[NEWSLETTER of DAVID E. SMITH PUBLICATIONS, LLC]

NEWSLETTER of DAVID E. SMITH PUBLICATIONS, LLC

VOL 7, NO 3, FALL 2005

 NEWSLETTER of DAVID E. SMITH PUBLICATIONS, LLC
VOL 7, NO2, FALL, 2005


© 2005 Copyright of David E. Smith Publications
All Rights Reserved. Made in U.S.A.

Table of Contents
The Publishers' Space
The Brass Space
Thinking...
News Releases
Remembering Dr. Don McCathren
Percussion Space
The String Space






 








The framers of our (USA) Constitution saw the value of artistic endeavor and sought to protect it with the Copyright Law…really quite unique in the history of nations in our world. The reason for this (as discussed in previous segments of this topic) is that an artist (composer, writer, publisher etc.) be able to keep control of their intellectual property. I think the reason we have this problem today is that most have grown up learning to obey the commandment “Thou Shall Not Steal” and have no issue with that in terms of “real” property. However, we are not used to honoring the value of “intellectual” property. In other words, one is to never take someone's things, but their ideas, that doesn't seem to be as concretely obvious.

THE PUBLISHER'S SPACE
by David E. Smith


Why Be A Publisher?
Ministry or Business?
Art or Passion? Part IV

 

Publishing considerations

Part V - Legal considerations vs. ministry.   Perhaps one of the greatest frustrations of all publishers, whether sacred or secular, is in the realm of Copyright Law and infringements. Sacred publishers may well feel more consternation than even the secular ones because if they apply infringements they appear to be self-serving-just looking after their financial interests. After all, aren't we all in this together, to promote the ministry of the gospel in every way possible. Most of the sacred publishers I know have a real heart for ministry and a love for Christ. But there are those in churches who donate their time and effort in ministry and sometimes imply that publishers should do the same even to the detriment of their existence. I think that most sacred publishers would wish that they didn't even have to concern themselves with violations (infringements) of the Copyright Law. But out of necessity they must; for legal reasons, for survival reasons, for equity reasons.

 

The advent of the copy machine is a great tool to society but perhaps is the demise of some publishing entities. A couple of tests as to infringing the law are 1) mechanical reproduction whether it be a copy machine, a recording device, a computer or even a pencil and paper, and 2) the intent to avoid purchase.

A couple of sites that are helpful about copyright issues are www.mpa.org, www.printmusic.org or www.cmpamusic.org .  I suspect that if there were no limitations on copying, less initiative creating less sustenance on the part of the creative individuals, it would cause less material, and therefore a higher price for the “few” items that might be produced. It becomes a result of simple rules of supply and demand economically. Perhaps a bit of satire would be invoked-“as long as the creative community is poor it is deemed ministry, but if profit happens then it must be business.” So we might conclude that many philosophical ideas play into the commercial as well as legal implications. Keep in mind that law can be, and is, revised from time to time and so adhering to it must be revised as well.

The publishing industry keeps modifying as technology changes. Today, many different media exist even in the print music venues. There are CD accompaniments, music to print off from a CD, downloads off from the internet, DVD instructions and list goes on and on. We, at DESPUB, are modifying many of our approaches as we can afford to produce them and still stay in our philosophy of idioms, styles etc. and will try to “improve” our approach to our patrons. For example, we now disseminate our Catalog not only in print, but on digital CD with various catalog and file types. On our websites we now have areas where the catalog can be downloaded, as well as the appendix and Newsletters.

Even so, we hope that even with all the innovations, nothing will be as exciting as a good arrangement of “Jesus Loves Me,” “My Jesus I Love Thee,” or “It Is Well With My Soul.” May that never change! May the basics of Christian thought and purpose be as real today as they were in the past. May those basics remain unchanged in the years to come!

Hopefully, the work we do as publisher and distributor, along with the musician practicing, performing and ministering, will all result in effective ministry to others and to ourselves, thereby promoting the Love Of God and His great Salvation through Our Lord and Savior, Jesus Christ.

To Table Of Contents





I was all set to discuss mouthpiece buzzing when out of the blue… God impressed on my mind another topic. As we read, memorize and contemplate God's Word on a daily basis, He works within us to transform our minds (Rom. 12:1-2). Most of the time our spiritual intake is like daily eating. We eat hundreds, thousands of times and usually we can't recall what we ate at each meal. But the act of eating each day keeps us alive and healthy. Still, every now and then we have a meal or particular dish that stands out and we remember for some time afterward. That sort of spiritual meal happened to me recently and it's continuing to stir and nourish my mind today some weeks after ingesting it. It was such a tiny but enormous feast that I may never fully digest it, and perhaps you will have the same experience as I've had as you think about what struck me so deeply.

