The CLARION - WSMTAThe CLARION - March, 2005 - Page 3 as well. Plan to take in all or even part of...

The CLARION - March, 2005 - Page 1

The CLARION Official Bulletin of the Washington State Music Teachers Association

Volume LVII, No. 6 66666666666666 March, 2005

PRESIDENT’S CORNER

by Debra Florian

Spring is on the way! And that means that many wonderful oppor-tunities are rapidly approaching! Currently, our adjudications season is in full swing. Students and teach-ers across our state have spent count-less hours mastering and polishing music for this event. My best wishes are with each of you who will be par-ticipating in this valuable educational program. And certainly we all wish to extend our gratitude to our gifted adjudicators for their willingness to be of assistance to us and to our stu-dents. It is my hope that all will en-joy and benefit from the adjudica-tions experience this spring. Your Education Board and Board of Directors met at the end of Jan-uary. These dedicated leaders effect-ively worked through the agenda of challenges and opportunities current-ly facing our organization. I want to personally thank each and every one of our board members and commit-tee chairs for their integrity, sense of purpose and commitment to their re-spective duties. Each one plays such an important role in the strength and vitality of WSMTA. The MTNA Northwest Division Performance Competitions were held at Whitworth College in Spo-kane in January. Many Spokane Chapter members and WSMTA lead-ers were on hand to help facilitate the event. Special thanks to Dr. Judith Schoepflin, Margee Webster, Mary Simpson, and all those who contri-

buted to the success of the competi-tions. We were very proud of our state’s entries, and will eagerly sup-port those who were selected to ad-vance to National. Speaking of which…I hope you are making your plans to attend the National Conference in Seattle on April 2-6. We are so fortunate to have a conference of this caliber pre-sented so close to home! Many of our esteemed Washington colleagues will be participating as session presenters, panelists and monitors. It will be an outstanding conference, so treat yourself to a time of professional re-newal.

(continued on Page 2)

BRAVO!

2004 MTNA Composition Competitions & Awards

The 2004 MTNA Composition Contest has successfully been com-pleted. There were a total of ten en-trants in the four categories. All win-ners and state representatives (state representatives are those where there was only one entrant in a category) are advanced to the District Competi-tion. The state representative in the elementary category is Benjamin Davis with his Night Sky Suite. His teacher is Sharon Van Valin. The jun-ior winner is Tommy Pauly with his Impressions of Light. His teacher is Dr. Merilyn Jacobson. The senior winner is Zachary Bernstein who wrote Star Music. His teacher is Mary Reynolds. The state representative in the young artist category is Carrie Droullard with her Two out of Five Rice Bowls. The judges for this year's competi-tion were Dr. Terry McQuilkin of Eu-gene, Gail Gross from Issaquah, and Bern Herbolsheimer from Seattle.

Dr. Steve Nehrenberg Composition Coordinator.

Northwest Division MTNA Performance Competition

Winners

The Northwest Division MTNA Performance Competitions, held at Whitworth college in Spokane the weekend of January 14-16, 2005, re-sulted in division titles for five (5) Washington state level competition winners! Competing with students from Alaska, Idaho, Montana, Oregon, and Wyoming, Washington’s entrants won in the Junior String, Junior Woodwind, Senior Piano, Senior Voice, and Young Artist Piano cate-gories:

Junior String Winner/Teacher Mikaela Holland/Ronald Patterson

Junior Woodwind Winner/Teacher Rebecca Holtgeerts/Iris Ingram

Senior Piano Winner/Teacher Charlie Albright/Nancy Adsit

Senior Voice Winner/Teacher Sarah Michelle Parnicky/Winnifred Ringhoffer

Young Artist Piano Winner/Teacher Kevin Kaukl/Dr. Robin McCabe

Mary Kaye Owen MTNA Performance Competition

Coordinator

(see Student Profiles on Page 3)

MTNA NATIONAL

CONFERENCE

Don’t forget to register for the MTNA National Conference, April 2-6 in Seattle. If you can’t attend the entire conference, plan to come for a day. All details about sessions, speakers, clinicians and concert artists can be found in the American Music Teacher. You won’t want to miss it!


