[NEWSLETTER of DAVID E. SMITH PUBLICATIONS, LLC]

NEWSLETTER of DAVID E. SMITH PUBLICATIONS, LLC

VOL 3, NO. 4, NOVEMBER, 2001

 NEWSLETTER of DAVID E. SMITH PUBLICATIONS, LLC
VOL 3, NO. 4, November, 2001


© 2001 Copyright of David E. Smith Publications
All Rights Reserved. Made in U.S.A.

Table of Contents
The Publishers' Space
Lone Arranger
Thinking...
Brass Space
Meet Alan Moss
Woodwind Space
God's Grace
Christian School Music
link to What's New.

THE PUBLISHER'S SPACE
by David E. Smith


In a time when much of the economy is in the doldrums, we at David E. Smith Publications, LLC are happy to report that October, 2001 was the highest sales month since we started publishing almost two decades ago.

AND, the present signs are that it's not letting up. Reality tells us that with increased productivity there will also be increased expenses but for the moment we just want to enjoy what we've just experienced in the last few weeks.

A special thanks goes to our dealers and patrons, our advertisers and promoters, our office staff and editors and most of all our writers whose talents and inspiration give us the material with which to work. Our desire as we continue to grow (more surprises coming next spring) is to produce quality instrumental music that will glorify God in church, at school, or in the private practice sessions and rehearsals.

We sincerely thank all for such an uplift! We'll work hard at trying to be efficient in our expansion!

We are pleased to announce the introduction of two new areas in the David E. Smith Publications, LLC Catalog- namely, STRING BASS SOLOS: "Sound The Battle Cry", "My Shepherd Will Supply My Need", and "It Is Well With My Soul"; and PERCUSSION SOLOS: “Holy, Holy, Holy”, “For The Beauty Of The Earth”, and “Onward Christian Soldiers.”

Looking for new Christmas music? We have that too. There is:

  • "Silent Night", a duet for flutes, clarinets or saxophones- it is accompanied.
  • "Away In A Manger" an accompanied trio for flutes, clarinets or saxophones.
  • A well-conceived arrangement of "Hallelujah Chorus" as a solo with piano for flute, alto sax, trumpet or trombone.
  • A moderately difficult arrangement of "O Holy Night" for brass sextet which fits groups of all kinds since it is moderately-difficult technically but contains a challenge for mature musicians as well.
Our Christmas selections have gone from a few items to dozens, with access to an additional several hundred seasonal items.

All of these arrangements are listed in the "What's New" click on: and "View Catalog" click on: link to View Catalog. portions of the Website.

The following are now available:

  • "I Need Thee Every Hour", a solo for flute, clarinet, alto and tenor sax
  • "All Hail The Power Of Jesus Name", a brass duet for trumpets, horns, or trombones
  • A brass quintet, "Carol Of The Bells"
  • A brass choir arrangement of "Jesus Shall Reign"
  • A new Young Band piece entitled "Men Of Faith" based on scriptural inspiration but totally original in theme.
These pieces have been released to our first issue dealers and are available now! Check the dealer list on our Website..You can link to the Websites of any first issue dealers. click on: link to Dealer List.

Here are our latest releases:

  • "Rejoice Greatly, Ye Daughters of Zion" (from Messiah) as a solo for flute, clarinet, oboe, sax and trumpet
  • "Since I Have Been Redeemed" for woodwind quartet (various combinations with piano)
  • "How Firm A Foundation" for trombone trio with piano
  • "Old Time Religion" and "Victory In Jesus" for brass quintets (an optional part permits use as a brass sextet)
  • "Jonah" for brass sextet from the 'Patch the Pirate' series
  • "The Church's One Foundation" for brass choir
  • Others coming out too....
AND check these out:
  • "Devotionals for Musicians #2" an inspirational guide for musicians- a great stocking stuffer!!
ALSO, please be aware of new solo and duet collections from Curnow Press just in time for the last minute Christmas shopper. click on: link to Curnow S&E.

"HAVE A JOYOUS HOLIDAY SEASON AS WE CELEBRATE CHRIST'S COMING!!! David E. Smith Publications, LLC

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Simple Rehearsal Reminders

LONE ARRANGER
by Dana F. Everson


Although there is more than one way to read through and practice a new arrangement, certain principles come to mind when working with church and school musicians.

Here are some basic suggestions for the music director:

1) Study the music before rehearsal! This may seem ultra-elementary, but too many times we rush into rehearsals completely unaware of the potential rhythmic, fingering, or other musical problems that our players may face. Much wasted rehearsal time can be avoided if you, the leader, will survey the territory before you attempt to guide your charges through the musical minefields.

