Thoughts of a String Educator

Greetings to VMEA 2011

2011-11-18T09:20:00.000-08:00

Greetings to all of my new friends at VMEA in Norfolk, VA. Welcome to my blog. This is a great way for me to communicate with my students, parents, colleagues, and friends. I use my blog to write my thoughts on music, education, the arts, teaching, citizenship, and a variety of other topics that are pertinant to my audience.

Thanks for checking it out and please drop me a note if you are looking around the blog. It is a great way to start a dialog and to communicate.

It was really a please to be at VMEA this week. Thanks to all at VASTA and VBODA for your amazing hospitality!

I look forward to hearing from you. Meanwhile, be sure to check out the youtube pages for D'Addario Bowed and NCSSMDistanceEd. Search my name under the uploads and I hope you find some content that you, your students, your students' parents, and others might be able to use. Be sure to check out the music theory lessons on the NCSSMDistanceEd site, too!

Best to all of you.
Peace.
Scott

My Friend and Colleague, Todd Miller

2011-11-01T04:43:00.000-07:00

This article is a reprint from the Cary News (NC) on Oct 18, 2011. It is an interview with my friend and colleague, Todd Miller. He is a real inspiration to me me and many others. You can see a bunch of his guitar pedagogy videos at www.thelessonroom.com, a site sponsored by the D'Addario Co. They are fantastic and this is a great tribute to a dedicated teacher.
Peace.
Scott

Education Matters:
Published: Oct 18, 2011 07:15 PM

Music teacher inspires students to follow their passion

by Anne Woodman
I received a great email recently from Apex High School senior Deanna Metivier. After taking teacher Todd Miller's Guitar I, Guitar II and Guitar Ensemble classes, she is now thinking about studying guitar and music in college.

After talking to many teachers over the years, it seems that affecting the life of just one student like Metivier can be incredibly satisfying and is often the reason people teach.

Miller, who teaches not only guitar but also orchestra and music appreciation, agrees. While growing up in Fayetteville, Miller said his band director, Dave Freeman, was a powerful influence.

Q: So Freeman inspired you to be a teacher?

A: I knew I wanted to be a musician at age 13 when I found the guitar. But I never saw myself as a public school music teacher. ... I studied music performance in college, taught private guitar lessons to 40 students, and had gigs three or four nights a week with pop and dance bands. But after having my first child in 1997 and trying to work nights and be a father, things started not to work so well. I got fascinated with the violin, viola, cello and bass and became a middle-school orchestra director. I loved it.

In 2007, I came to Wake County and served as orchestra director at both Apex and Wake Forest/Rolesville... a commute of 32 miles. I loved both, but I really wanted to become full time at one school. (Matthew) Wight (Apex principal) allowed me to start a guitar program and create a curriculum. He wasn't sure we would have enough interest. But that first semester, we had 137 students sign up for Guitar I.

Q: What do you cover in your music appreciation class?

A: In the past, I think music appreciation classes start on a path beginning with medieval music and take each period of music, which can be dry. Our textbook starts with fun pop music to get kids hooked.

I use something I learned in a Psychology of Music class while I was earning my master's degree at UNC Greensboro. I walk in, write on the board, "All peoples in all times in all places have engaged in musical behaviors." I say it, louder and louder, and then I play "Won't Get Fooled Again" by The Who.

I like a quote I heard, "Reading and math are the 'how' of our lives, but music is the 'why.'"

Q: How much do you use technology in your classroom to share musical concepts?

A: Technology is an incredibly positive tool. I have an iPhone, and it has been amazing. We can listen to recordings of songs we're working on, use it as a metronome or record our performances. Because I'm a floater and don't have my own room, the fact that we have Bluetooth, and I don't have to set something up every time I walk into a different classroom is great. I can set things up in less than a minute.

Q: What are some of the concepts you teach your guitar students?

A: I try to get across to my Guitar I students that if they can read music, it will open doors for them. Many guitarists can't read music, but that ability will help you go far. Part of guitar is accompaniment skills, and the grand finale of Guitar I is to go caroling around the school in groups of four or five.

I tell the students that now they are the family accompanist. Music is meant to be communicated.

Q: In all of the concern about whether we are teaching students enough math and science to be competitive in the global marketplace, is music getting lost?

A: I do feel our orchestra program is in jeopardy. I have no middle-school feeder now, and every child should be able to find out what their passion is and get to experience making great art. For a small percentage, it might even open their eyes and ears to what they want to do. I tell them that there are not enough music teachers. There is still work out there, if that is what they want.

I think people forget the value of liberal arts. You learn so many critical thinking skills. One reason Steve Jobs was so adept was because he understood thhttp://www.blogger.com/img/blank.gife artistic part of what he was doing and used critical thinking all the time.

Another thing Mr. Wight and I have discussed is the serendipity that happened with the guitar program. Kids we could not connect with were coming to school. They wanted to come to guitar class. Not everybody gets excited about science and math, and we have to give kids a reason to come to school. I think I was one of those kids. If it hadn't been for jazz band, I wouldn't have come to school.

I have found my dream job; it's a wonderful life, making music every day.

mail@agwoodman.com
© Copyright 2011, The News & Observer Publishing Company

'Wonder Women' showcases works by female composers

2011-10-22T08:12:00.000-07:00

'Wonder Women' showcases works by female composers: DURHAM – Composer Gwyneth Walker’s composition “Language of the Soul” will premiere in concert Sunday at the Nasher Museum of Art, but students in the N.C. School of Science and Mathematics string ...

Peace.
Scott

Mocha - from The Coffee Suite, by Craig Hanemann

2011-10-21T11:49:00.000-07:00

Friends,
Enjoy this video of the Richland Two, District Orchestra, playing a piece by my friend and Raleigh, NC composer, Craig Hanemann. It is the first movement of the "Coffee Suite," entitled Mocha.

Enjoy and have a great weekend!
Scott

Welcome to the 2011-2012 School Year!

2011-08-17T07:19:00.000-07:00

To the 2011-2012 NCSSM Orchestra:

Welcome to Orchestra at NCSSM. This is a fantastic community of musicians and scholars and I know that you will have a great time as part of this performing ensemble.

Here are all of the performance dates that you may need for the upcoming school year.
Please share this URL with you family and friends back home. I use my blog for sharing a variety of ideas and concepts that may not make it into our regular class time. I hope that you will get in the habit of checking it regularly.

Best wishes for a magnificent academic year!!

S Laird

NCSSM Orchestra Dates to Remember:

• Family Day Musical Performances September 10, 2011

• Alienor Harpsichord Event (Fine Arts Series) October 2, 2011 (End of Extended Weekend)

• Gwyneth Walker Residency – Mallarme Chamber Players

o Masterclass with NCSSM Strings, October 20-23

• Fall Orchestra and Chorale Pops Concert, October 30, 2011 2:00 PM

NC Honors Orchestra, Nov. 11-14

• Concerto Concert Auditions, November 28-29, after school ETC 140

• Nutcracker Dance Performance (Dance ensemble and Orchestra) Friday, December 9, 2011, 7:00

• Masterworks Concert, featuring NCSSM Orchestra and Chorale with Blacknall Church Choir
Feb 3, 4
o February 3, NCSSM, 7:00 PM
o February 4, 7:00 PM, Blacknall Church

• Student Art Exhibit, Opening: February 3, 6:00 – 7:00 PM
o Exhibit runs Feb 4-March 4
o Potential collaboration with Student Life (New World?)

• Winter Musical February 10-12, 2012
o 7:00 Show on Friday and Saturday
o 3:00 Show on Sunday

• Eastern Regional Orchestra, Feb 24-26, Concert: Feb 26, 3:00, NCSSM Host

• NCSSM Annual Concerto Concert, May 11, 2012, 7:00 pm

• NCSSM Chamber Music Recital – May 25, 2012, 9:00PM

FYI:
Feb 20-28: Mini-term
April 6-15 Spring Break/Easter
April 21: Prom
May 19-21 Extended Weekend
May 26-28 Exams and Memorial Day weekend (everywhere but NCSSM…)
June 2: Commencement

Billie Jean - Electric Violin

2011-08-08T16:26:00.000-07:00

Hey All -
Check this one out.
It is Julliard Student, Charles Yang on violin and vocals.
Really good stuff!
Scott

Friday Top Ten (Top 20?)

2011-08-05T08:31:00.001-07:00

Tom Ten Things I Will Miss About Interlochen

10. My Orchestra – in 3 short weeks, we have built a fine ensemble and community of young musicians. We have made some marvelous music and had a good time doing it. It is fun to be work hard and to be good!

9. My new community of musical colleagues – David, Lalene, Len, Rodney, Jim, Betty Ann, Liza, Jung Ho, Jarod, Jacey, Kelcey, and others. You have all made my time at Interlochen so rich. I have so much respect for each of you and look forward to continuing our relationship!

8. Sharing a one room cabin with my family - We have grown closer as a result of the proximity, without a doubt.

7. Coffee in the morning outside on the bench with Barbra – It is really nice to sit outside in the quiet of the morning and enjoy a cup of coffee!

6. Biking the roads of Northern Michigan every morning – I have really enjoyed the terrain, the wide berms, and the beautiful country-side every morning. What a great way to start a day.

5. A different lake at every turn- They are everywhere and they are all beautiful.

4. Picnics and "Nukem" Ball with my family in the evenings - Sunsets, games with the kids, picnic dinners, laughter, boats…

3. Ping Pong – Great fun with my boys and it doesn't cost a cent! Totally beats $40.00 for miniature golf.

2. Working in an environment where everyone is there for the arts first (ie: orchestra rules!) – I love teaching at NCSSM, but it is really a pleasure and nice change of pace to be in this all arts environment.

1.5 Concerts every night – It is so cool to go to exceptional music performances literally every day. And, such a broad spectrum: Jazz, classical, band, large ensembles, chamber music, solo performances, professionals, high school students, middle school students

1. My Interlochen routine – Wake up, 25 mile bike ride, check e-mail, lunch, rehearsal, dinner, attend a concert, home. Simple. Wonderful.

Top Ten Things I Can't Wait to Get Back To in North Carolina

10. Comfortable chairs in my living room – I just want a comfortable place to sit at the end of the day.

9. My own bed – A good night sleep is definitely not overrated!

8. My community of musicians and artists – (Phillip, Dave, Adam, Kathy, Evan, Willie, Craig, Betsy, Debbie, and others) I am so blessed to be around musicians and music educators that I respect so very much on a daily basis.

7. Places to go in my home to be alone – My wife calls my music studio my "spousal avoidance center." But, you know, sometimes a little space is a good thing.

6. Biking the roads and trails of Carolina – I love the terrain, the single tracks, my choice of bikes, clean biking gear, my bike shop, Duke Forest, the hills. You get the picture.

5. Fresh ground coffee in the morning with Barbra – That Cuisinart self-grinding coffee pot is always a highlight of getting home.

4. ESPN on the TV - Sorry. I am that shallow.

3. A quiet air conditioner (temperature controlled rooms) – I have really grown to appreciate quiet central air conditioning, having lived with fans and a super noisy in-window unit for the past three weeks.

2. My students at NCSSM - Best in the world: focused, smart, motivated, character and achievement oriented people.

1. My regular routine – I just have a great life. It has been fun to be away. I can't wait to be home.

Peace.

Scott

Thom Sharp's Nanigo with Solo Electric Violin

2011-08-02T09:22:00.001-07:00

Hey all -

For you string teachers out there: How about trying the tune based on West African rhythms called Nanigo, by Thom Sharp (Latham Music) with percussion section and electric violin? I did this piece at Interlochen last week and it was a huge success! This week, I will be doing his “Samba Me This” along with an improvised solo on soprano sax by my friend, David Kaye. Thom’s charts are really well done and can be performed with or without improvised solos. They almost all can can effectively incorporate electric violin. I encourage you all to take a minute and check out Thom’s stuff!

All the best.

Scott

Post Concert Report

2011-07-28T08:54:00.000-07:00

Short note today:
The concert went really well last night. I felt like my orchestra nailed all of the important point that we had worked on throughout our rehearsals. The visual contact with me was fantastic and the physicality of the ensemble was terrific. The piece with the percussion section and electric violin was an exciting finisher!

Congratulations to all of the musicians! This was a job well-done.

Today we begin work on a new program that will include works by Hindemith, Tchaikovsky, Reed, Haydn, Sharp, and Hofeldt.

Can't wait to get started!

Peace.
Scott

Concert Day!

2011-07-27T07:58:00.001-07:00

It is Wednesday, July 27, 2011 and I have my first concert performance today at Interlochen Summer Music Camp with the Intermediate Concert Orchestra. It has been a great 9 days of teaching and rehearsing and I can truly say that my ensemble is ready for their performance. We finally had a rehearsal in the hall yesterday and it really changed the way that the musicians and I heard the ensemble.

If I am honest, the rehearsal in the hall didn't start out the way I had hoped. I thought that we would run the program, hit some spots, and run the program again. As it turned out, I think the ensemble was a bit overwhelmed by the room, the anxiety of the first performance, and 5 or 6 of their instructors out in the hall, watching the rehearsal, taking notes for me. All of those factors, put together with the general fatigue that they are starting to feel led to a sup-par start. The kids were missing entrances, phasing tempo, missing bowings, and generally freaking out. I have to admit, I was surprised and a bit upset. As a result, I scrapped the "run-through" and just rehearsed. This proved to be much more productive and we were able to "right the ship" and salvage the rehearsal.

For my string educator friends that read this, I want you to know what we are playing and the things that we are focusing on. This is a middle-school group with musicians whose experience and ability ranges from quite high (my concertmaster is working on the Lalo Concerto and many of the students are quite accomplished soloists) to students with very little experience in a serious ensemble with attention to watching, tempo changes, uniform bowing style, etc. I tried to program varied repertoire with lots of opportunities for expression and musicianship. We will start with the Latham Suite for String Orchestra, by Theron Kirk. In the March movement, we focus on "breathing" into beginning of phrases, short sixteenth notes on the hooked bowing, dynamic sustained notes, and energy in general. The Elegy 2^nd movement is an opportunity to really emphasize the importance of watching the conductor and huge changes in style within a movement (ranging from very sustained and sad to "incalzando" or "with fire.") I really stretch and tug the tempo in this one. It takes a huge amount of maturity and patience from each player. The final movement, Finale, is a syncopated dance that requires attention to rhythm and articulation from start to finish. Our second piece is Vivaldi's Concerto in G Major, arranged by my friend, Tom LaJoie. The kids will perform this work without a conductor and the focus has been on terraced dynamics, intonation, and moving with the music, leading from any and every chair. Next, we will do Percy Fletcher's Folk Tune and Fiddle Dance. This old string orchestra standard is one of my favorites. The Folk Tune is an opportunity to teach tempo, key, and meter changes within a movement. We have worked on phrasing, dynamics, watching, and many other ensemble techniques in this one. The Fiddle Dance is reminiscent of Copland's Hoe Down and is simply a blast to perform. Dynamics and drive are paramount in this movement. We will finish with Nanigo, by my friend Tom Sharp. It is cool tune based on West African rhythms. We will be adding a 7-piece authentic African drum section for this one. I will also be joining the group on my 5-string NS Design CR violin, soloing over the last section of the piece. This work starts out "piano" and builds throughout, ending with a huge fortissimo. This is great for teaching a tricky 2 against 3 rhythmic pattern in the context of a really fun work.

We have a short rehearsal this afternoon and a warm-up on stage right before the performance. I am rally psyched for the entire day. I know that it will be great fun. I am so proud of this ensemble. I often say that an ensemble has to do the rigor first. But, when that is accomplished, they then can release any stress and simply play from the heart. This group has done the rigor. I hope that they can play today with joy and expression without losing their attention to detail. I believe that is the key for this group of young musicians today. I know that I will enjoy the ride today, with the knowledge that we have prepared well.

I'll let you know tomorrow how it went!

Peace.

Scott

Unscheduled Family Time

2011-07-26T08:19:00.001-07:00

Sunday was my day off here in Michigan. So, we loaded the family into the car and headed North, to the Upper Peninsula and the Mackinac Bridge and Island. For those of you who are unfamiliar with the spot, it is where the Upper Peninsula of Michigan meets the mainland, connected by a 5-mile suspension bridge. The nearby island is an isolated bit of land where there are no motorized vehicles, plenty of bikes and horse drawn carriages, a magnificent state park, lovely hotels, and a variety of great shops and attractions. One can only get to the island by ferry. We had a wonderful day that included a beautiful 2-hour drive up North from Interlochen, A wet ride on the ferry to the island, exploring Fort Mackinac, sampling fudge in at least 6 candy stores, some great food, and beautiful views of the lakes, the bridge, and the terrain. We were also pleased to be joined by my music librarian for the week, Jacey, a grad student from UNCG who is working here for the summer.

I have been reflecting a great deal the last few days about how nice it is to have so much unscheduled family time while we are here. We had the opportunity to sign our younger sons up for classes while here. It is very tempting. The instruction is world class and the opportunities are all over the place for magnificent arts education. (Our oldest son is a day-camper and is having a fantastic time and a marvelous learning experience.) We, however, resisted the temptation to sign up for classes for the younger guys, placing more of a priority on the opportunity for unscheduled family trips, experiences, music-making, etc. I feel like such a huge percentage of our life is scheduled. We, like nearly all families that I know, have school, sports, church events, music lessons, and a variety of other scheduled commitments that keep us very non-spontaneous throughout any typical week.

The time that we are spending here, has been unbelievably refreshing as a family. We have spontaneously gone swimming, attended concerts, had jam sessions, run out to eat, gone sight-seeing, gone for walks, etc. At first, we noticed that it was a little hard for the kids. They had a hard time just getting up and going to do something that was unplanned. As the past week has worn on, they have gained some comfort in the process.

On Monday, we took the concept even a bit further. I had a morning rehearsal and the rest of the day was unscheduled. We decided to take a trip up the Old Mission Peninsula. This was quite possibly our favorite area that we have found here in Northern Michigan. A thin strip of land, surrounded on both sides by the Traverse Bay, the area is full of cherry orchards, vineyards, wineries, unbelievable bay views, a magnificent lighthouse at the northern end, and lovely homes situated on the water or on majestic farmland. Our day included a variety of impromptu stops, including wading underneath the lighthouse and picnicking and swimming on the western side at a great little public beach. Interestingly, our kids most enjoyed a little community park near Bowers Harbor Winery on the east side of the peninsula. They played soccer and created an impromptu game of tag that they could have played literally all day. My wife and I sat and ate cherries that we bought at a road-side stand, talked, and enjoyed the oncoming evening, watching our three guys enjoy each other's company. Life is good.

Yes – I believe that the unscheduled family time will go down as my favorite part of this experience. Don't get me wrong. There are lots of other great memories being created. We have seen superior concerts, I am loving my work with my orchestra, my son is having a great experience as a camper, and there are many others. But, the luxury of unscheduled family time is truly a treasure. I hope you all get a chance to experience it in your lives at some point as well. It doesn't happen often!

Peace.

Scott

Cycling at Interlochen

2011-07-21T09:06:00.001-07:00

One of the great opportunities that come with my schedule the next few weeks, is the opportunity to get on my bike each day in the morning. Over the past several months, my cycling habit has been a bit diminished due to a busy work and family schedule. (However, I will admit that I have been pretty committed to the elliptical machine in the gym at NCSSM.) I brought my Fuji Cyclocross Pro bike with me and it is perfect for the terrain at camp and off campus. I have encountered many dirt roads and the cyclocross bike just begs to turn onto them. It is perfect for both paved and dirt road rides.

Today, I went out on a beautiful 21 mile road ride that took me through some great wooded areas and ended up at Lake Ann, in Alvira, MI. Along the way, I saw some beautiful homes, great forests, fields of huge ferns, and a bunch of interesting looking general stores, shops, and other businesses. I was disappointed that I didn't find a public lake access to stop and enjoy the view. I had to enjoy it from the road – looking through the yards of the lucky folks that have homes right on the lake. It was a wonderful ride. Yesterday was the exploration of the circumference of Lake Green, which borders one side of the Interlochen campus. That ride had a combination of paved and dirt roads and a variety of stunning lake views. I am happy to say that I didn't get lost either day. (I will eventually! That is what GPS Apps on the Blackberry were designed for.) The circumference of the lake is about 10 miles, so I did it twice!

I am reminded again how great it is to be on a bike. It is so awesome to feel the wind in your face, to have your lungs burn a little bit on an ascent, to get the machine going over 30 mph (sometimes over 40 mph) on a descent, and to see an area up-close and personal. It is a great relief to get away from engines and motors and just generate the energy for travel. There is nothing quite like the feeling of happy exhaustion after a good, solid ride. One really feels a sense of accomplishment and peace.

I can't wait to find more lakes, towns, and sights from the back of my bike over the next several weeks. It will definitely get my head right for the beginning of the upcoming school year. Life is certainly good.

Peace.

Scott

Fantastic Kids, Hot Weather! (Practice and Perspiration)

2011-07-21T08:03:00.001-07:00

Today, a couple of words about my first two days of rehearsal at Interlochen:

First, I have really enjoyed getting to know my students and starting up with rehearsals. My orchestra is filled with serious string students that come into rehearsal ready to work each day. We have already "dug in" to a great deal of the literature that I have programmed for the first concert next week and I am really pleased with the level of musicianship and dedication to excellence that is apparent in the rehearsals. I know that it will be a rewarding musical experience for both me and the students. I can feel the community developing before my eyes and ears in only two rehearsals. Very exciting!

With that being said, the big story here, and across the United States, has been the incredibly hot weather. Each day that that I have been here has been hotter than the previous. Today was in the high 90's and the heat index has been well above 100 degrees. While my rehearsal space is absolutely beautiful, with a full view of Green Lake, it is unbelievably hot. Sure, we have the fans going and the windows all open. But, ultimately, as Cramer said so eloquently on the Seinfeld show so many years ago, "It's like a sauna in there!"

For those of you that know me, I sweat. There. I said it so you didn't have to. I sweat a lot. I sweat when I work out. I sweat when I am at work. I sweat when I am at home. Simply put, I pretty much sweat all the time. Well, in those 3-hour rehearsals in 100 degree heat, I am a soaking mess. At the first rehearsal on Tuesday, I had sweat through my nice light-blue oxford shirt (part of the traditional Interlochen uniform) in about the first 10 minutes of rehearsal. The kids had to wonder if I was going to be OK! It was really embarrassing. I could have literally wrung out my shirt and filled a small drinking glass with sweat following the rehearsal. I was riding my bike home after rehearsal and another faculty member, who I did not know, asked me if I had been in the lake! That evening, my wife and I went out to sporting goods store to buy some of those "dry-fit" golf shirts that keep the moisture away from your body and don't show the moisture nearly as much. It took some searching, but we actually found the "Interlochen Blue" (Pretty close to Carolina Blue) on a clearance rack for about $14.00 per shirt. We quickly bought all three that were left in my size!

Today, rehearsal was just as hot, but I was certainly dressed more appropriately for the temps. Amazingly, the kids hung in there for the entire rehearsal and gave it all they had. I am really impressed with them! And, I wasn't quite as much of a conversation piece as I had been the previous day. Tomorrow is supposed to be similar to today and the heat seems to be sticking around for a few days. Possibly right through the weekend and into next week. No worries though. I am really happy. This place is really special. The heat doesn't really bother me that much. It is so great to be in this arts community and rubbing elbows with teachers and students that are soaking up the environment for all it is worth in every second of every day. A little bit of perspiration can't put a damper on that!

I wish you all some good feelings in the midst of a good sweat this summer. For my friends in DC and NC, it is coming your way!

Peace,

Scott

Jorja Fleezanis Violin Recital

2011-07-21T08:02:00.001-07:00

On Tuesday, July 19, I attended a wonderful violin recital given by Jorja Fleezanis, accompanied by Karl Paulnack, at the Dendrinos Chapel and Recital Hall on the Interlochen Campus. Ms. Fleezanis is professor of music for the Jacobs School of Music at Indiana University and was formerly the concertmaster of the Minnesota Orchestra from 1989-2009. Mr Paulnack is a sought-after accompanist and performer with a resume much too long to list here.

The program included the Dvorak Romance, Op. 11, The Fountain of Arethusa, Op 30, No 1, by Szymanowski, Bartok's Sonata No. 2 , and, most notably, Beethoven's Sonata in G Major, Op 96. The entire program was fantastic! Ms. Fleezanis performed each piece with passion, depth, and artistic understanding. The Szymanowski, for me, was really cool. It provided an emotional rollercoaster that told the story of Arethusa through music and the interpretation was fantastic. But, as she began her performance of the Beethoven, I knew we were in for something special. Something prompted me to re-read her bio at the beginning of the work and I saw that she had recorded the complete Beethoven Violin Sonatas on Cypres Records with fortepianist, Cyril Huve, in 2003. It was simply magical. The depth of understanding and interpretation of this great work was palpable. She had such a clear vision of the work and its ups and downs, phrases, conversations, and direction. It was simply stunning and I was gripped from beginning to end of the work.

If you get a chance to see her in recital or pick up the recording of the Beethoven Sonatas, I high recommend that you do so! You will not be disappointed!

Peace,

Scott

It’s a Small World After All

2011-07-20T06:55:00.001-07:00

It is Tuesday morning at Interlochen and I am really itching to get started with my orchestra. Our first rehearsal is this afternoon at 2:00 and I just can't wait to meet the kids and hear what I will be dealing with for the next three weeks! That being said, I have a few thoughts about my experiences on Sunday and Monday as I have now gone through my orientation here and have begun to settle in to the camp.