WSMTA Contact Information WSMTA Executive Office Executive Manager: Judith Price 4904 Hilton Rd. NE Olympia, WA 98516 Phone: 360-459-4338 e-mail: [email protected] WSMTA Website www.wsmta.org or www.midilab.com

WSMTA Board of Directors President: Debra Florian 16725 Seminole Rd., NE Poulsbo, WA 98370 Phone: 360-697-1965 e-mail: [email protected] President Elect: Margee Webster 2246 S Rockwood Blvd. Spokane, WA 99203 Phone: 509-534-9678 e-mail: [email protected] Immed. Past President: Marilyn Linde P.O. Box 430, Granger, WA 98932-0430 Phone: 509-854-1583 e-mail: [email protected] 2nd Vice President: Mary Kaye Owen 11445 SE 185th Place Renton, WA 98055-4370 Phone: 425-228-8721 e-mail: [email protected] Treasurer: Patti Robertson 209 E Canyon Drive Kennewick, WA 99337-5824 Phone: 509-586-2219 e-mail: [email protected] District I VP: Dorie Guidon 3611 Knox Ave. Bellingham, WA 98229 Phone: 360-671-1337 e-mail: [email protected] District II VP: Kaycee Groom 16219 132nd Place SE Renton, WA 98058 Phone: 425-227-0339 e-mail: [email protected] District III VP: Marilyn Karr 25289 Chris Lane NE Kingston, WA 98346 Phone: 360-297-2461 e-mail: [email protected] District IV VP: Barbara Imbrie 2405 SE Meadowlark Dr. Hillsboro, OR 97123 Phone: 503-648-5715 e-mail: [email protected] District V VP: Diane Stober 117 N Franklin Ave. Wenatchee, WA 98001-2153 Phone: 509-663-7654 e-mail: [email protected] District VI VP: Onneta Adams 1516 Goethals Richland, WA 99352 Phone: 509-943-1758 e-mail: [email protected]

District VII VP: Karen Schaefer 37 E 26th Ave. Spokane, WA 99203 Phone: 509-624-1560 e-mail: [email protected] Adjudications Chair: Dianne Johnston P.O. Box 655 Kingston, WA 98346 Phone: 360-297-3972 e-mail: [email protected] Clarion Editor: Gary Alan Hind (see below) Education Board Chair: Marilyn Linde (see Immediate Past President) WSMTA Education Board Ed. Board Chair: Marilyn Linde (see Board of Directors) Ed. Board Member: Gladys Bath 57716 137th Place SE Bellevue, WA 98006 Phone: 425-643-4998 e-mail: [email protected] Ed. Board Member: Connie C. Hungate 7414 92nd Place SE Mercer Island, WA 98040-5808 Phone: 205-232-0117 e-mail: [email protected] Ed. Board Member: Colleen M. Hunter 2911 N 5th St. Coeur d'Alene, ID 83814 Phone: 208-664-0910 e-mail: [email protected] Ed. Board Member: Judith Schoepflin 614 E 21st Spokane, WA 99203 Phone: 509-747-906 e-mail: [email protected] Ed. Board Members, Ex-Officio Dianne Johnston (see Board of Directors) Linda Burger (Certification) 1629 E. Glass Ave. Spokane, WA 99207 Phone: 509-487-4346 e-mail: [email protected] Debra Florian (see Board of Directors)

The CLARION is published 9 times each year: Sept., Oct., Nov., Dec., Feb., March, April, May, and June. It includes membership news and announcements, and pertinent news of the Music Teachers National Association. Articles and informa-tion must be submitted before the first of the month preceding the pub-lication month.

Editor: Gary Alan Hind 20038 Lysir Ct. NE Poulsbo, WA 98370 (360) 697-2591 [email protected]

WSMTA Officers, Committee Chairs, & Chapter Presidents

Address Changes

Editor’s Note: ALL WSMTA mem-ber address changes should be sub-mitted to the Elecutive Manager. Address changes that appear in this column are only corrections to lists previously published in The Clarion.

MEMBERSHIP

Welcome New Members!

Edmonds Chapter Elliot Gray, student

Lewis County Chapter

Jeanette Trent

Lynden Chapter Gwynne Top

Mason County Chapter

Janna Wood

Moses Lake Chapter David Servias

Olympia Chapter

Diane Martin Svetlana Pancetovic

Pullman Chapter

Daniel Immel

Puyallup Valley Chapter Laurie Bruun

Snohomish County Chapter

Sada Watson

South King County Chapter Delores Anderson

Elena Spairring

PRESIDENT’S CORNER (continued from Page 1)

Our state conference chairs, Janice Smith and Barbara Miller, are putting together a wonderful confer-ence for us, to be held at Gonzaga University in Spokane this June. Our sessions with Nelita True are certain to be an inspiration and a delight; and the list of workshops and master classes will have much to offer all of us. As you put the finishing touches on your students’ performances for adjudications, give yourself a boost


as well. Plan to take in all or even part of these valuable conference op-portunities. Best wishes for springtime prom-ises of beauty, freshness and new growth! BRAVO!