2) Prepare the physical setting. Again, a simple suggestion, but when the stands, chairs, and music folders are scattered, and the microphones or other equipment are not in place, everyone will lose focus and intensity for the musical parts of the session.

3) Use a pencil. A pencil should be a requirement for every director and musician.

4) Try reading from the back to the front. What I mean is, have the players start at the last rehearsal number and play the final section. Sometimes knowing our goal helps us see the road to that goal a little better. Keep working back, a section at a time until you reach the beginning, then play it straight through.

5) Give verbal reminders as needed concerning key changes, formal divisions, and other potential stumbling blocks before the second read-through.

6) Have players sing their parts including expression and interpretation.

7) Expect and strive for as musical a reading as possible, as early in the process as possible. Habits, good and bad, can be set after just a few readings; so make the most of each reading. Encourage your players to read AROUND the notes as well as getting the pitches and rhythms.

Dana Everson is on the faculty of Northland Bible College in Wisconsin. Prior to that he was an Asst Prof of Music at Delta College in Michigan. He has over 125 published works.

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Luke 2:1-4: In those days Caesar Augustus issued a decree that a census should be taken of the entire Roman world. (This was the first census that took place while Quirinius was governor of Syria.) And everyone went to his own town to register. So Joseph also went up from the town of Nazareth in Galilee to Judea, to Bethlehem the town of David, because he belonged to the house and line of David.

THINKING...
by Harlow E. Hopkins


Legend has it that when God created planet earth he gave two huge rock-filled bags to an angel with the instruction that the rocks be distributed throughout the earth. However, when the angel passed over Israel the bags broke… Once you have seen that part of the world you can understand why the legend sprang up. The terrain is incredibly rocky.

It was undoubtedly a difficult journey from Nazareth to Bethlehem even though the distance as we would measure it is not great. Mary was pregnant, and riding on a donkey, which was picking its way carefully along the rocky road. It must have been a very tiring, dusty and dirty, hot and sweaty, rigorous journey for a woman about to birth a child and for a father who walked along very concerned about his young wife. But, they were on a journey that no one else had ever taken before, a God-ordained mission.

You and I as Christians in the year 2001 (and soon to be 2002) are also on a journey ordained by God. A life dedicated to God has purpose and meaning and we each have a task to do that no one else can accomplish. Each of us has the opportunity for a unique ministry--a ministry unlike that of any other living being. Once that journey has begun, the road to fulfilling that ministry/mission will be rocky at times. Huge stones and roadblocks will be encountered occasionally, for Satan will not allow it to be an easy road. Through prayer and Bible-study, commitment to God's Will and perseverance in doing His Will, we can traverse a rocky, earthly course and reach Heaven to live an everlasting life in the light of our Creator-God.

Prayer:…Heavenly Father, I desire to do your Will and accept the mission You have given me. Fill me with Your Holy Spirit and sustain me on life’s trek, then welcome me to life everlasting when my journey ends. Thank you! Amen

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Gems from Vincent Cichowicz Part I

BRASS SPACE
by Phil Norris


I was privileged to do my Masters in trumpet performance at Northwestern University, Evan- ston, Illinois, and study with Vincent Cichowicz (VC) and his protégé, Luther Didrickson. Very sadly, Luther died this past July 31st. Both men have had a profound influence on not only my playing but even more my musicianship.

Recently I was browsing my notes from classes with VC and was again impressed with the wisdom he had to pass along. So, I’ll pass along to you pieces of insight VC imparted to me and to many others during his 30+ years of teaching, which was bolstered by his 22 years in the Chicago Symphony Orchestra. These notes are somewhat scattered since they were made over the course of many class sessions. Though made over twenty years ago, these concise statements contain much to guide us toward a most-musical approach to playing. It pays to take good notes!

On Practicing: “Always begin each time with a very simple approach to reacquaint yourself with the instrument and with playing. Beginning too complex can tighten you up. It’s not possible to begin too easy.

“Morning is a good time. In the first segment (45 minutes to an hour), don’t be too concerned with fuzz. Warm the mouthpiece (and horn) before playing. Have lots of rest. Don’t rush through; don’t worry about material to be covered. Review previous material at a medium dynamic.

“Keep as relaxed a mental attitude as possible. Keep quiet inside as you play. Balance extremes of practicing (by this he means: if you practice hard, loud and high, also practice easy, soft and low - Mr. Herseth used this as his normal approach. If the orchestra program required heavy playing, he practiced light styles and vice versa).