I have always believed that the music education and string education communities are really not all that big and that much of what we do as string educators is relational at every level. That concept has been confirmed over and over in the past two days for me. It seems that everyone that I meet either shares mutual friends with me or mutual teaching situations. From the moment that I arrived here, I have met people that I could have been friends and colleagues with for years. We all really do inhabit the same community.

On our first morning here, my wife and I were enjoying a cup of coffee on our front porch and met a lovely woman, Emily, who was living beside us for only one night. As we struck up a conversation, we found out that she had a background in Suzuki, had been involved in Interlochen for over 50 years, and lived in State College, PA. As we discussed our mutual experiences in PA, Suzuki Circles, and even trips to Scotland, we found that we had an incredible amount of common ground and struck up a quick friendship.

At a faculty reception later that day, the Intermediate Band Conductor came up to me and said, "Hi Scott!" After a minute of confusion due to "different place, different time syndrome ," I realized that he is Len Lavelle, Band director at North Hills High School in Pittsburgh, whose wife is Sarah Lavelle, from North Allegheny High School in Pittsburgh. She is a trusted colleague and runs one of the really fine and largest orchestra programs in the Pittsburgh Area. North Allegheny happens to be my wife's alma mater as well. Len and I had a wonderful conversation and began to develop a new friendship on an entirely different level than before. We are clearly interested in the same things as music educators.

The list could go on and on. I have met many folks that know Chuck Eilber, a former Director of Interlochen Academy and the founding Director of NCSSM. I have met many folks that have worked with my friend and colleague from UNCG in String Education, Dr. Rebecca MacLeod. I have run into new colleagues that work with and know too many of my string education colleagues to begin to mention them all here.

I realize how fortunate I am to live and work in the field of music education and specifically string education. The relationships are so rich and the community is so loving and inclusive. I am also so aware of the responsibility of representing my fine string colleagues while I am here. In many ways, I, for these students, am the face of orchestral string music. I promise to represent you all with love, musicianship, and care. After all, this is a small community. We all seem to know each other in some interesting and important way. And, many of these students will be running into each other (and us!) for the rest of their lives. I want their memories of this experience to be rich – in the relationships, the music-making, the learning, and scholarship.

For now, we will endure another day of high-90's heat and work diligently to further the cause of classical orchestral music and the arts in general. Opportunities are everywhere!

Peace.

Scott

First Weekend at Interlochen

2011-07-20T06:22:00.001-07:00

Hi all.

In the coming weeks, I will be chronicling many of my experiences as a first-year faculty member at Interlochen Summer Arts Camp in Interlochen, Michigan. I am excited to be on the faculty this year and will be conducting the Intermediate Concert Orchestra during the second three-week session of the camp. I am also particularly pleased that my wife and sons could come with me. We are all staying in one of the cabins at the facility and my oldest son is attending the camp as a day-camper.

We arrived here yesterday after two days in the family van and an overnight with family in Pittsburgh, then a night in Ann Arbor, MI. As soon as we arrived at about 2:00 PM, we felt welcome and appreciated. We quickly received the keys to our cabin and obtained much of the information that we needed on our schedules, activities, and other details.

Today was spent getting our son situated with his camp details, scheduling his auditions, and setting up our home for the next several weeks. We even snuck in a swim in the beautiful lake that is beside the camp.

This evening, we were treated to a wonderful performance by the World Youth Symphony Orchestra in the famous Kresge Auditorium. The ensemble performed Eternal Vow from Crouching Tiger, Hidden Dragon and Internet Symphony No 1, "Eroica," conducted by the composer of the works, Tan Dun. Then, they performed The Rite of Spring, by Igor Stravinsky. The performances were fantastic and a great way for us all to get into the spirit of Interlochen. My children particularly enjoyed the Internet Symphony! We also really enjoyed the performance of the Interlochen Theme (the theme from Hanson's Symphony No 2, "The Romantic"). Following the Interlochen Theme, the audience departs the hall without applause. Very cool!

All in all, we are thrilled to be here and looking forward to the adventures that lie ahead.

Peace,

Scott

NS Design CR Series in Hotel

2011-07-16T05:04:00.000-07:00

Hey all -

Just a quick note to remind everyone how handy it is to travel with an NS Design CR Series Violin for practice in hotel spaces. I am on the road with my family - heading up to Interlochen, MI to conduct for a few weeks and my 14 year old son will be attending the camp. We spent a night in a hotel in Ann Arbor last night and he wanted to take a few minutes to run over his audition piece for orchestra and seating placement at the camp. We didn't want to disturb the other guests with his acoustic instrument, so I told him to plug his Ipod headphones into my CR violin. He practiced for about 45 minutes without bothering a soul and felt really good about his preparation.

It is easy to overlook this important feature of the CR series instruments. They sound fantastic in headphones and don't require any other hardware. All you need is a set of earbuds or headphones with a mini-plug and you are good to go!

I will be posted updates periodically from Interlochen over the next few weeks. So, look for more posts in the near future!

Peace.

Scott

Strings Without Boundaries

2011-06-29T18:26:00.000-07:00

Hi All.

On Tuesday, June 28, I was in Pittsburgh, PA, at Duquesne Universihttp://www.blogger.com/img/blank.gifty, representing NS Design at the Strings Without Boundaries Workshop. This is a great workshop each summer and I was really pleased to be there. As part of the day, I gave 3 presentations.

First, I had the opportunity to speak with the teacher-track students at the conference. This was essentially a Q and A session and we touched on the topics of recruitment for school programs using bowed electrics, the importance of good monitoring for dynamic performances, setting up electric ensembles, and the differences between active and passive instruments. Next, I gave an elective session for students on the nuts and bolts of amplification. Here, we covered some of the same topics for a totally different set of students. These included monitoring, speaker size, speaker placement, use of DI boxes and preamps and other amplification-related topics. Finally, I finished the day with an electihttp://www.blogger.com/img/blank.gifve session of effects-processing. In this session, we really got into the nitty-gritty of reverbs, time-based effects (delays, chorus, and flangers), filter effects (phasers and wah-wahs), harmonizers and pitch shifters, looping, and distortion. We covered a bunch of vocabulary and parameters of all of these great effects as well as practical uses of all of them. If you would like to see some of my sessions on effects, check out thelessonroom.com and search “electric violins”.

All in all, Strings Without Boundaries is a great event and if you are interested in expanding your improvising and alt styles skills, I highly recommend this event. Special thanks to Julie Lyon Lieberman and Stephen Benham for inviting me to be part of the faculty this year!

Peace.

Scott

Lamar Stringfield Haydn Orchestra 2011

2011-06-26T11:37:00.000-07:00

Here is a new video of me performing with the Lamar Stringfield Haydn Orchestra on Friday, June 24, at Meredith College ini Raleigh, NC. It is a great example of how electric bowed instruments can be incorporated into a tradition school program. Thanks, especially to Todd Miller, guitar, and Matt Vooris, drums. Enjoy!
Peace.
Scott

NS Design’s Instruments Electrify the Classroom

2011-06-26T09:57:00.001-07:00

Hi all -
The following article appeared on the NS Design Blog recently. I thought I would share it with you today.

Music educators across the country are discovering that electric stringed instruments offer a new, powerful way to engage young musicians. As the string education community has begun to embrace what it terms “alternative styles”—including jazz, rock, and many kinds of fiddling and world music—electric string instruments are attracting attention for their ability to play amplified without feedback, and their ability to incorporate electronic effects.

Teachers at the forefront of electric string education are quick to point out that the advantages of the instruments extend beyond performance settings. Amplification gives some students a new sense of empowerment, and for many, it clarifies the challenges they face with their playing technique. The process of creating and refining sound electronically requires students to think about aspects of music they would not need to consider with an acoustic instrument—a valuable means of engaging a generation already steeped in technology.

NS Design recently interviewed four different players, including educators who use electric instruments in their classrooms, as well as performers who use electrics to attract new audiences to the possibilities of stringed instruments in general. We are proud to work with these musicians, and we hope that sharing their perspectives will inspire other teachers and students to new musical endeavors.

New possibilities

For Scott Laird, who is Instructor of Music at the North Carolina School for Science and Math in Durham, NC, technology serves both as a pedagogical tool and as a focus of instruction, and NS Design’s instruments are a centerpiece of the classroom. Laird’s performance career has revolved around the electric violin and the technology associated with it. As an educator, he champions a “blended curriculum” of classroom instruction reinforced by online resources, such as D’Addario’s Web site The Lesson Room, to which he has contributed several videos. In his classroom, Laird says, electric instruments serve the dual purpose of facilitating performances that would not be possible with their acoustic counterparts, and engaging students in a more complex understanding of music.

Laird says that overcoming the amplification barrier is the biggest practical advantage to incorporating electric strings in an educational setting. In so doing, educators can remove the restrictions that often keep string students from trying jazz, rock, and other amplified genres.

“From a performance standpoint, it completely opens up what you can do with a bowed instrument because volume is no longer a limiting factor,” Laird said recently in an interview. “The great violinist in your school can play with the jazz ensemble.” In addition, NS instruments’ precise tone and volume controls of offer practical advantages in orchestrating student performances. “We use the NXT Bass to accompany the wind ensemble,” he said. “It lets us get just the right amount of volume and a really warm tone.”

But besides expanding performance options, Laird explains that electric instruments make students think about music in new ways. The precise control NS instruments offer over their output signal—and their ability to use electronic effects—requires students to plan and analyze the sounds they wish to create.

“Electric instruments ask students to think about tone quality as it relates to an adjustment knob, a reverb tail, a delay. These are questions that traditional string students normally don’t have to answer,” Laird said. “One of the main things teachers are called upon to do is encourage students to step out of their comfort zones.”

Scott Laird also sees an improvement in his students’ musicianship as a result of electric instruments’ tonality and interface abilities. “When you’re amplified, your mistakes do not get covered up,” he said. “Your inconsistencies from a technique standpoint are obvious. Kids can plug an electric violin straight into a laptop and record themselves playing a Bach Partita, and hear the subtle inconsistencies in their bow technique and intonation.”

Yvette Devereaux, a Los Angeles-based violinist, conductor, composer and educator, who performs on an NS CR-5, attributes a similar advantage to the electric violin. But she says that, in addition to offering students a clearer technical picture of their playing, electric violins empower students on an emotional level. As a teacher of younger students, Devereaux has a first-hand view of how playing amplified can help students overcome their insecurities.

“When a student tries an electric violin plugged into an amp, you get instant gratification,” she said. “Students hear all these undertones and overtones that they can’t get right away on an acoustic violin. The violin becomes not just a violin anymore.” Playing amplified also allows some students to understand their playing in a wider musical context. “Right away they feel like they’re part of a current situation,” she said. “They say, ‘oh wow, I can play this anywhere!’”

Inspiring from the Stage

Outside the classroom, a number of performers and organizations have used NS instruments to reach out to young audiences in performance settings. One such group, the Los Angeles-based Elevation Orchestra, is an ensemble that includes 17 string players (including several NS players) as well as a rhythm section of bass, drums, and keyboards. Targeting underserved urban audiences, the group strives to expand its listeners’ musical palates by applying classical string instrumentation to contemporary, pop-inspired compositions.

“The elevation orchestra was created to let everybody know that string instruments are not just for classical music, but are actually behind a lot of the big groups in pop music that you hear today,” said Ryan Cross, the group’s founder. “NS instruments help us kick that goal.”

The group has commissioned work from arrangers who have written for Michael Jackson, Alicia Keys, Earth Wind and Fire, and Stevie Wonder, among others. Cross and members Chris and Adrienne Woods performed at NS Design’s exhibit at the 2011 Winter NAMM Show in Anaheim, California—one of three annual international trade shows for music products, and the largest of its kind in the U.S.

NS Design has also worked with motivated performers to make instruments available for special events with significant educational impact. In 2010, the company loaned a quartet of instruments to the Colorado Symphony for a performance of George Crumb’s piece “Black Angels” at the Denver School of the Arts. Violinist Erik Peterson organized the performance and, with help from NS endorser Dr. Gregory T. S. Walker, arranged to let students try the instruments hands-on. Peterson said that the experience revealed the value of pursuing approaches to string education that might have seemed radical even in the recent past.

“To have that exposure was very good for them,” he said. “They were excited to hear the piece and excited to try the instruments. We can’t just approach string instruments in the way they were approached a hundred years ago. There are musicians and audiences for all different types of music.”

Catch the WAV

As part of an initiative to encourage the adoption of electric stringed instruments, NS Design has launched a pilot program, called “Catch the WAV”, to make its four-string WAV Series electric violin available through participating retailers at a special pricing to schools and educators. Educators who are interested in taking advantage of this program should contact their local NS Design dealer for assistance in finding a dealer contact. (To find a participating dealer, contact sales@thinkns.com .)

FL Studio Mobile

2011-06-21T11:01:00.000-07:00

"Get FL Studio Mobile"

Check out the new FL Studio Mobile. I love this product and use it all the time for production of songs, rhythm tracks, and for my Digital Music Production Classes.

Image-Line is pleased to announce FL Studio Mobile is now available from your local App Store. There are two FL Studio Mobile applications:

FL Studio Mobile: For iPhone & iPod Touch, G3 & G4 with Retina display support - $14.99 introductory and $19.99 later.

FL Studio Mobile HD: For iPad 1 & 2 - $19.99 introductory and $24.99 later.

FL Studio Mobile Out Now!

FL Studio Mobile is available in iPhone/Pod and iPad (HD) versions.

FL STUDIO MOBILE KEY FEATURES

Load and extend projects in the FL Studio desktop version
Resizable, stackable piano keys & reconfigurable drum-pads
Stuffed with FL Studio quality instruments, drum kits & loop files
99-track sequencer, Piano roll editor & Step sequencer
WAV, MIDI & FLM (project) import/export
iPad HD version, iPhone 4 Retina Display support
Compatible with the Akai SynthStation 25

Just go to the App Store and if you have an iPhone/iPod Touch FL Studio Mobile OR if you have an iPad FL Studio Mobile HD.

FL STUDIO MOBILE FAQ

What about Android OS? It's on the roadmap, stop nagging! We have a development team working on a low-latency Android audio-engine and there are many screen resolutions and device specifications to consider, it's not as simple as you may think :)

Does this mean FL Studio on Mac OSX soon? FL Studio Mobile is not a port of the Windows version of FL Studio. It is the product of a completely separate development team, and code, so FL Studio Mobile, while compatible with FL Studio has no impact on FL Studio development and vice versa.

Can I load my own samples? Not in version 1.0. We plan to enable user uploads in a future update.

Can I use VSTs? No, iOS does not support VSTs and frankly the devices it runs on don't have the CPU power to perform the synthesis you are used to on a desktop. FL Studio Mobile uses high quality sample based instruments made from Image-Line plugins and sample packs.

Give it a try!

Peace.
Scott

Commencement 2011

2011-06-07T06:51:00.001-07:00

Last weekend a busy one for me and all at NCSSM. We held our 2011 Commencement ceremonies on Saturday and then on Sunday, we held commencement ceremonies for our On-line students. My orchestra performed an awards ceremony on Thursday, Commencement on Saturday and then I played solo violin for the ceremonies on Sunday. I had a great deal of time at these events to think about the commencement season and what it means to me today. I realized that this year represented my 25^th year of commencement exercises for students. My first was in 1987 in Palmyra, PA.

Over the years, I believe that my perspective on commencement and its relevance to my life has changed drastically. Back in 1987, it represented the end of a first year of teaching and an opportunity to regroup and prepare for the next school year. I had graduate work to attend to and a bunch of things to figure out about teaching. As the 1980's progressed and into the 1990's, commencement came to represent the beginning of the summer and opportunities for windsurfing, beach trips, and camping. It was essentially the beginning of vacation. Later in the 1990's it came to represent closure. An opportunity to close the door on one year and prepare to, all too quickly, open the door on another. As the years have moved on, each has had its own significance, and over the years one starts to look a great deal like another.

One of the great challenges for a teacher of high school age students is to remember that each commencement is the most important one to the students in that class. They are proud of their accomplishments, excited for the challenges that lie ahead, and certainly, a bit apprehensive about the changes that are about to come in their life. I remember the magnitude of the event in my own life and I truly try, each year, to honor that crossroad and celebrate with my students both in my actions and in my thoughts. In doing so, I do feel that each commencement, for me, has been a bit more meaningful.

I want to take a minute today to share what commencement means to me this year. I have found in my reflection over the past week that I really want to be better. I want to be a better teacher. I want to be more scholarly. I want to plan more exciting lessons and be more inspiring. I want to be a better musical authority on the repertoire that I select for the various orchestras that I conduct. I want to be a better father, husband, colleague, mentor, and professional. There have been days over the years that I thought I had this stuff pretty much figured out. I have been teaching orchestra for a long time and have felt like I knew what I was doing. It seems the longer I do it, the more I realize how much I have to learn. I have come to realize that I can always be more "present," more in the moment. I can prepare more effectively. I can study more deeply. I can participate more fully in all of the activities that are necessary to success in this life. I have come to understand over the years that the only way that one can stay viable is to stay unsatisfied. I want more out of myself. I want to be ever-developing as a person, scholar, and musician. The only way to make this happen is through action. I have to continue to study, listen, learn, reflect, and implement new ideas into all that I do.

For my dear students in the class of 2011, (and all other classes that have gone before and will come in the future) I challenge you to continue to desire to improve. We can always do a little bit more, be a little bit better. I know that I haven't achieved all that I can yet. I promise that I will keep trying to get it right. I will keep working to achieve the little goals. For meeting the little goals leads to attaining the big ones! I challenge you to do the same.

To the class of 2011: I wish you all great success in college and in all that you endeavor in life. It had been a pleasure to be a small part of your life at NCSSM. You have enriched mine.

Peace.

Scott

Music Education Can Help Children Improve Reading Skills

2011-03-24T16:02:00.000-07:00

ScienceDaily (2009-03-16) -- Children exposed to a multi-year program of music tuition involving training in increasingly complex rhythmic, tonal, and practical skills display superior cognitive performance in reading skills compared with their non-musically trained peers, according to a new study.

Learning How Not To Choke

2011-03-20T15:43:00.001-07:00

Anyone who reads my blog with any regularity knows that when I travel, I usually have some remarks about or as a result of the books that I read while flying. Today is no different as I just completed a two-leg trip to Kansas City for the Annual National Conference of the American String Teachers Association. My reading material for today was a great little book entitled, "Choke" by Sian Beilock. It is a really interesting read that discusses "what the secrets of the brain reveal about getting it right when you have to." In the book, she discusses performance and the act of "choking" on the athletic field, the classroom, testing environment, the concert hall, and other everyday situations. But, obviously, I was hoping to pick up some ideas surrounding musical performance specifically both for me and for my students. In reality, I found exactly what I was hoping for and found some great tips and information that should be very timely and applicable for my students, not only in the musical area, but in the classroom as well.

I have definitely noticed that I can't always predict when my nerves will get the best of me in a performance. But, I have seen a trend in recent years of being more nervous for performances that are local and in situations where I REALLY want to do well or inspire the folks that are in the audience. If I don't know the audience, I am much less likely to get nervous and "choke." Just last weekend, I was playing at a funeral for the father of a musician for whom I have tremendous professional and personal respect. In one of the pieces I was playing, which incidentally wasn't that difficult, I managed to "gack" a note in a tricky little shift not so much because it was difficult, but because I was telling myself NOT to mess it up. I had, in fact, choked. I messed up something that I have done perfectly a thousand times in the midst of a pressure filled situation. I messed up when it mattered most. I choked. Haven't we all choked at one point or another? We have all fumbled over words when asking someone out for the first time, missed the easy ground ball, squeaked on the clarinet solo in band, bombed a test, or some other variation the theme. It is a universal problem. But, some folks are more likely to choke than others. What causes the choke? How can we avoid or overcome the choke?

The book is based on a great deal of research and is very well-written. I found several sections of the book to be applicable to my life as a musician and public speaker and will certainly use many of the techniques that Beilock recommends for avoiding the "choke."

Having said that, the section that I found most interesting was on the topic of worrying. Beilock explains that when we allow worrisome thoughts to flood our brain, they take up so much of our working memory (our ability to work with information- regardless of what that information is, or, our general-capacity horsepower) resources, that our performance in any task can suffer tremendously. I guess that is not really a big surprise. But, check this out: even when the pressure filled situation subsides, it takes a while for our working memory resources to get back to normal.

Worries can really crush us. I know that I often will wake up in the middle of the night with an onslaught of worries. Thoughts of tasks that are undone at work, concerns about my children, projects that I am working, upcoming trips and presentations, and a variety of other things can cause me a tremendous amount of worry. I have always wondered how I could combat this.

Beilock gives a number of suggestions to combat worrying and I won't list them all here. For that you will need to buy the book. However, the one suggestion that she gives really resonated with me: write about your worries. She explains that taking the time to write about your worries gives your brain the opportunity to confront the worrisome situations and the act of written disclosure serves to lessen worrisome thoughts. I find this fascinating and intend to apply this to my own life and situation. I have often gotten up in the middle of the night to make lists or to write down the tasks that I am worrying about, but I have never written about the worries themselves.

For musicians, athletes, and academics, there is a great deal of highly applicable information in this book. I recommend it highly. For me students, this is a really thought-provoking book. I believe that it has relevance to your lives as musicians and as scholars. I hope that you will take some time to consider some of the suggestions on choke avoidance.

For now, perform with confidence and I hope that you don't choke!!

Peace.

Scott

D'Addario at ASTA

2011-03-19T10:28:00.000-07:00

This week, I have been at the National Conference of the American String Teachers Association. It has been a magnificent conference with something for everyone. I have participated in educational sessions, learned a ton, given a few sessions, met new friends, and connected with old friends from around the country in the string education community.

One of the most informative sessions that I attended was "Demystifying Your Strings," presented by my friends and colleagues at D'Addario Strings, Lyris Hung and Fan Tau. In the session, they discussed and explained the differences between the various string cores, wrappings, tensions, and other issues surrounding string technology. Fan is simply one of the most knowledgeable engineers in the world of acoustics and designs D'Addario's strings from beginning to end.

The session was really well attended and incredibly interesting. Lyris and Fan are tremendous colleagues and did a great job with this one. In the video, Fan explains the concept of harmonics and how that relates to a "false" string.

Enjoy.
Scott

BELIEVER | TRANSHUMAN

2011-03-07T17:05:00.000-08:00

BELIEVER | TRANSHUMAN

Hey friends - take a minute to check out the new release from my friends, "Believer." I recorded a bunch with these guys in the 80's and 90's and am super-impressed with the new material. I hope you like it!

Big Experiences during Mini-Term

2011-03-03T05:20:00.001-08:00

This week, the North Carolina School of Science and Math is in the middle of our annual Mini-term. Mini-term is a 7 day period when all other classes stop (we are actually between terms right now) and students can take one class, really focusing in on that topic for the 7 days. This year, there are students traveling to Spain, Belize, and a bunch of places around the world. There are students doing magnificent research that will lead them to big-time science competitions in coming years. There are other classes focusing on film, medicine, finance, languages, aviation and other interesting topics. I even ran into a student that is building a surfboard as his mini-term project. Too cool! The Mini-term week has always been one of my favorites because it really is a chance to focus on one thing or to try something new for the first time. It truly embodies all that we are as an institution at NCSSM.

My course for the week, along with my colleague, Phillip Riggs, is entitled Eastern Regional Orchestra. It happens that the NCMEA Eastern Regional Orchestra Festival is during the weekend in the middle of Mini-term, so it is a natural that we would incorporate it into a class format. My students that audition for, and made it into ERO had the opportunity to take the class and really focus in on the event of the weekend. Last week, on Thursday and Friday, the participating students had all day to work on their parts to prepare for the weekend event. By all accounts, they felt good about their re-seating auditions and they really befitted from the time to prepare. Then, from Friday evening until the concert on Sunday afternoon, they fully participated in the 13 hours of rehearsal and related events. The event was a big success and all seemed to be very happy with their part.

The thing that is on my mind today, however, is what we have done after the event. You see, we have had another 5 days in the class and I want to be sure to provide a great learning opportunity for all of these wonderful students throughout the Mini-term. So, class has continued all week with a scheduled concert event each day. We have attended concerts at 4 different colleges or universities in the area with a mind toward experiencing some new things in the field of music as listeners, rather than as performers. The students, then, are asked to journal on their experiences and reactions as we move through the week. I have asked them to address the following points as they journal following the concerts:

Their expectations prior to the concert
Music Selection/Themes of the concert
Instrumentation
Composers that were represented/historical context
Their impressions of the performing space
The performance itself
Their thoughts/impressions following the concert
How did each performance relate to your experience with music and performance?

What a week we have had! We have attended some extraordinary performances that were thought provoking and enlightening in a variety of ways.

On Monday, we attended a concert at Duke University called "Goethe in Song" that was sponsored by the Music and Germanic Languages and Literature Departments. This thought provoiking performance focused on the texts of Goethe and the many ways that those texts have been used in the German Art Song. The performance included songs by Mozart, Schubert, Mendelssohn, Brahms, Hensel, Wolf, and Clara Schumann. Some of the Goethe texts included Erster Verlust, Mignon, Das Veilchen, Ganymed and Dammrung Senkte Sich von oben. There was a magnificent lecture accompanying the performance by Nicholas Rennie of Rutgers University and the performers were Sandra Cotton, mezzo-soprano, accompanied by Ingeborg Walther, piano. This concert embodied all that we represent at NCSSM. It was interdisciplinary, scholarly, thought provoking, and challenging. I couldn't believe how fortunate we were to have stumbled on this lecture/performance as part of Mini-term.