(continued from Page 1)

Student Profiles

Northwest Division MTNA Performance Competition

Winners

Junior String Winner Mikaela Holland (13) began her violin studies at the age of 4 and now studies with Ronald Patterson, Professor of Violin at the University of Washington. Mikaela made her solo debut at age 10, performing the 3rd movement of Mozart’s “Turkish” Concerto in A Minor with Seattle Youth Sym-phony’s Classical Orchestra. Later that year she performed the entire concerto with the professional North-west Sinfonietta. In May of 2004 she was a featured soloist with the Seattle Symphony in a Discover Music concert, playing to a sold-out audience at Benaroya Hall. She also performed with the Bellevue Phil-harmonic in their Debut Concert for Young Artists. In January of this year, she was 1st Place Winner in the Coeur d’Alene Symphony Concerto Competition and will be performing as soloist with their orchestra March 11, as well as with the Eastside Sym-phony on March 13. Also in January, she was a winner in the Portland MetroArts young Artists Competi-tion, which earned her an orchestra engagement on April 22 at the Arlene Schnitzer Hall. Mikaela also plays in a string quartet through the Seattle Conservatory of Music and is in her 2nd season in the Seattle Youth Sym-phony Orchestra where she has advanced through all 5 levels. Junior Woodwind Winner Rebecca (“Becca”) Holtgeerts has played the flute for four years. She is in the seventh grade at Eisenhower Middle School in Everett, where she plays in the band and also the jazz band under the direction of Greg Metcalf. Becca has also played for two years in the Cascade Youth Symphony, and takes private flute lessons from Iris Ingram of Lake

Stevens. In addition to academic challenges, Becca enjoys volleyball, chocolate, and all kinds of animals. Senior Piano Competition Win-ner Charlie Albright (14), a sopho-more at Centralia High School is a student of Nancy Adsit and has been studying piano for 12 years. He was selected WSMTA’s top pianist in the 2003 and 2004 Senior Piano Division. Charlie has performed with five symphonies and was a 2003 prize-winner in the Northwest Chopin Festival. He was also the youngest of 24 pianists at the 2004 Texas Christ-ian University Cliburn Piano Insti-tute Young Artists Program.

FUTURE EVENTS

WSMTA

CONFERENCE 2005

June 27 - July 1, 2005 Gonzaga University

Spokane

The Extraordinary Career of Guest Clinician Nelita True

Part 5. SH Productions Company of Kansas City produced a series of four videotapes, "Nelita True at Eastman," featuring her performances, lectures, and teaching. These videos are cur-rently being seen on five continents. She has been the subject of feature articles in Clavier, The European Piano Teachers' Journal, and Piano Today. An interview with Ms. True appears

in the latest edition of James Bastien's "How to Teach Piano Successfully," along with interviews with the legendary Rosina Lhevinne and Adele Marcus. Ms. True has record-ed more than 100 works for Advance, Mark, Educo, and Academy Records.

Nelita True Trivia Question for March:

What things about how to practice do you wish that all incoming freshman piano stu-dents knew when they come to you for study?

Answer to February Trivia Question:

Which two practice methods does Nelita True still use today, that she learned from her high school teacher?

Slow practice & Practicing in Rhythms.

We can also use your ideas, sug-gestions and help! Please contact Conference 2005 Co-Chairs:

Barbara Miller 509-624-4998

[email protected] or

Janice Smith 509-467-8147

[email protected]

Master Class with Nelita True

(repeated from Dec.& Feb. issues)

We are still looking for students to perform and work with Nelita True at a piano master class during the 2005 Conference. Any interested teacher may submit an audition tape of their student. Please follow these criteria:

• Intermediate to Advanced Stu-dents

• One piece - 10 minute maximum performing time

• Audition must be on VIDEO tape - no audio tapes or CD’s will be accepted.

• Entries must be postmarked by- March 15, 2005.

Send to Barbara Miller 1 W Sumner

Spokane WA 99204


More Master Classes at the Conference

Other master class presenters at the Conference will be: Jody Graves, piano Jason Bell, strings Sandra Glover, voice Ann Yasinitsky, flute

For further information and to enter students, contact Conference 2005 Co-Chairs:

Barbara Miller 509-624-4998

[email protected] or

Janice Smith 509-467-8147

[email protected] ENRICHMENT

A IMTF Corner A

Will You “Toot Your Own Horn”?

