EISENHOWER HIGH SCHOOL ADMINISTRATION Mrs. Nanette Chesney, Principal

Mr. Robert Enne, Assistant Principal Mr. Ken Marnon, Assistant Principal Mr. Scott May, Assistant Principal

INSTRUMENTAL MUSIC BOOSTER EXECUTIVE BOARD Flory Morisette, President

Jennifer Sachs, Vice President Kathy Lang, Treasurer

Sue Swartz, , Secretary Liz Stark, Fundraising

Lawanda Parker, Instrumental Music Director Christopher M. Traskal, Instrumental Music Director

UPCOMING INSTRUMENTAL MUSIC EVENTS 01/7/16 — Jazz Ensemble Concert (7:00PM, EPAC)

01/19/16 — Instrumental Booster Meeting (7:00PM, ECC) 01/30/16 — MSBOA District 16 HS Solo/Ensemble (Rochester HS) 01/30/16 — Jazz Ensemble at Dearborn/Ford Arts Center (DPAC))

02/02/16 — UCS Eisenhower Cluster Concert (TBD, EPAC) 2/04/16 - 2/06/16 — CMU Jazz Festival (Mt. Pleasant, MI)

02/10/16 — Ike Pre-Festival Concert (TBA, EPAC) 03/10/16 - 03/12/16 — MSBOA District 16 Band Fest. Window (TBA)

03/19/16 — MSBOA State Solo/Ensemble Festival (TBA) 03/30/16 — MSBOA State Jazz Festival (Eisenhower HS) 04/16/16 — IkeBands Dinner Auction (Shelby Gardens)

04/19/16 — Instrumental Booster Meeting (7:00PM, ECC) 4/28/16 - 5/01/16 — Florida Trip! (Orlando, FL)

05/12/16 — Spring Instrumental Music Concert (7:00PM, EPAC) 05/31/16 — Instrumental Booster Meeting (7:00PM, ECC)

06/11/16 UCS Graduation — (1:00PM, Palace of Auburn Hills)

WWW.IKEBANDS.COM

Now you can follow the Ike Bands on Social Media!! Please use the following sites to get all the latest info on what is going on in the Eisenhower Instrumental Music Program!

TWITTER: @Ikebands

FACEBOOK: www.facebook.com/ikehsbands

The Eisenhower High School

Instrumental Music Program

proudly presents the

Concert band

Symphonic band

Wind Ensemble and the

“Marching Eagles”

WINTER CONCERT

7:00 P.M.

Thursday, December 3, 2015

Eisenhower Performing Arts Center

Lawanda Parker, Assistant Director

Christopher M. Traskal, Director of Bands

CONCERT BAND Military Escort (March)………..……..Bennett/arr. Larry Clark Ascentium………………………...………………….. Ed Huckeby Stone Mountain Stomp…………………..…..… Carl Strommen SYMPHONIC BAND The Trombone King (March)………….King/arr. John Paynter Loch Lomond……………..……………………….. Frank Tichelli Kinesis………………….………………..…..… Michael Sweeney WIND ENSEMBLE

The Washington Post (March)…………..…John Phillip Sousa Guest Conductor: Mr. Brett Bays October……….………………………………....…..Eric Whitacre Conductor: Mr. Christopher M. Traskal Incantation and Dance…...………..…… John Barnes Chance

MARCHING EAGLES 2015 Season in Review!

PROGRAM

Immediately following tonight’s concert, please join us in the EPAC Lobby for an afterglow!