On Tuesday evening, we attended a delightful choral concert at Meredith College in Raleigh. This all-women's school has a wonderful music program and we knew it would be a delightful departure from the heavy programming of the concert on Monday. We were certainly not disappointed! The women of Meredith gave a wonderful performance that included a little bit of everything, from a couple of heavy pieces, to a whimsical pop octet that performed, among other things, For the Longest Time, by Billy Joel, to works by Copland, works from around the world, and others. The groups were polished and graceful. The evening was set in the campus chapel and it made for a perfect venue for the performance. It was everything that a choral concert in that setting should be.

On Wednesday, we headed to the University of North Carolina at Greensboro to see their resident faculty string quartet perform. The members of the string faculty there are friends and trusted colleagues and I was excited to hear them perform as a group for the first time. Known as the McIver Quartet, they are Marjorie Bagley and Fabian Lopez on violin, Scott Rawls, viola, and Alex Ezerman, cello. They performed Three Pieces for String Quartet, by Stravinsky, String Quartet No 3, by Jacob ter Veldhuis, and String Quartet no 1 in A Minor, Op. 7, Sz. 40, by Bartok. The performance was magnificent. Certainly, the students' musical horizons were stretched by the contemporary sounds of the works. But, the level of virtuosity demonstrated by the quartet was stunning and the performance was accessible to all in a variety of ways. The kids were floored by the performance and the mood was certainly upbeat as we traveled home late last night.

This evening, we will be heading to Elon College to hear a performance of the Phoenix Piano Trio. They will be performing music by Joseph Haydn, Joaquin Turina, & Marc Eychenne in what I know will be a great evening. I am truly looking forward to another concert tonight!

As I reflect on the week, am so appreciative of the opportunity to teach in this setting. I feel like some real leaning has taken place this week. Our students have been stretched and challenged a bit. They have also been entertained and enlightened. It is so enjoyable to spend time with NCSSM students in a more relaxed setting as well. They aren't nearly as stretched and fragmented as they are during the regular terms and we actually have time to enjoy each other's company. I have had time to offer advice on other things, too, like what to wear to a concert or "how many goodies at the reception following a performance is it appropriate to take?" These things are important. I don't always get to have that impact on these kids and I really welcome it. I have also really enjoyed the opportunity to simply attend concerts. In the context of my busy life, it just doesn't happen too much.

In coming days, I will share some of their journal entries here on my blog. They, of course, will be kept anonymous. But, I want to share with you some of the depth of their experience. In the meantime, I am looking forward to another great concert this evening.

Peace.

Scott

New Interview

2011-03-01T12:00:00.000-08:00

Hi all -
The linked interview was posted on the Electric Violin Shop website this week.
I thought that some of you might be interested.
Best Always,
Scott

http://electricviolinshop.com/blog/ais/scott-laird-interview/

Job Opportunity for String Teacher

2011-02-16T18:50:00.000-08:00

Employment Opportunity in Durham, NC

Position Summary

KidZNotes is seeking a qualified strings teacher for its program at Y.E. Smith Elementary School, to support a rich general music curriculum focused on cultivating a caring, cooperative and fun community.

Expectations

*3 days/week afterschool (3:15-4:15): teach group violin class of 20 students (Pre-K, K, and 3rd grade)
*1 Saturday/month (9:00-11:00): assist full orchestra rehearsals of 60 students (tuning violins, playing in the sections, helping students with posture/note reading, 10-minute pull-out lessons)
*Be available for occasional professional development, concerts, and meetings with KidZNotes General Music Teachers, Orchestra Conductor, and Executive Director
Qualifications
*Excellent musicianship and artistry as a teacher/performer
*Strong commitment to El Sistema’s philosophy of social change through music and KidZNotes mission
*Experience teaching beginning strings, preferably in the Suzuki Method
*Strong interpersonal and communication skills and the ability to work effectively in a diverse community
*Ability to be a mentor and role model for students, parents, and peers as an artist, teacher and citizen
*Ability to work under frequent observation
Preferred, but not Required
*Experience working with children from diverse ethnic backgrounds
*Experience working in underserved communities
*Bilingual in English and Spanish a plus

Interested applicants should contact Executive Director Katie Wyatt at kwyatt@kidznotes.org or 919.451.0077 to schedule an interview. Applications close April 1, 2011.

KidZNotes

The mission of KidZNotes is to provide under-served children, “beginning in the pre-school years, free-of-charge classical, orchestral music training to combat poverty, strengthen inner-city education, and foster positive decision-making to unlock the world.” KidZNotes is based on the model of “El Sistema,” the world-renowned National System of Children and Youth Orchestras of Venezuela, which since 1974 has transformed the lives of over 800,000 Venezuelan children from impoverished circumstances. KidZNotes rehearsals are 4 days/week after-school at each of our three schools, and on Saturday mornings at the Holton Career and Resource Center. KidZNotes provides free, classical, orchestral instruction and trains our teachers in the El Sistema methodology. Children and their families benefit from field trips to concerts, visits by performing artists, and other arts activities. Graduates leave with a sense of capability, endurance and resilience — becoming active and empowered citizens of their communities.

Princeton Alumni Weekly: A grand unified theory of music

2011-02-14T08:59:00.000-08:00

For all of my math/music friends - this is definitely worth the read!!

Princeton Alumni Weekly: A grand unified theory of music

Honoring a Good Man

2011-02-09T06:15:00.000-08:00

Today, I want to take a moment to honor my friend and former colleague, Ray Church. Ray served as a music instructor at NCSSM for 22 years and was my colleague here for the first 7 years of my tenure at NCSSM. Ray was a kind, gentle man. He was a fine oboist and musician. In the later years of his teaching career, he became very interested in jazz and jazz pedagogy. He was also a pioneer in distance education for music educators, teaching some of the first music-technology online courses in the country. He loved NCSSM and he loved the students at NCSSM. He made me feel welcome here and always acknowledged my contributions to the effort. He retired from NCSSM 3 years ago and was living in Hickory, caring for his elderly mother. He was a dedicated son and brother. Ray enjoyed tuning pianos, bee-keeping, and in recent years, really enjoyed tending to his mother's gardens and property. He recently told me that "he was really just a jazz-lovin' country boy at heart. Give me a tractor to ride on and I will be happy." That made me chuckle.

Ray stopped in to see me last Tuesday. We talked about the NCSSM Music Department, my family and his, life in Hickory, and many other topics. It was a light and enjoyable conversation. I wondered if it might be "goodbye."

Ray was an important part of my life for the past 10 years. He was my friend. I will miss him. Thanks, Ray, for caring for me and my family.

His obituary is below.

HICKORY -- Ray Edward Church, 61, of Hickory, passed away on Tuesday, February 8, 2011 at Frye Regional Medical Center in Hickory.

Born July 14, 1949 in Catawba County, he was the son of Elenoir Huffman Church and the late George Thomas Church Sr.

In addition to his father, he was preceded in death by two brothers: George Thomas Church Jr. and Gary Gene Church.

Mr. Church had graduated with a Bachelor of Arts degree from the University of North Carolina at Chapel Hill and a Master of Music from the University of Miami.

He taught in Nash County schools, St. Stephens High School and 22 years at the North Carolina School of Science and Mathematics. He also played the oboe for the Ft. Lauderdale Symphony and he was a Fulbright Scholar in Germany.

In addition to his mother, he is survived by two brothers: Larry Dean Church and wife, Karen of Hickory, Richard Lewis Church of Lincolnton; and two sisters: Brenda Church Baker and husband, Seth of Asheville, Pauline Church Troutman of Newton.

The funeral service will be held at 2 p.m. on Friday, February 11, 2011 in the chapel at Bass-Smith Funeral Home with the Rev. Scott Frady officiating.

Burial will follow at Oakwood Cemetery.

The family will receive friends an hour prior to the service from 1 to 2 p.m. at the funeral home.

Memorials may be made to the American Liver Foundation, 75 Maiden Ln., Suite 603, Hickory, NC 28603.

On-line condolences may be left for the family at www.bass-smithfuneralhome.com.

Bass-Smith Funeral Home is serving the family of Ray Edward Church.

Mallet Instrument Service

2011-01-17T12:54:00.000-08:00

Hi all -
Just a quick note about a fantastic purchasing experience that I recently had. Our music department recently received a generous gift from a donor that was earmarked for new percussion equipment in our music department. We decided to take a run down to Charlotte to check out Mallet Instrument Service which is owned and operated by Artie and Gina Lieberman. This ended up being a wonderful experience from start to finish. Artie and Gina welcomed us into their shop and simply made us feel like family from the moment we arrived. Artie showed us a multitude of one of a kind mallet percussion instruments, refurbished instruments, and new gear. He told us countless stories of percussionists, various magnificent performances, and a life of passion regarding mallet percussion. We ended up picking up a 4 1/3 octave rosewood Musser marimba, an awesome set of Musser vibes, and a set of Ludwig Chimes. We could not be happier. All the while, the price was right and we felt like we had made a friendship that would last for a lifetime. Our day ended with a lovely dinner together and a long drive home to Durham.

Mallet Instrument Service DBA Vintage Percussion has been servicing percussionists since 1994 with repairs, sales and rentals of new, used and vintage percussion.

Their company has the largest parts inventory in the country and accepts trades and consignments of good quality instruments.

The company is owned and operated by Artie and Gina Lieberman of Charlotte, North Carolina. Personal attention goes into every aspect of the business. As a professional percussionist for over 40 years, Artie has keen insight to the needs of other professionals.

Some of their clients include the following Symphonies: North Carolina, Charlotte, Baltimore, Atlanta, Dallas, Pittsburgh, Peoria, Sao Paolo, Nashville, Mobile, Charlotte Youth, and Indianapolis.

They also serve: University of North Carolina, Winthrop University, Virginia Arts Festival, Eastern Music Festival, Clemson University, Charlotte-Mecklenburg Schools,Fine Arts Center SC, Dame Evelyn Glennie, UNC Schools, Opera Carolina as well as numerous churches and private schools.

NC String Teachers: Southeastern Strings Conference

2011-01-07T14:21:00.000-08:00

String teachers in the NC area:
January 21 is a state-wide in-service day for teachers. Please consider attending the Southeastern Strings Conference at the University of North Carolina at Greensboro. I will be giving a session on electric bowed strings and there will be many fine sessions throughout the day. During my session, we will have an ensemble of NS Design instruments set up for attendees to try. We will provide charts for the ensemble and we will simply all experience playing in an electric string ensemble. I will explain panning and the use of a PA system, monitors, and basic EFX processing. We will have an NXT Bass and Cello, a CR violin and viola, the new 5 string Wav, and many other NS Instruments for you to try out as an ensemble. It will be a blast! It is not too late to register.

Pre-Register by phone: call 1-800-999-2869 and have your Visa or MasterCard ready.
Conference Fee & NC Renewal Credit Verification of Attendance

There is a $40.00 fee for all instructors attending the String Teachers Conference. This fee will cover all instruction, handouts, clinician expenses, and refreshments. You may be able to obtain one unit of North Carolina Certificate Renewal Credit by attending this event. Please Pre-Register by mail or by telephone. To Pre-Register by phone, simply call us toll-free at 1-800-999-2869 and have your Visa or MasterCard ready. (Please Pre-Register!!) The on-site registration fee on Thursday evening, January 20, will be $50.00.

Here is a list of events.
Southeast String Festival Teachers Conference

Master Class, Dimitry Sitkovetski
New Music Reading Session, Lynne Latham, Latham Music, a Lorenz Company
Electric Strings, Scott Laird
Jazz Clinic for String Educators, Steve Haines
Upper String Pedagogy, Marjorie Bagley, Fabian Lopez, Scott Rawls
Old Time Ensemble Music, Revell Carr and Gavin Douglas
Lower String Pedagogy, Craig Brown and Alex Ezerman
Achieving an Artistic Vibrato in the String Class, Rebecca B. MacLeod
Incorporating Students With Disabilities In Your Orchestra Classroom, Jennifer Stewart Walter
String Instrument Repair, Melody Choplin

Thursday
Time Session Location
7:45 Introductions School of Music Recital Hall
8:15-9:30 Reading Session sponsored by School of Music Recital Hall
Latham Music, a Lorenz Company
9:30 Refreshments, student rehearsal ends Recital Hall Atrium

Friday
9:00-9:50 Electric Strings, Scott Laird EUC Auditorium
10:00-10:50 Jazz Strings, Steve Haines EUC Auditorium
11:10-12:10 Violin Pedagogy EUC Auditorium
Marjory Bagley and Fabian Lopez
12:10-1:15 Lunch
1:15-2:15 Viola and Cello Pedagogy EUC Auditorium
Scott Rawls and Alex Ezerman
2:15 Walk to Aycock Auditorium
2:30-3:20 Old Time Music Aycock Auditorium
Gavin Douglas and Revell Carr
3:30-4:20 Artistic Vibrato, Rebecca MacLeod Aycock Lower Level
4:30-5:00 McIver Quartet Performance Aycock Auditorium
5:00-6:00 Dinner
6:00-7:00 Observe Rehearsal Aycock Auditorium
7:30 GSO Chamber Concert School of Music Recital Hall

Saturday
9:00-9:50 Students with Disabilities, Jennifer Walter Aycock Lower Level
10:00-10:50 String Repair Lab, Melody Choplin Aycock Lower Level
11:00-12:00 Dimitry Sitkovetski Aycock Auditorium
12:00 Lunch
1:30 Dress Rehearsal Aycock Auditorium
2:30 Concert Aycock Auditorium

If You Get the Urge to Practice, Don't Fight It!!

2010-12-20T13:59:00.000-08:00

My Big Sister!

2010-12-14T12:14:00.000-08:00

Hi all.
The following is a wonderful interview with my older sister, Julianne, that appeared in the Indiana Gazette in Indiana, PA, today. She is a magnificent string teacher and is a magnificent example of the phrase that I use so much: "teaching music is simply a vehicle for loving children."
Her love and energy for her students is boundless. I think that comes through in the article!
Peace.
Scott

MONDAY Q&A: Teacher offers music education -- with strings attached

Posted: Monday, December 13, 2010 3:00 am | Updated: 11:45 am, Mon Dec 13, 2010.

Editor's Note: The Indiana Area School District offers the only stringed-instrument training program in the county, and one of the few nationally, thanks in large part to the efforts of instructor Julianne Laird. She recently sat down with Gazette staffer Nicole Roser to discuss the establishment of the program and the importance of music.

Question: How long have you been a teacher?

Answer: I've been a teacher for 17 1/2 years.

Question: Where do you teach?

Answer: I began my teaching career at Commodore Perry School District. I taught for three years and then I went back to get my master's degree in voice performance at the University of Akron. And after that, I sang for a while and had some wonderful experiences, including singing for several years (with a Pittsburgh choir). Then, I had an opportunity to return to teaching through long-term subbing and I long-term subbed in the Marion Center, Punxsutawney and Indiana school districts, and then a position opened up in Indiana and I was fortunate enough to have that opportunity, and I've been here ever since.

Question: When did you decide to become a teacher and why did you choose to study music?

Answer: I chose to study music because I made a lot of music in school as a kid and I got to the end of my senior year of high school, and I knew that music was calling me. Truly I wanted to be a singer -- that was my dream -- and some day after I retire I still hope to be a singer again. I loved teaching when I started to teach music right after college and I started to teach that fall. I loved teaching then, but I really knew that I was meant to be a teacher when I returned to teaching after singing for a while. I do love, love, love my job. The most important reason why I teach music is for the children, and I just feel so grateful to have this opportunity. I have this wonderful job that every day I get to sing, dance, play music and make music with these wonderful students.

Question: What do you enjoy most about teaching?

Answer: I love teaching and working with the students and young people and offering to them the opportunity to love music because music is a lifelong skill. It is something they can learn forever and, in our global society, music is a language that crosses all of the barriers so they can have that music with them for the rest of their lives. It gives life to life.

Question: You are in charge of the string-training program at Horace Mann Elementary and Eisenhower, which is supposedly one of the few in the whole country. What can you tell me about its establishment, and how did you get involved?

Answer: When I was a little girl, I went to East Pike Elementary School, and my teacher Mr. Stanley Servinsky knew that my brother had been playing the violin for a couple of years and he was younger than I was, so Mr. Servinsky said, "Julianne, you already play guitar and piano, you should play a string instrument," and he said pick one. … my brother already played violin so I picked the cello and I started to play it, and I played all through school. I took a few private lessons, but not very many, and I played through college and some in graduate school, but it wasn't until I came back to Indiana and I was teaching that I had the opportunity to teach strings. Some of my colleagues said I should teach strings because I have "chops" -- "chops" is a music teacher term that means that you can play something. There was some concern for not having time for someone to teach the third-grade violin program, which had already been in place for 30 years, so I said I would be willing to take that job at Horace Mann and Eisenhower. I was already the general music instructor for several years before the third-grade program opened up.

We are one of the few third-grade violin programs in the country. It started in the early '70s when Mr. Servinsky went to the Music Educators National Conference Convention and saw violin programs in the third grade. He got some money through our district and some money from the Monday Music Club to start a program. Together with the grant and money from the district, he bought some cardboard violins, and that's how it all began. Now, what I inherited was a whole cabinet full of violins at both schools. We had already acquired real instruments, because Mr. Servinsky then went out and found school districts that were stopping their string program and he got the administration to help him and they would go in and buy used instruments from other school districts for very, very cheap. So that is how our elementary string program really built here in Indiana.

I've been continuing to carry that torch so every child in the third grade in the Indiana school district has the chance to learn the violin. At the moment, I only teach the third-grade violin program at Horace Mann, because we had such increased enrollment at Eisenhower that the band director now teaches it, but I am hoping to have the chance to teach it again because I truly, truly have a passion for teaching strings.

Question: How often do they practice?

Answer: Once a week for a half hour.

Question: Do they have special concerts?

Answer: Yes, we will have a program in January for the end of the first semester. Then other classes will start and then they will give another program at the end of the school year.

Question: So the kids really enjoy this special experience?

Answer: Yes, what we call it in the string-teaching world is "alternative styles," and it is a buzzword right now in teaching strings. Traditional teaching of strings is one aspect of learning to string, but alternative styles open up a whole new world of playing.

Question: Are there other string ensembles in the district?

Answer: We have in our school district an elementary string ensemble that Dr. Jason Rummel and Mr. Jason Olear teach, our instrumental teachers, and that is for anybody who is in elementary school who wants to play in a large ensemble. We also have an orchestra at the junior and senior highs that is directed by Mrs. Beth Grafton. We are the only string program in Indiana County, and we have had the only string program in the county for more than 30 years. I think strings are such an important part of the curriculum and they really make a round music program. If you have band and orchestra and chorus, then you truly have a round program. And wherever we have that wonderful rounded program, strings are a necessary component of the finest school music programs. We are so privileged that we can offer this to our children in our schools.

Question: Do you direct any other ensembles?

Answer: I do. I am the chorus teacher at both schools for fifth and sixth grades and I have a very active girls' chorus and I have a very active boys' chorus. The other string group that I have -- I've tried a couple of things to start string programs at both schools -- one was called fiddle club, where students would come in the evening and have a chance to play all different styles of music with local adults who play string instruments such as fiddles, string base, cellos and some guitars. We had a bagpipe in one time, which isn't a string instrument, but we had fiddle club and a great time. I also had a small chamber ensemble at both schools for a while. But this year what is happening that is special at Horace Mann that started a couple of years ago is called String Lunch, and the students who are playing string instruments can choose to do this. They come to my room and bring their lunches at lunchtime. We do this once a week when they bring their lunches and we eat lunch in the room and then we play the rest of the time. It is for playing by ear. We play standard rock tunes, Irish reels and jigs, 12-bar blues improvisations, old-time fiddle music and contradance music. Boys and girls who come to that really have a lot of fun and we jam and we are about to play our first gig ever.

Question: Where is that going to be held?

Answer: At Bethany Place. We are really excited about that. It is coming up for the holidays.

Question: Does musical talent run in your family?

Answer: My mom and dad are amateur musicians, but my mom's father and my dad's mother were both musicians. My dad's mom was a church organist and my mom's dad played the piano, played ragtime piano and cornet and he taught dance at Kennywood Park in the big pavilion. My brother, Scott, and my sister, Stephanie, and I never knew our grandparents and my parents never had any idea that we would have this ability in our family. As children we were drawn to it and then it became a lifestyle for all of us. After I went forward with my instruments, Scott was already playing violin, and he also played drums, bass guitar and piano, and then Stephanie played violin and she picked up saxophone, flute and piano.

Today, Scott is an orchestra director and travels all around the world and teaches teachers how to be better string teachers. He works in Durham, N.C., at North Carolina School of Science and Math, and he does orchestras and he is a string clinician for teachers all around the country. My sister is the orchestra director at Hollidaysburg Area Senior High School and she teaches in the district. All three of us still play music and we all play traditional music, as well as fun and nontraditional styles. Scott also plays and writes a lot of jazz and he is a recording engineer and my sister also has an Irish group with her husband and children and is also principal of the second violin section with the Altoona Symphony. So, yeah, music runs in our family and we are really grateful for that, too.

Question: What advice do you have for future music teachers?

Answer: The most important thing that a future music teacher can do is work on their skills right now -- their playing skills, their singing skills, playing piano, playing guitar and maybe some type of instrument that you can accompany singing. What I like about singing is all children have a singing voice and everybody can sing, but that singing becomes a jumping-off place for playing instruments and playing in a group, and there is nothing like playing an instrument in a group -- that is the coolest thing ever. So my advice to aspiring teachers is to play and sing and make as much music as possible now so they are ready to share that love of music with children.

Next Week: Jeff Wacker, ArtsPath assistant director at Indiana University of Pennsylvania.

Editor's Note: Do you know someone who would be a great subject for the Monday Q&A? If so, please call Jason Levan at (724) 465-5555, ext 270.

JULIANNE LAIRD, at a glance....

Occupation: General music teacher, chorus and string instructor

Family: Parents, David and Nancy Laird; husband, Richard Workman; and brother and sister, Scott and Stephanie

Residence: Indiana

Where I grew up: Indiana

Hobbies: Music, fishing, going to the beach, stand-up paddle boarding, reading, traveling and steampunk

Favorite food: Ice cream

Food I refuse to eat: Liver

Favorite movie: "Harry Potter and the Goblet of Fire"

Last book I read: "The Clockwork Three," by Matthew Kirby

Favorite way to spend a day: With my husband

Pet peeve: People who are unkind. I try really hard to be kind to people.

People who most inspired me: My parents

A Christmas Story

2010-12-12T12:35:00.001-08:00

Back in December, 1995, I was teaching at Eleanor Roosevelt High School in Greenbelt, MD. I was fully immersed in the rigors of running a high powered string program in the suburban Washington, DC area and the stress was catching up with me. The fall had included All State Orchestra auditions, numerous concerts, including a concerto concert that need to be prepared and performed in a very short time, a couple of fruit-sale fundraisers, and the rigors of my regular teaching schedule; not to mention the traffic, cost of living, and real-life stresses of living in that area. My overall attitude had become pretty gray – especially for me, a generally enthusiastic and positive guy. I loved my work, but my outlook wasn't generally positive. Life had become a treadmill of school, fundraising, musical performances, negotiating traffic, church obligations, and a variety of other stresses. I certainly wasn't in the mood or frame of mind to appreciate the Christmas season in all of its richness.

As we moved toward the holidays and I was immersed in concerto concert rehearsals, my wife and I ran out one evening to get a Christmas tree for our home. We were still relatively new homeowners, but we had a nice tradition already of putting up a live tree at Christmas and enjoyed the process. We had a number of ornaments that were quite important to us, many of which had been given to us by students over the years. Our tree was an important symbol of faith and friendship and really represented us and our, albeit, short history at that point.

This tree, however, had a mind of its own. I don't know if the trunk was a little bit curved or if it was never mounted properly in the stand, but it just didn't want to stand up in the corner of our living room. If memory serves, I even used some wire to try to tie the top to a curtain rod to keep it in a vertical orientation. My recollection is that it had actually fallen down a couple of times and I thought that I finally had it up to stay. It was fully decorated and looked great.

One evening, after a particularly stressful day of teaching and rehearsing for the concerto concert, I arrived home at a late hour. I walked in the front door of the house, only to be greeted by my wife and a tree that was lying in the middle of the living room floor. That was it. The proverbial straw had broken the camel's back. I picked up the tree, ornaments and all, and pitched it out the front door. I was done with it. There would be no tree in the Laird's house this Christmas. My wife was mortified. I was resolved. I was done with trees for the year. The tree, effectively, had come to represent the sum total of my frustration with life, work, over-commitment and all that was out of control in my life.

I went to school the next day and related the story to my Chamber Orchestra, a group of exceptional string musicians that would be accompanying all of the concerto soloists that weekend. As I told the story of my previous evening, I could see the horror on their faces as I told the story of throwing the tree out the front door. At that point, I had more clarity of perspective and thought it was a kind of funny story to relate to my students. They however, perceived it as a result of something much deeper and apparently felt the depth of my frustration with life and work and took my state of mind to heart.

I went on with my crazy schedule for the next couple of days and basically forgot about the situation. I had too many obligations to dwell on any one thing and simply moved on. About two nights later, I was at a rehearsal at my church until fairly late. We were preparing for our annual Christmas Eve service and I would play a fairly large role as an instrumentalist. As I arrived home on that week-day evening, and walked up my driveway and onto the porch, nothing seemed out of the ordinary. It was just another quiet night and I was looking forward to getting home and relaxing after a long and busy day.