“Tooting your own horn” was an expression my mother often used to describe someone who would brag about themselves or think they were better than others. It usually was not a very complimentary expression. How about “put your best foot for-ward”, or “let your light shine”? Does that sound more acceptable? We’ve been exploring ways to have a clear concise studio policy that we can present to prospective students and parents. Some of the policies that I have seen include something about the teacher. I guess you really call it advertising. A par-ent or student will want to know how you qualify as a teacher. So, you say, you have no degree, you are not cert-ified, and you do not perform? Find things to include that show you have been involved in music. Do you play for your church choir, or a school class? Have you had lessons or peda-gogy classes? If you belong to your local WSMTA chapter, then you have joined because of some connection to music, and by being involved you will be in the process of continually learning ways to teach music. As you write a few short sentences about your ability to teach, try to present yourself in a positive way. You may want to include just a little personal information as well, to

make you “user friendly”. One of the poli-cies had a nice “bio” of the teacher in-cluding some of his hobbies and inter-ests. This might let the parents know that he is the kind of teacher that would relate well to their children. Combine that with your goal as a teacher and you will be attractive to prospective students. It is pretty easy to insert pictures into documents on the computer now, (at least students can do it); maybe you could include a friendly looking picture with your informa-tion. I just heard that tip this week-end from a colleague who has been working on her policy. She has made it into a brochure format. Be sure to update your informa-tion from year to year. Teaching ex-periences, what you have done with your students, and classes or lessons you take all show that you are dedi-cated to this business of teaching. And if you are on your journey to be-coming a better teacher why not think about certification? It is just a goal that might be more easily ob-tained than you think. NCTM. People are always asking what that means, and when I tell them it generates a certain respect. Ideas or comments?

Jane Campbell, NCTM IMTF Chair

10610 86th St NE Lake Stevens, WA 98258

[email protected]

LOCAL CHAPTERS Chapter Spotlight

Tri-City

The Tri-City Chapter of WSMTA has over 70 members from Pasco, Kennewick, Richland, and the sur-rounding communities. Our chapter is committed to its teachers and stu-dents. We have many opportunities for teacher growth and student par-ticipation throughout the year. After our monthly business meet-ings, our members present programs geared towards different aspects of teaching. Among the programs this year, we have had Log Ins for Music Teachers, a survey of websites helpful for teachers and students; Duet Liter-ature Soundbites with snippets of many piano duets of varying levels;

and Certification, one member’s ex-perience with becoming certified, with information on how to start the process. We gifted ourselves at our December meeting with a visit from a physical therapist addressing pre-vention techniques for performance injuries. Each year we hold a chapter workshop. In October Sharon Clark from the Seattle Chapter presented Getting the Most from Yourself and Your Students. Each month, we also have a combination pedagogy/per-formance class for interested teach-ers. After we address a specified teaching topic, Dr. George Eason of our chapter works with 3-5 teachers in a master class. This is a wonderful opportunity for us to share our ex-periences and ask questions among ourselves, benefiting both ourselves and our students. Our students are highly involved. Over 525 students participated in our annual Music Fest in November. This combines both a Ribbon Festival and a Sonatina/Sonata Festival. In the next few weeks, over 400 students will participate in the WSMTA Ad-judications, in strings, voice, and piano. Chapter Student Recitals are held during the year, giving the stu-dents an opportunity to perform and hear other teachers’ students. Dr. Steven Spooner from University of Idaho hosted a master class for our students in January. Our Spring Awards Competition divides the stu-dents according to age category, with gold, silver, and bronze winners in each category. Each year we award 2-3 music scholarships for graduating seniors who will study music in col-lege. This year, we are initiating a summer music camp scholarship for high school students. If you are in our area on the sec-ond Tuesday of the month, we wel-come you to join us at our monthly meeting. MUSIC REVIEWS

E e NEW MUSIC e E Reviews by Gladys Bath

At the Beach by Linda Niamath, Frederick Harris Music, Elem. level, 16 pages, $4.75


The composer is a native of Van-couver, BC and her latest release proves that she is familiar with the life of the sea. Some of the titles of these imaginative 1-page pieces are: Hurry, Scurry, Little Crab, Into the Waves, Sandcastles, Beach Balls, Sea Urchin, Sailboats, and Lighthouse at Dusk. The music is very descriptive and the material has interesting rhythms, melodies and accompaniments. There are many beautiful illustra-tions by William Kimber. One page addressed to students is devoted to brief notes about the music. Another page describes for teachers the con-cepts and techniques to be taught in each piece. An American publisher would probably classify this book as lower intermediate—key signatures of 3 sharps and 4 flats are used and the music is quite busy. Several pieces require syncopated pedaling. Adults as well as children will enjoy this book.