THE BRASS SPACE
by Phil Norris


Here's the tiny yet nutritious morsel:
And I saw that all labor and all achievement spring from man's envy of his neighbor. This too is meaningless, a chasing after the wind.” ECCL 4:4

I don't know about you, but this is heavy stuff! Now I know that this verse is better understood in context of the book's conclusion: Fear God and keep His commandments, for this is the whole duty of man. It's true that our labor and achievements are worthwhile only as God is at the heart of them.

Still, this verse goes to the heart of every one of us. From the time we can observe others as little infants and toddlers, we want to do this thing or that thing often because we want to do or have what someone else does or has. Why do we exert so much effort to practice, to perform, or teach? Is it just for fun or exhilaration; is it the emotional satisfaction or mental or physical challenge and accomplishment? Why do we make music?

These and other motivations are not bad things - not at all! Yet Solomon reminds us that even the good things can be a chasing after the wind. Chasing the wind is as endless as it is impossible! At other places in Ecclesiastes, Solomon tells us that there is nothing better to do in life than to eat, drink and enjoy one's labor (2:24); also, we are to use all our might in what our hands find to do (9:10) in view of the grave. These are truly profound, sobering thoughts.

The tensions this verse creates are enormous given our bent, our nature as humans. Without knowing it, we find ourselves caught up in all manner of wind chasing answering calls from without and within. But like the story of Mary and Martha with Mary sitting at Jesus' feet, Jesus said, “Martha, Martha! You are worried and upset about many things, but only one thing is needed. Mary has chosen what is better, and it will not be taken away from her.” (Luke 10:41-42).

How much of our wind chasing will truly last, that can't be taken away? How can we order our days, our time so that what we do will last? What are we to do?

Fear God and keep His commandments, for this is the whole duty of man. We need to regularly allow God to test our heart's motivations for what we do as musicians as well as for what we do as people in life in general. This is not legalism but a close, ongoing communion with the Father to seek, to discover and to do His will for us throughout the course of our day. It's not enough to work at music for ourselves or even for the benefit of others around us, though these have a place. But we must bring Christ into the heart of each task. We must include Him in the thoughts that occur to us, especially those thoughts that disturb us or thoughts that are not pleasing to Him. He wants to help us with those, too.

The simple song, "Trust and obey,” carries a similar profundity. At the end of all things human, only one thing remains, “What is God's will in this matter?” Whether we're playing a Bb-concert scale or sharing the Gospel with a non-believer, we're to offer all “to the glory of God.”

Being in God's will and glorifying Him have nothing else in view, not the beginning nor the end. It's a matter of walking with Him each moment through the course of each day, seeking to follow His lead and direction as best we can discern it. That path may lead to failure, isolation, pain or sickness as well as to success, joy, or fellowship. In the end, none of these things matter. Only being part of His will and plan will last. As J.S. Bach often wrote on his manuscripts: Soli Deo Gloria!

 


Phil Norris is an Associate Professor of Music at Northwestern College, St. Paul, Minnesota, where he teaches and actively performs on trumpet. He earned his DMA at the University of Minnesota. Phil is past president of the Christian Instrumentalists and Directors Association and is editor of the CIDA Sacred List of Instrumental Music.

To Table Of Contents





“First, the end purpose of God's redemption is to give you the Holy Spirit. The end purpose is to give Himself. All else is preparatory- the Incarnation, the Atonement, the Resurrection- all are prepara­tory. Moving into the inside of us in intimate personal relations is the end goal of the Divine Lover. Being Love, He could not stop this side of personal intimate contact with the loved one. All that happened without in history was in order that this might happen within in experi­ence. Everything converges upon this. If we fail to find the Holy Spirit, we fail to fulfill that for which we are made, and we fail to fulfill God's intention.”

THINKING...
by Harlow E. Hopkins


Of particular interest were the ten masteries which were introduced into the individual and society by the coming of the Holy Spirit.

He states that these masteries “have not been read into the account they are inherently there and very much more besides. And they have not expended them-selves-they are still at work leavening society.”

To the question, How does one receive the Holy Spirit?, he responds, “This is the most important question that can be asked in religion,” and proceeds to outline the steps.

 

“Second, the Holy Spirit is primarily a believer's gift.” The disciples were believers when they received the Holy Spirit. The account says: "Now this he said about the Spirit, which those who believed in him were to receive” (John 7:39). When we came to Him, in the first coming we wanted forgiveness or reconciliation. Little or nothing was known about asking for the Holy SpiritBut once we are children of God and are sure of our standing with God, we want to receive our birthright, which is nothing less than the Holy Spirit Himself. Even better, we want to be possessed by the Spirit.

