monthly · monthly vol.14 • no.3 dec 2016 better by the dozen all about 12-tone music “uptown...

MONTHLY

VOL.14 • NO.3

DEC2016

BETTER BY THE DOZEN

ALL ABOUT 12-TONE MUSIC

“UPTOWN FUNK”

HOW YOUR BAND CAN PLAY IT THE

HOLE TRUTHTIPS FOR

SAVVY FLUTISTS

SAVVY FLUTISTS

SHAWN MENDES✦ Insights for Music Teachers—by Music Teachers✦ An Overview of This Month’s Lessons for Students✦ Assessment Materials and Lesson Plan Guidance✦ Website and Subscription Information ✦ The Student Edition of In Tune Monthly

THE YOUNG MUSICIAN’S TEXTBOOK

✦ T E AC H E R’ S E D I T I O N ✦

Every Music Student Needs

to Get In Tune! To get subscriptions

for your class, see

the back cover

MENDESA young troubadour graduates from the Internet to the arena

D e c e m b e r 2 0 16 ○ V o l . 1 4 , N o . 3

Student subscriptions available at InTuneMonthly.com

Here aT In Tune, we’re in the business of creating reading materials for music students. That’s an endeavor that requires a journalist to be musically knowledgeable, linguistically adept, and aware of the various stages of pre-teen and teenage intellectual development. We’re very familiar with that old bon mot “writing about music is like dancing about architecture”—which implies with

tongue in cheek that it can’t be done, or at least done well. Perhaps

that’s true, but we don’t think so.

Our writers strive valiantly to translate the essence of music into words.

As journalists do, they learn so that their words can teach. Trying to capture

the magic of music in this way is an instructive exercise, and one you might

consider asking your students to undertake.

Music educators do many things in order to teach students to sing, play,

practice, perform, collaborate, create, record, appreciate, and so much

more. But when they ask their students to write about music, they teach

students to teach themselves. Analyzing music is a key activity in learning to

play it. Doing research about one artist’s influence on another encourages

students to build their own musicianship on the work of others. Writing

about music therefore allows students to accumulate insights, broadening

horizons and leading to new experiences.

Just flip through the pages of In Tune for writing assignment ideas.

Students can try their hands at choosing an up-and-coming act and writing

about what makes it significant, as we do in our Frontrunner section. Or they

can select a few songs from their personal playlists and write about why

they picked the ones they did, as we do for the monthly Listening List. They

can write their own Icon columns and research the greats. Or they can

profile how instruments are made. Whether they’re band and orchestra,

chorus or general music students, the act of organizing their thoughts on

these subjects will undoubtedly add to their education.

What’s important here, in addition to the making of a serious journalistic

effort, is artful thought. Did the writer capture the essence of the music, the

artist, or the activity? Was a premise set out and supported? Did the student

contribute his or her own insight into how the music was made and what

made it great? For our band of scribes, this is the fun of it all. And who

knows? You just might identify the next In Tune editor or writer, and set a

lucky student on the road to a unique musical life.

Write Makes Might go to: www.intunemonthly.com/lessonplans

For student edition subscribers

Teacher’sediTion

InSIDe ThIS TeAcher’S eDITIOn

4 The Tao oF In Tune What’s in the December Student edition

6 a GReaT IDea In TheoRY Music theory and your students

10 moDeRn banD entering the JamZone

11 keY chanGes The power of the pause

14 caLLInG The Tune A statistical look at how teachers are using In Tune in their classrooms

19 PoP QuIz anD maTchInG QuIz Answers along the left edge of this page.

Techniques: Students will listen to and play examples of music created using 12-tone methods.

Modern Band: Find a variety of song charts and other resources

relating to Mark Ronson and Bruno Mars’ “Uptown Funk.”

The Savvy Flutist: Additional details about flutes and how to

play them, plus a quiz

Icon: Sister rosetta Tharpe Resources include a video playlist, discussion questions, suggestions for further study, and a quiz.

i nt u nemont h ly.com 3I N T u N e m o N T h l y • T e a c h e r ’ s e D I T I o N • D e c e m b e r 2 0 1 6

Po

P Q

uIz

aN

SW

er

S:

1B, 2

D, 3

A, 4

C, 5

D, 6

B, 7

A, 8

C, 9

B, 1

0C M

aT

ch

Qu

Iz a

NS

We

rS

: 1D

, 2A

, 3G

, 4J,

5H

, 6E,

7I,

8C, 9

F, 1

0BPH

oto

S: (F

lUtI

St) D

EnEk

A P

EnIS

ton

; (M

AR

S) k

AI Z

FEn

G;

(tH

AR

PE) J

AM

ES k

RIE

GSM

An

n/M

ICH

AEl

oC

HS

AR

CH

IvES

/GEt

ty IM

AG

ES

onLIne Lesson PLans

i nt u nemont h ly.com4 D e c e m b e r 2 0 1 6 • I N T u N e m o N T h l y • T e a c h e r ’ s e D I T I o N

delved into the world of publishing and label deals. It’s a success story that also provides useful insights into the music business.

MODERN BAND: “UPTOWN FUNK”For our third article analyzing the repertoire presented in the modern band school ensemble program, we’ve picked a song your students are sure to rec-ognize: mark ronson and bruno mars’ megahit “uptown Funk.” We’ve also tried to make it as easy as can be for your students to play it, should they (or you) so choose. besides the story itself and the basic accompaniment chart it contains, further charts and materials are available online.

THE SAVVY FLUTISTlast year we launched an occa-sional series of “savvy” stories, focusing on the special knowl-edge that players of a given instrument need to excel. The series now continues with a

nuts-and-bolts (or, more appropriately, keys-and-joints) look at the flute. We hope this lesson in history, engineering, and musical technique proves fascinating even to non-flutists.

MUSIC NEWSThe announcement that bob Dylan had won the Nobel Prize for literature was a piece of news we simply couldn’t pass up this month, but pos-sibly even more exciting is the online chord arpeggiator we discovered in a recent round of web surfing. read about it in our News section, then check out the link at the end of the item. you just might find it as addictive as we do.

…AND MOREour Influences department always takes readers on a winding journey, even though it’s only a page long. This time around, we somehow get from the indie-folk band bon Iver to singer Paul robeson of “ol’ man river” fame. In how It Works, we look at what happens in scientific

terms when you run a violin bow across a string. For word on rising artists, head straight to Frontrunner and the listening list. and there’s plenty more where this came from at intunemonthly.com.

The Tao of In Tune

ICONFrom the late 1930s to the early 1950s, sister rosetta Tharpe was a major star in the gospel and r&b worlds. but although her influence on the early development of rock ’n’ roll as both a singer and a guitarist was huge and indisputable, it wasn’t much remarked upon by music historians until pretty recently. We’re going to guess your students haven’t heard Tharpe’s music before, and maybe you haven’t either. you’re all in for a treat.