THE WASHINGTON POST (MARCH) The Washington Post newspaper had been founded in 1877 as a four-page Democratic daily journal.” In 1889 the paper sponsored an essay contest for public school students, an incentive it unveiled under the name Amateur Authors Association. Sousa and the U.S. Marine Band were enlisted to play at the awards ceremony, which was to be held at the Smithsonian Institution on June 15, 1889. In the run-up to the event, the Post’s co-publisher, Frank Hatton, asked Sousa to consider writing a new march for the occasion, and the band leader consented, dedicating his new work to — and in fact naming it for — the newspaper itself. Although marches are typically thought of as being in simple-duple time (2/4 or 4/4 meter), they can just as easily be written in a more skipping compound-duple meter (usually 6/8). The Washington Post is of the latter variety, and the piece owes a good measure of its popularity to the fact that marches in 6/8 time were at that moment being pressed into use for the newly devised social dance called the two-step. In fact, The Washington Post became the prototypical two-step, which made it an instant international hit for both parade grounds and ballrooms. Notwithstanding its tremendous success, this march did practically nothing to enrich its composer. As with all his early marches, Sousa had sold this one outright to his publisher — in this case for $35. Not until he produced his march The Liberty Bell, in 1893, would Sousa strike a publishing deal that would ensure him ongoing royalties. OCTOBER From the pen of Eric Whitacre: “October is my favorite month. Something about the crisp autumn air and the subtle change in light always make me a little sentimental, and as I started to sketch I felt that same quiet beauty in the writing. The simple, pastoral melodies and subsequent harmonies are inspired by the great English Romantics (Vaughan Williams, Elgar) as I felt that this style was also perfectly suited to capture the natural and pastoral soul of the season. I’m quite happy with the end result, especially because I feel there just isn’t enough lush, beautiful music written for winds. October was premiered on May 14th, 2000, and is dedicated to Brian Anderson, the man who brought it all together. “ INCANTATION AND DANCE John Barnes Chance (1932-1972) was a American composer born in Beaumont, Texas. Chance studied composition with Clifton Williams at the University of Texas and is best known for his concert band works. Before he became a full-time composer, Chance played timpani with the Austin Texas Symphony Orchestra and later was an arranger for the Fourth and Eighth U.S. Army bands. Chance taught at the University of Kentucky from 1966 until his death in 1972. Consisting of two sections, Incantation and Dance is contrasting in both length and nature. Originally titled Nocturne, the Incantation is a short, mournful legato melody. Beginning on amisterioso flute note, instruments are gradually added until the feroce and fortissimo of the accented repeated triplets cast the final incantation. The Dance also begins quietly, but percussion instruments quickly enter, one by one, building a rhythmic pattern of complexity and drive. The entrance of the brass and winds creates an increase in the rhythmic tension, as the dance grows wilder and more frenzied. After a short variation of material from the Incantation, the beginning of the Dance section is once again represented by the percussion. The piece gathers force as the entire ensemble draws together for a dramatic and exciting conclusion.

PROGRAM NOTES

THE TROMBONE KING (MARCH) Karl King, circus bandmaster and march king, was born in 1891 and at the age of twenty five, wrote over 150 compositions and was conductor of the famous Barnum and Bailey Circus Band. Many of King’s compositions were written to commemorate and honor schools, colleges, people and special events. For example, Karl King played a huge role in gaining government support for music when the Iowa Band Law of 1922 was passed. This law enabled local communities to levy a small tax to support a municipal band. More than 40 states passed similar legislation, and King wrote The Iowa Band Law march to commemorate the event. The Trombone King was written in honor of Charlie Toops, a renowned trombone player and bandmaster in Ohio. As is true for any King march, the trombone part is full of energy and lots of notes! LOCH LOMOND At the time in Scottish history when "Loch Lomond" was a new song, the United Kingdom (which united Scotland, England, and Wales) had already been formed. But the Highland Scots wanted a Scottish, not an English King to rule. Led by their Bonnie Prince Charlie (Prince Charles Edward Stuart) they attempted unsuccessfully to depose Britain's King George II. An army of 7,000 Highlanders were defeated on April 16, 1746 at the famous Battle of Culloden Moor.

It is this same battle that indirectly gives rise to this beautiful song. After the battle, many Scottish soldiers were imprisoned within England's Carlisle Castle, near the border of Scotland. "Loch Lomond" tells the story of two Scottish soldiers who were so imprisoned. One of them was to be executed, while the other was to be set free. According to Celtic legend if someone dies in a foreign land, his spirit will travel to his homeland by "the low road" - the route for the souls of the dead. In the song, the spirit of the dead soldier shall arrive first, while the living soldier will take the "high road" over the mountains, to arrive afterwards.

