ALIVE East Bay Magazine

Home | Health | Family | Culture | Community

Lawrence E. Anderson

The Great American Bandstand

by

A favorite summer tradition – a Sunday band concert in the park, often accompanied by a family picnic – has always been a great American pastime in many towns and cites.

“The American bandstand has always been popular,” writes Professor Jonathan Elkus, noted band conductor and musicologist. “Yet at its best and most influential, these concerts have welcomed the new, revived the forgotten and revitalized the mainstream.* The American Bandstand has provided a friendly stage for soloists and ensembles. And it is to the widespread impact on American musical values that these concerts are dedicated.

The outdoors is almost an exclusive venue for bands. “Other ensembles which lack its acoustical properties and mobility cannot function with similar success,” writes Fredrick Fennell in his book Time in the Winds.

In the late 19th and early 20th Centuries John Philip Sousa, (1854-1932) was a household word. He did more to insure the success of the band movement in the United States than anyone before or since. Before Sousa, were Patrick Gilmore and his famous bands and after Sousa came Herbert L. Clark and Arthur Pryor, Sousa’s former soloists.

The tremendous popularity of the bands and of the outdoor concerts in the park started to wane as the population was drawn to other forms of entertainment such as radio and live orchestral concerts. We are fortunate in the Bay Area to have some of these traditions of yesteryear still available to us.

The Golden Gate Park Band in San Francisco was founded in September 1882 and has been in continuous operation ever since. When it started it played year-round until funding became harder to obtain and now they only play from April to October. It is still a popular Sunday afternoon attraction.

In the East Bay one can enjoy the Oakland Municipal Band in Lakeside Park at Lake Merritt in Oakland. They play an abbreviated summer schedule on Sunday afternoons. The concerts are an eclectic program of classical, marches, jazz, big band, pop and show tunes. This band dates back to 1912.

If you are planning a trip to Hawaii don’t miss a concert by the Royal Hawaiian Band. This band dates back to 1836 and was started by King Kamahamaha. It is the only full-time municipal band in America and has been operating continuously since it was founded. They play every Friday at noon at the Iolani Palace in downtown Honolulu plus many other locations in the islands. The band is a real treasure and a true example of an historic American tradition in the present day.

According to Michael Wirgler, conductor of the Golden Gate Park Band, the Sunday band concerts are drawing interest from a growing number of younger people. This is a good omen as it is vitally important to keep this great form of Americana alive and well.

*Program notes by Jonathan Elkus

Please submit your questions and comments to banddirector01@comcast.net. Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

ABC’s of Sheet Music

by

“Quality sheet music is important for any level of musician trying to add to their repertoire,” said Adam D’Arpino in his article Five Quick Tips for Choosing Music. Whether you’re a beginner or an expert, sheet music helps to shape how you learn, perform and understand a piece.”

WHY CHOOSE SHEET MUSIC
It is a relatively inexpensive way to learn a variety of interesting and worthwhile pieces from different genres, eras, composers and countries. One can build a substantial library from sheet music both individual and from collections of songs and pieces for piano, voice or instrumental solos and ensembles.

MUSIC FOR DIFFERENT SKILL LEVELS
Sheet Music is available in many different skill levels of well-known pieces and titles. The easier versions allow beginners and intermediate musicians to learn music that is usually at a more advanced level. Numerous publishers and distributors offer a grade level assessment of their selections. This allows the potential purchaser
to get an idea of the skill level required to play the piece. If you would rather just look at a piece to decide, many online distributors offer a preview of one or two pages to view.

Piano players and other musicians have another option called a “Fake Book.” These are collections of very well-known popular songs with a written melody and chord names. This allows musicians to play the melody with their own version of the chords to accompany the melody.

WHERE TO GET SHEET MUSIC
One can purchase sheet music from numerous sources. Your local music store is probably one of the quickest, most convenient places to buy or order music. Music stores do not have everything available in the store but they will usually be more than happy to order it for you.

Another source is from the publisher directly. You can easily find phone numbers and addresses and order what you want. If the piece is out of print—you have some options. You can order it and wait for a reprint or try other music stores, schools or libraries. Music teachers, both school and private, have access to many selections in their own collections and collections of colleagues.