No Worries, and Play It in Peoria, by Melody Bober, FJH, $2.50,intermediate.

These two pieces of sheet music are light-hearted and entertaining. Think right-hand tremolos in the high register, jazzy rhythms, chro-matic scale triplet patterns, lots of syncopation,----and fun. The texture of No Worries is much lighter than Play It in Peoria which uses many chords in both hands. Melody Bober has a couple of win-ners in these new releases. Enjoy!

Pattern Play, Create Your Own Music, Melody, Vol.1-A, by Forrest Kinney, publ. Two Streams Press, PO Box 1310, North Bend, WA 98045, 144 pages, and CD $29.95.

If you have always wondered how to teach students (or yourself) how to improvise and create your own mu-sic, you will be interested in this re-cent release. However, even if you are not interested in those specific goals, there is much to be learned from this book. It is a step by step manual combined with a collection of essays. The book opens with these words: “Imagine you couldn’t speak without reading aloud or reciting a book from memory. That, without print, you were as mute as a stone….If you are like most people who have learned to

play the piano, this scenario is, un-fortunately not hard to imagine.” The 5 chapters of this book are entitled Creating with Pentatonic Scales, Major Scales, Minor Scales, Blues Scales, and Looking Ahead. Included is the raw material for 32 pieces—each piece has 2 very short patterns to be learned or memorized. The player is then guided in com-bining and repeating the patterns to create an original composition. More specifically, on page 18 in a section called World Piece, the penta-tonic scale is used to make simple melodies. On pages 20 & 21 we find a left-hand pattern with 12 variations with instructions in putting hands together. The next page shows mel-odic variations in triplets and 16ths. The various fragments are combined in different ways to create evermore melodies and patterns. Another sec-tion titled China, shows patterns in 4ths that mutate. Other sections in this 1st chapter are titled Japan, Old Scotland, Healing Harp and Africa with melodies that represent the music of those cultures. Here the discussion centers on ways to take a tune like Auld Lang Syne and play it in many different ways by ornamenting the melody, changing the accompani-ment patterns, and changing the tune by adding 8th notes until you have improvised something entirely new. There are many pages of melodic and rhythmic ideas with ideas on how to combine and vary them when crea-ting your composition. Then we have a time-out in the form of an essay on patience and talent, one of many stimulating essays in the book. Kinney quotes Michelangelo “genius is eternal patience”, Einstein “I now am quite certain that I myself have no special talents. Curiosity, obsession and dogged endurance, combined with self-criticism, have brought me to my ideas”, Rousseau “Patience is bitter but its’ fruit is sweet” and Haydn who after 50 years of composing became very ill and prayed to be spared because “I finally just learned how to compose”. The accompanying CD by the author/pianist illustrates the ideas and directions found in the text. It can also stand alone as an attractive collection of piano improvisations. There is an index which correlates the page numbers and CD numbers.

This book is part of a series—two other books are in the pipeline. They are a companion book, Volume 1-B called Melody in Many Keys, and Vol-ume 2-A, Accompaniment with Chords. The author has been assisted in this project by Akiko Kinney . It has been difficult to describe this book but be assured that it is a practical and useful guide and at the same time, makes fascinating read-ing. I’ll close with a quotation by Beethoven who said, “Let every pers-on do that which is right, strive with all his might towards the goal which can never be attained, develop to the last breath the gifts which a gracious Creator has endowed him, and never cease to learn.” BULLETIN BOARD

x Musical Mirth X

Efficiency consultant’s critique of Schubert’s Unfinished Symphony:

1. All 12 violins played the same notes. This is unnecessary duplication. Their number should be cut.

2. For a considerable period oboe players had nothing to do. Their number should be reduced and their work spread evenly among other staff.

3. No useful purpose is served by re-peating with horns the passage that was already handled by the strings. If such re-dundancies were eliminated, the concert could be cut 20 minutes.

4. The symphony has two movements. Mr. Schubert should have been able to achieve his musical goals in one.

CONCLUSION: If Mr Schubert had paid attention to these matters, he would have had time to finish the symphony.

Important Information for

WSMTA Members

Have you ever had a question for the MTNA Staff, but didn't know who to contact? Did you know MT-NA has a Where to Turn Guide? This guide is available on the website at www.mtna.org/Where%20to%20Turn1.pdf. We encourage you to publish this useful tool in your local direc-tories to help all members get the answers they need as quickly as possible.

