2013-2014 SyllabusFall Semester 2013—January Term 2014 in Eastern Europe—Spring Semester 2014

<<PLEASE READ ALL OF THIS—THANKYOU!>>

Welcome to a great year of music in the GUSTAVUS WIND ORCHESTRA! In particular, a big WELCOME to all new musicians! I am excited to include all of you as successful individuals and musicians, and as members of our fine organization. I look forward to lots of personal and collective musical growth, fulfillment, and joy!

Rehearsals and SectionalsRehearsal Schedule (Fall and Spring are listed here, J-Term is listed on p. 17.)

Monday Tuesday Wednesday Thursday FridayWW Sectional- No Rehearsal B & P Sectional Full Rehearsal- Rehearsals only4:30-5:10 PM 4:30-5:10 PM 4:30-5:20 PM on “special needs”Full Rehearsal- Full Rehearsal- Fridays* 5:10-6:20 PM 5:10-6:20 PM 4:30-5:30 PM or

as arranged

*Fall Semester 2013 Friday rehearsals: PLEASE MARK THESE DATES ON YOUR CALENDAR October 11—Christ Chapel (DR for Family Weekend Concert performance on October 16) November 1—Christ Chapel (DR for Gustavus Honor Band performance—rehearsal also Sunday

night—November 3—combined with GHB and Choirs: 7:45-8:30 PM--tentative) November 22—BRH (sound check for Fall concert on November 23)

*Spring Semester 2014 Friday rehearsals: PLEASE MARK THESE DATES ON YOUR CALENDAR February 14—BRH (DR for Home Concert on February 15) March 14—BRH (DR for Showcase Concert on March 16) May 9—CC (DR for Spring Concert on May 10).

The Schedule

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The Fall Semester schedule commonly has a few alterations from “the norm.” Commonly, we will not rehearse on the final class days prior to Fall Break and Thanksgiving Day. Thanksgiving Week, we will have full rehearsal on Monday only. Also, the last two weeks of the term may have slightly altered rehearsal schedules (please stay tuned).

N.B.>Please remember that we will typically hold a DR on the Friday preceding a weekend performance. As is our practice, there will be one required sectional rehearsal per week arranged and directed by the section principal (in a normal semester, I expect ten sectionals). Section Principals, this is very important; it is your responsibility. For all rehearsals and sectionals, it is very important that all GWO musicians are warmed up and ready to play at the scheduled time. All musicians are expected to be in the rehearsal hall warming up five minutes or more prior to the downbeat. Please be very focused about arriving on time, ready to play. This is an issue of preparation, respect for the musical process, and respect for each other. As a fine conductor once said, “You should be prepared to play the most difficult passage in any of your music during the first five minutes of the rehearsal.”

Grading

Grading is based on your personal and musical commitment/contribution to the development of the ensemble, attendance and timeliness to rehearsals and sectionals, and musical effort and demeanor throughout each rehearsal. If you are late on three or more occasions to rehearsals, it will impact your grade. Contribution/commitment to the wind orchestra is of high import; the development and success of our ensemble is a result of everyone’s effort toward the study of music. I expect that you overtly offer your best effort on a daily basis and to arrive at rehearsal with your music parts prepared . I will also encourage you to keep a journal of your thinking, learning, growth and observations in Gustavus Wind Orchestra over a broad range of music and music-related topics. Journal writing is a very helpful method by which people are able to assess their own comprehensive growth. Because it is impossible to make up a missed class, attendance is a must. In a performance-based class, attendance has legitimate educational purpose. Missing a performance will have a considerable impact upon a grade. Do not be absent for any dress rehearsals (last rehearsal prior to a performance). Caps/Hats may not be worn in rehearsal.

A - exemplary musical contribution, probing and thoughtful participation, not more than one unexcused absence, on time and prepared for each rehearsal and sectionalB - consistently strong musical contribution, probing and thoughtful participation, not more than two unexcused absences, consistently on time and prepared for each rehearsal and sectionalC - inconsistent musical contribution, unthoughtful or “detached” participation, not more than three unexcused absences, an emerging pattern of lateness and lack of preparationD - poor evidence of musical contribution, “detached” participation, not more than four

unexcused absences, established pattern of lateness and lack of preparation

Personal Day: If you would like to use a "personal day," (one per semester, but not in January) please plan for it, letting me know (in person and in writing) at least one week in advance. This encourages you to plan ahead and also helps me plan rehearsals—thank you! (A personal day option was created to assist an individual desiring to attend a very special event, which would normally conflict with rehearsal time. A personal day is not an “entitlement.”) If you are a person who is absent from rehearsals once per week due to a lab or other class conflict, you are not eligible for a “personal day” for that semester. In addition, lab conflict issues typically require using the “satisfactory/unsatisfactory” grading option. Please give me this information (lab conflict) in writing (copy to the Gustavus Wind Orchestra Secretary) for clear records.