INTERNET OPTIONS
Computers give easy access to a myriad of sites to view, listen to and order music. Sometimes sheet music is free of charge online. Try these websites:

PUBLIC DOMAIN SHEET MUSIC
This is free sheet music! Music created or published before 1923 is free with possibly some exceptions. Music published after 1963 is probably still copyrighted—caveat emptor! (Let the buyer beware.)

You can sell public domain music e.g. record yourself and sell it on a compact disc (CD). Some music copyrighted between 1923 and 1963 lost their copyright because they did not renew—they then became free. Investigate the vast amount of sheet music available, both online and off.
Please submit your questions/comments to banddirector01@comcast.net.

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

How to Choose a Musical Instrument

by

Choose wisely now and your child can be in a school band or orchestra next fall.

Parents, especially those unfamiliar with musical instruments, commonly ask, “How do I and my child choose a musical instrument?” The answer is not a simple one. It involves many factors.

Some homes have instruments that mom or dad played in high school or college. This does not automatically mean your child should play those instruments. He or she may not like them and may not have the physical characteristics to do well on them. Physical characteristics of your child play a very important role in how they progress and their eventual success in mastering an instrument.

Common physical characteristics to consider are size of the child; thick or thin lips; length of arms; size of fingers; digital dexterity; breathing and lung capacity and dental malocclusion i.e. faulty alignment of teeth when biting. Young people with dental appliances such as braces may want to consider woodwind instruments over brass. Playing a brass mouthpiece with braces can, in some cases, be quite painful and disturb the alignment of the teeth being straightened. If a child has a severe condition such as asthma, an allergy or a respiratory aliment they should probably be encouraged to play percussion or string instruments.

All band wind instruments require a proper embouchure—a French word meaning the proper position of lips, teeth, jaw, chin, etc. I call this the “facial mask.” The player needs to be carefully taught the proper embouchure from the very beginning of their instrumental study. It is absolutely vital to have proper embouchure when playing any wind instrument.

Instruments:

Woodwinds: Flute, clarinet and saxophone are the most popular and can be reasonable to purchase. Oboe and bassoon are very expensive but are especially sought after in bands and orchestras. Students with thinner lips are better suited to instruments such as the clarinet. Those with an overbite may be better suited to clarinet, saxophone or flute. A student with small fingers may have difficulty playing the bassoon because the tone holes are farther apart than on other woodwind instruments.

Brass: The cornet and trumpet are considered “high brass” and students with thin lips should be able to do well on these instruments. These instruments are reasonable to buy. Large, fuller lips are probably better suited to the larger mouthpiece instruments like the trombone, euphonium and tuba. Trombones are not too expensive but euphonium and tubas are quite pricy. To play the trombone a child’s arms must be of sufficient length to reach the last or seventh position on the instrument. Very small children should not be encouraged to play the tuba which is quite large and heavy. A caution regarding the French horn – it is quite difficult to play and requires a very good ear to produce the proper pitch and tone. Thin lips may be an advantage to play this instrument. The French horn is very expensive and requires dedication and patience while learning to play. Many students switch to the French horn after starting on cornet or trumpet. Horn players are always sought after for band and orchestras.

Percussion: Drums, timpani, mallet instruments, cymbals and a myriad of accessories make up the percussion family. Students with physical limitations regarding the facial mask such as buck teeth, braces etc. can be encouraged to study percussion. Those with piano skills are desirable for percussionists as people with these skills often advance faster than those who do not play piano.

Strings: Some string instruments—violin, viola, cello and string bass—come in various sizes making them unique among all instruments. This size variance helps accommodate growing children thereby allowing them to start at a very early age.

Keep in mind the large string bass is difficult to transport. The harp, often used in orchestras and sometimes bands, is also difficult to transport, quite expensive and takes real discipline to master. String players are always in demand for orchestras. Guitar, banjo or ukulele may be other string instruments that may interest your child.

Factors to consider in choosing an instrument include cost, size, storage area, transportation and portability of the instrument. One of the most important considerations in choosing an instrument is the child’s own choice. Personal satisfaction, interest, motivation and happiness are indispensible factors in the successful learning of a musical instrument.