“Practice slowly. Warm down; this helps especially after rigorous playing. We should always play by automatic function (I call this reflex playing), so practice should properly develop these habits.

When asked how much time to practice: “1-1.5 hours minimum; 2-2.5 hours for progress; 3-3.5 hours for virtuosity.”

“Endurance shows the efficiency of function and conditioning; nutrition and general physical and emotional health show in one’s playing. Train the body to endure. Learn to have endurance by doing it.”

For the next issue, I’ll highlight a list of key terms and how each touches on performance.

Phil Norris is an Associate Professor of Music at Northwestern College, St. Paul, Minnesota, where he teaches trumpet and is an active performer.

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MEET ALAN MOSS


Alan S. Moss is another of the David E. Smith Publications’ many arrangers. DESPUB first published his manuscripts 1986.

Born and raised in St. Louis, Missouri, Alan began his music career at age 9 by taking Alto Horn lessons at the Salvation Army Wellston Corps. “I was a real slow learner and I had a pretty bad sound, but I had a real strong desire.’ he says. “I attribute most of my early music training to summer music camps, especially the Salvation Army Central Music Institute in Camp Lake Wisconsin.”

While he was the High School Student Band Director at Alton High School, Alton, Illinois, for two years he switched to Euphonium. He also conducted the Salvation Army Midland Divisional Youth Band before enrolling at Olivet Nazarene University in 1966.

As a student at Olivet he was the Assistant to the Chair of Fine Arts and Department of Music (Professor Harlow Hopkins) from 1967 until he graduated in 1970 with a B.S. in Music Education degree.

Moss has studied Bass Trombone with Edward Kleinhammer (Chicago Symphony Orchestra), Euphonium and Trombone with Bernard Schnieder (St. Louis Symphony) and Trumpet with Susan Slaughter (St. Louis Symphony). He has also performed professionally on Flute, Bass Clarinet, Alto and Baritone Saxophone, Guitar and String Bass.

Mr. Moss taught Elementary Band and Orchestra for 25 years in the Hazelwood School District, St. Louis, Missouri. He also served as Salvation Army Bandmaster, Music Camp Director and Divisional Music Coordinator. Moss taught at Central Music Institute for 10 years and served as Band Director at Southeast Missouri State University Music Camp. He has played with the Salvation Army Band of the Midlands, Kankakee Valley Symphony, Florissant Valley Symphony, Webster Symphony Orchestra and Alton Municipal Band.

The compositional career of Alan Moss began in 1981 with Studio P/R (now Columbia Pictures) and William Allen Publishing in Washington. DC. His latest published works are for Orchestra and were released this fall by JPM Music Publications.

He has served as Vice President for Elementary Instrumental Music, St. Louis Suburban Music Educators, was a part of the Teacher in Space Project, and a pioneer leader in the Young Astronaut program with a National award winning chapter. He was also recognized as a National Music Educator.

Moss received his Masters Degree in Music Composition at Webster University in 1986.

He retired from teaching and moved to Melbourne, Florida in 1997 with his wife Nancy and daughter Kelly. His son Aaron resides in St. Louis with his wife Renee.

Mr. Moss holds the composers chair with Etowah Youth Orchestra in Gadsden, Alabama, and was of great assistance in their winning the National ASCAP award for the last 4 years. The Orchestra has played his compositions at Lincoln Center and are planning a special appearance at Carnegie Hall this year.

He is currently The Salvation Army Bandmaster and Corps pianist at the Melbourne Corps and also performs regularly with the Melbourne Municipal Band, Melbourne Community Orchestra and Swingtime Band. Still an integral part of his schedule in teaching at Music Camps and playing his Cornet or Euphonium at Salvation Army Christmas Kettles in December.


 

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I was once criticized by an orchestra conductor who said that my attacks were late.

WOODWIND SPACE
by Harlow E. Hopkins


After some analysis and experimentation I discovered that if I would form the embouchure slightly sooner, I would be successful every time. I then developed the following procedure:

  • (1) form the embouchure
  • (2) inhale through the corners of the mouth and
  • (3) place the tongue on the reed immediately after inhaling
  • (4) withdraw the tongue to release the sound at the proper instant
With the breath support/pressure in place, it is then a simple matter to withdraw the tongue from the reed and release the tone.

I have found many students forming the embouchure, inhaling and then trying to begin the sound all virtually at the same time. It simply does not produce the desired result. I believe this procedure will assist all wind instrumentalists to enter on time.