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Section Principals are responsible for planning/executing sectionals (ten per semester) and general section leadership. A principal player’s grade, in part, is influenced by his or her leadership in that role, including attendance at weekly GWO Council Meetings (arranged).

Traveling Home? If your “ride is leaving early” to go home, please make arrangements for a different ride. “My ride is leaving early” is an unexcused absence.

Attendance and Timeliness: This issue is CENTRAL to GWO! (Review)Attendance will be taken at all rehearsals and sectionals. All absences must be excused in advance, via the following: 1) an email to me and to the GWO Secretary, and 2) a brief discussion with me. Late arrivals to rehearsal require a brief discussion with me. A pattern of lateness to rehearsal will impact a student’s grade. Thank you for being responsible regarding this issue. Stop by my office (FAM 102) or call: (x7340). If you are late (without a pre-arranged absence), do expect a phone call from the GWO Secretary, or your section principal—this is an issue of accountability.

If you choose to take a nap in the afternoon, establish a fail-safe method for waking up for rehearsal. “My alarm clock didn’t go off,” is an unacceptable reason for being late to, or missing a rehearsal.

Concert DressPlease read page 12 of syllabus.

For 2013, everyone must have his/her concert attire for our first performance on Tuesday, October 1st (Nobel Conference Performance).

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2013-2014 Gustavus Wind Orchestra Performance CalendarBe sure that you check your schedule very carefully, verify that you have no conflicts with the following dates, including conflicts with theatre productions or other “performance” related responsibilities.

Nobel Conference October 1, Tuesday, 8:00 AM SOUND CHECK; 9:05 performance in Lund Center Dress Rehearsal on Monday, September 30—4:30 PM, Lund

Family Day October 16, Sunday, 1:15 PM call; 2:00 PM performance Christ Chapel Dress Rehearsal on Friday, October14—4:30 PM, Christ Chapel.

GWO Photo Shoot October 17, Thursday in BRH. This is not a performance per se, but we do dress in concert attire. Please stay tuned for a scheduling update.

Gustavus Honor Band XXV—November 3-4 (Begins with meeting GHB Guests, 3:30 PM, CC)Performance in Christ Chapel at 7:00 PM on November 4.Dress Rehearsal on Friday, November 1—4:30 PM, Christ ChapelCombined Rehearsal with GHB on Sunday, November 3—7:45-8:30 PM, CC

Fall Concert November 23, Saturday, 12:45 PM call, 1:30 performance in BRHDress Rehearsal (sound check) on Friday, November 22—4:30 PM, BRH

The Winds of Christmas—December 10 (Christ Chapel), Tuesday. 9:40 call, 10 AM performanceDress Rehearsal on Monday, December 9 with VWO—4:30 PM, Christ Chapel

Gustavus Wind Orchestra Eastern Europe Tour: January 22 – February 7. See more important information about the 2014 January Term GWO Schedule on pp. 17-21.Stay tuned for much more information—this will be an incredible and LIFE CHANGING TOUR!

GWO Home Concert February 15, Saturday. 12:45 PM call, 1:30 performance in BRHDress Rehearsal (sound check) on Friday, February 14—4:30 PM, BRHRehearsals for the week of February 9-15 will be MWF, 4:30-6:30 PM. NR on R, the 13th.

Gustavus Showcase Concert, March 16, 3:30 performance at St. Andrew’s Lutheran in Mahtomedi. This will be a full-day (we will leave in the morning and return in the evening), spectacular event, featuring GWO, GC, GSO, and GJLB. Much more information to come later.

GWO Spring Concert, May 10. Saturday, 6:15 PM call; 7:00 PM performance, Christ Chapel Dress Rehearsal on Friday, May 3—4:30 PM, Christ Chapel (tentative) This will be a combined “larger than normal” performance with GC and CCC. We will have rehearsals in the Chapel throughout that week. Plan ahead to be flexible.

