Make sure your conducting is not getting in the way of your ensemble’s performance. Improve  your rehearsals and performances by attending this clinic. Biographical Information: Gary Sousa is the Dir. of Bands and Prof.of Music at The Univ. of Tennessee where he conducts The Univ. of Tennessee Wind Ensemble, directs the graduate program in Wind Conducting, and oversees the entire band program. Prior to accepting this appointment, Sousa was Dir. of Bands at Sam Houston State Univ.and Associate Dir. of Bands at Baylor Univ. Under Sousa's leadership, concert ensembles have received critical acclaim. His bands' performances at state, regional, and national conferences, as well as numerous compact disc recordings, and a recent performance in Carnegie Hall, have drawn praise for excellence in performance, interpretation, and creative programming. Sousa began his teaching career in 1976 in Weston, CTwhere he taught at the junior and senior high school levels. He received his BME from the Univ. of Rhode Island, and his master's and doctorate from The Ohio State Univ. Sponsor: The University of Tennessee Band

"Discovery: Music!" Creating Interactive Concerts that Engage, Entertain, and Educate
Lawrence Stoffel

"Use the Music to Improve the Technique" - Teaching Technique and Musicianship with Orchestra Music

Mary Straub


	Clinician Name: Mary Straub E-mail Address: maryrstraub@gmail.com Clinic Title: "Use the Music to Improve the Technique" - Teaching Technique and Musicianship with Orchestra Music Clinic Synopsis: Excerpts from high school and middle school orchestra music will be presented. The process of analyzing the technical challenges and prescribing a "step by step" process for mastery will be demonstrated. A DVD will show students engaged in this method of developing technical skills and musicianship using specific excerpts from orchestra literature. This process is intended to help teachers teach technique and repertoire simultaneously and still maintain their performance commitments. What is the target audience for this clinic? high school and middle school orchestra teachers What will the audience take away from this clinic? The audience, as music educators, should leave this clinic thinking in terms of using their orchestra repertoire as a vehicle for developing finer technical skills in their students. They should understand more clearly how to use passages from this repertoire as "etudes" for training both left and right hand technical skills. By using their orchestra repertoire to improve their technique, students will no longer need to study technique exclusively in an isolated setting. What is included in the handout? The handout will include string orchestral excerpts from beginning to advanced levels with examples of technical study ideas to be used in a rehearsal setting. It will include suggested reading materials to support the concepts presented. It will have suggested string orchestra repertoire that could be taught in order to develop different levels of technical advancement. Is there anything else you would like attendees to know about this clinic? I hope that music educators will leave my session with some new and refreshing ideas on how to combine the necessary skills of playing a string instrument and a high level of musicianship into their daily rehearsal schedule. Biographical Information: Mary Straub has a Performance Diploma from the Interlochen Arts Academy and a Bachelor of Music Education from Indiana University. She founded the Suzuki Talent Education Program at the Nevada School of the Arts in 1981 where she is currently a violin instructor of the Suzuki and traditional methods. Mary was on the music faculty of the Las Vegas Academy for the Performing Arts from 1994-99 and was the co-founder of the Las Vegas Music Festival. Mary Straub presented at the 2003 Chicago Midwest Clinic, the 2005 National ASTA Conference, and the 2006 Suzuki Association of the Americas Conference. She was the recipient of the 2004 Nevada ASTA Studio Teacher of the Year Award and the 2005 Nevada Music Teachers Association “Outstanding Service Award” and is currently the MTNA Nevada State President.

You Too Can Be a String Teacher

Dorothy Straub, Jeff Albright


	Clinician Name(s): Dorothy Straub, Jeff Albright E-mail Address: dastraub@aol.com Clinic Title: You Too Can Be a String Teacher Clinic Synopsis: Designed for the non-string player/Band Director, this session presents a practical path for retooling your skills to become a string and orchestra teacher and why this is a good idea. Jeffrey Albright, trumpet performance graduate from The Juilliard School and presently a string teacher in the Fairfield, Connecticut Public schools, will co-present as an example of one who has followed this path. What is the target audience for this clinic? Band directors considering string teaching. Non-string players finding themselves in a string teaching position. Anyone new to teaching What will the audience take away from this clinic? A plan for learning how to play and how to teach string instruments. Advice for getting off to a good start. Confidence in your ability to teach strings successfully and have fun doing it. You, too, can be a string teacher. What is included in the handout? Review of basic skills for playing string instruments. First eight lessons for a beginning string class. Planning and organizing your string classes Suggested repertoire for your first concert. How the non-string player can teacher middle school and high school orchestra A list of helpful resources. Is there anything else you would like attendees to know about this clinic? You, too, can be a Strings teacher! Biographical Information: Dorothy Straub is a board member of the Midwest Clinic. She has distinguished herself through her positive influence on people by building coalitions and working closely and harmoniously with many different groups. She exhibits excellence in teaching, a commitment to string and orchestra education, and a strong vision for the place of music education in the life of children. Jeff, ten years ago, knew nothing about playing or teaching a string instrument. He now plays viola in the New Haven Civic Orchestra, trumpet in the American Chamber Orchestra, and serves as a coach for Greater Bridgeport Youth Orchestras.