It may be a good idea to rent an instrument before buying to make sure the child will like playing it. Check your local music store for rental instruments and private instruction. Most school music programs will lend instruments to students playing in their ensembles. The school music director is an excellent source for recommending instruments to students.

Please submit your questions and comments to banddirector01@comcast.net
Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Wedding Music

by

Notes on KeySpring is definitely in the air and many couples are busy planning a June wedding. Choosing the invitations, making the guest list, selecting the cake and most importantly the bride’s gown, are all priorities, but one of the most important elements of a wedding is the music.

How does one choose the music for a wedding? There are many considerations to ponder. The venue will often dictate the nature of the music. Will the wedding be in a church, in a home, outdoors in
a backyard or a beach, a mountain setting or perhaps on a cruise ship? If it’s a church wedding there may be guidelines as to the type of music permitted. At secular sites there may be noise limits and
space allotted for a band. Consider the size of the ceremony site, as it may determine or limit the size of a musical ensemble.

Choosing music should reflect the tastes and personalities of the couple getting married. A young couple may want the music to be contemporary and popular, as opposed to a more mature couple
who may want classical or traditional music. The style of music chosen will most likely dictate the nature of the ensemble, vocal soloist or disc jockey performing the music.

The style of music will generally fall into one or more of these categories: traditional, contemporary, folk, pop, rock, etc. All of these styles may be played and /or sung by a vocal soloist or a small
ensemble. These may include organ or piano alone or with vocals or instrumental accompaniment. Organ and brass are a great combination. Piano, harp, string quartet, guitar and other small instrumental ensembles are often used depending upon the size of the venue and the mood of the wedding.

In a formal church wedding the music in the ceremony may include the prelude, processional, interludes (if used) and the recessional. The prelude music is played before the ceremony begins and
generally sets a nice relaxed, light mood. It usually lasts at least 15 to 20 minutes while guests are being seated.

Processional music should be celebratory and impressive announcing the appearance of the bride. The most traditional processional is the Bridal Chorus (Wedding March) from Richard Wagner’s opera Lohengrin. The interlude music is lighter and is often a vocal soloist accompanied by piano, guitar or organ. This music usually speaks of love and romance.

The recessional is used when the bridal party exits and is usually an upbeat, energetic, lively piece. The most traditional recessional is The Wedding March, by Felix Mendelssohn from A Midsummer Nights Dream.

Music during the wedding reception again most often reflects the couples taste and style. Traditionally there is a first dance by the bride and groom. This very special dance is usually a favorite of the
couple—”their song.” Music for dancing may be provided by a live band, small ensemble or a DJ playing a variety of songs. Unless the couple has friends or family that will volunteer their services there may be considerable costs for soloists and musicians.

A good wedding planner always has lists of musicians and DJ’s. Churches are a good source for wedding musicians and the yellow pages of your local phone book often lists musicians. Always audition
the soloists or ensembles to see if they are right for your needs.

You can save considerable money by hiring local nonprofessionals such as talented college students or amateur musicians. The right music at your wedding will not only entertain your guests but will set the mood and secure the memories for the most important day of your lives together.

“Life is a song—love is the music!”

Please submit your questions and comments to banddirector01@comcast.net.
Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Practice, Practice… and More Practice

by

Practice Time: Drudgery or Enjoyment?

You no doubt have heard the expression “How do you get to Carnegie Hall?” the answer is: Practice! Practice! Practice! But that in itself is not good enough.

Music practice sessions should be well planned and thought out. Most people, especially students, need to know how to plan their practice time. This is where a music teacher or ensemble director comes into play—although they cannot make you a better musician, they can suggest ways for the musician to improve. “The improvement comes from yourself and mostly on your own time,” said Catherine Schmidt-Jones in a Guide to Great Home Music Practice.

How To Practice
Schmidt-Jones has a practice time “laundry list” that should include:

  • Set goals
  • Set practice times
  • Warm-up
  • Work on it
  • Sight reading
  • Cool down
  • Evaluate

Each phase of this list should be seriously thought about in consultation with a private teacher, ensemble director or mentor. What you do and accomplish today will, in time, set the stage for where eventually you want to be in the future as a competent musician.