Commencement, June 1, Sunday: Commencement Sound Check/DR: 6:45 – 8:00 AM. 12:45 PM CallMay 28 (W)—Commencement Rehearsal, 8-10 AM, followed by Boat Ballyhoo

NB: A minimum grade of C- is required for all music majors for each course in the major field.

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Statements of ValueThe Gustavus and Vasa Wind Orchestras

As we begin a new academic year it is important that we identify, discuss, and internalize the various contributing factors of excellence and greatness that make membership in the Gustavus Wind Orchestra a life-changing and life-long experience.

Important Thoughts

“In a nutshell,” being in the Gustavus and Vasa Wind Orchestras are about studying and performing outstanding literature with some of the finest people to be found anywhere! That is, study and performance is always about us as a community of musicians. Nevertheless, each individual member of the ensemble is of very high value, both musically and personally. By audition, you have earned a place of membership; by definition, you hold both privilege and responsibility. As a mature young adult, your personal study via daily practice/preparation is essential and expected. The rehearsal is primarily the place of “putting it together,” rather than technical drill. That part (technical drill) of study ought to be carried out in the domain of personal and sectional study. The operative word is preparation. This is an issue of appropriate “musician maturity.”

With great commitment (that is, we give up any right to give up, reduce, or quit our unrelenting effort) and high expectations (we move the line of excellence and greatness forward every day), the future musical growth of the Gustavus and Vasa Wind Orchestras is unlimited. We are delighted that you are a member, and salute all of you as we prepare for an outstanding academic season. Get ready for an incredible, life-changing experience (ILCHE)!

Rehearsal and Ensemble Etiquette

The following are a few items that are essential as we approach each rehearsal. There is no way to list every type of appropriate or inappropriate rehearsal behavior. However, an attitude of respect for the music and for one’s fellow musicians is essential to a great ensemble. The following are “rules of the road.”

1. Arrive to rehearsal at least five minutes ahead of the scheduled beginning of the rehearsal. Use the time to warm up thoughtfully, so that you are physically and mentally prepared for the downbeat. Be prepared to play the most difficult passage in the music during the first five minutes of the rehearsal.

2. Before the rehearsal begins, turn off all cell phones and other electronic communication devices. All electronic communication during rehearsal is prohibited (texting, twittering, etc.) This is an issue of respect for the music and for each other, personal maturity, and adult responsibility.

3. The order of music will be on the board prior to each rehearsal. Before rehearsal begins, order the music on your desk.

4. Have your pencil and other ancillary items (mutes, valve oil, etc.) “at the ready.” (Good and simple preparation)

5. When the conductor asks you to “mark that accent” or gives some other instruction to mark one’s music with a pencil, do mark the music immediately. Marking is not optional. When we mark, we remember the changes that we have made. Marking avoids hundreds of future mistakes. Please do not be casual about this issue.

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6. As we begin to warm up and create musical sounds, become engaged in the study effort by thinking and listening and responding to every sound. As great musicians, we can—and must—do this.

7. Talk only about the music and talk only when necessary. This is an issue of respect for the music and for each other, personal maturity, and adult responsibility.

8. Work hard to remain focused all the way to the end of the rehearsal. That is, play your best at the “bottom of the ninth inning” (the last ten minutes of the rehearsal) even when you are physically, mentally, or emotionally tired. Great music making is very challenging—BUT—the rewards are truly filled with majesty.

9. As the great conductor Arturo Toscanini said, the rehearsal space is a “temple.” What we do in rehearsal commands our very best: in preparation, in listening (both to what is performed and what is said about the performance), in “trying again,” in attentiveness, and in personal maturity. This is “big stuff,” and when we pursue the excellence and greatness that lies inside of great music, the rewards and fulfillment that come to us are nothing short of magnificent!

10. Finally—remember that a very big part of growing up—is showing up (on time).

Communication

1. Our first choice in good communication will always be “in person.”2. Nearly all “out of rehearsal” communication will be handled via email. SO – IT IS CRITIAL

AND EXPECTED THAT YOU WILL READ YOUR EMAIL FROM US PROMPTLY, and will respond in an appropriate and professional manner. A mature approach to communication will serve you well not only at Gustavus, but in all your personal and professional relationships throughout life.