(see list on Page 7)

2004 WSMTA Conference

WSMTA President Debra Florian & Adjudications Chair Dianne Johnston enjoying a break from activities.

MTNA President Phyllis Piefer, Debra Florian, & Margee Webster looking on as past president Mary Jane Clarke presents the Honarary Life Member award to Carolyn Malnes.

Guest Clinician, internationally known teacher, lecturer, performer, and publisher, Marvin Blickenstaff chats with a Conference-goer.

Outstanding pianist Stephen Beus, 2003 MTNA Young Artist Piano Competition winner, and admirers.

Test driving a Fandrich piano.

Bellingham Chapter members & Conference Co-Chairs Lorraine Earle and Dorie Guidon, who did a wonderful job!



MUSIC TEACHERS NATIONAL

ASSOCIATION WHERE TO TURN GUIDE

The following is an alphabetical listing of departments at headquarters. You will find contact names, e-mail addresses and telephone extension numbers for each contact and/or department.

TELEPHONE EXTENSION Dial (888) 512-5278 or (513) 421-1420 DEPARTMENT +Extension E-MAIL ADDRESS

501(c)(3) Marge Bengel Ext. 229 [email protected] Assistant Executive Director

ACCOUNTING Marge Bengel Ext. 229 [email protected] Assistant Executive Director

ADDRESS CHANGES Tonya Schauer Ext. 236 [email protected] Membership Processing Assistant ADVERTISING SALES Lisa Zink Ext. 232 [email protected] Marketing and Public Relations Associate

AMERICAN MUSIC TEACHER Marcie Gerrietts Lindsey Ext. 234 [email protected] Director of Publishing

ARTS AWARENESS & ADVOCACY Marge Bengel Ext. 229 [email protected] Assistant Executive Director

ASCAP QUESTIONS & PROGRAMS Jenny Thomason Ext. 235 [email protected] Executive Assistant

AWARDS Jenny Thomason Ext. 235 [email protected] Executive Assistant

BOARD OF DIRECTORS Gary L. Ingle Ext. 226 [email protected] Executive Director

CERTIFICATION Melissa Curtice Ext. 237 [email protected] Membership/Certification Assistant

COLLEGE FACULTY FORUM Marge Bengel Ext. 229 [email protected] Assistant Executive Director

COLLEGIATE CHAPTERS Heidi Nienberg Ext. 245 [email protected] Meetings and Member Programs Associate

COMPOSER COMMISSIONING Jenny Thomason Ext. 235 [email protected] Executive Assistant

COMPETITIONS Linda Stump (719) 633-4820 [email protected] Director of Competitions

CONSTITUTION AND BYLAWS Marge Bengel Ext. 229 [email protected] Assistant Executive Director

CONFERENCES Jennifer Martin Ext. 224 [email protected] Director of Meetings and Special Projects

COPYRIGHT (Permission to reprint) Marcie Gerrietts Lindsey Ext. 234 [email protected] Director of Publishing

CORPORATE ADVISORY COUNCIL Gary L. Ingle Ext. 226 [email protected] Executive Director

DIVISION PRESIDENTS ADVISORY COUNCIL Gary L. Ingle Ext. 226 [email protected] Executive Director

DUES Elaine Donaldson Ext. 230 [email protected] Director of Membership Processing

ETHICS Gary L. Ingle Ext. 226 [email protected] Executive Director

EXHIBITS Brian Shepard Ext. 241 [email protected] Director of Marketing and Public Relations

EXPENSE REIMBURSEMENT Peggy Stites Ext. 228 [email protected] Bookkeeper/IT Services

FINANCE Marge Bengel Ext. 229 [email protected] Assistant Executive Director

FOUNDATION FUND Joan M. Reist (402) 488-0718 [email protected] Special Assistant for FOUNDATION Development

FOUNDATION FELLOW PROGRAM Joan M. Reist (402) 488-0718 [email protected] Special Assistant for FOUNDATION Development

GRANTS Judy Eitel Ext. 225 [email protected] Administrative Assistant

INDEPENDENT MUSIC TEACHERS FORUM Marge Bengel Ext. 229 [email protected] Assistant Executive Director

INSTITUTIONAL ADVISORY COUNCIL Gary L. Ingle Ext. 226 [email protected] Executive Director

INSURANCE QUESTIONS (General Liability) Judy Eitel Ext.225 [email protected] Administrative Assistant