PLAYERSNot long ago, we saw Terry bozzio play a stunning solo show in New york on a gargantuan drum kit that filled the stage. We knew right then we needed to feature him in our Players column. happily, Terry obliged us with an interview. We’re thrilled to give you this inspiring though

all-too-brief profile of a drummer with a formidable résumé who continues to chart new territory for his instrument.

TECHNIQUES: 12-TONEWe freely acknowledge that we may be stepping out of many readers’ comfort zones with this month’s Techniques fea-ture. but 12-tone music has now been in existence for nearly a century, and the details of how it’s created are worth inves-tigating in the classroom. This intro should test students’ theoretical knowledge and math skills.

THE ILLUMINATION OF SHAWN MENDESokay, he’s cute, but this 18-year-old singer/song-writer’s burgeoning career is based on more than that. mendes first figured out how

to make a lasting impact with a six-second online video, then quickly

Tharpe started early. Born Rosetta Nubin, a member of the Church of God in Christ, she began playing guitar at age four and was soon accom-panying her evangelist mother, Katie Bell Nubin, on her travels through the American South. (Their church was ahead of its time in encouraging women to be ministers and musicians.) Little Rosetta was billed as a “singing and guitar-playing miracle,” and by the time she was six, she’d already won the hearts of countless church-goers. The family eventually settled in Chicago, where Rosetta made a name for herself as one of gospel music’s most exciting performers. Speaking of names, Tharpe was her � rst husband’s last name, and “Sister” was not an official title but a stage name meant to re� ect her church background.

In 1938, backed by Lucky Millinder’s jazz orchestra, Tharpe recorded her � rst singles for Decca Records, including “That’s All,”

in a way that’s di� erent from other gospel singers of the time. Then put on a Jerry Lee Lewis or Little Richard track and see if you can’t hear Tharpe’s style coming through the music of those two early rockers.

Tharpe’s biggest success came in 1945 with “Strange Things Happen-ing Every Day,” the � rst gospel song to enter Billboard’s Race Records (later

renamed Rhythm & Blues) chart. It got all the way up to No. 2, the � rst of several Top 10 hits

that Tharpe would have over the next decade. When she married her man-ager and third husband Russell Mor-rison in 1951, the ceremony—fol-lowed by a concert—was held in a Washington, D.C. sports stadium,

attracting 25,000 paying guests. By the mid-1950s, Tharpe’s popularity

had begun to wane. Many gospel enthusiasts found her later music too bluesy. Still, there were � ne things awaiting her down the line. In the ’60s, she was discovered by a new generation of blues fans and toured Europe alongside giants like Muddy Waters. Sadly, in 1970, Tharpe’s career was curtailed by a stroke and an amputated leg; she died three years later at the still-young age of 58. But with a 32-cent stamp issued in her honor in 1998, an excellent documentary about her (The Godmother of Rock & Roll) produced in 2013, and musicians still singing her praises today, her spirit is clearly here to stay.

“My Man and I,” and the epochal “Rock Me.” (Despite the secular-sounding titles, their lyrics are clearly religious.) Many critics argue that these songs set the template for rock ’n’ roll singing, and they’ve got a point. Listen to how Tharpe holds certain syllables for a few extra beats, belting out the words

I C O N GREAT MUSICIANS IN HISTORY BY PETER GERSTENZANG

intunemonthly.comIn Tune Monthly • December 201614

T HE ARGUMENT about who was America’s � rst true

rock ’n’ roller is nev-er-ending: Elvis Presley? Chuck Berry? Ike Turner? Fats Domino? Louis Jor-dan? Too often lost in the shuffle is Sister Rosetta Tharpe, an African-Amer-ican woman who spanked an electric guitar with an insistent downbeat, sang with the hair-raising squall of a gospel singer—and heavily in� uenced all of the above male artists.

JAM

ES

KR

IEG

SM

AN

N/M

ICH

AE

L O

CH

S A

RC

HIV

ES

/GE

TT

Y I

MA

GE

S

“She’s singing religious music, but she is singing rock ’n’ roll.” —Jerry Lee Lewis

Tharpe started early. Born Rosetta that Tharpe would have over the next

Sister Rosetta Tharpe

WHO: Singer and electric guitar playerWHAT: A gospel and R&B pioneer who may just be the mother of rock musicWHEN: Born Mar. 20, 1915, Cotton Plant, Ark.; died Oct. 9, 1973, Philadelphia, Pa.

The Gospel of the Blues, which collects 18 tracks recorded between

1938 and 1948, is a fi ne overview of Tharpe’s work. For deeper

digging, check out the three-volume Complete Recorded Works.

Sister’s Songs

After more than a decade of planning and construction, the Smithsonian National Museum of African American History and Culture (NMAAHC)

opened its doors to the public for the first time on September 24. Housing a treasure trove of nearly 37,000 objects created and gathered over 400 years, it occupies the � nal undeveloped museum site on Washington, D.C.’s National Mall, right next to the Washington Monument. “This national museum helps to tell a richer and fuller story of who we are,” President Obama said at the opening ceremony. “By knowing this other story, we better understand ourselves and each other.”

A major part of that story is musical, and although there are many reasons to visit the new museum, principal among them are the galleries on its fourth floor that focus on African-American music and musicians. There you can see plenty of artifacts that relate to famous artists or events: a trumpet played by jazz innovator Louis Armstrong;

classical singer Marian Anderson’s out� t for a 1939 performance at the Lincoln Memorial (given after she had been barred from Washington’s Constitution Hall because of her race); rock ’n’ roll pioneer Chuck Berry’s cherry red Cadillac; the fedora Michael Jackson wore onstage for the 1984 Victory Tour. But there’s also room for less well-known pieces of history. For example, a section of one gallery is devoted to Death,

an all-black trio from Detroit that was barely recognized during its lifetime in the 1970s but

is now hailed as an important precursor of the punk rock movement.

Fittingly, the NMAAHC’s opening was celebrated with a free three-day music festival on the National Mall. More than two dozen artists took part, including hip-hop acts Public Enemy and

the Roots, the rock quartet Living Colour, New Orleans’ Preservation Hall Jazz Band, the a cappella group Sweet Honey in the Rock, and singer/songwriter Meshell Ndegeocello. Find out more about the museum, its exhibits, and its mission at intunemonthly.com/nmaahc.

MUSIC

(BR

YS

ON

AN

D C

HU

CK

D)

SA

RA

HV

ICT

OR

IA R

OS

EM

AN

N/S

MIT

HS

ON

IAN

A Phone Without Phones?When Apple announced that its iPhone 7 wouldn’t include a standard jack for headphones, many consumers raged at what they saw as an annoying inconvenience. Yes, you could still plug in conventional head-phones, but you’d have to use a clunky adapter. It’s probably fair to say, though, that Apple sees this as merely an intermediate step. The company’s not-so-secret agenda is to do away with wired headphones entirely, replacing them with wireless ones like its new Bluetooth-boasting AirPods or the models made by one of

its subsidiaries, Beats. Unfortunately, wireless headphones aren’t always reliable or great-sounding, but then neither are standard ones—which suggests that the end of head-phones as we’ve known them may be coming sooner than we thought.