A Musical Approach to Percussion Ensemble

Third Coast Percussion


	Clinician Name: Third Coast Percussion E-mail Address: thirdcoastpercussion@gmail.com Clinic Title: A Musical Approach to Percussion Ensemble Clinic Synopsis: Our clinic will focus on ways to integrate chamber music for percussion into band and orchestra programs at the middle school and high school level. The presentation will focus on original music for percussion, rather than transcriptions, with an emphasis on unconducted performances. Performances by our ensemble will illustrate how the concepts students learn in percussion chamber music can easily and effectively translate to a band or orchestra setting. What is the target audience for this clinic? band directors, orchestra directors and percussion instructors for all ages of students What will the audience take away from this clinic? The audience will hear about effective ways to engage percussion students by exposing them to quality percussion chamber music literature. If your percussion students are bored or not performing at the same level as your wind and brass students, our clinic will provide practical ways to raise the level of musicianship in your percussion section. What is included in the handout? Included in the handout will be excerpts from the pieces to be performed by Third Coast Percussion, along with detailed explanation of the musical concepts and percussion-specific concepts addressed in each work. Is there anything else you would like attendees to know about this clinic? Band programs that incorporate conducted percussion chamber music or performances of transcriptions for percussion ensemble or mallet ensemble may find our clinic useful in its focus on music specifically written for percussion. As a professional chamber percussion ensemble, we feel that although transcriptions have tremendous value for students, music written originally for percussion can often teach important concepts not addressed in transcriptions or conducted pieces. Biographical Information: Praised by Time Out Chicago for “chops, polish, and youthful joy in performing,” Third Coast Percussion (Clay Condon, Robert Dillon, Peter Martin, David Skidmore) uses an impressive array of percussion instruments to create a performance experience like no other. With exceptional talent and dedicated artistry, this “sonically spectacular” (Chicago Tribune) quartet combines the driving intensity of drums, the beautiful warmth of marimbas and vibraphones, and the surprisingly exotic sounds of everyday objects to make music that is playful, memorable and profound. In performances around the country, the Chicago-based ensemble has swiftly gained national attention for effortlessly combining the energy of a rock concert with the precision and sophistication of classical chamber music. Sponsor: Vic Firth, Pearl Adams

Clarinet Tone Got You Down? Surprisingly Simple Steps to Immediately Improve the Tone of Your Clarinet Section

Suzanne Tirk


	Clinician Name: Suzanne Tirk E-mail Address: suzanne.tirk@wichita.edu Clinic Title: Clarinet Tone Got You Down? Surprisingly Simple Steps to Immediately Improve the Tone of Your Clarinet Section Clinic Synopsis: Quick and practical solutions for solving common problems with clarinet tone. Discover how topics such as simple reed care, placement of the reed, positioning of the mouthpiece and tuning tips can help your students produce a great group sound! What is the target audience for this clinic? Music Educators working with clarinetists of all ages and levels What will the audience take away from this clinic? Quick and easy tools to immediately change the tone of a clarinet section in all registers of the instrument. Implementing just one of the suggestions presented in this clinic will make a noticeable difference in sound quality. I will be demonstrating the problems (you’ll recognize them!) and give you practical ways to fix them. What is included in the handout? The handout includes practical solutions for reed wetting, where to place a clarinet reed, fixing a warped reed, how to get students to put more mouthpiece in their mouth, and tuning suggestions. Is there anything else you would like attendees to know about this clinic? I visit several middle/high school band programs each year. Before each visit, I ask directors what they would like me to work on, and tone quality is continually near the top of the list. I designed this clinic to give directors the same quick and easy solutions I use during my visits to middle/high schools and even colleges. Biographical Information: Suzanne Tirk, Assistant Professor of Clarinet at Wichita State University, is Principal Clarinet with the Wichita Symphony Orchestra and a member of the Lieurance Wind Quintet. Tirk holds degrees from Lawrence University and Michigan State University, and is completing her DMA at Michigan State University. Her teachers have included Elsa Ludewig Verdehr, Charles Neidich, Theodore Oien and Fan Lei. A dynamic performer and teacher, Tirk has taught at several universities including Bemidji State, Lawrence University, Central Michigan, Eastern Michigan, and Montana State. She has presented numerous recitals and clinics throughout the United States, Canada, Kazakhstan, China, Panama, Great Britain, and The Netherlands. A passionate advocate for music education, Tirk has presented clinics for KMEA, Kansas Bandmasters Association and the Wichita Metropolitan Music Teacher’s Association.