Space does not permit a discussion of each of the above elements. However, I do want to stress the importance of the “Work on it” component of practice time. Don’t practice the piece or passage incorrectly. By that I mean make sure the notes and rhythms are correctly played. If the piece is too difficult to play at the correct tempo, slow it down until you can play it right. Then proceed to pick up the tempo gradually until you reach the correct tempo. In your practice time remember to concentrate on what you need to work on. Sometimes there is a tendency to avoid what really needs work instead of concentrating on the easy sections. Don’t fall into this trap!

Meredith Laing in 9 Steps to Efficient Practicing offers these suggestions for making the most out of your practice time:

  1. Have a goal – decide what you want to accomplish and how you will go about it.
  2. Break it down – don’t try to tackle everything at once.
  3. Take it slow – start out about half speed and slowly increase until up to tempo. Use a metronome.
  4. Isolate issues – don’t practice the entire piece from start to finish when learning a new selection. Take it apart first, one section at a time.
  5. Repeat, repeat, repeat – practice the section until you can play it at least 10 times correctly.
  6. Make it harder than it is – use little tricks to make your music temporarily more difficult to play e.g. change the rhythm.
  7. Listen – mindless practicing is a waste of time; always keep your mind and your ears active and engaged on what the piece is supposed to sound like.
  8. Get a second opinion – have a teacher, conductor or someone knowledgeable give you some feedback if possible.
  9. Time it right – it’s a good idea to practice soon after a lesson or rehearsal when any problems are still fresh in your mind.

These suggestions by Laing are worth following and should be used in your practice sessions.

Make it Fun!
When preparing to practice your music it is important that your practice environment be comfortable. Try to practice the same time each day to form a routine. Practice when you are fresh and relaxed, not tired or stressed. Have a positive attitude going into the session. You will get good results if, and only if, good sounds habits are formed early and repeated often. Good luck and have fun practicing.

Please submit your questions and comments to banddirector01@comcast.net.
Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Celtic Music: Saint Patrick’s Day

by

ALIVE East Bay: Notes on KeyEvery year on March 17th many “Irish Eyes Are Smiling,” as people of Irish descent – and others who claim to be Irish—celebrate Saint Patrick’s Day. It is a day to make merry with singing, dancing, drinking and, of course, eating the traditional feast of corned beef and cabbage.

Saint Patrick’s Day
Saint Patrick (circa 385-461) is one of the most famous patron saints of Ireland. Mythology credits him with banishing snakes from the island of Ireland. And legend also credits Patrick with teaching the Irish about the concept of the Trinity by showing people the shamrock, a three-leaf clover, using it to highlight the Christian dogma of “three divine persons in the one God.” Saint Patrick’s feast day is a holy day of obligation for Roman Catholics in Ireland. The celebration of this holiday is not confined to Ireland but is also observed in many countries around the world. In the United States it is widely celebrated but is not an official national holiday.

Origins of Celtic Music
Music is an important part of celebrating Saint Patrick’s Day, along with the frivolity, fun, good cheer, feasting and drinking. Not just any kind of music, but traditional Celtic and Irish music specifically. Celtic music is the traditional music of Ireland, Scotland, Wales and Brittany.

Traditional Irish music traces its roots to a genre of folk music of various regions of Ireland. Traditional music is widely played in both urban and rural communities. The Irish music of today sounds very similar to what was heard over 200 years ago and not much has changed through the decades. Much of this music is designed for dancing hence it is more instrumental in character.

Renewed interest in Irish music was coincidental with the Irish nationalistic movement of the late 19th Century. Another revival came about with the American folk music interest in the late 1960’s.

A discussion of Celtic music would not be complete without mentioning Scottish traditional music. The music of Scotland has many unique and traditional phases that are still alive and well today.

Instruments
The instrumentation of early Celtic and Irish music has not changed a great deal over the centuries. Instruments, however, have been added to the original set of harp, bagpipe and fiddle.

The Irish Harp, invented in Ireland, became their national instrument. It is smaller than the large harps we see today. The harp, that is common in all Celtic areas, is used both as a solo instrument and for accompaniment.

Bagpipes are a staple in Celtic societies. The pipes are of different construction in Scotland, Ireland and Brittany.