3. We will not communicate via other social networking means (Twitter, Facebook, My Space, etc.)

Other Communication

Studying music in the Gustavus and Vasa Wind Orchestras is a magnificent and life-changing experience. Nearly every day, a great sense of wonder and joy are a natural part of our rehearsals and performances. But sometimes, something may “go wrong,” and we may not even be aware of the situation. Regardless—if something is not right, please give us the chance to make it right. To do that, simply schedule a time to visit. We promise to be good listeners.

And of course, when things are going great, please share the good news!

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Postscriptum (via djn): As part my 2009 spring semester sabbatical leave, I traveled to the Sibelius Academy in Helsinki, Finland, to observe, interview, video record, and gain insight, toward what makes the conducting program at the Academy so successful. Following my return to Saint Peter, I invested a lot of time editing video, writing, and reflecting upon the experience in Helsinki. I also wrote to Juhani Poutanen, the Intendant at SA, to ask for his “big picture” perspective on what makes the SA conducting program great. I think his response has value for the Gustavus and Vasa Wind Orchestras, too.

From Juhani Poutanen, Intendant at the Sibelius Academy in Helsinki, Finland(italics are added)

One basic factor for good results here at the Sibelius Academy conducting class is our conducting class orchestra. The motivation of players in the orchestra and the conducting students combined to the challenge which the rehearsing situation makes when trying to survive is every year leading to some kind of family community, which many students remember long after they graduate.

Another element is the group lesson when looking the videos together with the students and the teacher. There is often much time for a long talk afterwards  because  the learning process and new ideas need quite often much time. It is hard for new students to get used to be estimated  in front of your teacher and other students but  in the family you can make mistakes; In front of the professional orchestra, it is even much harder.

In my opinion, the modern way of studying gives the student feel not only motivated but also gives time to understand your inner mind. I asked one of our foreign students in the class what he thinks is different comparing our conducting class to other classes. He said it is the peace in the mind; little by little he is doing more right things before the orchestra and the stress tolerance is now better than before, which he could easily see looking the videos.

There are no extra gimmicks in our education but more like love for music, hard work and study, inner self-knowledge and honest mind.   

- Juhani Poutanen , April 2009

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-GWO and VWO Outcomes

The student will:

1. Demonstrate a useful and evolving artistic instrumental tone in all registers, styles, and tempi, at all appropriate dynamic levels.

2. Demonstrate a competent and evolving skill/artistic level of aural sensitivity, insight, discrimination and perception. These skills will include topics of proper breathing techniques, pitch, balance, blend, attack/release, rhythm and rhythmic energy, pulse, harmony and dissonance, balance and blend, form and architecture, shaping of single notes and phrases, tempo.

3. Demonstrate useful and effective interpersonal skills as a member of the Gustavus Wind Orchestra community. Such skills will include respect for the rehearsal process (via careful artistic preparation), musical inclusivity/awareness, respect for other members of the wind orchestra, and demonstrating a strong commitment to musical/artistic goals as the highest priority.

4. Demonstrate a commitment/contribution to the process of musical learning via appropriate preparation of the literature studied, attendance and timeliness (being on time for rehearsal and related events) and overt classroom involvement.

5. Exhibit a pattern of critical thinking and perception/reaction to artistic growth regarding the music studied.

ObjectivesFirst Order

The student will:

1. Understand one's musical/artistic and ethical responsibility as a member of the Gustavus Wind Orchestra.

2. With regard to public performance, feel confidence and enthusiasm.

3. Grow toward an enthusiasm for self-development and broad excellence as a performer

4. Understand how reading music, careful warm-up, a deep sense of wonder, daily practice, setting musical goals, sectional rehearsals, full rehearsals, thoughtful preparation, and interpersonal communication are all interrelated and essential elements of the successful and seasoned (mature) musician.

5. Understand the value of being inspirational toward one’s fellow musicians.

6. Love performance as an art, which demands much beyond technical proficiency.

7. Continue to redefine (upward) one’s level of musical competence. IOW, excellent musicians, as an inherent part of their collective personas, engage in “musical risk-taking,” as part of an on-going effort to grow as artists.

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8. Make it possible for musicians to experience great music as lifetime enrichment.

9. Understand the value of studying a wide variety of compositional styles.

10. Realize that involvement in the Gustavus Wind Orchestra is a complex, invigorating, and challenging endeavor, and one that provides fulfilling life experiences and impacts one’s future in a most positive manner. (In one view, membership in the Gustavus Wind Orchestra is a point of departure.)