Bridge Music - Teaching and Making Music through Conducted Chamber Music
Charles Peltz, U.S. Naval Academy Band, Chamber Winds

United States Army Band Herald Trumpets
Herald Trumpets of the United States Army Band

Got Band? No Wind Ensemble - No Problem!

Rebecca Warren


	Clinician Name: Rebecca Warren Clinic Title: Got Band? No Wind Ensemble - No Problem! Clinic Synopsis: Many, if not most, band programs consist of one director who serves the entire instrumental population. These programs often contain students from various grades and abilities. Not all of us are fortunate enough to teach in a situation that allows us to have an auditioned or “top” group. We don’t have Wind Ensembles, Wind Symphonies, or any other select group. Quite simply we have a band. Yet, these programs can be very successful and help students achieve a superior level of musicianship. What is the target audience for this clinic? This clinic is designed to aid those directors that serve the general band population rather than the elite, auditioned groups. What will the audience take away from this clinic? It is my desire that attendees take home answers to questions that they face every day. I hope to provide answers to problems that include poor instrumentation, lack of private teachers, choosing music for groups that vary in age and ability, lesson plans that really work for the director as well as the student, and how to have a superior band program no matter where you might teach or what resources you might have. What is included in the handout? The clinic handout will include forms that assist directors in developing specific lesson plans to aid in concert band rehearsal, information in regards to developing an effective mentoring program, and how to use student recordings for assessment. Other information will include suggested literature, method books, and supplemental materials. Is there anything else you would like attendees to know about this clinic? Geography, demographics, budget, instrumentation, and student age do not dictate the success of a band program. That success comes from the dedication of the students and the band director. All band students deserve to be a part of a great program. It is up to us to give those students that opportunity. Set the bar high, make the goals lofty, and never settle for anything less than the best. Together, directors and students can have a superior band program. Got Band?- YOU BET WE DO! Biographical Information: Rebecca Rodgers Warren is in her 30th year of teaching band. Her career has been in rural and small town Alabama. For 28 years she served as the director of non-auditioned, inclusive bands that earned superior ratings in all areas of assessment including concert, jazz, and marching. Her bands performed for the A.M.E.A. and the S.E.U.S. Band Clinic. Mrs. Warren has served as judge, clinician, and guest conductor. She served on the summer staff of Wallace State, Troy and Auburn Universities. She is past president of the A.M.E.A.and founder of FAME: Future Alabama Music Educators program for high school juniors and seniors. She served two terms on the Board of the Alabama Bandmasters and was President-elect of the ABA. She is a member of NBA, NDMEA, MENC, and Phi Beta Mu. She teaches at Mandan Middle School and her husband John is the Director of Bands at Mandan High School. Sponsor: Eckroth Music and Accent Musical Instruments