In Tune Monthly • November 20168 intunemonthly.com

D.C. Museum Opening Brings Music to the Mall

The Roots’ Damon Bryson (on Sousaphone) and Public Enemy’s Chuck D (below) performed during the opening weekend of the NMAAHC (right).

It’s surprising to learn that this virtuoso drummer started taking lessons at 14—and then stopped a few months later. His formal jazz and classical studies only began during his senior year at Drake High School in San Anselmo, Calif., then continued at the College of Marin. He acknowledges that at 18 he was a late bloomer.

“I went into college not knowing the names of the notes on the sta� and had to take a basic music course,” Bozzio recalls. “I was competing with guys who had been playing clarinet since seventh grade. I saw the work I had to do, and I’ve just been chipping away at it. I turned professional soon after college.”

Thanks to the mentorship of teachers like Lloyd Davis and Roland Kohlo� (both from the San Francisco Symphony), Bozzio was soon playing with jazz luminaries and touring with the musical Godspell. For much of the 1970s, he was part of the revolution-ary rocker Frank Zappa’s band. He spent the � rst half of the ’80s drumming for pop hitmakers Missing Persons and the latter

half recording with Robbie Robertson, Herbie Han-cock, Dweezil Zappa, and Richard Marx. He also co-produced, co-wrote, and played on Jef f Beck ’s GRAMMY-winning Guitar Shop album.

A major shift occurred for Bozzio in the ’90s when he began composing pieces based around ostinatos (repeating musical � gures). “The response was good,” he says, “so I headed in that direction, thinking in a year or two somebody’s going to cream me at this concept. Now it’s 25 or 30 years later and nobody has followed me.”

In the late ’90s, he began exploring more melody-based playing that gradually led to a massive expansion of his drum set, which he now calls “The Big Kit” or “The Beast.” It includes 26 toms (each

tuned to a specific pitch), eight bass drums, 22 pedals, and 53 cymbals, along with a variety of percussion instruments like xylophone and glockenspiel. Bozzio plays his kit more like a keyboard than standard drums, which can be heard to best e� ect on his recent four-CD set Composer Series, featuring pieces that range from jazz fusion to neoclas-sical to ambient music. His adventurousness follows a simple motto inspired by the writings of Stravinsky: “Don’t judge, just do.”

Inf luenced equally by drum greats and classical composers, Bozzio pushes himself both in terms of style and technique. He stays limber with regular exercise, and he keeps his mind open too. “There is so much to know and learn,” he declares. “You can’t get overwhelmed

with it, but you do stumble on things and when you can’t do them, you follow them. You have to put your ego on a shelf. You have to start like an absolute beginner.” TE

RU

NO

BU

OH

ATA

intunemonthly.comIn Tune Monthly • December 2016

P L AY E R S THE LIVES AND TIMES OF WORKING MUSICIANS BY BRYAN REESMAN

18

A T AGE SIX, Terry Bozzio was turning crumpled metal signs and co� ee cans into makeshift drum kits. Nearly 60 years later,

he’s still following his own beat.

“I saw the work I had to do, and I’ve just been chipping away at it.”

MAIN CLAIM TO FAME: Drummer, composer

SELECTED CREDITS: Frank Zappa, Missing Persons, Herbie Hancock, Mark Isham, Jeff Beck, Korn

EDUCATION: Took lessons at 14, studied music in high school and at the College of Marin

INFLUENCES: Tony Williams, Billy Cobham, Eric Gravatt, Alphonse Mouzon, Igor Stravinsky, Claude Debussy, Toru Takemitsu, Béla Bartók

EQUIPMENT: DW Vertical Low Timbre drums, DW 9000 pedals, Sabian Radia cymbals, Roland HandSonic digital percussion controller, Korg Wavedrum, various percussion

Pro� le ATerry Bozzio

WELCOME TO DECEMBERPutting together every issue of In Tune is a constant balancing act. Because we try to be as all-inclusive as possible, we’re wary of covering too much of any one thing, whether it be a style of music or an instrument. Once we decided to put Shawn Mendes on our December cover, we knew we had the teen pop star angle completely taken care of, so … how about a piece on atonality? For more on that and the rest of the issue, read on.

WHAT’S IN THIS ISSUE AND WHY

TEACHINg WITH IN TUNE

MusicPro Insurance provides affordable and convenient instrument insurance for music educators, students and professionals. If your focus is

on teaching, studying, performing or recording music, what could be more important than protecting the tools of your trade?

Get a FREE QUOTE by visiting www.musicproinsurance.com. Music educators insuring band and orchestra instruments are eligible for

MusicPro’s special “Classical” rate.

Insure up to $30,000 of instruments and equipment for only $150!Just select “Classical” on the MusicPro site.

MusicPro.......Created by ASCAP and Sterling Risk. The number 1 source of affordable and convenient insurance for musicians.

AGAINST FIRE, FLOOD, DAMAGE AND THEFT

IT ONLY TAKES $150

YOUR SCHOOL’S INSTRUMENTS

IT ONLY TAKES $150IT ONLY TAKES $150

YOUR SCHOOL’S INSTRUMENTSYOUR SCHOOL’S INSTRUMENTSYOUR SCHOOL’S INSTRUMENTSTO INSURE

i nt u nemont h ly.com

KID

ST

OC

K/G

ET

TY

IMA

GE

S.C

OM

TEACHING WITH IN TUNE

It’s the fundamental study that ties everything together. From simple score reading to melodic dictation to complex harmonic concepts and more, music theory encompasses a wide variety of subjects—with at least as many ways of teach-ing them. (Having at least a little knowledge of theory can also sometimes help when reading In Tune, a good example being this month’s

Techniques article on the 12-tone method.) Some outside the profession may question why

music theory is taught at all, but most members of the music education community see it as a require-ment for general understanding and informed musi-cianship, as well as a precursor of compositional activity. Its pedagogy, then, is important, particularly with students in their pre-college years. Let’s examine how teachers can introduce it in an engaging way on the elementary and secondary levels.

WHY THEORY?A number of high-pro� le musicians, particularly in the worlds of pop and rock, eschew learning the-ory—even the basics of reading music —as not just optional, but actually deleterious to musical creativ-ity. Students, in awe of their idols, may wish to follow these anti-theory philosophies, even though practiced musicians and music educators well understand that the opposite is true. “We are living in an age where everything is instantaneous; music theory is a way for the students to get to the underlying structure, meaning, and expression of music,” says Marsha Core, a Pennsylvania music teacher and choir director in

Making music theory approachable for pre-college students BY SUSAN POLINIAK

D E C E M B E R 2 0 1 6 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N 6

A Great Idea in

THEORY

i nt u nemont h ly.com

Theory is applicable to

any ensemble setting.