As I walked into the house, I could tell something was different. I walked into my living room and there was a fully decorated tree all set up in the corner of the room! I could hear some shuffling around in the kitchen and quickly turned around. Like a bunch of clowns climbing out of a phone booth, out came orchestra student after orchestra student from my kitchen. There must have been 15 or 20 of them there: kids from all over Prince George's County, MD. They had contacted my wife and asked if they could come over and set up a new tree. They went and picked one out, cut it down, and came over to my house where my wife had made hot cocoa and cookies for them and made a little party out of it. They weren't just kids that celebrate Christmas, either. There were kids from Jewish and Hindu backgrounds there as well. They were at my home as an expression of kindness and caring for their teacher. It was just the most perfect expression of love that I could have imagined at that time. They cared about me and they wanted to help me find the joy in the season. Did they ever! I still think back to the joy I felt that night and the selfless act of those kids from Eleanor Roosevelt. They gave me a magnificent gift.

One of my favorite aspects of the tree itself was the fact that when they got it into the house it was a little too tall for our 8 foot ceilings. Since it was already mounted in the base, they cut the extra 12 inches or so off of the top of the tree! It made for a perfect look for the living room. I think, in many ways, that made me love that tree even more. They ended up staying at my place for a while that evening. We talked about each of our family traditions and shared a great deal of conversation, laughter, and holiday treats.

Today, I took about 10 of my current students to play a Bach Cantata at a local church. It was such a pleasure to spend some extra time outside of class with this group. In many ways, they remind me of that group back in 1995. Then again, I have been blessed with great students every year. The relationships that we develop are deep and rich. The friendships that we develop, in many cases, last a lifetime. As I was driving the school van, filled with fine student musicians and lovely people, I felt so very blessed to have these opportunities to develop deep relationships with these kids. The cantata went great. It was really a rich morning with them. I am so looking forward to class tomorrow!

Happy Holidays to all of you. I wish you all the true joy of giving and receiving. Today, I am celebrating all that I receive from my students. Thanks to all of you. And, thanks to all of you that have passed through my classroom in the past. You have no idea how much you have given to me. I receive your gifts with love and gratitude.

Peace.

Scott

The Orchestra Experience

2010-12-10T05:18:00.001-08:00

A few things happened this week in and around my orchestra class at NCSSM that started me thinking about why orchestra is important to students and what they get out of participation in my class and other orchestra classes around the country. For me, it is important to constantly identify why we are doing what we do. Because, if we don't know way we are doing it, how could the students possibly know why they are doing it. As I pondered this thought over the past 48 hours or so, I came up with 4 primary reasons for participation in orchestra (or any musical ensemble for that matter) and thought that I would share them with you. I might add that for some students, all of these come in to play. For other students, there may be one of these reasons that really stands out as their primary motivator. That is fine. What is important is that we all understand that they are the motivation for participation.

Content

The most obvious motivator for taking any class in school is to acquire the content. That is, to get the information that is covered in class. In orchestra, this includes playing technique, standard accepted practice and styles based on the style of music, date of the composition, and composer, ensemble and rehearsal techniques, and a bit of music history and background on the works being performed. This is really the most obvious stuff. And, many that haven't participated in an orchestra in a high school or college may think that this is the whole experience. After all, it is what we do in orchestra. We learn music with the expectation of performing it for the public at some point.

Experience

Anyone who has participated in a high school music ensemble knows that the experience itself is one of the great motivators. For many,(in fact the vast majority), the high school ensemble experience is the last time they will participated in this kind of activity and probably the highest level of performing they will experience. Yes, some go on to play or sing in college and beyond, but many more do not. I can't tell you how many of my students have come back to me after many years out of high school and reflected on the amazing experiences that had as musicians and members of a team in their performing ensembles. These memories last a lifetime and the experience is priceless. In many cases, the experience far outweighs the actual notes, rhythms, and techniques that are learned. There are many times that I, as a teacher, need to be reminded of this. The relationships and friendships that are developed in a musical ensemble often times last a lifetime. Many of my closest friends, to this day, were people that I played with in my high school band. We went on trips together, went to football games on the busses, stayed after school for rehearsals, and became very close in the process. My wife's closest high school relationships today are also with former fellow band members. I am sure that many of you have had the same experience.

I know that in my school, some would say that their participation is an opportunity to think about something other than their regular academics. Others would say that it is "relaxing." To me, this is also part of the experience. It is an opportunity to exercise a different academic muscle. When we make music, our brains work in different ways than they do when we write a paper or do a math problem. For many this is an important variation in their academic life that allows them to change pace for that period of rehearsal or practice. I know that I am very much motivated by this part of the experience.

There is another important to the experience component of participation. It is the "aesthetic experience." I was recently reminded of this by a former student when he told me the following: "For me, the music itself was more the motivation. Not just the notes on the page, or the sound coming out of my own instrument, but the full sound of the orchestra, of everyone playing together. Being immersed in the music is one of those sensations that is hard to describe. There is a sense of communication between the players, between the conductor and the orchestra, and even the audience." This was an important reminder for me that the aesthetic experience is a strong motivator for many students. It is certainly a motivator for me. There has been much debate in music education circles in recent years regarding music advocacy on the relationship between aesthetics-centered and extrinsically-centered music programs. I have always believed that there is room for both. My student's words have, yet again, reminded me of the huge importance that the aesthetic experience of the ensemble plays for our students.

Opportunity

With participation comes opportunity. In most states, one must be a member of their school orchestra in order to audition for All County, All Region, All State and other honors ensembles. These opportunities for experiences are invaluable to the advances music student and for many of them; this is the prime motivator to hang in there with their colleagues that don't play at their same level of expertise. There are other opportunities as well. At NCSSM, we have an annual concerto concert that features our top soloists. I have often thought how much I would have enjoyed that opportunity as a high school student. This is a huge event and the students that participate as soloists and ensemble members really benefit from the experience. There is also the opportunity for leadership woven into the orchestral experience. Students that show a propensity for leadership are given principle chairs and the opportunity to influence the performance of works and to lead their peers. Many of the leadership opportunities that I had as a high-school music student certainly shaped my life in profound ways and motivated me to remain part of that group.

Contribution

The final motivator that I will highlight here is the opportunity for contribution. It is my firm belief that student must understand that they are making a contribution to a community when they are participating in orchestra. Participation isn't all about what you get from the experience. It is also about what you contribute. And, every member of a musical ensemble contributes something. The most advanced players contribute musical leadership and example. The intermediate players contribute musically as critical mass, but also find many other modes of contributions, from humor, to dedication, optimism, challenge, and other examples of success. Finally, the weaker players in any group contribute musically as much as anyone, for a musical ensemble is only as strong as its weakest players. So these musicians must be willing to go the extra mile and prepare the literature in the best way that they can, with a strong motivation to make the ensemble better. These folks are often the true examples of contribution to an ensemble. I do not believe in entitlement for the strongest players in an ensemble. We all must give our best contribution in order to make an ensemble truly excellent.

It bears mentioning that musical ensembles also contribute to the greater school community. They provide music for special occasions and this is a vital role of musical organizations. My orchestra performs for our annual convocation and commencement, dinners, events, awards ceremonies, and other community gatherings. We send quartets out to other community events such as celebrations and receptions as well. Bands play for football games. Pep bands provide music for basketball games. Music students often play or sing the national anthem for other sporting events. We provide a pit orchestra for the annual musical. These are all examples of contribution. Students must be encourages to use their skills and talents for the betterment and enhancement of the community experience. We, as musicians, get this opportunity all time. We as music teachers must weave this perspective into all that we teach.

So, these are my thoughts on what students are gaining from participation in my class. I am sure that I have missed a few. I hope that this provides you with some food for thought as you ponder your motivators for the things that you do or teach. I would love to hear your thoughts on the subject.

Peace.

Scott

November was busy!

2010-11-30T09:45:00.000-08:00

Hi all -
I just realized that I went through the entire month of November without posting anything here on my blog. I guess that it is a testament to how busy things can get at certain points in the school year. Throughout the month of November we had the NCMEA Annual In-service Conference and Honors Orchestra, I played bass with the NC Honors Chorus, guest conducted the New Hanover, NC 8th grade All County Orchestra, hosted a number of fine arts events at NCSSM, ended our first term and had a week of exams at NCSSM, and enjoyed 5 days of vacation over Thanksgiving. This week, NCSSM is holding auditions for our annual Concerto Concert and we are gearing up for the onslaught of upcoming holiday gigs.

In the midst of all of this craziness, it is easy to forget the things that are really important in our lives. Ultimately as music educators, we are teaching kids. Even with all of our activities, we need to keep reminding ourselves that it is the people that matter in the long run. Let's all strive to lift each other up as we navigate our busy schedules. Let's lift each other up. Smile at someone today. Take a minute to affirm a friend or acquaintances good work. I will try to as well.

Peace.
Scott

It is always better to do it right

2010-10-30T13:23:00.000-07:00

I had an experience yesterday that I want to share with my music educator friends out there.

Let me start by saying that it has been a fantastic start to the school year in my orchestra. My ensemble is a nice mix of seasoned seniors and talented juniors that are figuring out the NCSSM way of doing things. Most of my students are super-busy and have really made a big commitment to participate in orchestra. We are a busy community. We are primarily busy academically. Our students all take a rigorous schedule of science, math, and humanities courses and have very high expectations of themselves. A good way to describe it would be to take your top 5% of your students and put them together with about 600 more of them. That would be us.

Over the past term, we have been preparing for our October 31 concert, among other things. One of our planned pieces for the concert was to do the Carl Simpson adaptation of Pictures at an Exhibition. We were to do it with our Wind Ensemble and Orchestra combined. As many terms go, we could have used a bit more rehearsal and sort of came down to the wire on this one. Things were a bit ragged at our penultimate rehearsal and we decided to have one last extra rehearsal on Friday after school.

At this point, it is important to mention that there is plenty of other material for the program tomorrow. The orchestra has several numbers that they will do, along with a couple of accompaniment pieces to do with our Chorus. The Wind Ensemble has several pieces as well and will also welcome a local community group to their concert as a guest. All other pieces are very well prepared and will go really well.

Friday after school, after a long day of finishing up classes for the term, prepping for exams, and a variety of other details to finish, everyone showed up after school for our last rehearsal on Pictures. I couldn't have asked for anything more. Everyone was into it. They were on task, prepared to work, and very focused. There was only one problem. We were still under-prepared. These fine young musicians and scholars just needed some more time on this difficult and mature piece of music to fully pull it off in a concert setting. We were certainly getting closer, but we just were not there yet.

Decision time. As I sat and weighed our options, it occurred to me that we could go one of two ways. We could play the piece with a bit of an apology to our audience. "We really wanted to tackle this piece." Or, "It really is a hard piece, so please excuse the wrong notes." Or, we would do what I consider the right thing and hold off on the piece until it is fully prepared. So often, I hear orchestras perform music that is only partially prepared. Or, music that is simply too hard for the ensemble. It never really makes sense to me. Why try to play something that is not fully achievable?

So, as I sat, trying to decide what to do, I knew there was only one solid and appropriate decision; table the piece until our next concert. I touched base with our Wind Ensemble director and he agreed. As I told the kids, I could almost see and feel a collective sigh of relief. They knew it too. Their standards were and are the same as mine. If we can't do it to our standards, let's hold off and do it right later. I told them how much we respected them and never wanted to put them in a position of embarrassment. I thanked them for such a dedicated and focused rehearsal. Rehearsal ended. Everyone headed off to dinner. As my colleague that leads our Wind Ensemble and I talked it over, we knew we had done the right thing. We respect the musicians under our baton too much to put them in an awkward position. We fully agreed. Decision made. Suddenly I felt a real "peace" about the decision.

We will still give a concert tomorrow. It will be fantastic. Every piece will be fully prepared and musically fulfilling for the audience AND the musicians. After all, isn't that our role - to teach solid musicianship and decision-making skills. I feel like we did a good thing yesterday.

For you young teachers out there, I encourage you to give this a bit of thought. I can't tell you how many orchestra festivals that I have adjudicated where an orchestra played a piece that was either under-prepared or simply too hard for the ensemble. I really don't know what could possibly be accomplished by this. In fact, some of my more seasoned colleagues could probably benefit from hearing this too, come to think of it. I am reminded of a festival that I adjudicated a few years ago, where a long-time string educator who really knows their stuff, simply butchered a well known piece. All in the name of, I imagine, "at least we can say that we did it." I can't imagine that it was worth it.

We will do "Pictures." Probably in February. And, it will be something that all in the orchestra can be proud of. I promise. I can't wait for the concert tomorrow.

Peace.
Scott

You CAN Come Home

2010-10-12T12:16:00.000-07:00

In the fall of 1987, I was a new teacher, fresh out of Indiana University of PA. I had graduated with a music education degree and was eager to start my career as a string educator. My first job was as district-wide string teacher in Palmyra, PA, a small town just east of Hershey, about 4 hours from my childhood home of Indiana, PA. Sometime in October of that year, I attended my first PMEA District 7 In-Service day. I am sure that I spent most of the day hanging out with my friends Fred Otto, Bruce Weaver, and Dan Hoover, all instrumental music teachers at Palmyra. I don’t remember a great number of details from that day, but I do remember feeling like part of the group. I felt accepted by the other string teachers and even remember a few of the other teachers from the Harrisburg area including me in conversations and discussions that they were having about strings, orchestra, and the craft of teaching. I was part of this community. Yes, I could make this my home.

Yesterday, I was back in Central PA as a guest speaker for the PMEA District 7 Fall In-Service. I was scheduled to give 4 1-hour sessions throughout the day. My appearance was put together by Sandy Neill of Menchey Music and facilitated by D’Addario Bowed Strings. I was pleased to be presenting at this in-service, but never considered how strongly I would feel about coming back to District 7; back to my first adult home.

When I arrived at Central Dauphin High School for the conference, I immediately ran into my friend, Marie Weber, from Lower Dauphin High School. Marie actually hosted the PA All State Orchestra the year that I participated in 1983. I remember her well from that event! But, in the years that I taught in Palmyra, we developed a warm friendship and have had several opportunities to communicate in the ensuing years. Soon after that, my friends Rich and Tawny Miller arrived and we reconnected quickly. Rich and I worked together in 1990 as he filled in for me while I finished my Master's at IUP and subbed for Bruce Weaver as he took a sabbatical near the end of his career. Tawny even reminded me that I once made spaghetti for them when they were over to my place for dinner!

Throughout the day, there were many conversations of colleagues that had since retired or moved on to other areas. We mentioned old friends like Kathy Yeater, Shirley Miller, Cathy Santiago, and Priscilla Howard. These were all folks that cared for me in one way or another while I was getting started in this field. We also mentioned my old friend, Klement Hambourg, who directed the Lebanon Valley College Orchestra and violin program in those years, and who with I had developed a deep and meaningful relationship. There were also several other colleagues at the conference that knew me “way back when” and we enjoyed rekindling those friendships and getting reacquainted. I even met the young teacher, Travis Pierce, that has what was my position back in the late ‘80’s. He is young and energetic and I know that he will do a great job with those kids in Palmyra.

But, by far, the most meaningful re-acquaintance of the day for me was with my former Palmyra colleague, Gina Parkison. Gina teaches instrumental music at Northside Elementary School in Palmyra and has been steadfast in that position for many years. She has reached thousands of children in that time, expressing her love for them and for the music that she teaches every day. It had honestly not occurred to me that I might run into her at this event. I am not sure why – it just didn’t. When we first saw each other, she quickly said hi and extended a warm hug hello. We spent a few minutes catching up on the last 18 years or so and then we both had to move on to our sessions for the first hour. Gina attended my second session of the day and participated in the session in such a way that I knew we were really connecting. My friend and colleague not only came to my session, she supported my ideas and was enthusiastic about the content. I can’t tell you how meaningful that was to me. When I arrived home late that night after several hours in airports, lines, and planes, there was a lovely note in my e-mail from Gina. My heart simply filled up. I just didn’t see it coming. I was still that 23 year old new teacher, pleased as can be to have the support of his friend and colleague. It meant the world to me.

Central PA hasn’t changed. As I left the school at the end of day, there was a certain familiar atmosphere outside. I can’t quite put my finger on it, but it was familiar. It felt like home: the place where I started my career, the place I became a professional educator, the place where I lived when I got engaged and married, and the place where many of my philosophies and teaching practices began. In many ways, it is the place I became an adult. And, without question, it is the place where I first felt a part of the music education and string education community and that has been such a huge part of my life ever since.

Thanks to each of you that I encountered yesterday. I hope that you got even a fraction from me that I received from you. My day was a blessing.

Peace.
Scott

Hello to PMEA District 7 Fall In-Service October 11, 2010

2010-10-10T11:04:00.000-07:00

This is just a quick note to all of the folks who attended my PMEA sessions on October 11. My goal for the day was to share some of my teaching secrets with you, renew some old friendships and establish some new ones. I certainly hope that all of these goals are realized during the day.

My blog is the spot where I share secrets all the time. It is for my students, my friends, my colleagues. Please feel free to share it with your students and colleagues. I write about music and music ed, performing and favorite performers, products that I use, great books that I have read, and philosophical ideas that I encounter.

I also encouraged all of you to try to leave the in-service with at least one good spinach dip recipe. So, if for some reason that didn't happen in my sessions, here is your recipe, courtesy of foodnetwork.com. Trust me, I have tried it and it is great!

It has been a pleasure to be back in PA this week and I truly look forward to the next time! Also, let me say a special word of thanks to Menchey Music and Sandy Neill as well as D'Addario for their efforts in putting this together.

Sincerely,
Scott

Spinach Dip

(Recipe courtesy Barbara Smith)

Prep Time:
15 min

Ingredients

* 1 large clove garlic
* 1/2 cup chopped scallions (white portion only)
* 1 (10-ounce) package frozen chopped spinach, thawed and drained well
* 1 cup sour cream
* 1/2 to 1 cup mayonnaise
* 1 teaspoon chopped fresh thyme leaves or 1/2 teaspoon dried thyme leaves
* 1 teaspoon Worcestershire sauce
* 1 dash hot pepper sauce or more to taste
* 1/2 teaspoon salt
* 1/4 teaspoon freshly ground white pepper
* 1 round loaf crusty bread (country white, pumpernickel, etc.)
* Paprika

Directions

In a blender or food processor, finely mince the garlic and scallions. Add the remaining ingredients, except the bread and paprika and blend until smooth. Taste and adjust the seasonings. Refrigerate for up to 2 days. Just before serving, make a bread bowl: Cut about an inch off the top of the round of bread and save it for a lid. Remove the bread from the center, hollowing out the loaf. Stir the dip well and place in the bread bowl. Sprinkle lightly with paprika. Serve the removed bread chunks along with crudites for dipping.

Where Does Your Hypocricy Reside?

2010-10-10T10:29:00.000-07:00

I heard a profound statement this morning. It goes like this: "The gap between belief and behavior is the space where hypocrisy resides." I can't get it out of my mind. It is so true and so applicable to many facets of our lives. I just had to take a minute to explore it in a bit of detail and the many applications to my life, my colleagues lives, and my students' lives.

First, it calls us to do some serious self-exploration. What do you believe? What do I believe? Of course, I could be referring to spiritual beliefs. But, let's go past that for now. How do believe you should treat others? How do you believe you should react to adversity? How do you believe your should spend your free time? Your money? Your talents? How do you believe that teachers should approach their students? How do you believe students should approach their studies? What are your beliefs on morality, right vs. wrong, forgiveness, love, service, politics, and certainly your spiritual beliefs?

Second, it calls us to examine our behavior. Do my actions line up with my beliefs? Are my actions consistent with the the statements that I want to be making? Self examination is tough. Mirrors don't lie. Photographs don't lie. Audio recordings don't lie. It is tough to see myself as I really am, to hear myself as I really am.

Finally, we must consider the concept of hypocrisy. I can't imagine that anyone wants to be labeled as a hypocrite. And yet, I'll bet all of us can find some gap between our beliefs and our behavior. I know that I can. The truth hurts. I can't think of anything that I would less like to be called than "hypocrite."

To me, this concept is a strong call to consciousness. It forces us to think about this gap between belief and behavior and to do some serious reflecting on where we are in this continuum. And, it is hard to be conscious. So often, we walk through our lives, caught up in our business. We forget to actually think about our actions, the way we are treating others, the way we forgive, love, and interact. So often, I remind my musicians to be "conscious" in rehearsal and not just go through the motions. Here, I challenge them (you, myself) to be conscious in life and not just go through the motions. For my students, you are away from home and on your own for the first time. How does the ratio of your beliefs to behavior stack up after a month or two of school? Trust me, it will be a lifelong struggle. I have been considering it as it applies to my marriage, parenting, teaching, friendships, relationships with those that I encounter on the street, and many other facets of my life.

It was also suggested that the longer we permit the gap to exist between our beliefs and our behavior, one of them has to give out. And many times (most times), it is the belief that fades away, not the behavior. The fact is, that it takes real courage to change our behavior. It is hard. It takes effort. It takes consciousness. I also think that it requires accountability. And believe me, I am as bad at that as anyone. I want to be accountable to myself and rarely permit others to fill that role in my life. Definitely something for me to work on.

I am sure that I will ponder this concept more in the coming days and weeks. I may write more at a later date. But for now, I know that I will be working to narrow the gap between my beliefs and my behavior. I want to strive for honesty and integrity. The last thing I want is for hypocrisy to be part of the definition of me. I encourage you to do the same. Let's walk this path together and narrow the gap between our beliefs and our behavior. I know that I will be the better for it.

Peace.
Scott

A Bit of Friday Fun!

2010-10-08T05:43:00.000-07:00

Music and the Mind at NCSSM

2010-09-24T14:49:00.001-07:00

This past week, I had the pleasure of team teaching an interdisciplinary class with NCSSM Anatomy and Physiology Instructor, Dr. Ashton Powell. We held two of his Anatomy and Physiology classes in the NCSSM music suite with the hopes of convening some thought provoking discussions on music, the mind, and their inter-connectivity.

We began each class with me giving a brief performance. My primary solo mode, as many of you know, is to create live audio loops on guitar (using a Boss RC 50) and then using my NS Design 5 string electric violin to play melodies and associated improvisations above the chord progressions. Following the performance, we began the class with discussions regarding the music, the process of making music, the process of listening to music, and a variety of other lines of thought that grew from the discussion. We discussed the communication process, the similarity to speech, the "spirit" of the music and relationship to tonality, and other a variety of other topics.

Next, we watched and discussed three extraordinary videos which I am sure that many of you have seen.

A. The TED Video of Bobby McFerrin leading an audience in a magnificent sing-along using the pentatonic scale.

Following this video, I gave a brief explanation of the pentatonic scale and then showed the students how one can create basic melodies with the pentatonic scale. Next, I showed them how other scales can generate a very different aural reaction. For these, I used a major scale, a mixolydian scale, a blues scale, and a chromatic scale. The student reaction and conversation was quite interesting and thoughtful.

B. A news clip of Oliver Sacks undergoing an MRI study of his brain's reaction to an excerpt of Bach vs. a similar excerpt of Beethoven.

The general idea of the clip is that Sacks' mind was significantly more active when listening to the Bach clip, possibly because he generally likes Bach more than Beethoven. Further, even when he wasn't sure which composer was being played, his mind was still more active during the Bach clip. I must admit, I found this news clip to fall a bit short for me. As I listened to the excerpts that they used, I found the Bach clips to have more dissonance and tension, therefore, potentially requiring more brain activity. The Beethoven clips seemed to be more consonant and I didn't find them to be indicative, at all, of the emotion that one finds in Beethoven's greatest works: his symphonies. On the other hand, this was not a referendum on Bach vs. Beethoven. It was merely a referendum on Oliver Sack's preference of Bach to Beethoven. The study, itself, was very interesting and I do find it quite interesting that our mind is significantly more active when listening to material that we find pleasurable or challenging at some level. No surprising, but fascinating.

C. A news piece of an MRI study of brain activity when playing composed music vs. playing improvised music.

I found this clip to be quite interesting, especially as I perform both composed classical literature and improvised music on a regular basis. The general idea is that the brain is exceedingly active when playing composed music and many parts of the brain essentially shut down when improvising. I must say that I don't find this hard to believe at all. Here is an example from my personal experience. Last night, I played my music for a reception held by the Eastern NC Chapter of the National MS Society. I performed my own music and spent approximately 80% of the evening improvising over my own melodies. This was an enjoyable evening and I did not find it to be physically taxing in any way. On the other hand, last June, I was invited to play the prelude music for our NCSSM Online Commencement ceremony. It was slated to be about a 20 minute recital. Due to some unforeseen circumstances, the ceremony was late in starting and I ended up playing for about a solid 75 minutes. This was one of the most exhausting performances I have given in many years. It wasn't that the music was so difficult. But, the mental energy that it required was clearly significantly more than a comparable length improvisational performance. Thus, I found this study to be on the mark in many ways. Interestingly, when polled before seeing the film clip, the students almost unanimously, felt that the improvisational performances would require more brain energy because the performer would be doing something extemporaneously. Now, all of us improvisers know that there isn't a great deal that we do in an improvisational performance that we haven't tried at some point or another prior to permutation of the song. I would liken in to speech. Which takes more brain energy: an extemporaneous conversation for 10 minutes OR a recitation of a 10 minute poem by another author. I believe the "composed" poem requires a great deal more brain energy. Again, the correlations between music and speech are apparently quite strong.

We ended the class with a short drum circle, giving every student the opportunity to experience music performance and improvisation in a non-threatening way. I think that the kids really enjoyed this and would have kept going with the drum circle long after the class period had ended!