11. See the value in a patient, yet steadfast focus on the musical goals of the ensemble.

12. Have in mind a musical/performing ideal for which the group with which (s)he endeavors must strive.

13. Be open and curious about new and unusual music.

14. See the value in regular, sometimes long and difficult (and tedious), but always thoughtful periods of contemplation for assessing both present and past efforts, re-evaluating one's perspective, and setting dynamic and valuable future goals.

15. Expect musically exciting happenings in rehearsal.

16. Understand that the whole of music is always greater than the sum of its parts (What are the ramifications of this for the musician in terms of music and colleagues?)

Second Order

The student will:

1. Demonstrate competency in performing all major and minor scales (three forms) and chromatic scales from memory.

2. Execute proper note attack, sustain, and release in a broad variety of musical styles (expressivo, non-expressivo, legato, legatissimo, staccato, staccatissimo, etc.)

3. Demonstrate a consistently beautiful tone quality in all appropriate ranges of one’s instrument.

4. Execute proper style technique in performing expressivo, non-expressivo, staccato, legato, marcato, and variations thereof.

5. Perform mixed meter and asymmetrical examples (5-8, 7-8), demonstrating competency with the various possible beat groupings.

6. Define commonly employed musical terms and markings in a score.

7. Demonstrate an understanding of tuning and balancing a large ensemble, assuming full instrumentation.

8. Identify errors of pitch, notes, etc. in instrumental rehearsal.

Minnesota State Standards (Fall, 2005)Gustavus and Vasa Wind Orchestras

(1) Identify and analyze representative musical forms, styles, performance contexts, performance

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media, and composers and compositions of western music, and describe the musical traditions, context, and characteristics of diverse and representative world cultures;

We will study many diverse styles and forms of music, representing many different performance traditions. The music will include that which is familiar, and also music that is challenging and provocative. Stylistic description may be include the following terms: meditative, unsettling, jazz-based, classical, African, non-determinant, and celebrative. The music may be racing fast, thoughtfully slow, whispering soft, and breathtakingly loud. I hope that the juxtaposition of these many elements will provide an outstanding and memorable arena of musical learning for you.

(2) Demonstrate a basic knowledge of vocal development and production and instrumental techniques and acoustics;

It is important that each student understand the basic and advanced tendencies of his/her own instrument (what notes tend to be sharp or flat, which notes are unstable or “stuffy,” what range(s) of the instrument is most naturally beautiful, etc. Moreover, it is important for each student to understand how to make the instrument “do what it should do.” In other words, do you know and can you demonstrate effective use of alternate fingerings, use of the trombone “legato slur,” use of clarinet “hand to hand” fingerings, use of multiple tonguing among the brass instruments, employment of the saxophone altissimo register, effective and artistic use of vibrato, etc.?

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Principles for Section Principals The Gustavus and Vasa Wind Orchestras

A Section Principal

Is, by definition, a LEADER Is an outstanding “evolving” musician (practices daily, IOW—is a serious student of music) Is first to arrive, probably last to leave Is positive & friendly Is a “glass is half-full” kind of person Is a good listener Is a good thinker Knows when to act and does so Learns the music first; knows the music very well Plans for what is right for the section and the wind orchestra (which may not always be popular) Is organized Is efficient in rehearsal and sectional Displays effective and appropriate decorum in rehearsal and sectional Organizes, plans, and executes approximately ten sectionals in a fourteen-week semester (A section

principal’s grade, in part, is influenced by his or her leadership in that role.) Understands HOW to plan for, and effectively run a sectional (If you need help, PLEASE ASK!) Communicates regularly and effectively with the conductor; also keeps the conductor informed about

the good and bad within her respective section Expects his section to number the measures as soon as it is clear the piece is to be programmed for a

concert Attends all GWO Council meetings. In the case of a class conflict, the co-section leader or other may

act in place of the Principal) Has a high work ethic. IOW, she or he knows the value of “Paying the Full Price.” Enjoys being around her musical section mates Seeks to grow daily as a musician While patient, knows and actively pursues the artistic goals for her section Other?

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Gustavus and Vasa Wind Orchestra Concert AttireAll members of the Gustavus and Vasa Wind Orchestras must purchase their own performing concert attire.