7i n T u n e M o n T h l y • T e a c h e r ’ s e d i T i o n • d e c e M b e r 2 0 1 6

i nt u nemont h ly.com8 D e c e m b e r 2 0 1 6 • I n T u n e m o n T h l y • T e a c h e r ’ s e D I T I o n

the school district of haverford Township, havertown, and chestnutwold elementary school in ardmore. “any music worth study usually has an underpinning of theoretical structure beyond ‘ear candy.’”

but should music theory be a part of music classes for all grades? core notes that her students receive training in theory at every level. For her elementary grades, she spends about 10 minutes on theory in a 30-minute class. “at the high school level, it depends on the class. The high school choirs get ear train-ing and basic theory, and sight-singing in about 20 minutes of an 85-minute class.”

Kyle Weary, the lead teacher of the vocal music department at the barbara Ingram school for the arts in hagerstown, maryland, also devotes time to music theory in all of his choral classes, spending “10-20 minutes on average within the choral rehearsal. I don’t block out ‘theory time,’ but rather I mesh it all together.”

What to teach?although educators can and do teach classes specifically devoted to music theory, it’s generally a subject that’s taught within the context of other instruction. as such, the

concepts can be chosen and/or related back to the subject or repertoire that serves as the main focus of instruction, or vice versa.

“I teach the theory basics in every piece we study, regardless of style/period,” core notes. “I am keen to point out the differences between homophonic and imitative writing. We speak a lot about historical context and make a game of ‘decep-tive cadences.’ The 12-bar blues is great for I-IV-V, and everyone likes the blues.”

That instruction occasionally expands a little into jazz theory as well: “last year, the high school singers studied a very difficult blues by anders edenroth. It used a lot of seventh and ninth chords that left an unfinished feeling/sound into the next bar. They really had to concentrate!”

even 20th-century styles have found their way into core’s music theory instruction. “We do speak of aleatoric-type items in music, such as the ones found in the middle section of ‘all That hath life and breath Praise ye the lord!’ by rené clausen. The sopranos are given three melodies and asked

to sing them in a random manner —any combo of the three. The result is a con-trolled chaos, simulating the joyful noise of heaven. They’ve also experienced a similar type of thing in eric Whitacre’s ‘cloudburst.’”

Kyle Weary, like many music educators, occasion-ally uses pop music in the classroom. “one of my favorite assignments to start ear-training skills is for students to write out the solfège for a song that’s cur-rently on the radio,” he says. “They only write out the solfège and then the class has to read the solfège with-out a rhythm and see if they can get the song from the solfège only.”

In terms of general con-cepts to be taught through

the year, Weary remarks that “I plan out a two-year rotation of concepts that I believe should be taught, and then I go and search for repertoire that fits that. I teach two of four choirs that are the more advanced sing-ers, and they are mostly junior and senior members. In general, I believe that my singers should be able to look at a piece and be able to identify the key, the time signature, any key changes, and what their relations are to each other (the dominant of the original key, etc.). I also believe that they should be able JG

I/Ja

mIe

Gr

Ill

/Ge

tt

yIm

aG

es

.co

m

teaching With in tune

Recommended texts and technologyFor a basic music theory text, Kyle Weary recommends Progressive Sight Singing by carol Kreuger (oxford univer-

sity Press). “carol’s book is the most comprehensive that i’ve found,” he notes. “i also love it because you could use it starting with elementary school and go right through college.” marsha core uses reproducible bach chorales —“you buy a general du-

plication license” — as well as a series of ear training patterns called “ear calis-thenics” developed by the university of Pittsburgh’s John Goldsmith.

For a Web-based learninG tool, both music educators recommend musictheory.net. core uses it “for the singers to listen online. it covers note names, note values, intervals, some chords, triads, and key signatures.” to this, Weary adds teoria.com. “my school is now one-to-one with iPads, so we have students using these when they are on ‘down time’ (when i’m working with another section, etc.). i’ll some-times create a homework assignment with musictheory.net or teoria.com, and the students have to do a screenshot after they complete it for a grade. i’ve also used the paid service with teoria.com, which shows you as the teacher what the students have completed.”

singers should be able to see the horizontal and vertical relationships of notes.

i nt u nemont h ly.com I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N • D E C E M B E R 2 0 1 6 9

to identify chords within the key they are singing in (they should know the level of importance that their note is —is it the root, third, � fth, etc. of the chord), and they should know the function of the note: Is it a passing tone, neighbor tone, etc.”

GETTING KEYED INKey signatures can prove problematic for students to grasp. Core, however, has an approach that works with her students. “Because they struggle with this, I continue to go back to the idea of the resting tone and why it does what it does. We approach every single piece from this before beginning to sight-sing. That means the singers have to see the horizontal relationship of the notes as well as the vertical. They come up with answers after I ask them pertinent questions, like ‘After examining the key signature, then the notes, especially in the beginning and end, what note seems to be the resting tone? Does that agree with the major/minor stan-dard relationship?’”

On a related topic, for some schools and districts, the number and order of music theory concepts to be taught is predeter-mined, either in whole or in part. “At the elementary level, the basic concepts are guided by the LSA [Learning Sequence Activities] patterns,” Core remarks. “If we are on target, third grade will have experi-enced major and minor patterns, be able to sing those patterns using the proper solfège syllables, and be able to aurally identify and sing aloud the resting tone of those tonalities. Within that, they are asked to identify major tonic and dominant syllables/patterns. Rhythmically, they chant duple and triple meters, are encouraged to feel the sway of triple, etc., as well as to aurally identify duple or triple when listening to music. We usually don’t start writing notation until fourth/fifth grade, depending on the situation/teacher.

“It is a big goal here to expose students to songs for singing and playing that require higher-level listening skills,” Core continues. “For my high school choirs, ear training concepts at the year’s beginning include singing major and minor scales (including natural minor, harmonic minor, and melodic) in tune with correct solfège syllables and

pure vowels, a chromatic scale on a neutral syllable, and a whole tone scale on a neutral syllable. Later in the year, we drill melodic intervals, and they are given quizzes that test aural identi� cation of these intervals. Also later in the year, the idea of V temporary modulation is studied; I use a Bach chorale for this. It’s not the most challenging rhyth-mically, but it is fantastic for modulatory hearing!”

For further reinforcement of ear training concepts, Core even takes advantage of little celebrations. “When we sing ‘Happy Birth-day’ to our celebrating members, I some-times end on a deceptive cadence instead of the I. They try to be the first to call out ‘deceptive cadence.’”

TO COMPOSE OR NOT TO COMPOSE?Some music educators believe that students should wait until they have studied a fair amount of theory before beginning composi-tion activities in the classroom, whereas others believe in teaching compositional

skills hand-in-hand with theory from the outset. It’s di� cult to say if either approach is truly better than the other, and this is because it can depend on the student as much as the avenue of instruction. Weary notes that he has his students create very basic compositions: “For instance, I’ll start with giving them a set of rhythms and then they need to add the pitches to it, or vice versa. I always relate it to the repertoire that we’re singing, which also ties to the theory. So it will be in the same key, or have a rhythmic motive from the repertoire, or the same melody, etc.”