“Third, having come so far along in redeeming you, will He now pull back and hesitate or refuse to give you the crowning gift - the gift of the Holy Spirit?. For He is driving for this very end. He is driving according to His own nature as Love, for Love yearns for the object of its love. All the other steps were taken in order to take this crucial step - to indwell us.”

“ Fourth, there are no blocks, on God's side; they are all on our side.” If you have not received the Holy Spirit, the blocks are within. There is only one person who can keep you from receiving the Holy Spirit-you.

“Fifth, the biggest block is a lack of self-surrender. Invariably...that is the real block. We must give ourselves.” Sometimes, if we give, we give with strings attached: “I'll give this if God will do this.” No, there must be no ifs or buts. “It must be a clear-cut surrender. There is no better word.” Commitment for example “would seem to imply that your hands are still on the gift. In surrender your hands are not on the gift; they are raised in surrender. He has the gift of yourself irretrievably. From henceforth the basis of your life is not you but Christ. For you live in Christ, not yourself. That change is not make-believe - it is fundamental. Now you are not your own. Your knees bend in obedience at one place and one place alone - before Christ. This is not conditional. Whether I receive or don't receive, He has me- I'm in His hands forever. I've burned my bridges behind me.” (To be continued.)

 

Used by permission

To Table Of Contents





As exclusive distributor for "Ken Bauer Productions", David E. Smith Publications, LLC is pleased to announce the release of new items in their catalog. You will find the pieces listed on www.churchmusic.biz and at your favorite dealer.

NEWS RELEASES
by David E. Smith


Ken Bauer Productions
KBP0241 - Level 3.5 $24.95 Joy To The World (Ken Bauer)
This spirited piece is full of excitement and is perfect for use as a prelude, offertory, recessional or concert opener/closer during the Christmas season. Its high sense of energy and excitement begins immediately and grows throughout its 5 minutes of performance time, which makes this piece exciting to the performer as well as the listener. Ideal for church or school performance, this versatile piece includes a substitute part for Eb Alto Saxophone that may be used in place of the Horn in F as needed.
Brass Quintet (2 Tpt, Hrn, Tbn, Tba - Eb A Sx included to replace Hrn as needed)

Ken Bauer Productions
KBP0240 - Level 3 $7.95 What Child Is This? This Christmas classic embodies a sense of gracefulness and mystery with a sense of the medieval. Enhanced with light and delicate textures that are augmented with rich and emotional harmonies, this beautiful arrangement is perfect to use as a prelude, offertory, recital or concert piece. Percussion parts written for triangle (finger cymbals would be a nice replacement for the small triangle) and wood block are included and may be used if desired to add texture and color. The piece remains well balanced and beautiful even if the percussion parts are omitted. Even though this arrangement is crafted as an oboe feature, the piano has solo space as well.
Solo Oboe, Piano Accompaniment with optional Percussion (small triangle/wood block)

Ken Bauer Productions - KBP0239 - Level 5 $14.95 We Three Kings (Ken Bauer) This woodwind quintet features wide dynamic shifts between energy and excitement to gentleness and calmness and is ideally suited for concert, church and school performances. The codetta is designed to bring this piece to a gentle, calm close.
Woodwind Quintet (Fl, Ob, Bb Cl, Hrn, Bsn -Eb Alto Sax sub for Horn is included if needed)

Ken Bauer Productions - KBP0242 - Level 4 $24.95 We Gather Together (Ken Bauer)
This well-crafted piece runs a little over 5 minutes and even though well suited for Thanksgiving it is quite appropriate anytime of the year. Nice contrasts both dynamically and tonally and crafted in key centers, which are sensitive and conducive to good intonation for brass players.
Brass Quintet (2 Tpt, Hrn, Tbn, Tba - Eb A Sx included to replace Hrn as needed)

As exclusive distributor for "Light Of The World Music", David E. Smith Publications, LLC is pleased to announce the release of a new item for its catalog. You will find the piece listed on www.churchmusic.biz and at your favorite dealer.