This was a wonderful day of thoughtful scholarship, intelligent conversation, and free exchange of ideas and academic curiosity. It was everything that NCSSM should be. It was everything that school should be.

I went home that day with a real feeling of satisfaction that we had facilitated some higher order thinking and potentially unlocked some real interest for many of the students. I also really feel strongly that making connections between disciplines is an important part of the educational process. I feel like that happened in a concrete way today. I love being a teacher! May we all have similar experiences in our unique teaching experiences - in and outside of the classroom!

Peace.
Scott

The CATS Method of Learning

2010-09-14T18:48:00.000-07:00

Many of you know that in recent months, I have become more and more involved with KidzNotes ( www.kidznotes.org )the Durham-based non-profit that is part of El Sistema USA and modeled after the well-known Venezuelan Youth Orchestra Program, El Sistema. The primary goal of this organization is to bring children out of poverty through classical music training in an intensive after-school program. Kidznotes will be launching this weekend in East Durham and I am thrilled to be involved. I am a member of the Board of Directors of Kidznotes and have been working on a variety of fundraising efforts as well as doing some teacher-training and performing to promote the cause. I am also proud to say that my corporate partner and sponsor, D’Addario Bowed Strings, has also jumped on board and has generously participated in preparing instruments for our young students to use. The will certainly be set up with wonderful instruments as a result of D’Addario’s generosity and the generosity of many other organizations and individuals.

One of the models that El Sistema uses is the concept of each student being part of the “CATS” model of teaching and learning. “CATS” stands for Citizen, Artist, Teacher, and Scholar. When I heard the acronym for the first time, it resonated with me on so many levels. In many ways, this has been the model that I have used with my students for almost 25 years of teaching. But, it was never stated so clearly and succinctly for me before my work with El Sistema USA.

For my students at NCSSM, I want you to take some time to think about the challenges that this model offers us. It is easy to think your job as a member of an orchestra or a class is fairly one-dimensional. That is, to assume that you are to come to class, participate fully as a musician and student, and move on to the next class. But here at NCSSM, we want to challenge you to be so much more than that. We want you to be engaged in class. We want you to own the environment. And we want you to pursue scholarly excellence in all that you do. So, let’s look at each word in the acronym and consider them individually and collectively.

First, we encourage you to be a CITIZEN. We expect you to own your citizenship. With citizenship comes responsibility. We expect you to care about the environment from start to finish. What does that entail? Citizenship, to me, equates to affirmative community membership – encouraging others, leading when appropriate, following when appropriate, caring for the injured, supporting the weak, loving the unloved. It requires a lack of self and a concern for others. In short, ask not what your organization can do for you. Ask what you can do for it and the good of the whole.

Next is ARTIST. It may seem like a reasonable expectation that a member of a musical organization or class be expected to act and think like an artist. Personally, I never really became comfortable with the notion that I was an artist until well into my adult musical years. I am not sure that I was ever really encouraged to think that way. Or, if I was, it was never really articulated in a way that I understood or incorporated into my life in a meaningful way. What is it to be artist? One definition claims that an artist is one who is able by virtue of imagination and talent or skill to create works of aesthetic value. So, an artist must be imaginative, talented, skillful, creative, and aesthetically inclined. One who is interested in aesthetics is interested in the creation of beauty. I believe it is my job to encourage you in all of these ways. When you are truly using your imagination, talents, skills, and creativity with a goal towards creating beauty and moving people’s emotions, you are on your way to being an artist.

TEACHER: On the surface this is a curious one. After all, you are, by definition, a student. First off, trust me when I tell you that I have learned ten times as much as a teacher than I ever did as a student. When we teach, we really must understand process. We have to much more clearly define objectives and goals. We have to exhibit patience, too. When students teach, they develop much deeper understandings of the processes that they are going through. Students teach every day. Just ask my seniors. I look to them to set a tone in the classroom. A section in an orchestra is always better when there are a strong front couple of stands. They are modeling for the rest of the section. They are, for all intents and purposes, teaching. And every player can in some way, teach their stand partner from time to time. We teach when we do it right and we can also teach when we do it wrong. I have learned a great deal from less-than-exemplary models in my lifetime. We must all be teachers.

Finally there is the aspect of being a SCHOLAR. I would seem to be a no-brainer that we should be scholars. But, I want you to bring true scholarship to everything that you do, including orchestra. Again, how often I see students that come to class just expecting to go through the motions on a given day. That is not true scholarship. Scholarship requires a thirst for knowledge that has been accumulated by many over the years. It includes a desire for accuracy, an appreciation for history, a respect for the science, and understanding of the mathematical principles, a desire to comprehend the theory of everything that we undertake. True scholarship requires academic curiosity and academic enthusiasm. Do you bring scholarship to every rehearsal that you attend?

I understand that these are lofty goals. They are all-encompassing. They are a challenge. But why would one want it any other way. You are here to “accept the greater challenge.” So here it is. Adopt a fundamental commitment to the “CATS” model of learning. Every day, in every class, in every endeavor, I encourage you to be a Citizen, Artist, Teacher, and Scholar. Let me know when you succeed. I will celebrate with you!

Peace.

Scott

Christian Howes: Out of the Blue

2010-08-19T16:51:00.000-07:00

Hey everyone!
Check out the new CD from my friend and extraordinary violinist, Christian Howes.

August 10th marks the release of his newest album, "Out of the Blue" on Resonance Records featuring the legendary jazz and blues guitarist, Robben Ford. Also on the album: the amazing organist and pianist, Bobby Floyd; Joel Rosenblatt on drums and Ric Fierabracci on electric bass;bBassist Kevin Axt, and Chris' labelmate, Tamir Hendelman, a genius of a pianist and arranger.

You can get a free download from the new CD by clicking here :
http://soundcloud.com/resonancejazz/christian-howes-bobbys-bad

And I know this is crazy, but he has decided to offer anyone who posts this link to his blog about the new album and tour (Twitter, Facebook, your own blog, or wherever you wish to share it) a FREE CD from his back catalog.

All you have to do is email me a link to the page you posted on, and we'll send you a zip folder with 10 free songs!

Welcome to the 2010-2011 School Year

2010-08-18T06:22:00.000-07:00

Hi all!
Today's post is specifically for the 2010-2011 NCSSM Orchestra, but I would encourage all to read on. There may me a thought or two here for others of you in education, music, or other fields as well.

We are at the beginning of a new school year. Today is the first day of class for the NCSSM Orchestra. The room will be filled with anticipation. We will all meet each other for the first time, find out what instruments everyone plays, learn where each other are from, and find out what to expect from the 2010-2011 orchestra experience. The excitement will be palpable!

By the time my students read this, the first meeting will have occurred and hopefully most that is true. So, now what? Sit back and wait for the next rehearsal? After all, that will be our first "playing day;" the day that we actually unpack instruments and make music for the first time.

Rather than simply waiting, I want you all to consider the upcoming year for a bit. I want you to think about your expectations for the year in orchestra. I want you to think about your contributions to the upcoming year in orchestra. What will you give to the ensemble and the experience? What will you take away from the experience?

I grabbed this idea from one of my favorite books, The Art of Possibility, by Ben and Rosamund Zander. The chapter entitled "Giving an A" outlines the notion that grades in a course often say so little about the work that has actually been done by a student. That, in fact, grades simply compare one student to another and that competition can put a strain on the classroom community and often consigns students to a more solitary academic journey. The Zanders, rather, write instead about focusing energy on "chipping away the stone and getting rid of whatever is in the way of the student's developing skills, mastery, and self expression." The real question to be asked is, "What are YOU going to bring to the table to receive that A?"

So for my class, here is your assignment. I want you to think about how you are going to feel at the end of this school year in the most idealistic of terms. I want each of you, in the next week, to write me a letter. I want it to be dated May, 2011. I want you to begin the letter with the words, "Dear Mr. Laird, I had a great year in orchestra because ..." Don't use phrases like "I hope," I wish" or "I intend." Rather, I am interested in the person that you have become, the musician that you have become, the attitude that you have developed, the feelings that you felt, and what you have done to become the person you wished to be. Fall passionately in love with the person you are describing in the letter.

For those of you that are not my students, I encourage you to write the same letter to yourself. After all, you ultimately will be the one giving yourself the grade for the upcoming year. Think about who you want to be at the end of the school year. What are your expectations of yourself? What are the mountains that you want to climb? What personal goals will you achieve and how will you feel about your successes and failures in the upcoming year.

I recently heard a really cool statistic. This is from The Center for Creative Leadership, Greensboro, NC as adapted from their document, Goal Setting: A Motivational Technique that Works

. It is as follows: If you set a goal, there is a 6-8% chance that you will achieve that goal. If you set a goal AND write it down, it jumps to a 25% chance that you will achieve it. If you set a goal, write it down, and share it with a friend, there is a 55%-60% chance that you will achieve it. Finally if you do all of the previous things and ask a friend to hold you accountable, there is an 80% chance that you will achieve that goal. This is remarkable, isn't it?

Through this assignment, you will accomplish the 25% range. Maybe you could share it with some friends and increase that percentage.

For today, I want you think creatively and passionately. Let your hopes and expectations for the coming year at NCSSM or wherever you are flow freely. Write it down in a letter to me. My bet is that you will exceed your expectations and dreams. I have seen it happen before. I know it will happen again.

Best wishes to all of you for a successful 2010-2011 school year!
Peace.
Scott

The Herald-Sun - Brighter future hits high note

2010-08-03T13:15:00.000-07:00

The Herald-Sun - Brighter future hits high note

Colorado ASTA and Coloroado American Bandmasters Summer Convention

2010-07-15T05:15:00.000-07:00

Greetings to my new friends at the Colorado ASTA and Colorado American Bandmasters Summer Convention in Denver. It is great to be speaking with you all today and tomorrow. I sincerely hope that I can give you some food for thought over the next two days and truly look forward to getting to know you all and hearing about the great things that are going on in the Colorado Music Ed community.

I am looking forward to my sessions and hope that you can attend one or more of them.
They are:
*Inspiring the Net Generation Music Student with Instructional Technologies
*Sound Innovations by Alfred
*Inspiring Students with New String Technology
*Science and Math in the Music Classroom

Please drop me a note if you get to my blog at some point and let me know you were here.
Best wishes for a successful conference!
I look forward to seeing you over the next few days.
Peace
Scott

Flight Delayed - Time for a Book

2010-07-09T03:31:00.000-07:00

Hi all. This summer, I find myself doing a good deal of traveling and, as a result, I am pleased to be catching up on some long overdue reading while on flights. My reading list for the summer is pretty long and it includes a number of books that have been recommended to me over the past several months, as well as some new potential gems that I have discovered.

Last night, as I sat on a flight from RDU to JFK that lasted much longer than it should have, I cracked open the NY Times Bestseller, Outliers, by Malcolm Gladwell. Many friends that know of my reading habits and general thought life have recommended this one to me and I was long over-due to pick it up. I read his previous efforts, The Tipping Point and Blink, several years ago and knew that this would be one that I would enjoy and find several useful points within. As it turned out, I was able to go cover to cover as a result of crowded air traffic over NY City and a slow ground crew at JFK. Fortunately, I had a good book to occupy my time.

This book has been the topic of many a conversation in recent months and I am sure that many of you are familiar with two of the primary topics of the book. First, there is the 10,000 Hour Rule. This is the notion that in order to truly be an expert at anything, one must invest a minimum of 10,000 hours into the activity. Secondly, the Matthew Effect, which centers on the Canadian youth Hockey Leagues and the fact that the vast majority of kids that make it to the pros were born in Jan, Feb, or March! As an instructor at a school for academically talented kids and as a Dad, both of these concepts are fascinating and well worth the time spent reading the book. I had been in conversations with friends and colleagues on several occasions this year about both of these issues and must admit, I didn’t realize that they were from this book. I believe that these two concepts are certainly the two that resonate with the American public today and have driven the book’s popularity.

These topics, however, were not the primary points for me. There were two ideas in the book that really resonated with me. The first was a result of some studies on a community in Pennsylvania where the incidence of heart disease was exceedingly low. Researchers sought explanations for this health anomaly, seeking some explanation for the fact that this community was full of “outliers.” The best way to summarize the findings is to simply say that they were healthier due to their community. This was a place where three and four generations of family and friends lived together, in work and in play, in a nearly perfect world that they had created for themselves, in a “powerful, protective social structure capable of insulating them from the pressures of the modern world.” Now, those of you that know me well, or read this blog regularly, know that I believe in the power of community. I believe that our best work gets done when we are happy in the social structure of our environment. We are absolutely at our best, most creative, and most productive when our community is strong. This study of a group of outliers seems to support this idea in a very strong way.

A later chapter of the book presented data on a variety of trends among Jewish immigrants and the garment industry in New York in the early 1900’s. It is quite involved and I won’t go into all of the details here. (You can read the book for that!) But, as part of that chapter, Gladwell notes three qualities that lead to satisfying work, and ultimately, success. They are autonomy, complexity, and a relationship between the effort and the reward. He goes on to make the point that money is not one of the three “drivers” of this concept, although many that find these three criteria as part of their work make a great deal of money. Work that fulfills these three criteria is meaningful.

Think about these three criteria. Autonomy: My son is 13 years old. He is mowing 4 lawns this summer for spending money. He gets to decide when he does his work. He can do it early in the morning, before it is too hot, he can go to soccer practice in the morning, rest in the afternoon, and do it later in the day if he wishes. He can do all four in one day or spread them out over a week’s time. He has autonomy. It sure beats being tied to a summer schedule that is rigid and inflexible. Trust me; the same is true for adults. I see it all the time. Complexity: Humans want to be challenged. Humans need to be challenged. We want to find careers that are interesting and engaging in a variety of ways. I think this is one of the reasons I love conducting orchestras. I never do the same thing twice. Every rehearsal is different and unique. I am continually challenged by the complexity of the activity. Relationship between effort and reward: Simply stated, the harder we work, the greater the reward. When we burn the midnight oil, we see a palpable result. Gladwell sums this all up nicely when he says, “if you work hard enough and assert yourself, use your mind and imagination, you can shape the world to your desires.”

So, for those who are choosing careers right now, or coming to NCSSM in the fall, or in the midst of summer vacation, or just surfing the blogs, give this a little bit of thought. I highly recommend the book, Outliers. It is a quick read and provides some really interesting food for thought. I wonder what I will read on my flight back home.

Peace.
Scott

Positions Available at EVS!

2010-07-07T06:55:00.000-07:00

Friends,
I received a phone call late last week from my friend, Blaise Kielar at the Electric Violin Shop in Durham, NC. He is getting the word out that he has at least one open position that he would like to fill. This would be a sales position, but he is interested in filling it with a string teacher that has lost their job recently due to budget cuts.

The Electric Violin shop is a small violin shop, run by musicians, that boasts the world's largest selection of electric bowed string instruments from nearly every manufacturer. These are great folks with a real passion for electric bowed strings and for education.

So, if you are finding yourself out of work due to budget cuts in education or know of someone that fits that description, contact The Electric Violin Shop today!

Peace.
Scott

PS -
I just received this note from Blaise:
Career Opportunity at Electric Violin Shop
We have two full time openings for a musician with experience in retail, lutherie, or strings education. Join our team to serve our domestic and international customers through e-commerce, phone, and walk-in sales. Ours is a growing and exciting musical specialty, with job satisfaction and variety of duties not found in many professions.
In 1978, I answered a newspaper classified in Philadelphia for a ”Violin Maker with trade school experience.” The job description confused me, for there were only three places I knew of in the world that trained violin makers, and they were not what I considered a trade school. Bill Moennig invited me for an interview, and it became clear immediately that I was not suited for that position. However, he later offered me a place in the Bow Department. I was relieved to change careers from searching for a musicology teaching position (which was not going well!) to working with my hands. I learned my new skills (yes, it was after all a trade) and then, with a partner, opened the first violin shop in Chapel Hill, North Carolina.
As times changed, I opened my own shop, and added electric violins, seemingly to satisfy my own selfish interests. The rest, as they say, is history! Electric Violin Shop has grown organically into one of the most interesting niche businesses in the world, by carefully answering each player's questions about how best to be heard in an amplified setting.
So if you, or anyone you know, might be interested in educating musicians about string amplification through superior customer service, please contact me. North Carolina is a beautiful place to live, with affordable housing still available!
And, thank you for placing your trust in EVS as your source for electric strings gear!
Blaise Kielar
Read the full job description, here.
PS - Duncan is moving to Galveston, where his wife landed a teaching position, and Mike is switching careers to his first love, choral music.

The Music Instinct

2010-07-01T02:32:00.000-07:00

A couple of nights ago, I was killing some time, flipping through the channels, looking for something to watch on TV. I ran across a PBS Special that was absolutely fascinating. The Music Instinct was premiering that evening and encompasses a number of areas that really interest me. Those of you that read my blog regularly, know that two books on music and the brain have really grabbed my attention in recent years: This is Your Brain on Music, by Daniel Levitin; and Musicophelia, by Oliver Sacks.

Well, this special expands on both of these books and tackles a variety of related issues dealing with music, learning, and the operations of the human brain. This is a great primer for anyone that may be interested in these topics, but doesn't have the time to dig in to these interesting books. I would also encourage educators to check out the link to the show's website above. It contains several video clips, resources for teachers, a bunch of applicable links, and a variety of other resources.

Here is a excerpt from the PBS description of the show:

Researchers and scientists from a variety of fields are using groundbreaking techniques that reveal startling new connections between music and the human mind, the body and the universe. Together with an array of musicians from rock and rap to jazz and classical, they are putting music under the microscope.

“The brain is teaching us about music and music is teaching us about the brain,” says Levitin.” Music allows us to understand better how the brain organizes information in the world. There are a lot of different factors that go into our emotional appreciation of music [like] the memories we have of a particular song that we heard at a particular time in our lives.”

Internationally renowned performers Bobby McFerrin and cellist Yo-Yo Ma describe the way musical intervals are used or combined to create melody and harmony. McFerrin, together with the “World Singers,” sing a cappella to demonstrate that basic elements of music; pitch, tempo, rhythm and melody create specific reactions in our brains. Yo-Yo Ma plays two notes and then five more notes and then plays different combinations that demonstrate the way musical intervals are combined to create a melody or harmony.

Percussionist Evelyn Glennie encounters music in a unique way, as fundamentally a “physical phenomenon.” Profoundly deaf, Glennie “hears” music not through her ears, but by feeling vibrations through the floor and in her body: low frequencies through her legs and feet; high sounds in particular spots on her face, neck and chest.

Rock stars Jarvis Cocker and Richard Hawley were asked to participate in a new experiment to reveal the difference in the brain when two people perform music together – as opposed to solo. Neuroscientists wonder how two brains interact since music is fundamentally a social activity. Cocker was asked to enter a fMRI machine, while Hawley played his guitar in the room. When the Scan was analyzed it showed a measurable difference in brain activity when Cocker sang alone compared to when he sang with Hawley playing guitar. During the duet, Cocker’s brain was more active in areas for phrasing and coordinating music as well as cognitive and emotional interaction.

Research also shows that music has enormous potential to help explore the complexities of human brain function. For example, there’s a strong connection between the auditory and motor regions of the brain, and music seems to engage the motor system in a way that other modalities do not. People with motor disorders like Parkinson’s disease have improved their ability to walk while listening to a rhythm track, and stroke patients who have trouble with speech show signs of improvement when they receive music therapy. And there’s new evidence that music can actually change the physical structure of the brain – a fact that has critical implications for both education and medicine. One thing is clear, proven and agreed upon; music has a profound capacity to influence and alter the human experience.

I would encourage everyone to check this one out. It is appropriate for musicians, teachers, students, administrators, arts advocates, and anyone that has been impacted by music at some point in their life. I also happen to know that it is available for free if you are a member of Netflix.

Seek this one out. You will be gripped!
Peace.
Scott

Lamar Stringfield Summer String Camp and NS Design Instruments

2010-06-28T10:53:00.001-07:00

Hi all! Today, just a quick note about the Lamar Stringfield String Camp and NS Design Instruments.

For the past two weeks, Meredith College in Raleigh, NC has been hosting the Lamar Stringfield String Camp, a day camp for students to focus on string playing, technique, and ensemble playing. Students may attend for 1 or 2 weeks and the camp is open to students ranging in age from early elementary students through high school age students.

As part of the final concert on Friday, Orchestra Conductor, Kirk Moss programmed a really cool funk tune called Mercy, Mercy, Mercy (By Josef Zawinul, arranged by Bert Ligon, and published by Latham Music) that includes several open sections for improvisation. Kirk invited me to play on the tune and opened it up for student solos as well. As part of that performance, my son, Matt (in the photo on the right), and violinist Jacob Henderson (in the photo on the left) jumped in on the fun and performed improvised solos on their NS Design Wav violins. The performances was really well-received and the Wavs were perfect for the guys.

Thanks to NS Design for making such great instruments and making performances like this possible for so many!

Peace.
Scott

Tech Learning TL Advisor Blog and Ed Tech Ticker Blogs from TL Blog Staff – TechLearning.com

2010-06-23T06:42:00.000-07:00

Tech Learning TL Advisor Blog and Ed Tech Ticker Blogs from TL Blog Staff – TechLearning.com

Hey all -
Check out this blog on tech learning. Good post on Music Applications!
Peace.
Scott

The Universal Online

2010-06-16T18:21:00.000-07:00

Hey all -
I have added a new blog to my blog list. It is The Universal Online. It is an online radio show, hosted by Tom Maxwell, formerly of the Squirrel Nut Zippers. My friend, Thom Canova will be engineering the project. Tom will be interviewing musicians on the show and has started with the Old Ceremony and then did a fantastic interview with my friends, Lost in the Trees. I had the pleasure of working in the studio with Tom a little over a year ago as part of a string quartet. It was a fun experience and I love the spirit of this project. I hope that you will check it out!
Peace.
Scott

String positions!

2010-06-10T06:13:00.000-07:00

For my friends in string education:

New Hanover County, NC (Wilmington area) is undergoing some changes and movement this year. They have opened a new middle school and will be obtaining a new orchestra position for the fall! They also have a vacancy at Hoggard High School in NHCS. Although the position postings have been put into processing, they won't actually post until July. The arts supervisor has given us all the official "go ahead" to send out the word.

The jobs that will be available will most likely be:
Noble Middle School (close to Wrightsville Beach) and Holly Shelter Middle School (Castle Hayne)
Both orchestras will have enrollments of around 50 each. Holly Shelter is a new facility with a small 300 seat auditorium; Noble has great parental support and has the highest academic achievement in the county. This program needs someone energetic and committed to continue growth.

Myrtle Grove Middle School (Monkey Junction area) and E. Ashley High School (Carolina Beach)
The middle school orchestra has an enrollment of around 50 students and the high school has enrollment of close to 70 students. Myrtle Grove MS is a program that is still growing and needs continued support. Ashley High School is an impressive facility and the school is attached to a 1,000 seat auditorium. I've heard the administration at AHS is very supportive of the arts.

If you know anyone interested, they need to apply online with NCDPI and send resumes to Georgeann Haas, Arts Education Supervisor. Teachers love their job there, and they are really supported. Local benefits and salary schedules can be found at www.nhcs.net.

Honesty

2010-06-01T03:56:00.000-07:00

For those of you that check out my blog regularly, you know that I have written about honest musical performances. As a listener, you can just feel it. It takes an honest and trusting person to truly give an honest musical performance. Take a minute to check this one out. This is just such a sincere performance of Bruch's Kol Nidrei.
Enjoy.
Scott

NCSSM Concerto Concert, May 2010

2010-05-31T10:20:00.000-07:00

Hi all.
Many of you know that the annual NCSSM Concerto Concert was held about 2 weeks ago at our school. I am so proud of the orchestra and all of the soloists. I'd love to share the performances with you. So, over the next week or so, I will post each of the 5 soloists here on my blog. If you would like to check out all of the soloists at one time, they can be found on the NCSSM Fine Arts Youtube Channel.

The first is Oboist, Suna Li. this is Movement 1 of the Vaughn Williams Oboe Concerto. It is a beautiful piece and Suna does a great job with it, as do the strings!

The Lesson Room

2010-05-28T14:07:00.001-07:00

Hi all!
Today I want to give you a little bit of insight on using the new teaching resource from D'Addario, www.thelessonroom.com.

This new resource is an exciting tool that can be used as a supplement to any solid instrumental music program. It is populated with video and other content that can be used by instrumental teachers, regardless of the method book or curriculum that they are using. Students can find good lessons that cover technique and ideas, taught by master teachers in an easy-to-use, free package.

In the coming months, we will be populating this site with solid video instruction on violin, viola, cello, bass, and guitar that you can use in your classes or as a resource for homework. We also anticipate that teachers will be able to use these videos to enrich their own understanding of the nuances of the individual instruments and techniques. Or, maybe to just pick up a tip or trick to use in their own teaching.