Whether you apply theory to composi-tion, performance, listening, or all three, the main point is to keep applying it regu-larly. The instruction de� nitely sinks in over time, and the results can be reward ing. “Yesterday was a proud moment for me as a teacher,” Core notes. “My mostly grade 9/10 concert chorale sight-sang a Rossi motet in G Dorian with syllables and a few accidental tweaks—pretty well. They made me very happy. They get it!”

Preprofessional Program with Residential Option

(students ages 14–20)

July 3 –14, 2017Application deadline

April 3, 2017

Junior Program (students entering grades 4–8)

July 10 –21, 2017Application deadline

May 15, 2017

hartford.edu/hcd/smti 860.768.4451

SUMMER MUSICAL THEATRE INTENSIVE


Here at In Tune, we’re dedicated to bringing you the best teaching resources to use in your classroom. The launch this season of our modern band article series on playing popular songs with your ensemble (in this month’s installment, we’re taking on mark ronson and bruno mars’ “uptown Funk”) has led us to seek out new curricu-

lar resources—one of which we’re particularly excited about introducing. It’s called the Jam Zone, and it’s a website developed by our friends at little Kids rock to help teachers and students unlock their inner music makers. In the Jam Zone (jamzone.little kidsrock.org), you’ll find song charts for some of your students’ favorite songs; step-by-step video lessons for

guitar, bass, drums, keys, ukulele, vocals, rap, song-writing, and music technology; practice tools such as jam-along tracks and games; and teacher resources.

We recommend that you visit the Jam Zone for yourself and see the various resources that are avail-able, but here’s a quick snapshot of the site’s main features.

LEARN A SONG In this section of the site, you can browse through a list of more than 250 songs or use the search tools to find what you’re looking for. note that there a range of custom search tools, such as filtering songs by the types of chords they include. once you pick a song, select your instrument. The charts show the chords of the song and also tell you what notes to use for soloing. In addition, the Jam Zone provides links for lyrics as well as the music video (if there is one).

TAKE A LESSON Pick an instrument to get started. you can choose from guitar, bass, drums, keys, ukulele, vocals, rap, songwriting, and music technol-ogy. In each section the video lessons are listed in

order, so that if you start at the begin-ning they will take you step by step through the process of playing your chosen instrument. In the Practice section, you’ll find tools that users can work with on their own, such as jam-along tracks to help with soloing.

TEACHER ZONE The Teacher Zone provides you with everything you’ll need to run a modern band program. click on lesson Plans to find a library of lessons searchable by topic and level. each lesson gets its own web page. lessons may include a video demo and download links to an assessment and any related worksheets. you can also start a discussion about each lesson. The Teaching resources link provides access to the little Kids rock teacher manual, info on music as a second

language pedagogy, and more details about modern band. In addition, the Teacher resources page fea-tures a riff archive, instrument songbooks, and PowerPoint presentations for use in your class.

The Jam Zone is an online destination devoted to making learning how to play music fun and easy. We hope that you’ll check it out.

Welcome to the Jam ZoneA new website can aid your students in learning songs—and help you teach them

B y E R i N O ’ H A R E

m o d e r n B a n d

TEACHiNG wiTH iN TuNE

i nt u nemont h ly.com 11

The creation of In Tune’s Modern Band article series on playing popular songs with your ensemble has led us to seek out new curricular resources. One of them has just made its debut, and we’re particularly excited about introducing it to our readers. It’s called the Jam Zone, and it’s a website developed by our friends at Little Kids Rock to help not just

participants in the Modern Band program but all teachers that focus on youth-centered music. When you enter the Jam Zone (jamzone.little kidsrock.org), you’ll find song charts for some of your students’ favor-ite songs (including Mark Ronson and Bruno Mars’ “Uptown Funk,” featured in this month’s In Tune); step-by-step video lessons for guitar, bass, drums,

keys, ukulele, vocals, rap, songwriting, and music technology; practice tools such as jam-along tracks and games; and teacher resources.

We recommend that you visit the Jam Zone for yourself and see the various resources that are avail-able, but here’s a quick snapshot of the site’s main features.

LEARN A SONG In this section of the site, you can browse through a list of hundreds of songs or use the search tools to find what you’re looking for. Note that there a range of custom search tools, such as filtering songs by the types of chords they include. Once you pick a song, select your instrument. The charts show the chords of the song and also tell you what notes to use for soloing. In addition, the Jam Zone provides links for lyrics as well as the music video (if there is one).

TAKE A LESSON Pick an instrument to get started. You can choose from guitar, bass, drums, keys, ukulele, vocals, rap, songwriting, and music technol-ogy. In each section the video lessons are listed in

order, so that if you start at the begin-ning they will take you step by step through the process of playing your chosen instrument. In the Practice section, you’ll find tools that users can work with on their own, such as jam-along tracks to help with soloing.

TEACHER ZONE The Teacher Zone provides you with everything you’ll need to run a Modern Band program. Click on Lesson Plans to find a library of lessons searchable by topic and level. Each lesson gets its own web page, which may include a video demo, download links to an assessment, related worksheets, and/or a discus-sion about each lesson. The Teaching Resources link provides access to the Little Kids Rock teacher manual, Music as a Second Language pedagogy,

and more details about the Modern Band program. In addition, the Teacher Resources page features a riff archive, instrument songbooks, and PowerPoint presentations for use in your class.

The Jam Zone is an online destination devoted to making learning how to play music fun and engag-ing. We hope that you’ll check it out.

I N T U N E M O N T h L Y • T E a C h E R ’ S E d I T I O N • d E C E M B E R 2 0 1 6

Welcome to the Jam ZoneA new website can aid your students in learning songs—and help you teach them

B y E R i N O ’ H A R E

m o d e r n B a n d

TEACHiNG wiTH iN TuNE


is heard, a loud cheer erupts from my stu-dents, for they know “story Time with lori” is about to begin. my students immediately relax and intently listen to their storyteller … I mean, their teacher.

sometimes the stories I share with my students relate directly to the music being rehearsed. other stories are simply meant to serve as a distraction. occasionally, a story may have no relevance to the music at all. These stories can range from comi-cal to emotional. most of them are true,

tools for Educators

but at times a slight exaggeration is needed to get my point across. I include vibrant inflections in my voice, animated expressions in my face, and energetic movements with my body. occasionally I use a prop, costume, or a volunteer. my students are captivated by my words. While I tell my story, their faces light up with enthusiasm. laughter can ensue,

gasps can be heard, or an occasional tear can be shed. When I finish, applause often erupts. I can’t lie—this applause feels good. but it feels even better when the rehearsal is resumed and my students’ music making is remarkably improved. energized and inspired, they play with greater emotion and precision. and they are prepared to learn more.

continue to reflect on your classroom management techniques. are there moments in your teaching when you’ve exhausted an idea, plan, or process? have you ever experienced a class period when you sense that your students have all the appropriate tools but may not fully com-prehend how or why to use them? maybe your students need a break from the inten-sity of the lesson. maybe you need a brief break from conveying instruction. consider an intentional pause in your lesson or rehearsal to promote rejuvenation.