LW-OR-812, Level 4, $45.00, duration 2:45. Carol of the Bells, arranged by Kathryn Vance,
Instrumentation: flute 1, flute 2/piccolo, oboe 1,2, clarinet, bassoon 1,2, horn 1,2, trumpet 1,2, trombone, tuba, percussion 1 (chimes, suspended cymbal), timpani, violins (non-divisi), viola, cello, contrabass, synthesizer string reduction. Light of the World Music welcomes Kathryn Vance to its family of writers with this unique symphonic approach to the traditional bell carol. The arranger has produced a setting in classical sonata form, with exposition, development, and recapitulation. The arrangement is challenging, and it will be enjoyed by advanced players as they experience counterpoint, melodic inversion, meter changes, timbre variety, and dynamic contrast at their best.

To Table Of Contents





To Table Of Contents

REMEMBERING DR. DON MCCATHREN


   For many years McCathren was a faculty member of the Duquesne University School of Music in Pittsburgh and was a nationally recognized conductor, clarinet soloist, clinician, educator, arranger, editor and writer.

His background included study at Indiana University, Chicago Music College, Harvard University, Tuffs University, U. S. Navy School of Music, Boston University and Indiana State University in Terre Haute, Indiana.

He studied with such eminent artist-teachers as Victor Polatschek, Daniel Bonade, Albert Freedman, Louis Greenspan, Dai Fields, Angelo De Caprio, R. Rateau, E. C. Moore, Santy Runyon and others.

His conducting teachers included Rudolph Ganz, Thor Johnson, Joseph Gremelspacher, Arthur Hill and Ernst Hoffman.

McCathren appeared as conductor, soloist and clinician at many of the nation's foremost music festivals and educational meetings as well as with school, university, community and service bands, orchestras and choruses. He also appeared as a featured conductor in Canada arid Japan as well as in many European countries.

A dedicated educator, Dr. McCathren taught music at all levels from elementary through university graduate school classes and served as a guest lecturer at more than 40 universities and colleges.

Dr. McCathren was a leading woodwind authority and made an intensive study of the playing techniques of all members of the clarinet family. He developed methods of playing the alto, bass and contrabass clarinets which have been widely adopted, and authored many books and articles on the subject.

A highlight of his career came when the great American composer, Alfred Reed, wrote a solo for him-”Five Solos for Five Clarinets.” In the course of performing this piece, Dr. McCathren played five members of the clarinet family- Eb soprano, Bb soprano, alto, bass, and contrabass. He premiered the work in 1958 at the Tri-State Music Festival in Enid, Oklahoma.

His leadership in the world of music was exemplified by his founding the Symphony of Winds, which many felt was the “band of the future," and by his organization of the Duquesne University School of Music Mid-East Instrumental Music Conference.

As a member of the American Society of Composers, Authors and Publishers (ASCAP), he edited or arranged music for leading publishers which has been studied and performed extensively,

Dr. McCathren was Musical Director of the famed AMERICAN YOUTH SYMPHONY & CHORUS and toured Europe many times as the conductor of this elite organization. He also founded the AMERICAN YOUTH SYMPHONIC BAND & CHORUS, the AMERICAN YOUTH STUDIO BAND & SWING CHOIR and the AMERICAN YOUTH SYMPHONY OF WINDS & CHORUS. Under his guidance these organizations received six George Washington Medals of Honor from the Freedom Foundation in Valley Forge and numerous gold medals at European Music festivals, including the Galway Festival in Galway, Ireland, and the Anglo International Festival of Music in Coventry, England. They also received numerous citations from governmental officials both at home and abroad for their contributions to the development of American youth and the furtherance of peace and understanding throughout the world.

As an outstanding clinician, Dr. McCathren was a member of the Selmer Educational Staff for many years, furthering the cause of music education throughout the United States.

He was a dedicated American, and among the honors he received was a citation from the U.S. Department of the Army for "Patriotic Civilian Service," and the Distinguished Alumni Award from Indiana State University.

Don McCathren believed there was nothing more important than working with young people - particularly when they are interested in the performance of music!

In his retirement, McCathren was a private instructor of clarinet, saxophone, flute, piano and other instruments.

Dr. Don McCathren moved from the West Palm Beach, Florida, area in 1998 to Deland, Florida where he died. Continuing sympathy is extended to the family.

 





THE PERCUSSION SPACE
by Billy Madison


 


Billy Madison has taught instrumental music in the Arkansas Public Schools for 18 years. He holds both the BME in Instrumental Music and the MM in Music Theory and Composition from Arkansas State University. He studied composition with Jared Spears and Tom O'Connor. Madison has played percussion with the Northeast Arkansas Symphony since 1978.

To Table Of Contents





String bowing terms often create confusion for directors of church and school orchestras, even veteran directors who are string specialists. There are two general types of bowings: those prescribeing that the bow bounce off the string, "off the string bowings," and those prescribing that the bow remain in contact with the string, or "on the string" bowings. In this column we will take a look at "on the string bowings" in an effort to help clarify terminology and technique.