The song is from the point of view of the soldier who will be executed: When he sings, "ye'll tak' the high road and I'll tak' the low road" in effect he is saying that you will return alive, and I will return in spirit. He remembers his happy past, "By yon bonnie banks ... where me and my true love were ever wont to gae [accustomed to go]" and sadly accepts his death "the broken heart it ken nae [knows no] second Spring again."

The original folksong uses a six note scale; the seventh scale degree is absent from the melody. The lyric intertwines the sadness of the soldier's plight with images of Loch Lomond's stunning natural beauty.

KINESIS Michael Sweeney studied music education and composition at Indiana University Bloomington. Sweeney taught five years in public schools of Ohio and Indiana, where he taught many concert, jazz and marching programs. Since 1982, he has worked full time for Hal Leonard Corporation in Milwaukee, Wisconsin and is currently Director of Band Publications. In addition, he contributes as a composer and arranger in all instrumental areas. Sweeney is particularly known for his writing at the younger levels for concert and jazz bands, and has over 500 publications to his credit. His works appear on numerous state contest lists and his music is regularly performed around the world. An ASCAP award-winning composer, his "Ancient Voices" (1994) and "Imperium" (1992) are analyzed in music education texts from GIA Publications.

PROGRAM NOTES CONCERT ETIQUETTE

A performer's intense concentration can be interrupted by little things that may seem trivial to audience members. The following suggestions will help audience members show respect to the performers on stage as well as other members of the audience. This will help the performers to do their best. When To Applaud - Performers always appreciate applause, but there are appropriate moments to applaud. In a multi-movement work, applaud after all movements are completed. This allows the continuity of the piece to flow from one movement to the next. “Hooting and hollering” is not appropriate in the concert setting. Arrival Time - Leave early and allow enough time for parking and traffic. If you do arrive late, wait by the doors until the first piece (not just a movement) is finished, then discreetly take the nearest seat available. Entering and Exiting the Auditorium - Never enter or exit the auditorium during a performance. If you must enter or exit, please wait until the performance on stage has been completed. The most appropriate times to move about are during audience applause or set changes. Talking - Talking should not be tolerated. It is not only distracting to the performer, but to every person in the audience. It is just plain rude to talk (even whispering can be heard) during a musical performance. If someone around you is talking, ask them nicely to please stop. Other Noises - Avoid rustling your program, tapping your foot, bouncing your legs, etc. Pagers and cell phones should be turned off. Watches set to beep on the hour should also be turned off. These high-pitched beeps are distracting to the performers and audience members. Coughing - It is hard to avoid a spontaneous cough. Be prepared with some type of cough drops or candies. Avoid cellophane wrappers. Many come with a soft wax-paper wrapping that will be much less noisy. Taking Pictures - Refrain from taking any photographs during a performance. The click of a camera and especially the flash are very distracting. Pictures should be taken after the performance. Children - Children need exposure to good music and live performances. If your young child begins to get restless in the middle of a performance, it may be best that you exit the auditorium until calmer times prevail. By following basic edicts of respect and consideration, performers and the audience will have a more pleasurable and meaningful experience as they perform and attend live concerts. Because they have worked so hard for their performance, the students on stage deserve to be treated with respect.

Thanks to all that have been using the Kroger Community Rewards Program to benefit the Eisenhower Instrumental Music Boosters. This program benefits the students of the Eisenhower HS Bands by allowing our organization to receive 5% of your total purchases at Kroger Stores. EVERYONE MUST RE-ENROLL EACH

APRIL in order for our organization to keep receiving funds from Kroger.

Kroger has assigned the Eisenhower Instrumental Music Boosters a NPO number of 83249 (you will need this number to register your Kroger Plus Card). There are basically two steps to registering. Follow the directions below to get enrolled and start benefiting the Eisenhower Instrumental Music Boosters!!