How to be an Advocate for your Band or Orchestra Program

Peter Warshaw


	Clinician Name: Peter Warshaw Clinic Title: How to be an Advocate for your Band or Orchestra Program Clinic Synopsis: This clinic will provide attendees with ideas to become a better advocate for their program, whether they are just startying out or are veteran teachers. Included in the clinic is a power point that provides the user with examples of areas that must be addressed when speaking on behalf of all fine arts programs, as well as an example of how to put the power point to use in a specific situation. What is the target audience for this clinic? Band and Orchestra Directors, and Fine Arts Administrators What will the audience take away from this clinic? Attendees will leave the clinic with ideas on what they will need to be an advocate and how to create a presentation that is appropriate to any group, including parents, students, and school and district administrators. What is included in the handout? The handout lists ten important questions to which every potential advocate should have the answers before they give a presentation, such as why advocacy is important, where to start, how to organize a presentation, the importance of knowing the concerns of the audience, and resources available to anyone who needs to advocate for their students and program. Is there anything else you would like attendees to know about this clinic? The power point will be made available to any attendee to use for their future presentations. Biographical Information: Peter J. Warshaw is the Fine Arts Director for Leander ISD. Previously, Mr. Warshaw was the Director of Bands at J.J. Pearce High School in Richardson, TX. During his tenure at Pearce, the band performed twice in Carnegie Hall, received the Sudler Flag of Honor in 2000, and was selected as the TMEA Class 4A Honor Band in 2001. His marching and concert bands consistently earned first division ratings in UIL competition and have been named as Best-In-Class at numerous festivals in the USA. He is a member of Phi Beta Mu, a life member of the International Percy Grainger Society and is listed in the 1992 and 1996 editions of Who's Who Among America's Teachers. In addition, Mr. Warshaw is a recipient of the Grainger Medallion presented by the International Percy Grainger Society. He serves as a guest lecturer at Sam Houston State University and is in great demand as an adjudicator in Texas. Sponsor: NA

Play Along Bassoon Clinic

Christopher Weait


	Clinician Name: Christopher Weait E-mail Address: weait.1@osu.edu Clinic Title: Play Along Bassoon Clinic Clinic Synopsis: Bassoonists are invited to bring their instruments to the clinic. Non-playing observers will be welcome. Follow the leader (call and response) techniques will be used to get a group of players of varying abilities to play right away. Very brief comments about fundamentals (posture, breathing, embouchure support, tuning, dynamics) will be made between models. Brief ensembles for the massed group and a question and answer period will end the clinic. What is the target audience for this clinic? Beginning through advanced bassoonists, instrumental teachers and ensemble conductors. What will the audience take away from this clinic? The audience will hear demonstrations of follow the leader (call and response) techniques used to teach musical and technical fundamentals with a group of players of varying abilities. What is included in the handout? A resource list and suggested follow the leader (call and response) techniques will be included. Is there anything else you would like attendees to know about this clinic? n/a Biographical Information: CHRISTOPHER WEAIT is professor emeritus of bassoon at The Ohio State University where he taught from 1984 to 2006 and was twice honored by students. He was principal bassoonist of Canada’s Toronto Symphony for 17 years under directors Seiji Ozawa, Karel Ancerl and Sir Andrew Davis and appeared as a soloist with them, the Chamber Symphony of Philadelphia and with Keith Brion’s New Sousa Band. He also performed with Cleveland, Montreal, Ottawa and Columbus orchestras. He was visiting professor at the Eastman School and twice at Indiana University and has also taught in Argentina, Chile and Canada. His recordings are on the CBC, Crystal, d’Note, Innova and Lyrichord labels and he has published in the US, Canada, Britain and Europe. In active retirement he is publishing instructional material and music and is presenting master classes in schools and colleges. Sponsor: Fox Products Corporation

The Small Ensemble Project: Integrating Chamber Music into Your Curriculum

Charles Weise


	Clinician Name: Charles Weise Clinic Title: The Small Ensemble Project: Integrating Chamber Music into Your Curriculum Clinic Synopsis: The objective of the Small Ensemble Project (SEP) is to teach students the importance of practice and preparing their individual music for the large ensemble. The SEP was created to strengthen our program, improve our concerts through the work of indvidual students. The clinic will focus on: • Creation of project • How the project is run • Outcomes/Objectives • Troubleshooting What is the target audience for this clinic? The primary audience for this session will be secondary band and orchestra directors. What will the audience take away from this clinic? Audience members will leave with ideas and approaches for implementing small ensemble music into secondary perfomance ensemble classes. What is included in the handout? The handout will include materials created for the project, including students' worksheets, student evaluations, and project descriptions and timelines. Is there anything else you would like attendees to know about this clinic? Coming to rehearsal unprepared is possible in the large group setting, but when performing in a small group, students must be prepared! The SEP helps students understand the level of preparation needed to be a strong, viable member of the large group ensemble. Biographical Information: Charles Weise is a graduate assistant at Penn State University, and is on leave from Farmington High School in Farmington, MN where his responsibilities include concert bands, lessons and music theory classes. In addition, he co-directs the Tiger Marching Band and directs and arranges for the winter drumline and percussion ensembles. Charles is a member of several professional organizations, including MENC, MMEA, NBA, CBDNA and MBDA (MN Band Directors Association), where he serves as the South-East Regional President and chairs the Young Band Literature Session. Charles holds Bachelor of Arts degrees from the University of St. Thomas in both Music Education and Music Performance.