INSURANCE QUESTIONS (Member) Robert H. Clarkson (800) 338-7148 [email protected] Insurance Agency

LOCAL ASSOCIATION MATCHING GRANTS PROGRAM Judy Eitel Ext.225 [email protected] Administrative Assistant

LOCAL ASSOCIATIONS Marge Bengel Ext. 229 [email protected] Assistant Executive Director

MAILING LIST RENTAL Peggy Stites Ext. 228 [email protected] Bookkeeper/IT Services

MEMBERSHIP NATIONAL CAMPAIGNS Heidi Nienberg Ext. 245 [email protected] Meetings and Member Programs Associate

PEDAGOGY SATURDAY Jennifer Martin Ext. 224 [email protected] Director of Meetings and Special Projects

PROFESSIONAL STUDIO SATURDAY Jennifer Martin Ext. 224 [email protected] Director of Meetings and Special Projects

PUBLIC RELATIONS QUESTIONS/INTERVIEWS Brian Shepard Ext. 241 [email protected] Director of Marketing and Public Relations


WSMTA Materials to Order

Price Quantity Cost Piano Syllabus, 2004 $13.00 ________ ________ Piano Syllabus, 1997 9.00 ________ ________ Voice Syllabus 4.00 ________ ________ String Exam .75 ________ ________ WSMTA lapel pin Silver on black 6.00 ________ ________ Student Record Forms 25 sheets 4.50 ________ ________ Statement Forms 50 sheets 3.25 ________ ________ Policy Pads 20 sheets 1.25 ________ ________ WSMTA Notepads 1.50 ________ ________ Theory Handbook 9.00 ________ ________ High School Credit Packet Free ________ Applied Music for HS Credit requirements Request for Credit Applied Music Study Report TOTAL ENCLOSED $_______ Send checks (postage and handling are included) made payable to WSMTA to: WSMTA, 4904 Hilton Rd NE, Olympia, WA 98516 Name _________________________________________________ Address _______________________________________________ City, State, Zip __________________________________________

The CLARION - Feb., 2005 - Page 8

The Student ClarionThe Student Clarion Teachers are encouraged to reproduce this section for distribution to their students.

MARCH 2005: First published in Sept., 2002, this publication for student musicians is being reinstated. Whenever space allows, this two-page insert will be included as part of the monthly CLARION issue.

P r e p a r i n g f o r P e r f o r m i n gP r e p a r i n g f o r P e r f o r m i n g

By Deirdre Bernhoft

Most people find performing in recitals and compe-titions to be the most nerve-wracking part of playing the piano. Almost everyone has an embarrassing perform-ance at some point in his or her piano career. Half way through your piece, with dozens of people watching you, your fingers forget which key to play next. Then you watch the piece you could play perfectly only a few min-utes ago disintegrate under your stumbling fingers. This nightmare is hard to recover from, but with the help of memory numbers you can get back on top of things. Not only can they get you back on track when disaster strikes, memory numbers are a good way to memorize your piece thoroughly. You also get a better idea of the structure of the piece. Here’s how to implement them: begin at the end of your piece and take the last few measures, from a suitable break. Label this segment ‘one’. Then take the next few measures before that, and designate them ‘two.’ Keep going back through the piece, putting memory numbers every few measures. Try to place them at slight breaks or the end of phrases. If the piece has recurring patterns, make the position of mem-ory numbers correspond between the similar sections. Then begin with memory number one, and memorize them one at a time. If you lose yourself during a performance, simply go to the next memory number and start there. Don’t go back: you’ll probably mess up at the same spot. Keep prac-ticing them right up to the performance, so they’re fresh when you need them. They also keep a piece maintained after you’ve learned it. Play through five memory num-bers a day, working on dynamics and phrasing, and the piece won’t slip away while you work on others.

When should you begin the memorizing process? Better early than late, as you can’t really start working on the musicality of the piece until it’s memorized. I had to have four pieces ready for a competition last April. One was done by Christmas, and the last wasn’t memorized until three weeks before the competition. Three weeks is too short! It’s certainly less nerve-wracking to have pieces solidly under your belt farther in advance. They are more polished if you have time to refine them, instead of wildly scrabbling to get them playable. Along with practicing memory numbers, play the piece straight through at least twice a week. Make anyone you can find sit down and listen to you, so you get used to having an audience. Practice the hands separately, es-pecially the left. You need to consciously know what the left is doing. Play as many different pianos as possible. Being able to adapt quickly to an unfamiliar piano is a valuable skill. When the performance comes, walk to the piano con-fidently. Don’t begin immediately after you sit down; hear how you want the piece to sound. Slowly take a breath, relax, and focus. The beginning and ending are vital to the overall effect. They are what introduce you to the audience and what your listeners remember. Above all - have fun. It’s too late to improve your piece anymore. Let go and enjoy yourself. If you mess up, don’t panic. Make up to the audience for any mis-takes by playing the rest of the piece twice as beautifully. When you finish, leave a little space before you stand. Acknowledge the applause with a real bow. Practice your memory numbers and your left hand. Focus on what you want to communicate to the audience through your piece, and the most nerve-wracking part of piano playing will become one of the most rewarding.