STEP 1:

Have your Kroger Plus Card handy and register online at www.krogercommunityrewards.com.

If you do not yet have a Kroger Plus card, they are available at the customer

service desk at any Kroger. You can get one there.

Click on Sign In/Register

Most participants are new online customers, so they must click on SIGN UP

TODAY in the "New Customer?" box.

Sign up for a Kroger Rewards Account by entering zip code, clicking on

your favorite store, entering your email address and creating a password, agreeing to the terms and conditions

You will then get a message to check your email inbox and click on the link

within the body of the email. STEP 2:

After clicking on the link in the email, click on My Account and use your email

address and password to proceed to the next step.

Click on Edit Kroger Community Rewards Information (on the right of the page)

and input your Kroger Plus Card number.

Update or confirm your information if needed.

Enter NPO number of 83249 (or name of organization) and select the Eisenhower Instrumental Music from list that pops up and click on confirm.

To verify you are enrolled correctly, you will see your organization's name on

MIITARY ESCORT (MARCH) An American Musical Icon, Henry Fillmore’s musical career spanned over fifty years. He continuously flooded the band music market, under several names. For easy band music, Mr. Fillmore used the name Harold Bennett. He used the names Will Huff and Al Hayes for band music of medium difficulty. For the more difficult repertoire, Henry Fillmore used several names: Gus Beans, Ray Hall, Harry Hartley, and Henrietta Hall! He probably wrote and arranged more band music than anyone in the history of the art. The introduction in “Military Escort” (called “the best easy march ever composed”) came from a march by Will Nicholson of Vallonia, Indiana. Fillmore bought the work for $35, revised the melody and harmony, added an additional 96-bars of his own material, and copyrighted the march in 1923 for both band and orchestra, using his Harold Bennett pseudonym. Designed for beginning groups, Fillmore was amazed when the manuscript was read by his Shrine Band, and the members proclaimed it one of his very best marches. The composer apparently did not realize that the open-tone cornet fanfares and low-brass melodies, as well as the repetitive “shave-and-a-haircut” rhythms, had been familiar to instrumentalists for centuries. Using these basic patterns, Fillmore produced an uncomplicated masterpiece which rises and falls in the band popularity polls but never disappears. According to Paul Bierley, “Military Escort” even outsold “The Stars and Stripes Forever” march for a period of about four years. A few years later, Sousa told Fillmore, “I wish that march had my name on it!” ASCENTIUM Ascentium was created to showcase the skills of both developing and more mature musicians, combing unique elements of syncopation and lyricism which both challenge and provide musical reinforcement for the performing ensemble. Commissioned by the Southwest Missouri Music Educators Association, this overture has a variety of musical content, from the opening pyramids and rhythmic motives through the flowing ballad to the closing woodwind trills. The excitement generated by the driving rhythms of the principal themes as well as the contrasting moods depicted in the lyrical middle section, make the piece enjoyable for both the performer and the listener. STONE MOUNTAIN STOMP Carl Strommen's contributions to band, orchestra, jazz band and vocal music make him one of the most performed composer/arrangers, nationally and internationally. His music is heard regularly in concert settings, television, and film. Mr. Strommen is in constant demand as a clinician and commission writer. His prolific and varied output has consistently earned him the annual ASCAP Standard Writers Award. A graduate of the City College of New York, Mr. Strommen keeps in touch with the academic community as an adjunct professor of orchestration and composition at the C.W. Post Campus of Long Island University in Brookville, NY. Mr. Strommen and his family live in Long Island and regularly spend extended family time in Denver and Boulder,