Grand detaché or detaché is the smoothest possible "on the string" bowing. Despite the term's immediate image of deliberately separating one bow stroke from another, the term refers simply to the natural change of down-bow to up-bow and up-bow to down-bow. Detaché is the smooth change of bow that occurs as the player connects one bow change to the next. It is most often performed with the full length of the bow but can also be performed in the upper half, middle third and lower half of the bow, depending upon the passage of music. String players will often practice scales with a long detaché bow stroke. This bowing would be used to perform the melody for John Dyke's Holy, Holy, Holy, or the melody for Beethoven's Ode to Joy from his Ninth Symphony.

Martelé, is a "chopped" bowing. It is produced by the player deliberately "pinching" the bow to a stop, then releasing the pinch and starting the bow quickly across the string only to stop again. The pinch occurs as the right thumb, fore-finger and second finger rotate and lean into each other and the bow stick suddenly. Each stop of the bow allows a break in the sound, and each change of bow direction begins with a bow "click." Think of the bow click for strings as you would think of a strong initial consonant for singers. The martelé bow stroke can only be used at moderate tempos that allow time to stop the bow. This bowing would be used to perform the melody in the first movement of Peter Warlock's Capriol Suite.

Slurred, bowing is a smooth bowing that includes two or more pitches in one bow stroke. Slurring should mimic vocal phrasing in hymn orchestrations, arrangements and accompaniments. The number of pitches included in one slur is limited only by the tempo and the player's ability level. Young string students in a church or youth orchestra will find it difficult to slur more than a few pitches without having to change bows. Advanced students and professionals can slur many pitches on one bow.

Slurred staccato bowing is a combination of slurred and martelé bowings. The player slurs several pitches under one bow but stops the bow movement after each pitch. This bowing may be used only at moderate tempos to allow the player time to stop after each pitch while keeping the bow moving in one direction at a time.

Louré bowing is a smooth version of the slurred staccato. With louré bowing the player slurs several notes under one bow with an almost imperceptible push of the bow on each change note change. Using a canoeing analogy, the bow moves along the string similarly to a canoe moving through the water. With each dip of the paddle the canoe surges ahead but continues to glide when the paddle is removed from the water. Pinching the bow slightly without stopping the bow will produce a slight pulse for each note change. This is much more subtle than using single detaché bows for each note change.

Helpful Hints:
Down-bow moves the bow from frog to tip. Up-bow moves the bow from tip to frog.

The principle of the down-bow implies that a down-bow should be used for the first beat of a measure or any heavy agogic accent within a phrase. Conversely an odd number of bow changes before a measure or an accent should begin with an up-bow.

The bow produces tone by combining three factors: bow weight, bow speed, and bow contact or sounding point. Bow weight refers to the amount of heaviness from the bow arm that is transferred to the bow. The more weight added to the bow the bigger the tone. Bow speed refers to the rate at which the bow travels across the string. Faster bow speed gives more energy to the tone. The contact or sounding point refers to the placement of the bow between the fingerboard and the bridge. The closer the bow is to the bridge the more intense the tone that results. Changing any one of these three factors will necessitate changing both of the remaining factors. For instance, if a player adds weight to the bow with a slow bow speed the tone will break up and sound crushed. Adding bow weight will necessitate increasing the bow speed and moving the contact point towards the bridge so that the bow can support the weight and the faster speed.

For a more in-depth look at string bowings consult the bowing chart in The Modern Conductor, by Elizabeth A.H. Green. American String Teachers Association with the National School Orchestra Association publishes The ASTA Dictionary of String Bowings, a comprehensive reference book.

 


Jay-Martin Pinner is Head of the String Department and Conductor of the University Symphony Orchestra at Bob Jones University in Greenville, South Carolina.

To Table Of Contents



THE STRING SPACE
by Jay-Martin Pinner


Clarifying String Bowing Terms & Technique Part 1 - On the String Bowings

Last November 13, Dr. Donald E. McCathren, 80, went to be with the Lord. He was one of the David E. Smith Publications writers.
The devotional book, Mastery, has been my source of daily inspiration for the past year. It was written by the late E. Stanley Jones, who spent most of his adult life as a missionary to India. The book was published in 1955 by Abingdon Press, Nashville.

Preach Christ Always
And As A Last Resort
Use Words.
St. Francis of Assisi

[top]

 
for ordering options: [ChurchMusic.biz] [Dealer List]

Copyright 2006 David E. Smith Publications, LLC.