Women's Concert Attire Policy:1) Must be an all-black, non-shiny long skirt (low or no “slit”)2) Top (separate) must be “pull over” and must have sleeves of at least 3/4 sleeve or longer with boat neck or round neck (not V-neck, not turtle neck): See Boat Neck Top at “Concert Black” at http://www.concertblack.com/designs2.html (“lightweight knit jersey,” Do not order the stretch velvet)3) Shoes must be black, closed toe, flat (no high-heel) with black nylons.4) Remember to keep the top as simple as possible (no sequins or sparkles)Be sure the top is long enough so that there is no waist area skin showing at any time

Questions to ask yourself a. Is the attire professional in appearance, e.g. is it appropriate for the concert stage?b. Is the concert attire elegant?

5) Percussionists and bass clarinet players are the only instrumentalistswho may choose to wear black concert trousers instead of a skirt. 6) Avoid jewelry. In particular, do not wear necklaces. Stud earrings are acceptable, if they are discreet. Do not wear “long” earrings.7) If you have questions, please contact Dr. Nimmo or a wind orchestra officer.

Men’s Concert Attire Policy:1) Tuxedos must be a standard tuxedo, no "tails". (Purchase a style thatwill last the longest.)2) You must have a tuxedo shirt with black studs, no ruffles. (Purchase an extra for tour.)3) You must have black dress shoes and black socks (please remember that Doc Marten's and other black casual shoes are not dress shoes).4) You must have a black cummerbund and a black bow tie.5) Avoid jewelry.5) If you have questions, please contact Dr. Nimmo or a wind orchestra officer.

An excellent outlet for purchasing of men’s concert attire is:“J Long’s” in the River Hills Mall in Mankato (507) 345-8885.

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GWO and VWO Points of Excellence

The BIG Picture: Excellence is pursued in every sound.

The BIG Picture involves “A highly developed aptitude for PLANNING, PERCEIVING and RESPONDING in a THOUGHTFUL and ARTISTIC manner to what one hears, and to what one expects to hear—which results in an incredible life-changing experience for both musicians and audience.”

The BIG Picture begins with one note, and leads to a life style of pursuing excellence—with every note. Doing this involves ALL our capabilities—thinking, listening, perceiving, responding, wondering, imagining—and of course, doing. We are going on a journey, which will require all that you have to give, and will change your life in a wonderful way, so that you are never the same again.

How we think about what we do makes a significant difference in what we receive for our efforts.

To begin:

First, pursue excellence in all sounds involving basic elements of music:

Melody Harmony Rhythm and Counting Tempo Tone Dynamic Tessitura

Also--pursue excellence in sounds involving elements of music nuance:

Attack Sustain Release Emphasis Note Shape Intonation and Pitch Center Note Front/Back Note Shape Transparency/Opaqueness Density/Buoyancy Rubato Balance Blend Silence Stylistic Accuracy Phasing Accuracy

Remember Coach Vince Lombardi’s great quote: “Gentlemen, we are going to relentlessly pursue perfection. And we will not achieve it, because nothing is perfect. But—along the way—we will capture excellence!”

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Douglas Nimmo

Goal Setting—Dreaming about the Future

WRITE your goals: Ink ‘em. Put them on paper. Look at them often. Put your goals list in a place where you will see them often (back of your closet door, pinned inside your instrument case, etc.) In other words, think ‘em.

Ink ‘em and think ‘em.!

I. List the five major areas of value in your life—prioritize. You may have ten or twenty major areas, but choose the top five MOST important (school, exercise program, music, family, etc., are examples)

II. Write least one (perhaps two) major goals in each of the top areas per month.III. Write at least two one-year goals in each area.IV. Write several five-year goals in each area.V. Write several ten-year goals in each area.VI. Write several twenty-year goals in each area.VII. Lifetime goals. During your life, what would you like to do? Write as many lifetime goals as you

would like. Dream big!

Update the monthly goals on the first day of each month. Update all the others once per year (perhaps on January 1st of each new year, or on the first day of September each year, or on a date that YOU think is important).

In all of this, remember that time and money must not be considered as obstacles. Think only of the goals. If you think of time and money, you will limit the possibilities. Tonight, begin your goals sheet. Sit down, turn off your fear-o-meter, and dream. Dream! I encourage you to do this alone—let it be a private enterprise.

If you have never done this, you will not believe how much fun it will be, AND how much it will help you to focus on what is most important in your life. Take your time (it might take a half hour or more), for this is about your Future—the rest of your life!