The Care and Feeding of the Emerging School Jazz Program: Tips and Takeways for Sonic Success
Glenn Williams

Sound, Technique and Vocabulary: The 3 Pillars of Practice for Jazz Students

John Wojciechowski


	Clinician Name: John Wojciechowski E-mail Address: jwojo2@gmail.com Clinic Title: Sound, Technique and Vocabulary: The 3 Pillars of Practice for Jazz Students Clinic Synopsis: This clinic is a one hour presentation that helps students to focus their practice on three areas crucial to successful jazz performance: sound production, technique (language of music) and vocabulary development (learning the "jazz language.") As a high school jazz educator as well as an extremely active professional jazz saxophonist, I can offer a unique perspective to other music educators and give them some tools to help their students focus their practice to become better Jazz improvisors. What is the target audience for this clinic? Jazz Band Directors and College Students (particularly those who don't have a background in Jazz performance.) What will the audience take away from this clinic? Attendees will take away some specific practice tools to improve both Jazz improvisation as well as general wind instrument technique. What is included in the handout? -Sound Exercises -Scale/technique patterns and formulas for practice -Tips and techniques for learning Jazz vocabulary Is there anything else you would like attendees to know about this clinic? Like dieting, there is no "magic pill" to becoming a Jazz improviser. However, with focused practice, students can begin a journey of self-discovery that will lead them to becoming better musicians and improvisers. Biographical Information: John Wojciechowski teaches and performs in the Chicago area. As a saxophonist, John has performed or recorded with The Chicago Jazz Orchestra, The Woody Herman Orchestra, The Chicago Symphony Orchestra, The Detroit Symphony Orchesta, Clark Terry, Charlie Haden, and Kurt Elling. Besides being an active performer, John (a National Board Certified Teacher) has taught at the public school as well as university levels. He is currently on the music faculty at St. Charles North High School in St. Charles, Illinois where he teaches Jazz Bands and Music Theory. His groups have performed at the IAJE Conference, Midwest International Band and Orchestra Clinic and the Illinois All-State Music Educator’s Conference. In addition to his public school teaching, he has also taught at Northern Illinois University as well as Northwestern University. Sponsor: Conn-Selmer

Percussion Revolution
She-e Wu

From ADD to OHI to the IEP: Music Therapy Techniques to Build Success in your Instrumental Programs

Jay Wucher, John LaForge, Amber Weldon-Stephens


	Clinician Name(s): Jay Wucher, John LaForge, Amber Weldon-Stephens Clinic Title: From ADD to OHI to the IEP: Music Therapy Techniques to Build Success in your Instrumental Programs Clinic Synopsis: The session will focus on the use of Music Therapy techniques to aid in the instruction of instrumental music students. Specific instructional modifications will be discussed and demonstrated. In addition, there will be information made available regarding the implementation of music therapy in a public school setting. What is the target audience for this clinic? Instrumental Music Teachers/Administrators What will the audience take away from this clinic? Participants will learn about various disabilities commonly found among public and private school students. Challenges facing the music educator as well as parents’ perceptions of successful participation in instrumental programs will be discussed and practical strategies explored. By understanding these disabilities and becoming better equipped with teaching techniques and resources, we hope participants will be able to more fully engage and enrich students with disabilities in their programs. What is included in the handout? The handout will include specifics about various disabilities commonly found among students who attend our schools, targeting teaching strategies to work with these students and resources available to help assist in the teaching and learning process. Is there anything else you would like attendees to know about this clinic? Fulton County Schools has had a Music Therapy Program in place since 1990. During that time the staff has grown from one person to 10 Music Therapists who serve special needs students pre K through 12. The staff regularly serves as a resource to General Music, Choral and Instrumental Teachers in the School System. The Music Therapy Department is the largest in the nation serving over 50 schools weekly. Biographical Information: Jay Wucher, Coordinator of Music Education, Retired, Fulton County Schools John LaForge, Coordinator of Music Education, Fulton County Schools Amber Weldon-Stephens, Lead Music Therapist, Intern Director, Fulton County Schools

Top Tips for Improved Timpani Tone
Mark Yancich

Music Outreach -- More Urgent Than Ever. Old and New Approaches, Including El Sistema.
Richard Young

All clinics are tentative and subject to change

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