The fiddle, or violin, is a newer member of a traditional Celtic ensemble. It was added in the late 17th Century and is to this day a mainstay. Scottish fiddling became very popular in the 18th Century and is ever present in modern times as evidenced by many fiddling contests. This type of fiddling influenced much of American folk music, especially in Appalachia. Other instruments used in traditional ensembles may include: wooden flute, tin whistle, accordion or concertina, guitar, banjo and bouzouki, a large mandolin.

It is said there are more people of Irish descent in America than in Ireland and Irish music and merriment on Saint Patrick’s Day is widely celebrated throughout the states but none more so than in New York City. Every year for 247 years New Yorkers have marched in the Saint Patrick’s Day Parade. New Yorkers have their own unique way of celebrating Saint Patrick’s Day. The “Wearing of the Green,” green clothes, green flowers, and green hats are standard, but you’ll also find unique green beers, green bagels, green water fountains, and even a green Empire State Building.

So here’s to a great celebration in 2010, with lots of food, fun and good Irish music.
Erin Go Bragh! Ireland Forever!

The Danville Community Band will present “Wine, Women & Song,” at their traditional gala dinner concert, Blackhawk Country Club, Sunday, April 25, 2010. Call for reservations 925-736-6500.

Please submit your questions and comments to banddirector01@comcast.net.
Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

La Musica de Mexico: The Mariachi Band

by

As the song title says, South of the Border (down Mexico way…) is where a style of music originated called Mariachi. It is generally a joyous, happy, very rhythmic music immediately recognized as the sound of the Mariachi Band.

Origins
Early Mexican musicians were somewhat like the wondering minstrels of Western Europe in the 12th and 13th centuries. They traveled from town to town looking for work playing their music. If they were lucky enough to find work they sometimes made more than the average day laborer. Because they played for money they needed to change and add new styles to their repertoire. Consequently, they were always adding new material to their backlog of traditional music. Mariachi music encompassed the aspects of regional songs.

Music
“The Mariachi is the sum of a cultural evolution that has taken place over the last century or so in Mexico,” says Camille Collins in her article, What is the Mariachi? The music often speaks of such cultural aspects as love, heroes, betrayal, death and machismo. As far as we know, the vast repertoire of Mariachi music is original Mexican, not of Spanish heritage. The criollos (Mexicans of Spanish decent) literally did away with all vestiges of Spanish occupation in Mexico. The average citizen strongly supported the Mariachi musicians and this unique style of Mexican music.

The Mariachi music we know today was developed in the 19th century in the southern part of the state of Jalisco in Mexico. Originally, the Mexican ensemble of folk musicians consisted of two violins, acoustic guitar, vihuela (a five-string high-pitched guitar), guitarron (a large bass guitar) and a Mexican folk harp. Later trumpets were added and became a very important element of contemporary Mariachi Bands, sometimes eclipsing the violins. The size of the ensemble varies.

When radio and television came on the scene a brand new audience was born for this popular style of music. This led to recording contracts that proved to be a financial boom for some. Motion pictures were another vehicle to expose this music to an accepting audience. They were a very popular element in the first Mexicans films.

Dress
The very festive contemporary dress is usually silver-studded charro (cowboy/horseman) embroidered costumes with large wide-brimmed sombreros (hats) and fancy boots.

Contemporary Mariachi
Mariachi bands appear in almost every aspect of modern society. They play at festive holidays and parties; weddings; political campaigns; private serenades; commercial events; conventions and conferences, to name a few.

For many years Mariachi bands and their music have been part of the mainstream entertainment industry. If you are not familiar with this music, give it a try! I can almost guarantee you will like it. To quote Camille Collins, “The only thing more Mexican than tequila is the Mariachi and it seems a shame to have one without the other.”

Please submit your questions and comments to banddirector01@comcast.net. Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

Swing, Swing, Swing!

by

Big Band music at its best

The ‘Big Band Era” music of the 1930’s and 40’s are some of the most memorable and recognizable songs ever written. Swing music, also known as swing jazz, developed in the early 1930’s, by 1935 was the hottest music in the United States.

Origins
Much of the jazz music before and during the 1920’s was based on improvisation in the style of musicians in and around New Orleans. Musicians formed small ‘pickup’ bands and played mostly by ‘ear’ without written music. In the late 20’s and early 30’s bands began to grow and use written arrangements, making it possible for Swing Jazz music to spread across the country, becoming the popular sounds we still enjoy today.