Harlow E. Hopkins is Professor Emeritus at Olivet Nazarene University, Bourbonnais, Illinois, and continues there as an Adjunct Professor of Clarinet. Hopkins is a co-conductor of the New Horizons Band of Kankakee Valley.

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GOD'S GRACE


The following Monday, the pastor received a call at the church office, which was the phone that he'd used that Saturday night. The man that he spoke with wanted to know why he'd called on Saturday night. The pastor couldn't figure out what the guy was talking about. Then the guy said, "It rang and rang, but I didn't answer."

The pastor remembered the mishap and apologized for disturbing him, explaining that he'd intended to call his wife. The man said, "That's OK. Let me tell you my story.

You see, I was planning to commit suicide on Saturday night, but before I did, I prayed, “God if you're there, and you don't want me to do this, give me a sign now.” At that point my phone started to ring. I looked at the caller ID, and it said, 'Almighty God.' I was afraid to answer!"

 




The past twenty years has witnessed a rapid maturing within the Christian school movement. Facilities have expanded, the faculty and administrator skill base has grown steadily, and extra-curricular as well as curricular programs have matured and stabilized. Most colleges not only tolerate the Christian school movement, but actually welcome student applications from private schools that were once viewed with general contempt and disrespect among higher education. Christian school teaching materials rival the constructional quality of their public school counterparts as production processes have matured. In all, the church-based Christian school is rapidly becoming an affirmed player in the overall educational landscape of our nation.

THE NORMAL CHRISTIAN SCHOOL MUSIC PROGRAM: Part 1
by Rick D. Townsend


Still, with all that growth and maturation, one major area of development has not kept pace. It is common - indeed, it is the norm in most states - to find Christian schools of 200+ that have barely begun to develop a music program.(1) Ironically, while most pastors would maintain that good music is a high priority in the church, most Christian school music programs achieve at a level far below that of their public school counterparts.(2) At many Christian schools, the annual all-school Christmas program and special music groups at special occasions represent the only evidence that music instruction is provided for the students. I characterize this prevailing situation as “the illusion of a school music program.” Neither the funding, nor the schedule, nor the staffing, nor the facilities are adequate to provide a quality experience. Further, in the small percentage of schools where a music specialist is hired, the responsibilities are usually so broad and the levels of support so low as to render teaching efforts virtually fruitless - becoming yet another face of the illusion.

It is time to reexamine our assumptions, our strategies and methodologies, and our expectations; and to communicate the results of such reexamination to our co-laborers and constituents.

I realize that I am opening myself for a common criticism. “Townsend lives in college’s ivory tower. He doesn’t walk in my shoes from closet to closet teaching private lessons. He has forgotten what it feels like to live in a real world.” Please realize that, in an effort to provide grounded fieldwork experiences for the various music education methods courses that I teach, I also teach daily music classes at our daycare (2- through 5-year-old children), plus daily fifth-grade general music/recorder and sixth-grade beginning band classes at a local Christian school of 150 students. I have served as a “circuit-riding band director” at nearly 25 different Christian schools ranging in size from 25 students to 1100 students. I understand the challenges that Christian school administrators and music teachers face daily. Still, I maintain that most Christian school music programs are insufficiently staffed, insufficiently scheduled, and insufficiently funded to become what they need to be in order to serve the needs of our Christian community.

Why are so many programs insufficiently staffed?

As each of our schools has grown through the years, there has been no real-world model to suggest when it would be appropriate to add a full-time music teacher and, by extension, when to expand to a second or third music teacher. Meanwhile, there is a disconnect between the model programs that develop in connection with colleges and universities, and the programs in most communities. Grade schools attached to a college or university - even the grade school at which I teach - cannot realistically model appropriate program development because they are based on the assumption of free, or inexpensive, specialized instruction available from faculty and students at the college or university. It is easy for administrators to recognize the disparity of opportunity in the collegiate setting as compared with normal Christian school environments. In fact, I do not even recommend that schools attempt to model their programs after the structure of the college or university lab school music programs in operation today. There is too much disparity in the administrative missions of the two types of institutions for our lab schools to become a meaningful model in the area of faculty and staff. Christian schools must model excellence for one another.

Secondly, since there are few fully staffed music programs, few Christian school students of the past have had an appropriate role model who could inspire them to consider music education as a profession. In fact, it is common to hear of high school students who, when considering music education as a major, were encouraged to find a “more practical” teaching position such as elementary classroom teaching or a “core” secondary subject. There currently exists no cultural synergy within most of our Christian schools encouraging young talent to seriously consider the field.