The popular phrase “less is more” is relevant in both teaching and music making. If you teach with this type of efficiency on a daily basis, then an intentional pause will have much more power. When a pause is necessary, the following pointers may be helpful:

1. Title your pause (for example, “story Time with lori”).

2. Infrequency is crucial. If used too frequently, pauses will lose their effect.

3. Pause for no more than five minutes.

4. be passionate when pausing.5. after pausing, return immediately

to rehearsing the music.

a pause can be planned or unplanned. It can have a direct relationship to your musical teaching or no correlation at all. It can be emotional or comical. regardless, make your pause unique and powerful. It’s not so much the words that are important as the timing, attitude, and effect. captivate your students. energize them. Inspire! Discover the power of pause.

My students are captivated by my words. While I tell mystory, their faces light up with enthusiasm.

Teach Music Togeth� ®

Gain fresh insight into how children learn music and discover how you can bring Music Together to

families, schools, and therapeutic settings near you. Join the most comprehensive early childhood

music education community in the world!

Sing , Dance , and Play at Our

Early Childhood Music Workshop!

Registration open now for our workshops throughout the country and around the world.

Earn CEUs and graduate credits.

Find a training near you and register today! musictogether.com/teach • (800)728-2692 x319

Download Hello Everybody to hear our music

SUMMERS ONLY MASTER OF MUSIC EDUCATIONAT GORDON COLLEGE

SUMMERS ONLY

Combine learning online with five weeks on campus for three summers in an inspiring learning environment.

IMMEDIATELY APPLICABLE LEARNING

Informed by the most current research, discover practical strategies to help your music students learn more effectively.

DEMONSTRATED MUSICIANSHIP

Practice what you teach—make music daily in choral, instrumental, and general music lab ensembles with your peers.

PEER MOTIVATION AND ENCOURAGEMENT

Relationships developed with your summer cohort will empower you to reach your potential as a steward of life-long independent music making.

FOR MORE INFORMATION VISIT www.gordon.edu/mmed

Great music programs deserve national

recognition.

Apply to be recognized as a Best Community

for Music Education!

The Best Communities for Music Education survey acknowledges schools and districts across the United States for their commitment to and support of music education.

Submit your survey to be considered for the 2017 Best Communities for Music Education program by January 31, 2017 at nammfoundation.org/survey.

Be Creative:

Submit a video sharing what’s great about your district’s music

program, to win a two-day residency with the Lennon Bus and The NAMM Foundation.

Attend The NAMM Show!

Music educators are eligible to attend The NAMM Show to

review products, develop skills and connect with a community of like-

minded professionals. Use promo code NS17INTUNE.

Join the Mission:

The NAMM Foundation promotes grants, research and advocacy to support music education across the lifespan–get involved today!

LEARN MORE AT NAMMFOUNDATION.ORG/INTUNE

Photo Credit: Rob Davidson Photography

NAMMF_IntuneAd7x4.875.indd 1 9/29/16 2:54 PM


W hen In Tune Monthly was founded in 2003, its some-what immodest goal was to fit into any existing music education curriculum. The magazine would do this by becoming “the young musi-cian’s textbook,” encompass-

ing within its pages all aspects of the music making experience, from how music is created and learned to how it’s performed, recorded, and distributed. and it would do

We believe that the magazine you’re currently reading is a great tool for music educators. So how are teachers actually using it?By Joseph M. pisano

4x

6/g

et

ty

ima

ge

S.c

om

this with an eye toward two distinct reader-ships, providing educational content that teachers could readily use in their courses but also making that content connect to students in interesting and enjoyable ways.

more than a decade later, it’s fair to say that this goal has been met. The genre- and age-spanning scope contained within In Tune is immediately noticeable after browsing through just one issue. not only does it feel and read differently from the traditional trade magazines and journals found within the music education and ensemble-related field, but it is one of the few existing print magazines—for any audience—that merges current mainstream music paradigms with those that are more traditional in nature. This very issue is a perfect example: articles about pop sensations shawn mendes and bruno mars are interspersed with in-depth articles about 12-tone composition and the anatomy of the flute.

such an unusual juxtaposition of the new and the old, the pop and the classical, is

exactly what makes In Tune unique. There are many instrumental and educational music trade magazines, but In Tune is the only one that attempts to deliver its content while meeting students at their own level. It then offers them a “hand up,” challenging them to learn with a written (and digital) medium that doesn’t ignore their culture but embraces it. In so doing, it creates a bridge to faster learning and better student engagement. In Tune is able to make seemingly diverse content blend into one smooth read, regardless of the reader’s age.

Further linking In Tune’s content to class-room teachers is the Teacher’s edition—the part of the magazine you’re reading now—which is created for each issue and included with every teacher subscription. In it, addi-tional articles, lessons, and other materials build on and supplement the content of the main magazine.

Teachers and students both clearly enjoy reading In Tune. Its content breadth provides numerous opportunities for integration

tools for educators

calling the tune in the Classroom

i nt u nemont h ly.com 15i n T u n e M o n T h l y • T e a c h e r ’ s e d i T i o n • d e c e M b e r 2 0 1 6

Caption

i nt u nemont h ly.com16 D E C E M B E R 2 0 1 6 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N

within the music classroom, and it’s designed to be adaptable to any classroom situation or need: It works for teachers in the ways that teachers need it to. But that very adaptability can sometimes create a minor quandary for educators. Given that there are so many pos-sible ways to � t the magazine’s content into a curriculum and only so much time in a day, what are the most e� ective ways of making In Tune a part of music class? And so periodi-cally the magazine sets out to discover just how its subscribers are putting it to use.

READING THE NUMBERSLast year, In Tune surveyed a number of its subscribers (n = 116) to see how they were using the magazine as teachers and within their classrooms. Of the teachers surveyed, 46% (n=40) indicated that they taught band or orchestra, 63% (n=72) indicated they taught general music, 55% (n=63) indicated they taught choir, and 28% (n=32) indicated that they taught music technology or another music-related subject. The results of the survey supported the usefulness of the maga-zine for classroom music educators and may be informative to teachers who enjoy the magazine but are uncertain of how best to employ it in their work.

Of the teachers surveyed, 95.8% (n=111) indicated that they read four or more of the eight issues each year, with 73.2% (n=85) reading every single issue. 81% (n=94) of the teachers indicated that they had used materials from at least half of the editions as resource materials, integrated into their teachings and curriculums. 100% (n=116) of the surveyed teachers indicated that they have used at least one of the eight issues

TOOLS FOR EDUCATORS

How many of In Tune’s eight issues a year do you read? About how many of In Tune’s eight issues a year do you use to teach?