The typical swing jazz band consists of five saxophones: two altos, two tenors and one baritone (all doubling on clarinet) three to four trumpets, three to four trombones, guitar and a strong rhythm section of string bass and drums. Piano is also used extensively.

Although some jazz historians place the beginning of the swing era on the appearance of the Benny Goodman Band at the Palomar Ballroom in Los Angeles in 1935, no one band, incident or location can be accepted as the official start of the Big Band Era.

From 1935 into the mid 40’s, big band jazz was indeed king. This style of music was not without its critics. Some objected to the fast tempos, swing dancing, questionable lyrics and cultural connotations. When swing spread to other countries, for example, Germany, the Nazis banned it because of its relationship to African and Jewish musicians. The Soviet Union outlawed swing music because of its political implications.

Bands and Leaders of Note
Benny Goodman (1909-1986) known as the “King of Swing” was certainly one of the most well-known and respected ambassadors of this new style of music in the 30’s. Trained first as a classical musician, Goodman was equally at home with both jazz and classical styles.

Glenn Miller (1904-1944) was dubbed the most popular band leader in America. However, it only lasted a few years due to his untimely death while flying from England to Paris during World War II. An original trademark of his band was the clarinet lead with the saxophones playing an octave lower. Familiar tunes, In the Mood, String of Pearls and Moonlight Serenade are still popular today.

Harry James (1916-1983) was an outstanding trumpet player. He played in Goodman’s band and later organized his own group. By chance, James hired the young, unknown singer, Frank Sinatra to sing with his band – the rest is history.

Tommy Dorsey (1905-1956) with his brother, Jimmy, created the Dorsey Brothers Orchestra until 1935 when they went their separate ways with their own bands. Later they got back together. They worked with top musicians and arrangers which led to success as one of the top bands of the Swing Era. Along with Benny Goodman the Dorsey brothers helped usher in the Swing Era making recordings with Bing Crosby and Edythe Wright among other great singers.

Artie Shaw(1910-2004) played with many bands and eventually formed his own in the mid-30’s. Hits included the memorable Begin the Beguine, Stardust and Moonglow. His band featured some of the greats including Billie Holiday, Mel Torme and Buddy Rich.

Other notable band leaders include; Cab Calloway, Count Basie, Duke Ellington, Fletcher Henderson, Earl Hines, Gene Krupa, Louis Prima, Kay Kyser, Eddy Duchin, Buddy Rich, Jack Teagarden, Sammy Kaye, Guy Lombardo, Bob Crosby and Les Brown and his Band of Renown.

These and other great musicians and band leaders are gone now, but for swing band lovers, they and their distinctive brand of music will live forever in the memories of their millions of devoted fans. Fortunately their music has been recorded for generations now and in the future to enjoy and remember.

Please submit your questions and comments to banddirector01@comcast.net

Visit our website at www.danvilleband.org for up-to-date information about the Danville Community Band.

‘Tis the Season

by

notesThe Christmas season is a joyous time of year for many people around the world. Thoughts turn to Christmas trees, eggnog, gathering around a warm cozy fireplace, singing and playing holiday songs with family and friends. Santa Claus, reindeer, presents under the tree and sugar plum fairies are traditional images for young and old alike.

Festive holiday music brings folks together during this merry season. Many holiday music selections we hear and sing today are secular in nature. It is virtually impossible to go into department stores and other public places during this season and not hear holiday music being played over the loud speakers. The Christmas Song, White Christmas, Sleigh Ride, Rudolph the Red-nosed Reindeer, I’ll be Home for Christmas, Santa Claus is Coming to Town are just a few. Oddly enough, Jingle Bells, a song always played at Christmastime was originally written to celebrate Thanksgiving.

Traditional songs, even some without religious themes, are often called Christmas carols. Some of these include Away In a Manger, Deck the Halls, Hark the Herald Angels Sing, It Came Upon a Midnight Clear, Joy To the World, O Little Town of Bethlehem, Silent Night plus many more.