PROGRAM NOTES

Mr. Brett T. Bays: Brett T. Bays graduated from Utica High School in 1993 and received a Bachelor of Music education degree from Central Michigan University in 1999 and has been a music educator in Utica Community Schools ever since. Mr. Bays is in his 17th year as a UCS music teacher. His first year he taught 4th, 5th, and 6th Grade Strings and 5th and 6th Grade Band at 5 different UCS elementary schools. The next 7 years Mr. Bays was the Band and Orchestra Director here at Eisenhower High School. During his tenure at Eisenhower, Mr. Bays took the Band and Orchestra students to three Bowl Games where the students participated in marching, concert, and parade band competitions. In 2003,

the Eisenhower Marching Band received the awards for Best Drumline, Best Drum Majors, and Best Visual Concept in halftime show at the Gator Bowl in Jacksonville, Florida. The Marching Band participated in the Mt. Clemens and Detroit Thanksgiving Day Parades. Following his time at Eisenhower, he was the Band Director at Jeannette Junior High School for 1 year where he taught the Orchestra, Beginning Band, as well as the 7th, 8th, and 9th Grade Bands. Mr. Bays then taught 6th Grade Band for two years at 10 different elementary schools, before settling in at Monfort Elementary School where he is in his 6th year as the Music teacher. Mr. Bays currently resides in Utica with his wife, Deborah and 2 year old son, Derek. On behalf of the Wind Ensemble students and Mr. Traskal, we are pleased and honored to have Mr. Brett Bays guest conduct this evening!

GUEST CONDUCTOR

DID YOU KNOW… The College Entrance Examination Board found that students involved in public school music programs scored 107 points higher on the SAT's than students with no participation. - Profiles of SAT and Achievement Test Takers, The College Board, compiled by the Music Educators National Conference (2002)

U.S. Department of Education data on more than 25,000 secondary school students found that students who report consistent high levels of involvement in instrumental music over the middle and high school years show "significantly higher levels of mathematics proficiency by grade 12." - U.S. Department of Education NELLS88 Database

Dear Parents: Schedules and classes are now in full swing and we are focused on a solid curriculum certain to make a difference in the life of every student in our instrumental music program. We would like to share some ways that you can help support our program. Encouraging Parent. Competence is the result of dedicated “ time on task” . Music learning, music performance, and music appreciation are the outcomes of study, practice, and guided listening. With limited rehearsal time, it is imperative that students invest extra time in nurturing their talents and improving their skills. Please encourage a positive practice schedule. Remember that practice time must be framed as a benefit and not a disciplinary penalty. Loyal, Appreciative Audience. The best audience is always parents. You are faced with a full agenda in your personal and professional life, and you are challenged to adjust your schedule to accommodate every school function. However, your presence at our performances will mean more to your child than words can describe. Music is a family affair. Don’t miss this opportunity to celebrate your child’s talent. Booster Member. There are many ways to aid and participate in our parent support organization. Please join with other parents who realize the far-reaching potential of the arts and take advantage of the synergy created by sharing a common educational philosophy. The Eisenhower Instrumental Booster organization ensures the future of quality music education for your child and their fellow student-musicians. The music program in the Utica Community Schools continues to flourish because of a substantive curriculum, a well-informed and supportive administration, and exemplary parental support. You make a difference! Thank you for attending tonight’s performance of these exceptional students. We look forward to visiting with you in the near future. In the interest of your child, Lawanda Parker Christopher M. Traskal Instrumental Music Director Instrumental Music Director

Dave Springer and Jerome Hoppe for the PAC services and Audio/Visual produc-tion

Our Band Booster Parents for organizing the afterglows at the Winter Concert!

The Instrumental Music Executive Board for the time they have spent and all the support they have provided this year! Your efforts are noticed and appreciated!

Kathy Lang, Flory Morisette, and Sue Swartz for coordinating and distributing the concert uniforms.

Jennifer Sachs and all our other Concert Ushers .