1 • 4.31%

2 • 2.59%

3 • 1.72%

4 • 4.31%

5 • 5.17%

6 • 5.17%

7 • 3.45%

8 • 73.28%

1 • 7.76%

2 • 6.03%

3 • 5.17%

4 • 19.83%

5 • 8.62%

6 • 14.66%

7 • 3.45%

8 • 34.48%

Learn. Grow. Inspire. Summers-Only Master of Music Education

▪ UNT faculty and renowned guest instructors▪ Hands-on experience in our summer camps

and master classes▪ Band, Choir, Orchestra, and

Elementary-General tracks▪ Housing available, Space is limited

3-Summer Program

Information:Dr. Sean Powell, [email protected]

musiced.music.unt.edu/programs/masters

June 5 – July 13, 2017

University of North Texas

June 5 – July 13, 2017June 5 – July 13, 2017Apply early for priority consideration

2015 IN TUNE SUBSCRIBER SURVEY RESULTS

i nt u nemont h ly.com I n T u n e M o n T h l y • T e a c h e r ’ s e d I T I o n • d e c e M b e r 2 0 1 6 17

1 • Band and/or orchestra 40%

2 • Choir 54.78%

3 • General music 62.61%

4 • Music tech or other musically related subject 27.83%

1 • I assign readings from the magazine and/or website 60%

2 • We have class discussions based on In Tune content 65.22%

3 • I distribute the magazine to students for reading on their own 52.17%

4 • I route In Tune, or students share copies 9.57%

5 • We listen to music recommended in the magazine 38.26%

6 • I keep it available for substitutes or other special situations 53.04%

7 • I put copies in the library for students to read 33.04%

8 • Other 15.65%

How do you use In Tune?

I teach:

0

20

40

60

80

100

0

20

40

60

80

100

Young Artist Solo CompetitionThe U.S. Navy Band’s Young Artist Solo Competition is open to all students currently enrolled in grades 9 through 12. Visit our website for information on how to apply for this

unique opportunity. Deadline for submissions is January 7, 2017.

Top prize includes a solo performance with the Con-cert Band and The Ambassador Middendorf

Young Artist Award of $1,000.

Young Artist ad 2017.indd 1 10/28/2016 9:30:09 AM

i nt u nemont h ly.comD E C E M B E R 2 0 1 6 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N 18

published each year in their classroom teaching.

As expected, the survey results showed that music teachers are using the magazine with their students in a variety of ways: 65.2% (n=75) of the teachers chose to dis-cuss the content of the articles in their

classrooms and 60% (n=69) of them assigned the articles as readings as an adjunct to their existing curriculums. Over one-third of the teachers (n=44) assigned their students to listen to the recommended music listening lists found within the magazine and online, and over half (n=61) used it for special situ-

ations, keeping it on hand for use with substitute music teachers.

NO FENCESDespite decades of evolution in the music education field, the development of new methodologies, and the updating of existing ones, there still seems to be a dichotomy between teaching through the lenses of either a classical or a contemporary framework—and music teachers continue to be on either one or the other side of this “fence.” In Tunechooses to ignore that fence altogether,

TOOLS FOR EDUCATORS

providing a versatile tool set for all teachers by simply discussing relevant music topics, with the understanding that good music and good musical technique are good no matter who created or produced them and regard-less of what time period they hail from. It’s a solid, informative, and useful music educa-tion product that teachers can use “out of the box” with each printed issue. Calling it a “young musician’s textbook” isn’t that far from the truth and, honestly, it’s a great “older musician’s textbook” as well.

Master of Arts in Education MUSIC EDUCATION

100% Online Master’s Degree

Program Advisor: For more information, visit:Dr. Jan Harriott [email protected](308) 865-8608 NASM Accredited

Music & Performing Arts2506 12th Avenue

Kearney, NE 68849(308) 865-8618 | www.unk.edu/music

Earn your Master’sdegree in two years.36 credit hours.

NE In-State tuition: $278/credit hr.Out-of-State tuition: $443/credit hr.

The University of Nebraska is an affirmative action/equal opportunity institution. Individuals needing acoomodation under ADA should contact the ADA Coordinator at UNK, (308) 865-8655.

Joseph M. Pisano is Professor of Music and Director of Bands at Grove City College and the founder of MusTech.net and MusicEdNews.com.

Calling it a “young musician’s textbook” isn’t that far from the truth and, honestly, it’s a great “older musician’s textbook” as well.

19I N T u N E M o N T h l y • T E a c h E r ’ s E d I T I o N • d E c E M b E r 2 0 1 6 i nt u nemont h ly.com

P o P Q u i z

M a t c h Q u i z

the following quiz questions can be used to test for comprehension or for general reading of this issue of In Tune. (answers are on pg. 3 of the teacher’s Edition.)

Match the name in the left column to the term on the right.

1. Which of these songs was not written by Bob Dylan?

a. “The Times They are a-changin’”B. “stitches”c. “like a rolling stone”D. “Tangled up in blue”

2. How old did Chuck Berry turn this year?

a. 80B. 85c. 75D. 90

3. With whom did Stephen Gaboury collaborate on the musical Kinky Boots?

a. cyndi lauperB. Marilyn Klausc. stephen sondheimD. leonard bernstein

4. What band is Stevie Nicks a member of?

a. bon IverB. Nickelbackc. Fleetwood MacD. The stevie Nicks band

5. A bowed violin string vibrates in a pattern called…

a. The hellborg cycleB. The heisenberg patternc. The heimlich maneuverD. The helmholtz motion

6. When was Sister Rosetta Tharpe’s “Strange Things Happening Every Day” released?

a. 1938B. 1945c. 1951D. 1956

7. Who invented the 12-tone composition method?

a. arnold schoenbergB. alban berg c. anton WebernD. Igor stravinsky

8. The first song Shawn Mendes performed for a Vine video clip was by whom?

a. bruno MarsB. Nick Jonasc. Justin bieberD. John Mayer

9. Which of these instruments is not a member of the flute family?

a. The piccoloB. The quadruple octatonic flutec. The double contrabass fluteD. The Western concert flute

10. “Uptown Funk” was officially co-written by the members of which ’70s funk band?

a. Tower of PowerB. Parliamentc. The Gap bandD. Earth, Wind & Fire

N a M E

1. raul Midón

2. dJ shortee

3. Terry bozzio

4. Jake albaugh

5. anne drummond

6. Jacob Whitesides

7. Izzy bizu

8. Mark ronson

9. Noa Kageyama

10. amanda sudano

c o N N E c t i o N

a. The Complete DJ Method

B. Johnnyswim

c. “uptown Funk”

D. Mouth trumpet

E. The X Factor

F. Performance psychology

G. “The beast”

h. Flute

i. soundGirl

J. chord arpeggiator

tools For EDucators

Books For StudentsCOOL JOBS IN THE MUSIC BUSINESS $24.95 x _____ copies = $_________Jeffrey Rabhan starts from his own experience to clearly explain career paths in today’s (and tomorrow’s) music business (w/DVD).

JAZZ THEN & NOW $24.95 x _____ copies = $_________A textbook (w/CD) on jazz history and its relationship to today’s jazz.

MUSIC ALIVE!’S PERCUSSION $24.95 x _____ copies = $_________Daniel Glass offers students a comprehensive introduction to drums and percussion (w/CD).