Much of the instruction on violin and electric violin is already there and can be found at this link: http://www.thelessonroom.com/LessonRoomResourceLibrary.Page?query=laird

Our planned content includes the following:

Introduction/Explanation: Scott Laird, NC School of Science and Math
1. Welcome
2. Students: How to use
3. Teachers: How to use

Violin: Scott Laird, NCSSM
1. First Year Technique
a. Playing position – Seated and Standing
b. Left Hand set up
c. Right Hand (Bow hand) Set-up
d. First year finger patterns
i. Upper strings: 2/3, ½, 3/4
e. Basic Note Reading
f. Rhythmic Patterns
g. Long tones
h. Tuning Tutorial (how pegs work, tuners vs. fine tuners, getting in tune)
2. Second Year technique
a. Finding third position
b. Finger Patterns
c. Shifting
d. Major Scales (with or without music)
e. Changing strings

Viola: Scott Laird, NCSSM
1. First Year Technique
a. Playing position – Seated and Standing
b. Left Hand set up
c. Right Hand (Bow hand) Set-up
d. First year finger patterns
i. Upper strings: 2/3, ½, 3/4
e. Basic Note Reading
f. Rhythmic Patterns
g. Long tones
h. Tuning Tutorial (how pegs work, tuners vs. fine tuners, getting in tune)
2. Second Year technique
a. Finding third position
b. Finger Patterns
c. Shifting
d. Major Scales (with or without music)
e. Changing strings

Cello: Mira Frisch, UNC Charlotte
1. First Year Technique
a. Playing position – Seated and Standing
b. Left Hand set up
c. Right Hand (Bow hand) Set-up
d. First year finger patterns
e. Basic Note Reading
f. Bow Placement and use
g. Tuning Tutorial (how pegs work, tuners vs. fine tuners, getting in tune)

2. Second Year technique
a. Extensions
b. Shifting
c. Major Scales
d. Changing strings

Bass: Paul Sharp, University of North Carolina School of the Arts
1. First Year Technique
a. Playing position – Seated, Standing, Bent Endpin
b. Left Hand set up
c. Right Hand (Bow hand) Set-up – French and German
d. Basic Note Reading
e. 1/2 steps, whole steps, introduce 1/2 and 1st position,
f. Early scales: G, C, D, and F and Bb

g. Early thumb position
h. Basic Instrument set-up
i. Tuning Tutorial (how pegs work, tuners vs. fine tuners, getting in tune, harmonics?)
2. Second Year technique
a. Simandl and Rabbath method
b. Advanced thumb Position
c. Shifting
d. Major Scales
e. Changing strings

Guitar: Todd Miller, Wake County Public Schools
1. First year Technique
a. Finger patterns-basic right hand/left hand technique
b. Natural notes on the guitar
c. Open chords primer and 1st song
d. Intro to Tablature
e. Basic note reading
f. Basic finger Picking
g. Basic Strumming
h. Blues in A

2. Second year Technique
a. Strumming Technique
b. Finger-picking Technique
c. CAGED Concept

Various Round Table Discussions oriented towards teaching and pedagogy.

This content should all be posted by the start of the 2010-2011 school year and we hope that teachers and students all around the country and world will take advantage of the content on the site. We have plans for worksheets, hoework assignments and quizzes as well.

It is definitely an exciting time at D'Addario and we look forward to your feedback on this cool site.

Best,
Scott

Underground Caverns

2010-05-06T13:07:00.000-07:00

Hi all! the following is a video that was created by the NCSSM Distance Education Department. It centers around a performance of the NCSSM Orchestra and Ligon Middle School Orchestra in Wake County, NC. This was a really cool performance and a marvelous technological and artistic experience for the students of both schools. I think that my music technology friends around the country will be pleased with this one. I hope that you enjoy the video!

NCSSM Music Instructor Scott Laird explains a collaboration with Ligon Middle School Music Instructor Ruth Johnsen. Interactive Videoconferencing was used to conduct 'Underground Caverns for Double String Orchestra' by composer Martha Bishop, a piece specifically written with the built-in latency of videoconferencing in mind. Student musicians from both schools got to experience a unique musical collaboration using IVC technology.

If you are interested in more information on this performance, the following is a link to an interview with Ruth Johnsen from Ligon Middle School that is posted on the WakeCounty Schools website.

http://www.wcpss.net/announcements/archives/2010/04/two_orchestras.html

Peace.
Scott

Technology Jones

2010-05-01T05:52:00.000-07:00

Lately, I have had the technology jones. April was not a good month for me and technology. My technology at school and at home has let me down and I have a few thoughts as a result of these technology disasters, now that I am on the other side.

First, early in the month, the NCSSM Moodle site, a course management software system, completely crashed. those of you that know me, know that I have COMPLETELY invested in the blended curriculum concept and that crash really handcuffed me in all of my courses. I have created instructional videos for all of my classes I have students taking quizzes and turning in audio projects via Moodle for my recording classes. And, I use it extensively in my orchestra class for instructional videos, distribution of recordings and other related music, as well as for jury sign ups and other purposes. In my piano and guitar classes, it is simply the portal for the entire course organization. So, when it crashed and the backup servers didn't do their job, I lost a ton of information and work. I would estimate that I have something like 50 to 60 hours of work to bring my courses back to a fully functional place. Not to mention the fact that I lost several assignments that students had submitted to me electronically earlier in the term. That makes giving mid-term grades pretty dicey. Not fun.

Second, at about the same time as the great Moodle crash of 2010, i decided to take the leap and purchase a Blackberry. I stepped up my wireless plan to an unlimited DATA plan and picked up Blackberries for both my wife and me. We felt that we had arrived at a place where we really needed to have phones that would provide us with our e-mail and calendars on a portable basis, as well as the ability to get to the web on a moments notice for information purposes. Our scheduling has become so complex that it felt like the right thing to do at this point. No problem - right? Wrong!

In my zeal to get the Blackberry synced up to my computer, I somehow removed all of my calendar info from my laptop beginning in June of this year. Now, for those of you that know me, this is a huge problem. I am booked sometimes as much as 18 months out for various appearances and performances. I am constantly juggling a busy school, performance, and family schedule and pride myself in my organization. This was a DISASTER. I spent the next several days trying to hook up with the nice folks at Sprint. I must say, they were very helpful and after two LONG days of troubleshooting at the store, my data was restored. This situation caused me a ton of stress, at least one sleepless night, and several hours of troubleshooting at this store and at home.

Add these two major catastrophes together with the usual Windows freeze-ups, I-pod battery dieing, cable out, and other day to day tech issues and it was an April to remember.

I think that I could have handled one of the two major tech disasters this spring without much of a problem, but the two simultaneous problems definitely left me with the technology jones.

So, I have a couple of big reminders for everyone today. First: back up your information. This is a hard lesson to learn. We had been assured at school that our Moodle courses were being backed up weekly. It didn't happen. I actually bought an external drive to back up my Moodle pages at Christmas time. It never happened. I also intended to back up my Outlook Calendar. This, too, never happened. We have to do it. We are all relying on technology for the organization of our lives more and more each day. We, as individuals, can't afford to lose it. It isn't that hard and it doesn't take that long. Take a minute today to find out how to back up your Outlook calendar. A quick Google search will give you the procedure.

Second: Listen to the cues that your technology gives you. If things aren't working properly, that is the time to back things up. right now, my fan in my laptop needs cleaned. It has been shutting down intermittently due to overheating and I haven't found the time to get it into our IT guys for a cleaning. I have to make the time. Otherwise, it could spell disaster.

Our technology is so important to us today. I use it for my teaching, my social life, my bookings and performing life, my family schedule, my creativity, and for so much more. Be smart about the way that you care for your information. I know that I have learned the hard way. I am hoping the this season of the "Technology Jones" is about over. As I work today to rebuild my courses, I am hopeful that I won't have to do this again. The ball is in my court.

Peace.
Scott

Leadership Lessons from Dancing Guy

2010-05-01T05:13:00.000-07:00

Hi all!
I know that this video has made the rounds lately, but I would like all of my students to see it. It makes some really great points.

To my seniors: as you move into this crossroads period of your life, heading off to college and preparing for life after schooling, you will have many opportunities to be a leader. In addition, you will have many opportunities to be the second one to join a movement. That, as the narrator says, is really the hard spot. It takes courage and discernment to know when the potential movement is worthwhile. Be thoughtful about your actions and allegiances. Have the courage to lead and the wisdom to seek out worthwhile endeavors.

This is just a short video, but I hope that you find some value and application in it.

Peace.
Scott

Orchestras and Adjudicated Festivals

2010-04-21T10:40:00.000-07:00

Hi all.
I know it has been a while since my last post. It has been pretty busy here at NCSSM and my family life has been filled with a variety of spring sports leagues. It has not been uncommon for my wife and me to take 3 kids to 3 different sporting events or practices in one evening this spring. So, I apologize for my recent silence.

Today, I want to just give a few thoughts about school orchestras and adjudicated festivals. I recently served as an adjudicator for the North Carolina Eastern Regional Music Performance Adjudication Festival. It was such a pleasure and honor to observe my North Carolina colleagues with their kids. I know so many of them from NCMEA meetings and other events. It is always great to see master-teachers interacting with their daily students.

My role in this festival was to judge in the sight-reading room. This is hard duty as a judge. I heard around 40 orchestras sight-reading one of 4 different pieces, depending on their performance level. Believe me, there is only so much that one can say about a grade 1 or 2 piece that is being played for the first time by a group of nervous middle schoolers. The plan for me as a judge is always to find lots of positive things to say to the group and affirm the work that they have done. Then, I try to isolate on area where they can improve. I try to offer constructive suggestions for a more musical performance, stronger technique, or a more cohesive ensemble.

Following this adjudication festival, I had a couple of overriding thoughts. The first is a technique issue. It is now, quite common for orchestras to "shadow-bow" before sight-reading a piece. This is when the student holds the bow and moves it to the rhythm without touching the strings, simulating playing the piece. In and of itself, it is a great idea. But, I noticed that lots of students did REALLY odd things with their bow hold and I can't believe that this has a positive impact on their bow hold in the long run. As I make my way in to a variety of teaching situations throughout the area, one constant that I have noticed is an inconsistency of functional bow holds. (For a primer in teaching or establishing a good bow hold, follow this link.) My suggestion here is to simply not hold the bow during the "shadow bow" portion of the sight reading experience. Have the kids put the bow on the music stand and do the exercise exactly the same way. I don't even know if this is necessary for the violins and violas, but it definitely is for the celli and basses. I would have everyone put the bow down. The students can still focus on the kinesthetic experience of bowing and the associated rhythms. Instructors can still see the rhythmic motion of the bow arms. And, the potential bad habits of bow hold can be avoided.

The other over-riding thought that I have involves listening. Now, I know that it seems like a silly thing to say that listening is an important part of performance and sight-reading. But, in two complete days of adjudicating sight-reading, I only heard a handful of instructors remind their musicians to listen. Furthermore, it was very easy for me to identify the ensembles that had practiced the art of listening in the ensemble. We, as instructors, can get fixated on the nuts and bolts of notes and rhythms and simply forget to teach listening. I believe that many ensemble intonation problems are not so much a function of individual playing and technique issues, but are more a function of listening issues. We must know how to listen across the ensemble and build a chord from the bass, up. That, of course, also accentuates the importance of the role of the bass and cello section. I recently had the pleasure of working with our Physics Department at NCSSM on a unit on Sound and Frequency and, believe me, the physics doesn't lie. The fundamental tone has to be in tune (bass) and the 2nd harmonic does, too (cello). If they are out, the orchestra doesn't have a prayer of creating a beautiful sound. And, the upper strings must listen and adjust to the others around them in order to create that special string sound that we all know and love.

So, there are a few thoughts. I hope someone out there finds them to be helpful. I certainly welcome your thoughts and remarks on the issues of shadow bowing and listening across the orchestra.

It was definitely ah honor to work with all of you at the Eastern Regional Music Performance Adjudication.

Kidznotes in Venezuela!

2010-03-18T04:56:00.000-07:00

Many of you know that I am on the Board of Directors of Kidznotes, a new El Systema Program in Durham, NC. Our Executive Director is Katie, Wyatt and she is one of the Abreau Fellows that are currently working in Venezuela. Catch up with Katie in Venezuela! Don't forget to vote in the Pepsi Challenge! Spread the word! Visit the KidZNotes web site today: http://www.kidznotes.org/.

The Abreu Fellows in Caracas with Gustavo Dudamel, (center, back row), the 28-year-old Music Director of the LA Phil, an El Sistema graduate. KidZNotes' Katie Wyatt is at the far left, second row. Dr. Mark Churchill of the New England Conservatory and co-director of the Abreu Fellows Program is at the far right, second row. To learn more about the Fellows' current two-month stay in Venezuela, see Katie's blog on the KidZNotes' website (www.kidznotes.org).

60 Minutes Video - Derek - CBS.com

2010-03-16T09:27:00.000-07:00

Hi all. This 60 minutes piece is a must-see. What incredible things our mind can do. What an incredible thing is this music that we all love.

60 Minutes Video - Derek - CBS.com

Joe Liles Slideshow

2010-03-09T10:29:00.001-08:00

Hi all.
Today, I thought I would share a slide show with you that was made by friend, Joe Liles. Joe retired from NCSSM last year and spent the better part of 2009 hiking the entire Appalachian Trail. While on the trail, he wrote the song that is featured in the slide-show. My friend Willie Painter and I put an accompaniment to the tune and got together with Joe to record it a few weeks ago. Enjoy this musical trip up the AT. His blog is linked on my Favorites List. Check it out. It chronicles a wonderful adventure!
Peace.
Scott

Miniterm 2010

2010-03-08T05:03:00.000-08:00

Hi all.
Here at NCSSM, we just completed our annual "min-term." It is a 9 day, short session that permits students to focus on a single subject in an "in depth" manner. This year, I sponsored a course entitled "Eastern Regional Orchestra" The students that enrolled for the course were involved in the NCMEA Eastern Regional Orchesta, which I hosted at NCSSM this year. A few of the students were not able to perform in the group for various reasons and helped me with all of the administrative details throughout the weekend. For the first 2 days of mini-term, performing students were able to practice the literature to be performed and prepare for their seating auditions. The event itself, ran from Friday evening through Sunday evening. Then, for the remaining 5 days of the course, we attended a variety of concerts, watched numerous DVD's of famous symphonies, and studied the history behind the works that we were witnessing. The following are excerpts from the journals that students kept throughout the mini-term. I asked them to write thoughtful entries about the work they were doing and the music they were witnessing. I think you will agree that the expectations of the assignment were met with flying colors!

Peace,
Scott

Today I began to appreciate our guest conductor more. Last night, I felt like it was harder to communicate with him in comparison to conductors in the past. I know that, especially after coming to NCSSM, I try to have good eye contact with conductors at Honors and ERO, but it wasn’t really happening. Sometimes, I didn’t even feel like watching him even helped. But today, things started to piece together. We actually started sounding better than yesterday. I particularly liked his method of “matching” our bows. We got a much better sound as a section this way, and it’s definitely something I’ll use in the future. I also really enjoyed how even when he talked to a certain section about one particular section, the whole orchestra could learn from what he was saying.

I also liked our lesson on sostenuto. I liked the idea of always having this strong tone, but just adjusting the bow speed according to the kind of note or sound we wanted (for example, just changing bow speed but maintaining that tone). I felt like our whole section sounded better after learning about this technique.

Tonight we went to hear Tuskegee University’s Golden Voices Choir at Duke Chapel. It was a wonderful concert! It had been a few months since I’d been in Duke Chapel, so I was once again blown away by how beautiful a place it is. And the choir further magnified that beauty. Every time the choir finished a piece, their voices lingered in the air, filling the room with the last remnants of the music. I feel as though I could have listened to that sound alone for hours.
In all honesty, one of my favorite parts of the concert was watching the director, Dr. Barr. It was so interesting to see him truly leading the choir. With his gestures, he was able to control dynamics, tempo, phrasing, etc. Every eye in the choir was directed toward Dr. Barr, and I could hear his motions directly translate into the sound being produced. I believe it was this unity, this attention to detail, that made the music so powerful.

Our concert was really, really fantastic. The Hanson was so moving, and the theme has been stuck in my head all day. And the audience apparently liked William Tell a lot. The cello soloist messed up a little in the beginning, I know I messed up on my English horn solo (even though we both had done better in rehearsal), and for some reason my tongue was feeling sluggish once the Allegro Vivace (after the English horn and flute solo ended) began…but at the end, even before the conductor had cut off our final note, the audience was cheering and standing up. It’s the first time at a concert like this one that I’ve seen such a great reaction. Usually, despite how good the performance is, the parents stand and clap mostly because they’re parents, but I felt like today, they were ordinary, enthralled audience members.

I remember playing the last page of the William Tell. It’s when we begin accelerating, and everyone is loud and exciting and teetering on the edge, but not quite falling. It’s moments like those that make me love symphony orchestra so much, and playing overtures like William Tell so much. The brass and percussion sounds just surround you, like a tsunami wave of boldness and brightness. The strings in front of you are doing something insanely fast, while the bass players to your left are rounding out the bottom with their strong, deep sound. And even though the piccolo is about to tear apart your eardrums, even though you can’t really hear yourself because your instrument is totally lost among the countless other instruments, you feel like you are part of something so much greater, something that thousands of musicians before you have experienced with that exact same piece of music. I’m waxing poetic, I know, but it was definitely a concert I won’t forget.

While listening, I got a strange impression of the performance. We sat towards the back of the concert hall, and the orchestra was on the small side. As a result, all of the pieces sounded small and relatively soft. In a way, I felt a bit of a distance between myself and the performers. I guess I am used to hearing orchestral concerts by large ensembles that fill the concert hall and surround the listeners with sound. That this performance gave an impression of smallness and didn’t fill the hall made me feel like I was a part of another world; I didn’t feel like I got into the music much. I think there are two types of listening – active listening and passive listening. The first is what happens when I am really engaged in what I am hearing and I feel like I am a part of what I am listening to. Passive listening is what happens when I feel like I am a disconnected observer in a different world. In all honesty, my experience at this concert was more passive listening than active listening.

Today started off with a messy rehearsal. I felt discouraged by the fact that I did not have a good audition, but I understood that it was my fault for not practicing all of the music. Our conductor put the most effort into the Steel City Strut. By the looks and reactions of everyone in the room, I could discern that I was not the only one who struggled with this particular piece. The orchestras rehearsed from 9 AM until lunch. When lunch time arrived, I met up with some of my old Governor’s School friends and had a wonderful meal at Bali Hai. We took advantage of every second together and got back just in time for sectionals. The person in charge of coaching the cello section did not come on time and we wasted almost half an hour. I was beginning to feel irritated, but she finally arrived, and we began rehearsing right away. When we got started, my opinion of her changed almost right away. She was very efficient and had great strategies planned out. We worked quickly and her way of coaching got our heads to click. The improvement we made in less than an hour was mind-boggling. I was amazed by how much we accomplished in the little time we were given. Another break was given and I stocked up on some snacks and refreshments. Rehearsal resumed at 3:30 and I thought the orchestra was a hundred times better than what we started with. Instead of working on just getting the note and rhythms, the conductor actually began to work on dynamics and details. She said that we played too loud, as if we were “smashing baby chicks”, and that made my day. Things were looking much better and I began to feel a little better about everything. After rehearsal was over, I took a nap to rejuvenate myself and went to the pizza dinner. The food was great and I met many new people. The final session of rehearsal for the day resumed at 7 PM and continued until 9 PM. By this time, everyone was exhausted and sick of the music. It was a long day of music from 9 AM to 9 PM, but it was worthwhile. I gained a lot today and also had a great time with friends. I went to bed feeling happy and excited for the next day.

Today was a very long day. I have participated in many other clinics such as All-District, All-State Jazz, and so on, but this clinic seemed to last all day (which it did). I guess what separated this clinic from all the rest was that there was a considerable amount of resting for the brass sections. When we were asked to play, we asked to play in a really unusual style that I had never played before. Always I had been told to properly attack the note and be in time, but what he asked us to do was really follow the sound and not so much to the beat. We were to have a “horizontal” style of playing in that our phrasing and rhythm would stretch over the sounds of the strings, which was necessary for us to be coinciding. After a few trials and error, I think the brass really adapted to this style of playing and made the sounds of the ensemble sound that much better. We were all watching the tips of the string player’s bow to visually watch the beat and play off that instead of counting in our heads. I think this was one of the most valuable things that I will take away from this experience, as I will be able to apply this style of playing to future works with the orchestra.

Today, we took our trip to the Ludwig drum factory!

I found it interesting how so much of the work was still done by individual people rather than automated robots. Like the guide said, they aren’t exactly mass producing many generic products, so that plays into it. Still, it was touching to see local people putting on the parts and working on each portion of process by hand.

Even though I don’t play drums, I felt like I got a real treat going to the factory. It was amazing to see how much detail and care was put into creating each part of the drums, from treating the veneers in the climate-controlled room to the gluing and painting process. Like Mr. Laird mentioned to us all, it was interesting to see how all sorts of sciences contributed to making these drums. Right now, my plans are to continue with a degree in either general chemistry or chemical engineering, depending on which school I end up attending. That said, the science behind the glue and paint was particularly interesting to me (I found it really interesting that they used UV light to activate photoreceptors in the paint to finish the painting process!). Chemistry appeals to me in that its involved in everything, from the food we eat to the clothes we wear. All sorts of things you’d expect to be pretty simple involve lots of chemistry… and these drums have a lot of chemistry behind them too! It was awesome seeing the science involved in creating these drums.

The piece we studied today during our afternoon meeting was called Fantastic Symphony by Hector Berlioz. I really enjoyed this piece because it was interesting to imagine during the different movements what the conductor was thinking as he wrote it. The article definitely made the piece a lot more interesting because we knew the background story. I also noticed how in the beginning of the article it mentioned that Berlioz was “suffering from unrequited love for the Irish actress Harriet Smithson” and then later in the article when describing the Shakespearean actress it said “by this time had become his wife.” I couldn’t help smiling at those details.
The concert we attended was a graduate recital of Yooju Han. Although I do not personally play the flute, I had a fantastic time listening to her performance. The first piece, Sonata in G minor “La Lumagne”, Op. 2, No. 4 by Michel Blavet was interesting because of the interaction between the flute and the harpsichord. I was looking forward to hearing Peter Schickele after hearing that he was an interesting composer and I was not disappointed. I loved the performance that they gave of having Yooju Han play off stage on the left and then off stage on the right and then in the dark in the middle of the stage during the piece Spring Serenade. She was very talented.

2010-03-05T19:44:00.001-08:00

Speak with Conviction

2010-02-23T11:20:00.000-08:00

Hi all.
I have returned form the ASTA conference in Santa Clara and had a wonderful experience overall. But, as with many positive experiences, it contained a few bummers as well. I find myself being tested these days. It seems for every two steps forward, there is at least 1 step back. I guess that is how it goes in some seasons.

Today, a colleague shared this video with our Humanities Department Faculty. It is sort of a generational piece. but, I think it may speak to all of us in some way. It certainly spoke to me today. So, I thought I would share it.

May we all speak with conviction.

Peace.
Scott

Typography from Ronnie Bruce on Vimeo.

Hello to my new friends at ASTA

2010-02-17T09:57:00.000-08:00

This post is specifically for the folks that are attending the pre-conference session at ASTA in Santa Clara on "Inspiring the net Generation String Student with Instructional Technologies." (But everyone can certainly read on!)

I am so glad that you are taking part in the session today and hope that you are finding some inspiration in the discussion.

Welcome to my blog. This is where I go all philosophical and write my thoughts on topics that might have made it into a classroom discussion, but just didn't have time to get it in there.

This is a place where I can give my students food for thought. I can reinforce ideas that were just touched on in class. I can start new discussions here. I can discuss ideas and things that are important to me that are somewhat peripheral to class. And, it is efficient. It doesn't take any class time.

Students can respond to my thoughts, either by posting a response or by e-mail. Alumni can still participate in the discussions that come up as part of class. Parents can get a feel for what I am thinking and responding to as part of class.

It is a new way to engage in dialog with students, parents, and colleagues. Blogs are about people and objectives. You have to know who you want to reach and what you want to accomplish. (Groundswell, Charlene Li and Josh Bernoff, pp. 115)

In my case, I want to reach students first, parents and colleagues second. In many cases, it is all three. My blog is a place where I articulate thoughts, respond to situations, and encourage thought and dialog. Mostly, my blog is where I am honest. I share a part of me. I tell secrets here. And, I hope that my readership will share right back with me. I try to be really thoughtful about every post. I try to listen to the things that are going on around me first. (If you've spent anytime on my blog, you know that many posts are inspired by listening to the books that I read.) then, after listening and considering, I share my reactions and thoughts to the things that are happening around me.

How do you feel about blogging?
Is it right for your teaching situation?
Are you willing/ready to be part of the blogosphere?
Who is your audience? (People)
What is your objective?

I look forward to the conversation!
Peace.
Scott

The Checklist Manifesto

2010-02-16T10:19:00.000-08:00

On my flight to California yesterday, I had the opportunity to finish reading a book that I began over the holidays, The Checklist Manifesto, by Atul Gawande. If you have been reading my blog with any regularity, you know that I really enjoyed his previous book, "Better, A Surgeon's Notes on Performance," and found many applications to my classroom in it. Well, "The Checklist Manifesto" is equally gripping and there are so many applications to my life and my teaching to be found here.

The basic assertion of the book is that simple checklists can make complex processes more efficient and accurate. Simple idea, but profoundly true. We all live increasingly complex lives. We all do increasingly complex jobs. Through a variety of excellent examples, Gawande shows how checklists can prevent errors on a variety of levels and, ultimately, save time, money, and in many cases, lives.

He outlines the differences between simple problems (a series of steps to solve), complicated problems (solving a series of simple problems but not as straightforward), and complex problems (each situation may require a different approach and success is not certain). Gawande also provides examples of how checklists can be effective in all of these situations.

I think that this book resonates with me because I am a checklist person. Just look on my desk at work. There are daily checklists, rehearsal checklists, personal checklists, and others. I tend to think this way naturally. But, Gawande inspires much deeper exploration of the checklist and its effectiveness. He uses examples from medicine, skyscraper construction, aviation, and others. But, I can see applications all of the fields of teaching and music.