Finally, Christian colleges and universities often encourage students to pursupursue music degrees without an education component. In all practicality, every musician in our colleges is a pre-service teacher, but far too few of our music majors are enrolled in a music education track if the needs of our schools are to be met. Even at our own college, less than half of the music majors are enrolled in education courses. Although it is necessary for a good music teacher to also have been a good performing musician, it is not correct to assume that a good performing musician is adequately prepared to become a good teacher - especially a good classroom teacher. Many of our good performers graduate from college with a performance or pedagogy degree, teach for a year or two in a Christian school, then realize that they are inadequately prepared for the position. Pursuing a piano pedagogy major or a vocal pedagogy major prepares a person to manage a private lesson studio. Although some pedagogy majors have compensated well through sheer determination, a pedagogy graduate is not adequately prepared as a pre-service classroom teacher. More of our best music students must be encouraged to major in music education.

Why are so many programs insufficiently scheduled?

"Involvement" (teacher involvement in fundamental administrative decision-making for the sake of their students) is quickly becoming a valued goal for 21st century educational institutions, but this has not always been the case. In the past, many (most?) administrators preferred to maintain a clear line between administrator¹s and educator¹s responsibilities. In my experience, Christian school music educators are seldom as involved as they need to be in the continual process of producing and protecting music schedules. We must realize that most administrators are grateful to receive, far in advance, "the bad news" that a proposed schedule will damage a program. We must be collegial, but "collegial" in this area requires providing important information at appropriate times.

Secondly, it is possible, in fact, common, for a Christian school music program to look good when, in reality, it is not meeting the needs of the whole student body. In many schools, a few school families, deeply committed to providing music training for their own children, secure private teachers for their own children. This can result in adequate numbers of good performers at music events to sustain an illusion of whole-school quality. We are the ones who must define quality for our administrators. My administrators are always grateful (although not always most comfortable) when I am proactive in this.

Why are so many programs insufficiently funded?

I believe that the problem often begins in pre-service music methods classes in Christian colleges and universities, courses in which professors teach their students to be satisfied with whatever levels of support that their administrators offer.

I remember a 1997 phone call from my son, then a pre-service music teacher in a Christian university. He was enrolled in an upper-level instrumental methods class when he received the following assignment: You are the band director of a Christian school and you are given an annual budget of $400. How will you spend it? I nearly dropped the telephone receiver. At the time, I was a band director at a Christian school of 110, K-12 students. My annual equipment budget was around $6000 for that music program, a program which included a full-time instrumental director, a full-time elementary general music and piano teacher, and a part-time choral director plus a volunteer handbell choir director. Not a cent of my annual $6000 budget was ever designated for staff salaries. (Yes, there are administrators who value quality music education and who understand the cost.)

I advised that my son submit an example of a reasonable budget proposal to an administration, rather than complete the assignment as given. I further advised him (as I advise all pre-service teachers) that it would be his own fault if he ever worked in a ministry with such a low understanding of music education that the annual band budget was $400. Hard words? Yes. Unreasonable and unspiritual? I believe not. Most administrators and pastors consider it the music director’s responsibility to help them understand the financial and structural requirements for a quality music program - a program that fulfills our mandate to provide excellent music training for the next generation of music educators. This whole process begins with the initial interview and continues throughout the time that a director serves in a school.

(1)I am not addressing these comments to schools of 65 or fewer students. Such schools must usually rely on volunteers and part-time teachers for their music needs. Even then, some of the finest Christian school musicians who I have ever adjudicated attended a school of eleven students in Lasbadie, Texas between 1981-1985, so size of student body is not the primary requisite for a strong program.
(2)It is never my contention that a Christian school should assess their success levels based on area public school norms. I believe that it is the Christian school that should set the standard for music achievement.

(This article to be concluded in the next issue.)

Rick D. Townsend currently serves as Director of Music Teacher Education and Director of Instrumental Music at Maranatha Baptist Bible College in Watertown, Wisconsin.

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Preach Christ Always
And As A Last Resort
Use Words.
St. Francis of Assisi
The pastor's church is called, Almighty God Tabernacle. On a Saturday night several weeks ago, this pastor was working late and decided to call his wife before he left for home. It was about 10:00 PM, but his wife didn't answer the phone. The pastor let it ring many times. He thought it was odd that she didn't answer, but decided to wrap up a few things and try again in a few minutes. When he tried again she answered right away. He asked her why she hadn't answered before, and she said that it hadn't rung at their house. They brushed it off as a fluke and went on their merry ways.

Preach Christ Always
And As A Last Resort
Use Words.
St. Francis of Assisi
Please excuse the different nature of this News Release, but we are excited!

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