“Music has become one of the greatest tributes to Christmas and includes some of the noblest compositions of the great musicians,” said Bill Petro, a Christmas music historian. Some of these noteworthy pieces are Arcangelo Corelli’s (1653-1713) Christmas Concerto, subtitled—Fatto per la Notte Di Natale (Made for Christmas Night), J.S. Bach’s (1685-1750) Christmas Oratorio and the most famous one of all, George Frederick Handel’s (1685-1759) Messiah. This great Oratorio has become linked with both Christmas and Easter.

Musicologists can trace the origins of carols back to the Middle Ages in the 13th and 14th centuries. These early carols, with sacred texts, give insight into the different countries and cultures where they originated. The earliest of these were in Latin and were part of the church liturgy.

I urge parents to expose their children to wonderful holiday music, both secular and sacred. Many holiday concerts can be found in every community e.g. choral, band, orchestra, small ensembles and school concerts. The Danville Community Band presents their ninth annual free Christmas Concert for the Tri-Valley area December 13.

Holiday music can create a festive, warm feeling, whether you are wrapping packages, baking Christmas cookies or entertaining family and friends. It helps recall memories of holidays past and puts one in the mood for this wonderful season. Music is an important element for all celebrations of man, especially at this joyous time of year. A Merry, Musical Christmas to all!

Please submit your questions and comments to:
banddirector01@comcast.net.
For up-to-date information about the Danville Community Band, visit our website at www.danvilleband.org.

Making a Living in the World of Music

by

“I am highly interested in music and it is my favorite subject in school. How can I make a living out of something I enjoy so much?” This question and others like it are asked by many young, aspiring musicians.

There are many employment opportunities available to a college graduate with a degree in music. Some music occupations, of course, do not require a degree at all. Others demand a rigorous academic background leading all the way to a doctorate degree. (Ph.D., Ed.D. or DMA).

Today, many young “garage band” hopefuls aspire to become rock stars. Thousands try but very few make it. The few that do make it to stardom can have very long, extremely lucrative careers. They are the lucky ones. Some may only have a modicum of talent but they happen to hit it big by being at the right place at the right time. These musicians, as well as many pop, rock, rap and others do not need a formal education in music.

People with degrees in music usually fall into several categories: Performance, which includes Conducting, Music Education, Musicology, Composition and varied courses in the music industry.

Students who are talented with their instrument or voice may aspire to a career in performance. Many of these people enroll in conservatories such as Eastman or Juilliard. They graduate with a Bachelor of Music (B.M.) degree and hopefully go on to a career with a symphony orchestra, or if they are extremely talented, they may pursue a career as a soloist. Many symphony musicians are graduates of conservatories and many have master’s degrees in performance.

The majority of music graduates enter teaching careers in public schools, community colleges and universities. Public schools require a bachelor’s degree and a teaching credential. Students usually graduate with a Bachelor of Arts (B.A. or a B.M) degree. A teaching credential requires another year of study and experience in student or practice teaching, thereby making it a five-year program of study. Community Colleges will want the candidate to have a Master’s Degree (M.A or M.M.) and almost always some teaching experience.

University level curriculum is very specialized into categories:

  • Performance: Music majors with intensive study of instrument or voice can lead to jobs in professional orchestras, bands, choruses, church jobs, pop and rock ensembles and more.
  • Music Education: Program preparing college students for teaching careers in elementary, high school or college.
  • Musicology: The study of music history and literature usually leads to teaching positions in colleges and universities.
  • Composition: The study of composing and arranging prepares one to work as a freelance composer or a composer and arranger for professional organizations.
  • Music Industry: The business side of music. Music industry positions are varied, some examples are: recording engineer, retail sales of music, instruments and equipment; publishing, promoting and marketing a performer or product and impresario to name a few.
  • University Teaching: Normally requires a Ph.D. or at least an M.A. People with a Ph.D. would definitely have a better chance of securing a position over a candidate with an M.A. degree. It would be very rare to acquire a university position with only a B.A. degree.

There are many avenues to a fulfilling and enjoyable career in music. One has to have the passion and interest and go for it. There are no shortcuts and the road isn’t an easy one but it can be a very worthwhile and satisfying life endeavor.

NOTES ON KEY
Dr. Lawrence E. Anderson, Founding Director & Conductor Emeritus, Danville Community Band

Subscribe to ALIVE's Newsletter
Get the latest content first, along with exclusive "ALIVE Insider" stuff!
We respect your privacy.