CONCERT BAND

FLUTE Meaghan Ahlgren

Audrey Crews Katie Felker

Corina Marrone Amy Rozwadowski

Abigail Walsh

OBOE Seniha Rizvi

CLARINET

Talon Beech Katie Hurley

Zachary Komondy Grace Lovins

Christian Wanner Tiffany Watson

BASS CLARINET Courtney Sikora Joshua Stroven

TROMBONE

Eva Ausi Russell Cucchiara-

Besser Chad Demarais

John Medovarsky

EUPHONIUM Alex Grabowski

Marco Pietrantonio

TUBA Austin Mason

STRING BASS

Jacob Behounek

PERCUSSION Magnus Block Kyle Lemmons Rachel Ruble

Gowna Yaldiko

ALTO SAXOPHONE

Anna Davies George Feliciano

Kurt Snider

TENOR SAXOPHONE Matthew Holland

Mitchell Irwin Sean Lewis

Jason Lubinski

BARITONE SAXOPHONE Emily Galambush

TRUMPET

Kayla Bareis Keegan Johnson Karoline Tangen

FRENCH HORN

*Claire Lovins Savannah Merkle

Kayla Shaeffer

* Denotes Assisting Musicians ~ Denotes Member of the 2015 Oakland University Honors Band ^ Denotes Member of the Oakland Symphony Youth Orchestra

SYMPHONIC BAND

FLUTE /PICCOLO Paige Boor

Emily Davies Alexandria Fischer

Emma Rawsky Alexander Roy

OBOE

~Emily Wagner

CLARINET Jenna Harris Natori Houston Kelly Palmer

Emma Morisette

BASS CLARINET Robert Rider

TENOR SAXOPHONE

Brandon Klee

TROMBONE

Nicholas Hale Tyler Materna

John Medovarsky Gerard Roose

Gabriel Williams

EUPHONIUM Sydney Labon

TUBA

Luise Svinte

PERCUSSION Dante LaRocca Joseph Mona Michael Palys Rachel Ruble

ALTO SAXOPHONE

Gianmarco Delisi Collin Kasper

Chiara Kassau Lucas Komondy

BARITONE SAXOPHONE

Ryan Harrower

TRUMPET Stephen DeLadurantaye

Jason Francis Julianne Wilson

FRENCH HORN

*Claire Lovins James Lang

DID YOU KNOW...

Whether it is chorus, band, or just violin lessons, music impacts Americans’ lives. While singing in a chorus or playing an instrument is fun, it can also provide important skills like creative problem solving that can help lead to higher education and incomes as well as personal fulfillment. In a November of 2007 poll, researchers from Harris Interactive concluded that... One thing is clear, music education is an important part of people’s lives and it definitely has an impact on their later lives. It also prepares people differently as we see that those who had more music education are more likely to be better educated and also have higher household incomes. It is also not just music education in general, specific types of music seem to almost “wire” people to think slightly differently about their music experiences overall, as well as what they can get out of music education.

WIND ENSEMBLE

CONTRA CLARINET Jenna Harris

ALTO SAXOPHONE ~Gina Dlugosielski

Nick Hofer +Antonio Segura

TENOR SAXOPHONE

Lucas Atallah Jamie Beck

BARITONE SAXOPHONE

John Novak

TRUMPET Silvia Aluia Nick Gjelaj

Angelica Phillips William Shinsky Bridgette Tepper

FRENCH HORN

Sophia Khan Claire Lovins

Sabrina Pacitto Amelia Viar

TROMBONE Joseph Elliott

Christina Hayward ^Stephen Ogden

BASS TROMBONE

K.C. Rinke

EUPHONIUM William Tschirhart

TUBA

Steven Taormina Montrache’ Young

STRING BASS +Megan Stark

PERCUSSION *Magnus Block

Samantha Brown Michael DiGiovanni

Aaron Decker Justin Gura

*Michael Palys Rachel Ruble

FLUTE/PICCOLO

Kayla Bareis ^Hannah Kadets

Abbey Lovins Sara Polanco

Jacob Saia ~ ^Brontë Spondike

OBOE

Kellie Hurst *Emily Wagner

BASSOON

Connor Cummins Catherine Galambush

CLARINET

Adriana Delisi Natori Houston Mia Paliewicz

+Kendra Sachs Abigail Visnaw

BASS CLARINET

Jenna Harris Keith Moore

* Denotes Assisting Musicians ~ Denotes Member of the 2015 Oakland University Honors Band ^ Denotes Member of the Oakland Symphony Youth Orchestra

+Denotes Member of the DSO Civic Ensembles