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Orchestra Sessions

Wednesday, December 14, 2016

A Conversation with James Kjelland

Dr. Kjelland shares his perspective on his personal journey from trumpet-playing band director to cellist, conductor, and university string pedagogue. By way of interview format, he will reflect on his inspirational teachers, the guiding principles behind his pedagogical approach, and a few trade secrets which have sustained his career. Practical teaching and playing tips as well as opportunity for dialog will be part of the presentation.

Pitch a Fit! Strings and Winds Use Vertical Intonation in Rehearsal and Concert

Karl Reinarz, clinician
The demo high school full orchestra will strive for the best intonation as we search for the most effective ways to tune short excerpts from Grade 2-6 Full and String literature. Reference notes teach the players to listen, to listen with purpose, to ‘adjust’ while playing, to learn some of the context of their part, and to decide which part is the current foundation. Their home practice improves, as they apply vertical intonation raising their level of scrutiny and accuracy.

Bowing Styles for the Ages: What are They? How Do I Apply Them?
Robert Gillespie, clinician
An explanation and demonstration of the most common bow strokes in the Baroque, Classical, and Romantic periods. The session will include examples of different levels of publishers’ graded music for each historical period, what the related bow strokes look like and sound like in the music, and how to rehearse a school orchestra to perform them.

Ann Arbor Huron High School Symphony Orchestra (Michigan)
Timothy Krohn, conductor

Lady Bird Johnson High School Forza String Orchestra (Texas)
Karen George, conductor

Cashman Middle School Chamber Orchestra (Nevada)
Kathryn Greene, conductor

Thursday, December 15, 2016

Latin Styles for String Orchestras
Victor Lopez, Becky Bush, and Tony Falcone, clinicians
Engage students with the exciting pulse of Latin rhythms that sound authentic in the string orchestra. The clave, or groove, is easy and exciting to teach to young string players. Come experience the various Latin styles and watch a live orchestra learn and perform this vibrant music.

Body Balance and Tone Production 

Brian Lewis, clincian
This session will focus on stretches for body preparedness and exercises to help develop optimal tone production. Participants are encouraged to bring their string instruments.

Orchestra New Music Reading Session
Hear the newest publications available for string and full orchestra performed live by the immensely talented Chicagoland Educator Orchestra. 

High School Orchestra Rehearsal Lab
David Becker, rehearsal technician
Texas Tech University (Lubbock)

Walton High School Chamber Music Society (Georgia)
Perry Holbrook and Sara Grimes, directors

L.V. Berkner High School Symphony Orchestra  (Texas)
and Canadian Brass
Craig Needham and Jason Schayot, conductors

Ed W. Clark High School Orchestra (Nevada)
Charles Cushinery and Eric Maine, conductors

Dulles Middle School Symphony Orchestra (Texas)
Sally Kirk and Theo Talley, conductors

Friday, December 16, 2016

Bowing Concepts for Musical Phrasing
Frank Lestina, clinician
String players are presented with many challenges when it comes to finding the right bowing to preserve the musical phrase. This is especially true when the note values are not consistent. Playing down bow for two counts and up bow for one count creates an opportunity for an accent which may not fit the musical idea. I will present specific examples in standard repertoire along with suggestions to allow for a musical phrase. The goal is simple, hear how you want the phrase to sound, find the best bowing option, and then (the hard part) listen to make sure you performed the phrase the way you heard it in your head. Too often, string players play with unwanted accents or allow their bow to dictate the dynamics and accents. It must be the other way around. Make the bow work to create the phrase.

Fourth Finger, First: Why the Order of Finger Introduction Matters
Sandy Goldie, clincian
Why does the order of finger introduction matter in beginning string instruction? Join us as we explore this question and compare differences between how many of the most popular string class methods approach initial left hand set-up and some of the world’s leading pedagogues in the private lesson setting (Galamian, Auer, Applebaum). Hear the results of an action research study indicating why starting with the 4th finger first may have many benefits for you and your students.

Viola Fingerboard Domination: Creating a Facile and Confident Left Hand 

Juliet White-Smith, clinician
We normally think of left-hand facility as quickly covering a lot of fingerboard real estate. Dexterity, however, comes from confidence in the proper mechanics. This session will present strategies that can be utilized at a variety of instructional levels to empower your viola section to “keep up with the Joneses”—the first violins. This hands-on experience will include a resource list for further exploration.

Middle School Orchestra Rehearsal Lab
Karel Butz, rehearsal technician
Beckendorff Junior High School (Texas)

Desert Vista High School Chamber Orchestra (Arizona)
Darlene Wedington-Clark, conductor

Dulles High School Honors Orchestra (Texas)
Michael Isadore, conductor

Chicago Youth Symphony Orchestras (Illinois)
Allen Tinkham, Michael Mascari, and Dana Green, conductors

Faubion Middle School Honors Orchestra (Texas)
Kari Zamora and Christine Glass, conductors

Saturday, December 17, 2016

Middle School Full Orchestra - Making it Work for Your School!!!
Sandra Dackow, clinician
Too often a full orchestra experience is postponed until high school. Both string students and wind/percussion students are shortchanged unless the foundation of full orchestra skills are established at the middle school level. A variety of scheduling strategies will be explored and team teaching models discussed. Tuning of Individual instruments, sections and the full ensemble is demonstrated, along with articulation and sound production for different instruments and sections. Achieving balance and blend will be explored. The differences between orchestral percussion technique and band percussion will also be demonstrated. A range of rehearsal techniques will be presented and discussed. Sources for literature will also be shared.

Southwest High School Chamber Orchestra (California)
Matthew Busse, conductor

View our entire Schedule of Events to find these sessions and more!