Sadly, with all of the evidence to suggest the effectiveness of the checklist, they are still remarkably under used. That "maverick" mentality that our culture celebrates is is just too difficult to part with. Why use a checklist? I'll figure it out as I go. And, it will be a more creative solution. Think of all of the resources that go to waste by not using a checklist. All in the name of pride. And, believe me, I am as guilty as the next guy.

Another concept in the book that spoke to me was Gawande's definition of professionalism in learned occupations. It includes selflessness, skill, and trustworthiness. Gawande asserts that the fourth trait should be discipline and it is all too often missing from the definition. That simple act of following procedure gets overlooked so often. I couldn't agree more.

Let me recommend this book. This is a bunch here to learn and to apply to our lives.
Put this book on YOUR checklist.
I have to sign off now. I have a checklist to get to!

Peace.
Scott

In the Pit

2010-02-12T06:03:00.000-08:00

Hi all!
I hope that all of my East Coast friends are staying warm and digging out for the incredible snow ans cold that we have been experiencing. Here in Durham, NC, it continues to be unusually cold and they are calling for snow again this weekend. I know that I am certainly ready for some warmer weather!

This weekend, the NCSSM Drama Department is presenting 3 performances of the musical, Thoroughly Modern Millie. Our students are doing a wonderful job and I know the show will be lots of fun. If you are around the Triangle, I strongly encourage you to check it out.

For this show, I have had the opportunity to step off the podium for a while and simply play in the pit orchestra for the show. What a wonderful experience this has been.

First, it has been great to see our Drama Instructor, Adam Sampieri, in action on a nightly basis. What a pro! He is on top of every aspect of the production and is a wonderful leader. It is pleasure to watch his manner with the students. He has high expectations, leads by example, emits an incredible enthusiasm for every aspect of the show, and, all the while, treats every member of the cast, crew, pit, and staff with an incredible respect. He is truly about all of the right things. I have known this for years, but it is sure nice to witness night after night.

Second, and similarly, it has been so nice to play in the pit under the direction of my friend and colleague, Phillip Riggs. He, too is about all of the right things. He leads with a strong, yet gentle hand, has high expectations on a nightly basis, swings a great stick, and is truly understanding of the incredibly rigorous schedule of our students and the sacrifice that it takes for kids to commit to the pit orchestra. I know that each night after rehearsal, he heads home and re-arranges parts, figures out cuts, and works to clarify every aspect of the show for the pit. Again, this is not something that I didn't know. It is just cool to see it from a new perspective. I am honored to work with Phillip and to share these wonderful music students and experiences at NCSSM with him.

Finally, it has really been a pleasure to NOT be in charge for a while. I am just in the trenches with my Steinberger Bass in hand, laying down the foundation for the orchestra and singers. I am doing what I love: being a musician. It really provides a refreshing change for me to no be the conductor for a while. And, it gives me new perspective on the situation of the kids. When cuts or tempo changes are missed, suddenly, I really understand how that can happen. (I have missed more than a few this week!) I think that I will be more sensitive to the kids as I move forward as a result of this show.

The big lesson here is to never quit doing the craft that we are leading. For my students, many of you will become "managers" in the future. In a sense, that is what I do every day: manage musicians. It is really important to continue doing your craft. If you are leading a team of researchers: keep your hand in the science. If you become a professor: keep doing your art or science. If you become a CEO: don't stop participating in the process that your workforce is involved in.

For my music teacher friends: I encourage you to put down the baton once in a while. Play with your ensemble. You will be amazed how different everything sounds. You will also be amazed at the reaction of your students. Lead by example for a while. It is incredibly liberating. For the past few years, in my orchestra, I have tried to make Wednesday my playing day. I don't conduct on Wednesdays. I bring my violin or viola to class and sit in on the section. Sometimes I sit in the front and sometimes I sit in the back. Those are very different experiences as well! I do know that I find new perspectives on fingerings, bowings, intonation, ensemble, and others as a result.

For now, I am really looking forward to spending my weekend "in the pit."

Peace.
Scott

Creativity, Inc

2010-02-08T07:42:00.000-08:00

This morning, I was pleased to speak at the Institute for Emerging Issues (NC State University), Creativity, Inc. Forum at the Raleigh Convention Center. I was there are an advocate for the new Kidznotes Program in Durham. I am proud to serve on their Board of Directors. KidZNotes is a not-for-profit organization that promotes classical, orchestral music training for children in our poorest neighborhoods and is based on the El Sistema program in Venezuela. Kidznotes will have a pilot program in East Durham next school year. My remarks were part of their 20/20 forum on new creative ideas in the Triangle.

Twenty-five years ago, the Emerging Issues Forum began by looking at the topic of innovation. This year, the Forum comes full circle by attempting to enhance creative thinking and embrace new ideas -- the very creativity that is needed for true innovation. The event was potentially the most exciting work of IEI’s seven year “think and do” history, and, as the capstone event, the Forum pushes you to think in new and interesting ways.

The point is not just to talk about Creativity. It is to find ways to make creativity the foundation for how we live, work and play in North Carolina.

It was great to be part of this wonderful event and I look forward to participating in years to come.

Peace.
Scott

Schools Kill Creativity?

2010-02-05T05:48:00.001-08:00

A colleague recetly shared this with our faculty. Very interesting stuff. What do YOU think?

Ichi, Ni, and San

2009-12-17T10:26:00.000-08:00

In August of 1986, as a senior at Indiana University of PA, I embarked on a journey that would forever change my life. The previous spring, a high school orchestra from Williamsport, PA and performed on our campus and were absolutely magnificent. I had never seen a school orchestra play at that type of high level and I knew then and there that I wanted to be part of that dynamic. I chased down the bus as they were leaving, made eye contact with the director, and said, “You don’t know me, but I am going to student teach with you!”

Somehow between that time and the beginning of my student teaching experience, I had convinced the music ed. folks at IUP that I needed to student teach in Williamsport and there was nowhere in the immediate area that could offer me the same program and experience. Williamsport is about a 3 hour drive from Indiana, PA and is really outside of the range for stucent teaching experiences. Somehow, through the efforts of some wonderful music ed instructors, I became the first student teacher from IUP to go to Williamsport and now I was getting ready to meet the high school orchestra director, Walt Straiton, for the first time since that day his orchestra performed on campus.

But this was no ordinary meeting. Walt had called me about a week earlier and said, “Hey – I am going to Madison Wisconsin for a workshop on strolling strings and you need to go with me.” No questions asked. No options. I was going to Madison and that was going to be part of my student teaching experience. Walt made it clear that if he was going to do something, I was going to do it, too. I knew right then that this semester was going to change my life. It did. Profoundly.

I could write a book about that trip and the wonderful experience that I had in Madison at the Red MacLeod/Marvin Rabin run Strolling Strings Workshop, learning about the concepts behind school strolling groups, or about the experience of being part of the beginning of the Williamsport Strolling Strings group that received national recognition in the coming years. But, this post is about relationships. That day, as Walt picked me up in his new t-top Camry at a parking lot in Dubois, PA and my Mom watched, clearly worried about who this guy was that was hauling her little boy to the Midwest, my life changed. On that day, I became linked up with Walt Straiton, both personally and professionally for the rest of my life. He burst into my life like a tornado that day - wheels spinning in the gravel parking lot as we took off down Interstate 80. And, from that moment on, he has challenged me over and over, in his unique way, to be the driven professional and pedagog that I am today.

Something that I didn’t know that day was, that to be connected to Walt, is to be connected to Ken Raessler. What a blessing. Ken Raessler, in those days, was the Supervisor of Music for Williamsport School District and the driving force behind what was and is arguably the finest public school comprehensive music program and Pennsylvania and beyond. He has conquered many areas in the music ed. field, including public school teaching, college music teacher development, public school arts administration, and collegiate administration. He is an author and speaker and a true leader in every respect. He mentored Walt while he was at Williamsport and facilitated much of the success that Walt enjoyed in that system. Ken understood that an Arts Supervisor had to have a plan, a model, and his was steeped in all of the right things: student achievement, opportunities for teachers, solid musicianship, impeccable teacher training, and a top to bottom comprehensive approach to music education. (His latest book is entitled Aspiring to Excel: Leadership Initiatives for Music Educators (GIA Publications) and I recommend it highly!!)

During the 5 months that I lived in Williamsport, these two teachers guided me, challenged me, taught me, inspired me, and most of all accepted me as one of their team. They made me part of their fraternity of driven professionals. At one point in the time I was there, Ken told me that we were like Ichi, Ni, and San. One, Two, Three. Three music educators that were living parallel professional lives, each in different stages of their career. He told me that I was like them and that I would enjoy the type of professional success that they enjoyed if I put my mind to it. I was only 21 and somehow, I couldn’t believe that Ken and Walt could possibly see themselves in me.

23 years have passed and we have all three moved in numerous directions.

Last night, I had dinner with Ichi and Ni – Ken and Walt. Now, Ken and I have been in fairly close touch in recent years. Ken was keynote speaker for the NCMEA Fall In-Service a few years ago and I was honored to introduce him at that event. He is always in attendance at my sessions when I speak at a conference he is attending. Unfortunately, I hadn’t spent any meaningful time with Walt for the past 10 years or so. And, the three of us hadn’t been together in a much longer time. But last night, we finally got together. It was like we were just in Williamsport yesterday. We are all a good bit older and have been through lots of experiences, but the things that are important are still the same. Ken listens intently to our stories of experiences and successes and offers wise advice, based on years of experience and his own success in the music education business. Walt inspires me with his take no prisoners approach and energy. He tells stories of wonderful experiences as a musician and businessman and is very willing to offer strong advice and friendly, caring support on a variety of topics. I have had my successes over the years and feel much more comfortable in the role of “san”. Ken’s prediction has come true in palpable ways. And he is happy to let me know that “he told me so.”

I could continue with details of how Walt and I reconnected with a comparable energy on current pedagogical thought, or how he nationally recognized now for his work with Yamaha, or how I think we convinced Ken to start a blog to share his thoughts on music ed and leadership with the world in a new way. But, really, none of that matters in this forum. These guys are my friends and mentors and I cannot express my thanks to them enough. They helped to shape me as a teacher and as a professional.

There are a million reasons to go to conferences as an educator. We go to sessions, learn new techniques, visit exhibits to see what is new, and have a great time. But, when it is all said and done, it is always about relationships. Last night, I had the priceless opportunity to renew two important relationships in my life. And, sure enough, we were still Ichi, Ni, and San. Just like in 1986.
Thanks, Walt. Thanks, Ken. I love you both.

Peace.
Scott

Midwest Clinic Thoughts - Jacquelyn Dillon-Krass

2009-12-16T07:15:00.000-08:00

Hi all.

I want to give you a little insight into a bit of the history of the field of string education today. On Tuesday late afternoon at the Midwest Clinic, there was a very special session entitled "A Conversation with Jacquelyn Dillon-Krass." Jacquelyn Dillon has had a profound influence on my career and teaching and it was really wonderful to witness this celebration of a career that has spanned over 50 years. She is professor of String Education at Wichita State University and has had tremendous success in public school teaching, university level teaching and teacher training, the music industry, and association leadership.

I first became aware of Jackie when my Secondary Methods of Music Education Professor, Dr. John Keuhn at Indiana University of PA, handed me a text book entitled "How to Develop and Maintain a Successful String and Orchestra Program," by Jacquelyn Dillon. I read the book with interest and gained so much direction from it. Shortly afterward, as a beginning teacher in 1988, I attended a session at the MENC Eastern Division Conference in Philadelphia where Jackie was presiding. Following the session, I stayed around for a few minutes hoping to have an opportunity to speak with her. When we met, I took the opportunity to as her, "How does someone like me (a first year teacher) get to be someone like you? (a noted authority in her field)" Jackie thought for a few minutes and said, "Scott, it is really just one word - write. Take every opportunity to be published and share your ideas with the profession. there are folks out there that are interested." That one word - write - really changed my professional life. Within a few weeks I had submitted an article to be published in the PMEA Journal and have tried to share my ideas on strings, pedagogy, and music every day since then. Her one word made the difference for me.

I have had the opportunity on several occasions to thank her for that advise and Jackie Dillon has helped me in several other ways since that time. She is a caring teacher and a knowledgeable pedagog. Moreover, she will share her ideas with you in hopes of making you, her students and younger teachers, better at what you do.

Jackie shared many of the concepts that she holds dear yesterday and I want to share a few of them with you. They are wonderful guides for any string teacher. But many of them are simply wonderful guides for students and professionals in any field.

1. Write and share what you know. Don't keep it to yourself.

2. Everybody gets better. Just try. We learn from trial and error. Just get others to try. They learn from trial and error, too. (referring to learning and teaching beginning strings - but applicable everywhere!)

3. There is no perfect method book. Great teachers make method books great. Not vice-versa.

4. Every great teacher needs a bag of tricks. you only get that bag filled up by watching and learning from others. Go to educational sessions. Go to conferences. Learn from those that are willing to share!

5. Music MUST be expressive. Right notes and rhythms only mean something if the music is going somewhere.

6. Make your music you own. Don't just play what is on the page. Express beyond the markings.

7. EVERY student CAN play in tune. Don't settle for less. (Generally - every student can succeed. don't settle for less.)

8. The accomplishment that she is most proud of is her students. (Me, too.) She said - "You know, we need our students. My students are my best friends. There are times that we prop them up and help them. And, there are times that we need them to prop us us. They do and they will. Don't forget that."

9. How do you find good kids for the orchestra? Go find kids for the orchestra. Numbers matter. Get a bunch of kids and they WILL be good!

As I read back over these comments, I am even more struck by how universal these ideas are and can be. May be one of these ideas will strike you today. I hope so.

I have been blessed by my relationship with Jacquelyn Dillon-Krass and I hope that maybe in some small way, you will be, too.

Peace.
Scott

Midwest Clinic Thoughts - Tuesday

2009-12-15T09:29:00.000-08:00

Hi all.
Today, I am the Midwest Clinic in Chicago. It is one of the largest annual gatherings of music educators and music companies. If you are a music educator and have never been to this event, it is really worth the effort to get here at some point.

The string education sessions began this morning with a nice breakfast gathering that was sponsored by the Kjos Publishing Company. It was a really nice event and I had the opportunity to reconnect with many friends from around the country. I was particularly pleased to reconnect with Marvin Rabin, one of the true pioneers in the string ed field. He paved the way for so many of us that are making our careers in public school string education and at age 93, is really getting around well. I had the chance to thank him for the impact he has had on my career. For those of you that are familiar with some of my web-teaching, he planted the seeds for many of the concepts that I teach using finger patterns. (major scales and upper positions) My students at NCSSM can see these concepts put to use on the NCSSM Orchestra page. Those of you elsewhere in the world can see these soon on the D'Addario site: www.thelessonroom.com. I believe that they will be posted very soon.

I also had the opportunity to see Mark O'Connor present a session on his new O'Connor Violin Method. It is available exclusively through Shar Music. I think that he has hit on something really effective here and applaud his efforts to be innovative in the traditional world of string education. There were several performances by students that have studied with Mark in various capacities over the years and they were all fantastic. I am going to check this method out very closely and try it out with my own sons.

Tomorrow, I will be giving a session with Doris Gazda, Matt Turner, Sean O'Laughlin, and Larry Clark. This session is sponsored by Carl Fischer Music and, as always, D'Addario Strings is supporting me in this session. This session is called "Teaching the Nitty Gritty: Who Has Time for Anything More?" and will cover a variety of topics related to technique, literature and enrichment to traditional skills in the string classroom. I think that this will be a lively panel discussion and look forward to sharing this platform with my friends.

Meanwhile, I have just enjoyed a lunch in my room while jotting down this post. Time to head back over to the conference to get more new ideas! More later...

Peace.
Scott

D'Addario on CNN

2009-12-02T06:56:00.000-08:00

Hi Friends!
A few months back, I wrote about my experiences while visiting the D'Addario String manufacturing plant in Famingdale, NY. I mentioned how cool it is to be associated with a company that is committed to manufacturing in the United States and to their employees. Well, apparently others have noticed this as well. This past weekend, CNN featured D'Addario for their commitment to keeping jobs and manufacturing in the US. The clip details the Toyota Automation Strategy that I mentioned in my earlier post, commonly known as LEAN. It is a really interesting and enlightening clip.
Please follow this link to check out the video clip on the CNN Website. As always, I am so proud to be associated with D'Addario. They are a great company that makes a great product.
Peace.
Scott

Inspiring the “Net Generation” Music Student with Instructional Technologies

2009-11-07T16:14:00.001-08:00

Greetings to all!
This weekend, I am at the NC Music Educators Association Honors Orchestra Festival and Teacher In-service Conference. It is a busy weekend for me as I am chaperoning 7 students from NCSSM that are in the All State Honors Orchestra, presenting a session on Inspiring "Net Generation" Music Students with Instructional Technologies (with my friend and colleague, Phillip Riggs), accompanying the NC Honors Chorus on violin for a Telemann piece, giving a session on electric violin technology, and attending some of the conference as well.

Right now, I am sitting in the Stevens Center concert hall in Winston Salem, enjoying an evening rehearsal of the Honors Orchestra. I love this space and the kids sound wonderful. My friend, Dr. James Anderson from Appalachian State University is the conductor and he is getting the most out of the students. I love his work.

Today, Phillip Riggs and I presented our session on Net Gen Students. We encouraged our audience to think about their role as a teacher in a new way. We encouraged them to look for ways to more efficiently deliver content to their students through the use of instructional technologies. For instance, in my piano and guitar class, I am delivering guitar and piano lessons via my Moodle site on video. Students can access the lessons any time of day or night. The key to this being successful is the ultimate interaction with you, the instructor. Instructors must hold students accountable, provide assessment, tutoring, mentoring, facilitate good learning, help to motivate, and encourage just as we always have. We just need to think about how we might deliver the content of our courses in the most efficient manner possible.

For my orchestra, I provide video lessons on vibrato, upper positions, scale fingerings, bow hold, shifting, and a variety of other techniques. for my piano and guitar courses, I provide lessons on individual instruments, theory lessons, links to theory sites, and other content delivery tools. My class is no longer teacher-centric. It is student-centric. In my Music history class, I provide links to tremendous performances on Youtube, links to great biographies of composers, interactive quizzes, homework assignments, assessments, and more.

Today, if you are a teacher, I challenge you to consider what percentage of your class is spend delivering content - facts. That is the area that I believe we must be more efficient. Even this blog is an expression of the concept. this is where I lay out my more abstract thoughts for my students. I could take time in my class to explain this, but there is no need. Yes - even this blog, my thoughts, is/are content. So I choose to deliver it efficiently.

Consider how you might implement this, too. In small ways. No need to jump in headfirst. Just consider one way that you might deliver your content in a more efficient way. It just might save you some time and inspire one of your "Net Generation" students in a new way.

Peace.
Scott

New Player for NCSSM Fine Arts Series

2009-11-02T18:02:00.000-08:00

I think that this player will have all of the videos that are posted on the new NCSSM Fine Arts Series page on youtube. Bear with me while I get this completely figured out. Pretty cool!

Movement 2 of the Chadwick Serenade, NCSSM Orchestra

2009-11-02T17:56:00.000-08:00

Here is the 2nd Movement of the Chadwick Serenade for Strings. This perfomance was October 31, 2009 at NCSSM. Enjoy!

Serenade in F for String Orchestra, Mvt. 1, Allegro Grazioso, George Whitefield Chadwick

2009-11-01T16:16:00.000-08:00

This is the first movement of the Chadwick Serenade in F for String Orchestra as performed by the NCSSM Strings on October 31, 2009. More to come soon!

NCSSM Fine Arts Series Kicks Off!

2009-10-24T09:33:00.000-07:00

On Friday, October 23, 2009, the NCSSM Fine Arts Series kicked off for the current year. The evening was a great success. It started off with the opening of the Olivia Gatewood Art Exhibit in the NCSSM ETC. This exhibit is a magnificent collection of art by this North Carolina artist. She generously donated one of her images to serve as the "cover" for all 2009-2010 Fine Arts Series Events. We had a wonderful crowd for this and it was enjoyed by all. The exhibit will remain on display in the ETC through December 18. As part of the opening, the NCSSM Flute Quartet performed and they were magnificent.

This was also a great opprtunity for the public to see the wonderful exhibit of Optical Toys at NCSSM. You can learn more about this exhibit at the exhibit website.

Following the opening, the NCSSM Drama Board presented its first production of the year, Cyrano de Bergerac. The show was magnificent and the audience loved the production. Director Adam Sampieri had nothing but great things to say about the ensemble and their fabulous work in preparing for the show. Cyrano will run for 2 more shows. Tonight at 7:00 and Sunday, 10/25 at 3:00 PM.

The series could not have gotten off to a better start and we are so pleased that last nights events were so well attended. We hope to see one of you at future NCSSM Fine Arts Series Events!!

Play to Our Strengths

2009-10-09T04:38:00.000-07:00

This morning I am mindful that we all have our strengths in our life and work and we should certainly attempt to utilize them in the best way possible.

For the past 5 days, my wife has been out of town. This has necessitated that I take on the role and responsibilities that two of us normally cover. For those of you that don't know me, I have 3 sons, ages 12, 9, and 7 who are all involved in school, sports, music, and a variety of other activities and I, obviously, have a very busy schedule at the NC School of Science and Math. So, this week has bee a good opportunity for me to experience the work that my wife does every day and has been a stark reminder of the lifestyle that so many single parents lead on a daily basis.

I definitely made it though this test without too many failures. I am pleased with the fact that my kids made to all of their practices, games, and activities. They had lunch every day. Their homework was completed and signed each evening. They were fed, dressed, and generally cared for and I, while exhausted, also survived. But, I must admit, I am really spent. I can't imagine having to carry on this pace for longer that the week or so that it has lasted.

So, here is the over-riding thought that lingers this morning. I got everything accomplished, but did I do any of the tasks to the best of my ability? I am not sure that I can make that claim. I am sure that my classes at NCSSM suffered to some extent. My planning and thought time was significantly reduced this week. I didn't have time for many of the important roles that I play for my students outside of class. I cut meetings short, ran from one commitment to another, and put off ideas and new concepts that have shaped my teaching and work over the years. I didn't throw a ball with my boys. I didn't even practice music with my kids in the evenings this week. These are generally my strengths. These are the things that make me good at teaching and parenting. I am generally very "present" in the work that I do. I am not sure that happened this week. I was too overwhelmed with the multitude of tasks that had to be accomplished to simply keep the wheels turning.

Isn't life better when we have the time to do the things that we are truly good at? And, when we identify those roles and strengths, we should work to keep them at the top of our priority list. And, we should certainly work to be truly "present" in all that we do. I sometimes joke that in my two previous teaching positions, I stayed until I just got so busy that I had to "run away" to simply find some space in my life. That is not really true, but it sometimes seems that way.

I teach and work within a community of people that want to achieve. We are all in the same boat - teachers and students. We work hard and passionately. We all have lofty and ambitious goals and we are willing to make large sacrifices to achieve those goals. It is the way our school is designed. So, today, I encourage you to think about the way you are spending your days. Are you playing to your strengths? Are you able to spend your time on your true mission and strengths? Or, are you spread too thin? I realize that we all have seasons in our lives, too. Sometimes we find ourselves in seasons of business. That is certainly unavoidable. But, it is so important to feel that we are doing our best at our various tasks.

I am fortunate to be on the other side of "too busy" this morning. Oh yes, I have a busy day ahead, but it is all on the right stuff: orchestra rehearsal, advisee meetings, recording music for students to access on my course management site, music lessons, administering my program at NCSSM. Then, this evening, Barbra and I will focus on our kids. Together. The way it ought to be.

I hope you have the opportunity to do your best at the things that occupy your time today as well.

Peace.
Scott

Music Programs in the Schools

2009-10-04T16:00:00.000-07:00

Anyone need a reminder of why music programs are so important?

Just Solve the Equation Once

2009-10-01T07:10:00.000-07:00

Hi all. Today, I want to share some thoughts about playing in an ensemble. Specifically, playing in an orchestra. I think that this also goes to the art of teaching students to play in an orchestra. I have been thinking a fair amount lately about my students and their approach to orchestra. Actually, I don't think that this is limited to my orchestra. In fact, I am pretty sure that this concept applies to most, if not all, student groups. I have noticed it at every level of high school player - from the average school orchestra, to the all-state level.

Yesterday, I was running an orchestra rehearsal and was giving fingerings to the violin section for a particularly challenging section. As we came to a similar section, I asked the kids if anyone had marked in their fingerings. Out of 19 first violinists, only 1 stand (2 players) had done this. And it compelled me to say that we should only have to figure out an equation 1 time. Once we have "figured out" the correct way to finger a passage, we don't want to have to figure it out again. We simply want to act - to play. Unfortunately, if a musician doesn't write specific notes in their part and they walk away for the piece for a day or more, they will have to figure out the passage again.

It is a lot like multiplication. When we are learning to multiply, we may have to figure out an equation. 6 * 5 = 30. We all know this now. But, when we first learn to do this equation, we probably have to do the addition: 6+6+6+6+6=30. After a while, though, we just know it. 6 * 5 = 30. Fingering on a string instrument is like this in many ways. When students first learn to play in 3rd position, they will probably have to put numerous fingerings and notes in their music. After a period of time, they learn the "language" of 3rd position and the notes are no longer necessary.