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The Double Interest Dilemma By Luna Stevenson

To all you high school and younger folks--- As you leave the land of bathroom passes and cafeteria ro-mances, you are leaving something else as well—easy access to a balance between academics and music. Throughout your life, the school band/ orchestra/ choir/ jazz ensemble has always been around the corner, eagerly recruiting students interested in music. At the same time, you encounter AP classes, Math Olympiads, Science Fairs, Literature Contests, and Theater tryouts. You love music and you are good at it, but you are also crazy about, say, Aeronautics. After all, you’ve juggled both successfully throughout your life, and all those stories of starving artists can scare you out of studying music alone (well, they scared me, at least). So, how will you manage to pursue all of your interests? Well, first of all, sort out your priorities. If the aero-naut in you wins, then focus on a bachelor of science (BS) degree and keep music as an extra curricular ac-tivity (play piano in a jazz band, for example). An-other option is cross registering. For example: stu-dents accepted to John Hopkins University’s liberal arts college (Homewood) can register for classes at Peabody Conservatory of Music, since they are both part of JHU. These music classes, however, will only count as electives towards your bachelor of arts (BA) degree at Homewood. Beware, however, that you cannot earn a bachelor of music (BM) degree by cross registering, which is a good plan if you clearly know that your dedication to another field is superior to your dedication to music. If your dedication to both is equally strong, then you can consider a double major or a double degree. There is a distinct difference between the two. When you declare a "major," your curriculum will include an emphasis in a particular area of study. Numeri-cally, a "major" is made up of about a quarter of your credits. Therefore, one forth of your classes will focus on that major. The other three-quarters are regular classes to round out your curriculum (for example, a calculus class for an English major). Within this frame-work, students can do "double majors," combining two liberal arts majors (one of which might be music). At the completion of the course, graduating students receive one diploma only, stating that they have earn-ed one liberal arts degree. Both majors are listed. At this point, I might as well mention "minors."

A "minor" is usually half the size of a "major” in terms of required credits in that subject area. Thus, in addition to the option of declaring two majors, most colleges will allow you to have a "major" and a "min-or." Again, you receive one diploma stating the major and the minor Keep in mind that someone pursuing music..for as a BA degree is studying it as an academic subject, not necessarily the practice of the art- this student would know the significance of Chopin’s works and how they revolutionized the musical world, but he/she may or may not know how to play any Chopin on the piano. This is where the BM degree comes in. A Bachelor of Music (BM) degree is far more specialized than a BA: its focus is typically on musical perform-ance. Unlike a BA program, three quarters of your classes will focus on your major, with only one fourth of your classes rounding you out. In a BM program, the word "major" refers to a mus-ical subject or performance area (clarinet, voice, com-posing, music theory, etc.). A "double major" for a music student in a BM program might be, say, piano and music history, as opposed to the generic major of music in a BA program. A BM is as good as any bachelor’s degree, therefore debunking the starving artist myth. You can apply to Harvard Law School with a BM degree from Julliard—it is as good as a BA degree majoring in pre-law. Therefore, don’t be afraid to throw yourself into a BM degree; it won’t limit your future in any way. Finally, if you are an awe-inspiring over achiever, winning the MTNA competition while your 1600 SAT score report arrives in the mail (ok, it doesn’t need to be that extreme), you may want to consider a double degree. These typically take five years to complete, and at the end you receive two diplomas- any combi-nation of BA, BS, and BM. This means twice as many classes compared to double major programs. Double degree programs exist in most colleges and universi-ties. Another option is attending a music conservatory and a liberal arts college at the same time (Peabody and Homewood, for example). But such is generally unnecessary, since you would be paying twice (cough) the tuition, and you would have schedule conflicts be-tween ensemble rehearsals and that special NASA demonstration. So, hopefully you have lots of time to consider all of your options carefully (unlike me, the procrastina-tor). I wish you all the best in balancing you interests after high school.

The Student Clarion – March, 2005


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