YOUR SOUND ONSTAGE $33.95 x _____ copies = $_________A textbook (w/CD) about gear, mixing live sound, onstage presentation, and more!

MARCHING MUSIC $24.95 x _____ copies = $_________Everything young musicians need to know to get started–and succeed–in marching music.

Lesson Books For TeachersA TEACHER’S GUIDE TO JAZZ THEN & NOW $39.95 x _____ copies = $_________With lessons on jazz history and its relationship to today’s jazz. Companion textbook for students also available! (w/CD)

SOUNDS OF THE CITIES $39.95 x _____ copies = $_________Explore the unique sounds and artists of famed cities such as New Orleans, Memphis, Philadelphia, and Chicago (w/CD).

MUSIC FROM AROUND THE WORLD$39.95 x _____ copies = $_________Explore the music and culture of South Africa, Mexico, Brazil, India, China, and more! (w/CD)

EXPLORING THE BLUES $39.95 x _____ copies = $_________Topics include: Birth of the Blues, Early Blues Guitarists, Women with the Blues, The Blues Begin to Rock (w/CD).

GREAT COMPOSERS OF THE 20TH CENTURY$39.95 x _____ copies = $_________With lessons about Debussy, Stravinsky, Bernstein, and others (w/CD).

CLASSICAL CONNECTIONS TO U.S. HISTORY $39.95 x _____ copies = $_________Connect history and classical music with lessons on the War of 1812 (Beethoven, Schubert), the Civil War (Liszt, Brahms), and the early 20th century (Holst, Prokofi ev) (w/CD).

In Tune is accepting subscription orders for the 2016-2017 school year, so act now to get The Young Musician’s Textbook for your students. Order today to get eight issues of the magazine that addresses students’ passion for music and helps you give them a well-rounded music education.Your students need their own copies of IN TUNE!

for your students. Order today to get eight issues of the magazine that addresses students’ passion for music and helps you give them a well-rounded music education.

MONTHLY

DECEMBER 2015VOL.13 • NO.3

WEIGHTY LESSONS IN

HEAVY METAL

MARIACHILA MÚSICA

DE MÉXICO

BYTES & BEATSELECTRONIC

DRUMMING

December 2015

$3.99 Vol. 13 • No. 3

UPC 8 8 4 0 8 8 5 4 7 5 5 4


✦ The Century of Sinatra

✦ Scoring the Star Wars Saga

✦ Walk the Moon’s Infl uences

✦ Chvrches, the Listening List, and Much More!

This Aussie Pop Sensation Is in It for the Long Haul

From singer-songwriter to dance & pop star

ELECTRIFYING

ELLIE GOULDING

December 2015

$3.99 Vol. 13 • No. 3

UPC 8 8 4 0 8 8 5 4 7 5 5 4

MONTHLY

MONTHLY

NOVEMBER

2015VOL.13 • NO.2

HOW TO BUY YOUR

FIRST (OR NEXT)

ELECTRIC GUITAR

JAZZ FESTIVALS

SWING, SOUND &

SUNSHINE

GET BACH!

MODERNIZING THE

MASTERWORKS

MODERNIZING THE 5 SECONDS

OF SUMMERNovember 2015

$3.99 Vol. 13 • No. 2

UPC 8 8 4 0 8 8 5 4 7 6 6 0


✦ Jazz Great Clark Terry

✦ Song Form Fundamentals

✦ Tracing Tori Kelly’s Infl uences

✦ Musical Diplomacy, Charlie Puth, and the Listening List!

OF SUMMER

This Aussie Pop Sensation is in it for the Long Haul

WEIGHTY LESSONS IN

HEAVY METAL




ELECTRIFYINGELECTRIFYINGELECTRIFYING

ELLIE GOULDINGELLIE GOULDINGELLIE GOULDING

WEIGHTY LESSONS IN

HEAVY METAL


From singer-songwriter to dance & pop starELLIE GOULDINGELLIE GOULDING

NOVEMBER

2015VOL.13 • NO.2

JAZZ FESTIVALS

SWING, SOUND &

SUNSHINE

GET BACH!


MONTHLY

OCTOBER 2015VOL.13 • NO.1

CALLINGCARLY RAE

ROAD SCHOLARS MUSIC STUDENTS GO ON TOUR

MEET THEMETRONOMEMAKE YOUR TIMING CLICK

SPECIAL REPORTTHE BESTMUSIC SCHOOLS2016

October 2015 $3.99 Vol. 13 • No. 1UPC 8 8 4 0 8 8 5 4 7 5 4 7


There’s no “maybe” about it. With her new album

in hand, Carly Rae Jepson IS BACK

✦ The Doobie Brothers’ Classic Rock

✦ Songwriting Camp in Your Backyard

✦ Getting Into An All Star Marching Band

✦ Rachel Platten, the Listening List, and More!

Carly Rae Jepson



✦✦ Songwriting Camp in Your Backyard


✦✦ Getting Into An All Star Marching Band


✦✦ ✦ ✦ Rachel Platten, the Listening List, and More!




✦ Rachel Platten, the Listening List, and More!

The In Tune LibraryPresenting a series of books for students and lesson books for teachers from the publishers of In Tune Monthly and Music Alive! magazines. Lesson books feature reproducible articles with lesson plans, activities, and a CD.

Getting Students In Tune

Order online at intunemonthly.com,

fax this page to 914-741-1136, or mail this page to:

In Tune, 55 Larry’s Lane, Pleasantville, NY 10570

Print MagazinesIncluding one Teacher’s Edition

30+ Subscriptions: $10.95 per subscription*6-29 Subscriptions: $14.95 per subscription*1-5 Subscriptions: $21.95 per subscription(no extra charge for tax, shipping, or handling)

Digital Magazines for Computers and Mobile DevicesIncluding one Teacher’s Edition

30+ Subscriptions: $10.95 per subscription*6-29 Subscriptions: $14.95 per subscription*1-5 Subscriptions: $21.95 per subscription(no extra charge for tax)

* Access to online lesson plans and audio and video resources

Fill in to order magazines and/or books

Name__________________________________________

School__________________________________________

Street__________________________________________

City________________ State________ ZIP ___________

Phone______________ E-mail______________________

# of Print Magazine Subscriptions____ incl. one Teacher Edition**

# of Digital Magazine Subscriptions____ incl. one Teacher Edition**

Payment Enclosed Bill Me/PO#_____________________

For more information, call 914-358-1200 x310** If ordering one subscription, please specify student or teacher edition ________

In Tune is accepting subscription orders for the 2016-2017 school year, so act now toso act now to

DECEMBER2015VOL.13 • NO.3

MARIACHILA MÚSICA

DE MÉXICO

BYTES & BEATSELECTRONIC

DRUMMING

ELLIE GOULDING

Your Students Need Their

Own Copies of

monthly · monthly vol.14 • no.3 dec 2016 better by the dozen all about 12-tone music “uptown...

Documents