In more difficult literature, it is necessary to put well-placed fingerings and notes into a part when the music is too difficult to simply "read" each time it is played or practiced. For that reason, students are encouraged to have a pencil in class and to write in their parts. Oddly, though, this is not a natural thing for my students to do. They wait for me to tell them specifically what to write. This simply is not good enough. Musicians must be constantly solving the equations that are in the music and taking notes on their thoughts in order to be effective participants and members of the ensemble.

As a teacher, I have noticed that my students really want to gain the insights that I offer during class. They are fine musicians and extremely bright students. They are enthusiastic and receptive to my instruction virtually every minute of every class. I'll bet your students are similar. (I know that lots of teachers don't enjoy that same attention, but that is my experience at NCSSM.) So, what is the roadblock to effectively solving the equation just once? I think it is two-fold.

First, we need to encourage or even force our students to be musicians. They need to be scientists in science class. Be mathematicians in math class. Be writers in English class. You get the point. It is not enough to be a music student in an orchestra. You have to be a musician. You have to think like a musician, feel like a musician, listen like a musician, count like a musician, BE a musician. Too often, I think that we expect our students to be music students, not musicians. But, how do we get them to do this?

We have to teach them how a musician thinks. We have to teach them HOW a musician counts, how a musician listens, how a musician moves, how a musician feels. I think that too often, we get so caught up in the facts ("make that C sharp higher, hold your bow this way, etc.) that we forget to teach the thought process. Sometimes, we also (and I am guilty of this) we deal with the emotional aspect of the music much too early in the process of learning a piece. Ultimately, before we have effectively taught them how to think the piece. Really, I am concerned that it happens in many, if not all classes. This came up in rehearsal recently when we were doing a passage that called for triplets against a duple eighth note figure. I asked the kids what they should be thinking as they approach the passage. No one could answer. They kind of knew how to play it, but no one knew what to think. So, we spent some time on the thought process and the passage cleaned up really nicely. Following the discussion, I asked the kids what they had written in their part. No one had written anything. We had just broken down again. For once we moved away from that passage and came back to it, no one (or at least not many) would have retained that information. They would have to solve the "equation" of that passage again. That is not how an orchestral musician works. We only want to solve the problem one time.

I really wonder how much instructional time in the American education system is lost to re-solving equations. Or maybe the question could be more accurately asked, "How much time could we save in the American educational system if we taught students to solve equayions only once across all disciplines?"

I had an interesting conversation with my good friend and Drama Instructor at my school about this topic. He expressed a similar frustration with students that take minimal notes during the blocking of a scene. They have to re-solve the equation of blocking at the next rehearsal, and the next, and the next. Thus, never getting to the real business of acting. I have a hunch that every teacher could find a similar scenario.

So, my goal for this year is to teach my students how to THINK like a musician. I want them to only solve problems one time. Once it is solved, let's move on to the next problem. Or, better yet, lets solve the equations and move on to the business of moving people with music. The reality is that we have to solve the equations first. We just don't need to solve them over and over.

That is where my head is today. I am sure there will be more on this topic as we move forward.

Peace.
Scott

Trip to D'Addario in Farmingdale

2009-09-23T16:35:00.001-07:00

Hey everyone!
I am sorry it has been so long since my last post. I have been swamped with the organizational details of my Charity Bike Ride for the National MS Society, "Tour de Teacher" in Durham, NC. The event was a huge success and I will post more info about that event in the days to come.

Today, however, I want to tell you a bit about my recent trip to the D'Addario factory and headquarters in Farmingdale, NY. I headed up there with three goals for the trip: film a bunch of video content for the D'Addario website, take photos for a new set of classroom posters, and serve as guest speaker for the Nassau County Music Educators beginning of year dinner.

We definitely accomplished all of our goals while there. We managed to film a ton of educational videos on both bowed electric string instruments and effects processing and more traditional violin pedagogy that should be helpful to students and teachers, alike. We also got a great start of the photos for these posters. One will be focusing on bow hold and bowing terms and the other will be a fun look at the "Geometry of playing the violin." Finally, the dinner was a wonderful event and it was a pleasure to meet the good folks that are teaching music in Nassau County , Long Island. I was particularly please to meet Martha Boonshaft, wife of Hoffstra Music Professor, noted speaker in the field of Music Ed., and friend, Peter Boonshaft. I think my remarks were well-received and it was a real pleasure to be there.

All of that being said, the part of my trip that will probably remain with me the longest had nothing to do with any of my goals for going. My friend and host, Rob Polan, gave me an extensive tour of the facility and it was really enlightening. First of all, I was struck by the sheer number of employees at D'Addario. Sure, there were business offices like any office building. But it was the folks on the manufacturing line that really struck me. In a down economy, this group was moving fast. They were clearly happy and motivated, pleased to be working for a wonderful employer that cares about quality, efficiency, and the employees. I was struck by the level of artisanship of the ladies that were "silking" the violin strings. (Yes - it is done by hand, folks!) I was struck by the skill and speed of the people running the string winding machines, sometimes creating 3 strings simultaneously. The engineering and efficiency of the plant is simply stunning. (For my students that are considering engineering as a career, this should be a required tour. It was fantastic to see these machines that are made, right there in the plant, to suit the specific needs of the individual products. It was simply stunning from start to finish. I was struck by the number of people that were working, the volume of strings being produced, the high tech engineering that went into the production, and the general spirit of the workforce. Very cool. It made me totally proud to be associated with the D'Addario Company and I appreciate them in an entirely new way today. I have always been proud to be associated with the strings. Now, I am equally proud to be associated with the business model from top to bottom.

One thing that Rob pointed out during the tour is that D'Addario is always looking to be more efficient and has recently adopted a model called "Lean Manufacturing." The idea is that you carefully explore the efficiency of movement on the floor of the manufacturing facility and place workers and machines in the optimum environment for efficient work-flow. I couldn't help but to think that the education community has to do a bit of that, too. We really need to rethink the way that we are delivering information to our students. Are we really using our class-time efficiently? Is the old classroom model still the best classroom model for education as we move further into the 21st century. I truly believe that we must increase of efficiency of content delivery in our classroom. Which, brings me around to one of my original goals for the trip: video content for the web. D'Addario's goal is to provide video content on their website that will make string education more efficient. Students can go to the web to get solid string instruction and content. Then, when they go to school, the teacher can focus on the students individual needs. The teacher becomes the tutor, mentoring the students, rather than repeating content that can be efficiently delivered on the web. Will video content ever replace the teacher? Certainly not. But, when effectively used, teachers can focus on the true task at hand, the individual needs of the student, not repeated content delivery. For more information on this concept, I recommend that you check out an enlightening book about efficiency of content delivery in the 21st century entitled "Disrupting Class," by Clayton Christensen.

For now, thanks to all of the good folks at D'Addario for making me feel so at home for the past 2 days.

I am sure there will be much more to come on this topic.

Peace.
Scott

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

2009-08-29T05:12:00.000-07:00

I am happy to announce that I will be participating on a wonderful panel discussion at the 2009 Midwest Clinic in Chicago in December. My dear friend, composer and educator Doris Gazda, will be leading this discussion on the orchestra classroom and the prioritization of activities and techniques. I am honored to be part of this panel and am really looking forward to the discussion. If you are planning on being at the Midwest Clinic, I hope you will check this session out!!

For those of you that aren't in the Music Education field, The Midwest Clinic exists for educational purposes exclusively; to raise the standards of music education; to improve the methods employed in music education; to develop new teaching techniques; to disseminate to school music teachers, directors, supervisors, and others interested in music education information to assist in their professional work; to examine, analyze and appraise literature dealing with music; to hold clinics, lectures, and demonstrations for the betterment of music education; and in general, to assist teachers and others interested in music education in better pursuing their profession. It is one of the biggest gatherings of music educators nationally each year and always a blast!

Here are the details:

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

Peace.
Scott

What are YOU going to do?

2009-08-28T04:28:00.000-07:00

The second week of school is almost over and it has certainly been a fantastic start to the school-year. My classes and students are wonderful and I am really pleased with the prospects for the academic year. My Classical Piano and guitar classes and full and the students are right into the swing of things. My Music History class is a bit smaller than usual (10 students), but they are really into it and are offering thoughtful preparation and responses to the music that is discussed. My orchestra is as big as it has ever been at NCSSM (55 strings) and is already producing a wonderful sound.

Early in the year, I like to really challenge the orchestra members to consider why they are participating in the ensemble and to reevaluate their commitment to their art and their instrument.

At NCSSM, many students are driven by grades. The students are high achievers and have spent a lifetime working to get A's in class. Orchestra is a little different animal. Of course, I have a very clear set of course expectations and grading policy which I outline for the students on the first day of class. Everyone understands the expectations and the vast majority of the students earn A's in Orchestra. I suspect that this is the case in most public school and university orchestras as well. The students want to be there, they want to receive an A, so they fulfill the requirements.

But, for an arts class, that seems a bit hollow to me. It has bothered me for years, to be honest. Don't we really want our arts students to be invested at a much deeper level that simply meeting the baseline expectations that are outlined in a grading policy?

This notion was driven home for me a few years ago while reading "The Art of Possibility" by Ben and Rosamund Zander. (If you haven't read it, I recommend it highly. I'll try to remember to write another post that covers more of the ideas in the book at a later time.) In one chapter, Zander outlines an exercise where he asks students to write him a letter detailing what they intend to do for their A, as well as what they intend to invest and hope to gain from the course. It is a marvelous and inspiring chapter and I decided to adopt a modified version of his idea in my class. I still have the course expectations, but ask the students to take it one step further and to write me a letter about their self-expectations for the course, explaining in more detail what they plan to invest, techniques they hope to develop, ideas they hope to gain, and experiences they hope to have.

This has turned out to be a wonderful activity in my class. Many students write deeply personal letters to me, detailing their reasons for playing their instrument, struggles they have had, anxieties that they ahve regarding orchestra, and unbelievable expectations that they have for themselves and their colleagues. I get to know my students in a much different way by doing this activity and it provides me incredible insight into the individuals in the ensemble. (Let me also be totally honest and say that not every students gets it. Some provide a very basic letter that doesn't really get into these details and seems more like an assignment than a heartfelt letter to me. But, this is the minority.)

I have been receiving and reading these letters this week and it has been and incredible experience. As you probably know, if you have been reading my blog, I believe in community first. Strong communities make strong orchestras. It has been clear to me in reading the letters this year, that my message is getting through to my students. I am hearing this in many ways from many of my students. I would like to share an excerpt of one such letter with you. It moved me tremendously and I don't believe that I could say it any better.

Dear Mr. Laird,

It’s hard for me to articulate exactly what my expectations are for orchestra at NCSSM this year. I could say that I expect dedicated classmates who care about our ensemble and our community, but I couldn’t really imagine a more committed and hard-working group of musicians than the ones we have at NCSSM. I realize that the orchestra as a whole will exceed any expectations I might have. So, as the year begins, I have found it more appropriate to address certain expectations I have for myself, in the hope that I may live up to the standards of musicianship and community set by both you and my fellow orchestra members.

1. I expect myself to love playing in the orchestra. Though I am far from being an advanced player, I have been blessed with the opportunity to play in some amazing orchestras. More than anything, playing in the Eastern Regional Orchestra, my Youth Orchestra at home, and the NCSSM Orchestra has shown me what a joy it is to create music with good musicians. I have neither the talent nor the ambition to be a soloist, but I have found that there is nothing better than making beautiful music with a group of my peers and being a part of something so much bigger than myself. To truly love and appreciate this, though, a few things are required of me:

One, I have to practice. I remember realizing something so simple yet so profound last year: I enjoy orchestra rehearsal when I have practiced the music, and I hate it when I have not. To truly love playing in an ensemble, I have to feel like a contributing member. When I am stumbling through passages as a result of not practicing, I cannot take pleasure in rehearsing.

Two, I have to be focused and play musically. I must have good posture, pay attention to dynamics, and watch the conductor. I must actively count. I must listen to the ensemble as a whole. Simply playing notes will get boring all too quickly. To love playing, I have to be truly engaged in the music and in the sound being produced by the group.

2. I expect myself to love my fellow orchestra members. This year, I have the responsibility to help create the community that you were talking about on the first day of class. I expect myself to be an encourager, a listening ear, and a friend to the rest of the orchestra. I expect myself to love much and love well. I will have wasted my time in orchestra this year if I play every note correctly but fail to love the people around me.

I am looking forward to a great year in orchestra!

This is my hope for all of my students and yours!
Peace.
Scott

Liberty, Equality, Fraternity

2009-08-15T18:38:00.000-07:00

I have been thinking a great deal lately about how I want to frame the upcoming year in the NCSSM Orchestra. As you can see from my last post, in the 2008-2009 school year, I had a wonderful book and concept to work with and I referred back to it all year. I have been mulling this over a great deal lately and tonight I found my framework for the year. I am getting a bit tired tonight,so I will expand on this more tomorrow but, I will begin to set it up tonight.

Many of you know that I have been working my way through Daniel Barenboim's latest book, Music Quickens Time. It is heady read and I have really been taking my time with it. I have re-read most chapters before moving on to the next and have been trying to take some time to think about the concepts presented before just moving on to the next chapter. Tonight, I found my framework for the year in orchestra in Chapter 4 of this thought-provoking book.

Tonight, I will give you these three concepts: Liberty, Equality, Fraternity. We will be looking at these ideas as they relate to the musical endeavors of the orchestra and as they relate to the community of the orchestra. I encourage you to think about these three ideas and their relationships. Can EQUALITY exist without LIBERTY? Can FRATERNITY exist without EQUALITY? How can music demonstrate this? How can an orchestral community find meaning in this? I spend a great deal of time thinking of the orchestra as a community and, really, isn't a community a fraternity. If so, can the community of the orchestra exist without Liberty and Equality? And don't liberty and equality ultimately lead to Fraternity or the community of the orchestra? How does all of this apply to the music... to the literature?

Liberty identifies the condition in which an individual (musical line) has the right to act according to his or her own will. Classical liberal conceptions of liberty relate to the freedom of the individual from outside compulsion or coercion.

Equality is a state of affairs in which all people within a specific society or isolated group (or musical lines and ideas) have the same status in a certain respect.

A fraternity (Latin frater : "brother") is a brotherhood, though the term usually connotes a distinct or formal organization. I often refer to the orchestra as a community. Fraternity works just as well.

I believe that there is much for use to explore here. More to come on this later.

These (and other ideas from the book) will become our framework for the year. Should be fun!

Peace.
Scott

Better and Orchestra

2009-08-13T12:50:00.000-07:00

The following is a reprint of my post from August 20, 2008. Since that time, the book, Better: A Surgeon's Notes on Performance, by Atul Gawande, was selected to be the summer reading for the NCSSM Community. For my students, this may be a good time to revisit some of my ideas and for the new members of the NCSSM Orchestra community, this will be an interesting way to get the year started. Enjoy!

Today was the first day of class for the 2008-2009 NCSSM Orchestra. It is a great group of students that all seem eager to get started. I love the first day. It is filled with anticipation of the work that is ahead of us and the great fun of meeting each other for the first time. One might think that I, as the conductor would talk about the literature that we are going to play, our rehearsal and seating procedures, and various other "orchestra" topics. But, no. Today, I went philosophical on them right from the beginning.

Back in February, I spoke to a group of orchestra teachers at a conference in Albuquerque. Following my session, one of the attendees came up and enthusiastically recommended that I read the book, Better, A Surgeon's Notes on Performance, by Atul Gawande. I read the book this summer and loved many of the concepts that were presented. Since I teach at the NC School of Science and Math and many of my students will find themselves in the medical field following graduation, I thought that starting the year in orchestra with a book by a surgeon about medicine might surprise inspire them.

At the end of the book, Gawande offers 5 suggestions for making a worthy difference. I decided to challenge my students with his suggestions. They are:
1. Ask an unscripted question
2. Don't complain
3. Count something
4. Write something
5. Change

Let me say a few words about each of these as they apply to my student and the NCSSM Orchestra.

1. Ask an unscripted question. Think about everything that you do in orchestra. Ask the question that others haven't thought of. Don't just sit back and let the information come to you. But, instead, be proactive in your thought Be unique in your thought. Be inquisitive in all that you do. Ask the unscripted questions every day.

2. Don't complain. Instead, work to make things better. Nobody wants to hear me complain. And, nobody wants to hear you complain. Instead, work to change the tide. Work to make things better.

3. Count something. Be a scientist in all that you do. Don't let opportunities to find trend pass you by. If today you missed 5 of the c naturals in a passage, tomorrow only miss 4. Count something.

4. Write something. Back in 1988, noted string educator Jacqueline Dillon told me that the way to have impact in the field of string education boiled down to one word. Write. Share your ideas. Write something that is creative. Start a blog? Just write something! Her advise to me has carried me in many ways to this point in my career. I really do believe she was right. Gawande must know the same thing. I want my students to know it, too.

5. Change. Be willing to try new things. Try new music, new styles, new practice methods. Just be willing to change. Be the first one to change, too. Don't be the skeptic. Be the front runner. if it doesn't work, it isn't the end of the world. Just be willing to change and look for opportunities to change.

So, there you go. That, in a nutshell, was the first day of class for the 2008-2009 NCSSM Orchestra. I think they get it. Do you?

Peace.

Orchestral Seating Arrangements

2009-08-06T04:22:00.000-07:00

Yesterday, I received an e-mail from an old friend with a question about orchestral seating arrangements. I wrote a rather extensive response and thought that some of you may be interested in my thoughts. So, I have copied it below. I welcome your comments.
Peace.
Scott

Hey Scott! I hope that you are enjoying your summer. I have a question and I thought that maybe you'd have some good input. Can you shed some light on the various orchestra string arrangements? I've been having long discussions about it and I would like some more input. What I mean by that is I see the following set ups and I would like your input.

1st-2nd-Vla-Cello

1st-2nd-Cello-Vla

1st-Cello-Vla-2nd

Thanks

I have actually tried all of these. I think they can all be effective in various settings.

The following is from the Wikipedia Entry on String Orchestra Seating:
The most common seating arrangement is with first violins, second violins, violas and cellos clockwise around the conductor, with basses behind the cellos on the right.[2] In the 19th century it was standard[3] to have the first and second violins on opposite sides (violin I, cello, viola, violin II), rendering obvious the crossing of their parts in, for example, the opening of the finale to Tchaikovsky's Sixth Symphony.

If space or numbers are limited, cellos and basses can be put in the middle, violins and violas on the left (thus facing the audience) and winds to the right; this is the usual arrangement in orchestra pits.[4] The seating may also be specified by the composer, as in Béla Bartók's Music for Strings, Percussion and Celesta which uses antiphonal string sections, one on each side of the stage.

I have reverted to the traditional 1st-2nd-Vla-Cello at this point in my conducting life - most because I have a set of gestures that seem to be most effective with that set up.

Having 2nds on the left outside seems to bring them into a more prominent role, but the downside is that they are sort-of set up for their sound to go backwards into the stage. It is good, however to get the fundamentals that are being played by cello/bass into the middle of the orchestra. Everyone seems to tune differently/better with them in there.

The other set up - with the violas on the outside/left grows from a string quartet set-up. Same deal though - the viola sounds tend to get swallowed up, in my opinion. It is hard enough to get their sound out there. I would only use this if I was doing string quartet literature with a string ensemble - like a Mozart Divertimento or something.

It is funny - because I was working at a camp this summer where another conductor was using the set up with the 2nds on the left and I felt the ensemble was really lacking between the 1sts and 2nds. Anyway, I sort of revisited the arrangement issue and, again, decided that the traditional arrangement works best for me.

I don't like switching around, especially when conducting difficult literature, because I throw cues to the wrong place. Also, if I used one of the other set-ups in my orchestra and then go to guest conduct with a traditional arrangement, it is easy to get confused and I just don't like that. I want my gestures to be accurate and predictable from the first rehearsal.

I hope this helps.
Take care!!
Scott

MS Bike Tour Event

2009-08-05T10:15:00.001-07:00

Dear friends,

I am raising money again this year for the National MS Society. By now, most of you know that I have been doing this for several years and this will be the 5th year of sponsoring a team from NCSSM. Following last year's event, we had raised over $42,000 in the 4 years of team sponsorship at NCSSM. I am, obviously, very proud of that number. This cause is one that is near to my heart as my wife, Barbra, was diagnosed with MS in 1997, shortly after my oldest son, Matt was born. Since that time, her health has really been fantastic and we have been blessed with 2 more healthy boys. Barbra has truly been the beneficiary of the dollars that have been raised for MS research and has had great success with the medications that are available today as a result of that research.

This year, due to a schedule conflict between the MS Society rides in New Bern and Tanglewood and our NCSSM Family Day, I decided to organize and run our own MS bike Tour Event at NCSSM. It will be on September 19-20 and will involve a ride from NCSSM to Spruce Pine Lodge, in Bahama, NC. We will have bike routes of 25, 50, and 75 miles for our riders on Saturday, camp out overnight, and return to NCSSM on Sunday morning. Several local businesses are helping us out with supplies and funding. For example, I just had an exciting meeting with the folks at Whole Foods. They are excited about our event and really stepping up to help us out.

Please consider sponsoring me and making a donation to the National MS Society through me. It is really easy to do on-line.

For those of you around the Triangle, if you would like to volunteer that weekend or ride in the event, we have a spot for you, too. In addition, we will be sponsoring a bike safety course on the first morning of the the event. Families are welcoe to attend that as well. Just drop me a note and I'll give you more information.

I truly appreciate your friendship and support. So many of you have contributed to this cause over the years and it means so much to me. Thanks for all that you do and thanks for considering supporting me and the National MS Society again this year!
Sincerely,
Scott

Professor Uses Math to Decode Beatles Tunes

2009-07-25T05:13:00.000-07:00

This one is for my Math/Music friends. I have posted a link to this interesting article.
Enjoy.

Professor Uses Math to Decode Beatles Tunes

Related handout/pdf

Peace.
Scott

NCSSM Fine Arts Series Dates and Performances

2009-07-24T12:33:00.000-07:00

Hi all! It is my pleasure to announce the 2009-2010 NCSSM Fine Arts Series Events. All performances are in the NCSSM Educational Technology Center located on Maryland Avenue in Durham, NC unless otherwise noted and, as always, are free of charge. We look forward to seeing you at one of our wonderful fine arts events!

NCSSM Fine Arts Series, 2009-2010

• Fall Drama Production, October 23-25,
7:00 pm shows on Friday and Saturday
3:00 pm show on Sunday,
featuring Art Exhibit Opening Friday, October 23, 6:00-8:00. Exhibit
runs from October 23-Nov 20

• Fall Orchestra Pops Concert, October 31, 3:00 PM

• Fall Wind Ensemble Concert, featuring Durham School of the Arts Music Department , November 1, 3:00

• Bach and Beyond: Redefining the Harpsichord, 3 Harpsichords, 2 Composers, 1 Unveiling , featuring Beverly Biggs, Elaine Funaro, and Rebecca Pechefsky, November 12, 7:30 pm

• Tejasvii Bharat: Indian Dance Masterclass and Recital with Nina Dash and NCSSM Dance Ensemble , December 5, 2009

• Winter Wind Ensemble Concert January 24, 2010, 3:00 PM

• Masterworks Concert, featuring NCSSM Orchestra and Chorale with Blacknall Church Choir
Featuring Missa Brevis in D major, Mozart K 194; Dona Nobis Pacem from the B Minor Mass, Bach; Tragic Overture, Brahms; and Iridium, Jack Stamp

February 6, NCSSM, 7:00 PM
February 7, 7:00 PM, Blacknall Church

• Winter Musical February 12-14, 2010
7:00 Show on Friday and Saturday
3:00 Show on Sunday

• Eastern Regional Orchestra, Feb 26-28, Concert: Feb 28, 3:00

• Spring Dance Recital, April 10, 2010, 3:00 pm

• NCSSM Jazz at Broad Street Café, April 10, 2010, 5:00 pm

• Pulsoptional – May 7-8

• Spring Choral/Vocal Department Mother's Day Recital, May 9, 3:00 PM
Featuring NCSSM Chorale and Voice Students

• Spring Drama Production: A Weekend of Shakespeare, May 14-16, 2010
7:00 Show on Friday and Saturday
3:00 Show on Sunday

• Art Exhibit Opening, Friday May 14, 6:00-8:00, ETC Lobby
Show runs – May 14-June 4

• NCSSM Annual Concerto Concert, May 16, 2010, 2:00

• Spring Wind Ensemble Concert, May 16, 2010, 4:30

Arlington Echo String Camp

2009-07-15T15:27:00.000-07:00

This week, I am conducting at the Arlington Echo String Camp in Anne Arundel County, MD. It is a fantastic camp that is run by the Anne Arundel Co. Schools. The kids are string players that range in age from 6th grade through high school. There are so many cool things about this camp that I hardly know where to start.

Let's start here. One of the coolest features of the camp is that the string teachers from the AA schools are the primary teachers and counselors at the camp. They live with the kids all week. they stay in the cabins, eat with the kids, play with the kids, make music with the kids, and fully participate in the entire experience. What a wonderful mentoring opportunity it is for these students. I don't think I had any experienc e like that with my teachers as a kid. Here anther thing: they are all happy to be there. The teachers, that is. there is such a genuine enthusiasm for music, kids, and community that is demonstrated every day, by every teacher, counselor, and staff member.
You may ask yourself, "How does this happen?" The answer is simple. Community. The answer is also complex. Leadership, environment, attitude, love, caring, selflessness, support, commitment. Of course, I am forgetting many others.

I am out of time for now, but I am really enjoying myself and happy to be here. This is really a great camp and I am pleased to be part of it.

Rehearsals are going great and it will be a fantastic concert on Friday. It has been a great week.

Peace.
Scott