A Closing Thought (from djn)

I like to think that as we begin each rehearsal, it is something like planning a magnificent journey or adventure. We are down at the dock, stocking our very sea-worthy and beautiful sailboat (the wind orchestra) with the finest provisions: beautiful tone, clear and facile technique, knowledge of the composers we are about to study, wonderful intonation, splendid aural acuity to hear with great perception, nimble fingers and tongues, and a bullet-proof sense of pulse. We bought those provisions at the daily warm-up and in the practice room. We paid top dollar—no discount—no Sam’s Club here. We want the very best—and the very best is expensive. And as rehearsal evolves each day, we take up and coil the lines, push away from the dock, hoist the “jenny” and the main sail. We set our course to “point high” into the wind, and sail over the horizon, with absolutely no intention of ever coming back! Imagine that. We are on an incredible journey that is never going to end, even though it begins anew each day.

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See you in rehearsal (down at the dock)—djn 15

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Additional Information:

Disability ServicesAt the May, 2012, Faculty Meeting, the faculty approved changes to Handbook Section 2.2.7: “Through information provided in syllabi, faculty members will notify students of the availability of disability services at Gustavus and how to access them.” The following statement is recommended for inclusion on all syllabi: “Gustavus Adolphus College is committed to ensuring the full participation of all students in its programs. If you have a documented disability (or you think you may have a disability of any nature) and, as a result, need reasonable academic accommodation to participate in class, take tests or benefit from the College’s services, then you should speak with the Disability Services Coordinator, for a confidential discussion of your needs and appropriate plans. Course requirements cannot be waived, but reasonable accommodations may be provided based on disability documentation and course outcomes.   Accommodations cannot be made retroactively; therefore, to maximize your academic success at Gustavus, please contact Disability Services as early as possible. Disability Services (https://gustavus.edu/advising/disability/) is located in the Advising and Counseling Center.” Disability Services Coordinator Laurie Bickett (lbickett@gustavus.edu or x6286) can provide further information. Academic HonestyAt the November, 2006, Faculty Meeting, the faculty approved changes to Handbook Section 2.2.9:“Through information provided in syllabi and/or other means, faculty members will explain to students how the Honor Code will operate in their respective courses.” The following statement is suggested as a pledge for students to sign on all graded assignments and projects: “On my honor, I pledge that I have not given, received, or tolerated others’ use of unauthorized aid in completing this work.” A similar statement may be signed by students at the beginning of a course, indicating that their work for that course will comply with the academic honesty policy and the Honor Code. Full descriptions of the Academic Honesty Policy and the Honor Code can be found in the catalogue on the web at: http://gustavus.edu/academics/general_catalog/current/index.cfm?pr=acainfo For more information about the Honor Code, contact Barbara Kaiser, kaiser@gustavus.edu or x7541 Help for Students Whose First Language is not EnglishSupport for English Language Learners (ELL) and Multilingual students is available via the College's ELL Support staff person, Andrew Grace (agrace@gustavus.edu or x7395).  He can meet individually with students to consult about academic tasks and to help students seek other means of support. The ELL Support person can also consult with faculty members who have ELL and multilingual students enrolled in their classes. The College’s ELL staff person can provide students with a letter to a professor that explains and supports academic accommodations (i.e. additional time on tests, additional revisions for papers). Professors make decisions based on those recommendations at their own discretion. In addition, ELL and multilingual students can seek help from peer tutors in the Writing Center. Questions about these policies can be directed to Barbara Knight Kaiser, Associate Provost and Dean Academic Programs (kaiser@gustavus.edu or x7541).

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Gustavus Wind Orchestra—Syllabus Addendum January 2014 Schedule

The international January schedule is very active, but the good news is that GWO will be the only course that you will be taking during the month. There will probably be a few alterations to the schedule as needed, so do stay tuned! Moreover, as a friendly reminder, there are no Personal Days during January Term.

I have always found January Term rehearsals to be really exciting—and in particular, the preparation for an international tour is nearly always absolutely magical!

3 January, Friday (EARLY RETURN) –THIS IS ESSENTIAL! 6:00 - 8:00 Rehearsal

4 January, Saturday 2:00 - 4:00 1st Rehearsal 6:00 - 8:00 Rehearsal

5 January, Sunday1:00 - 300 Rehearsal4:00 - 6:00 Rehearsal

6 January, Monday: first official day of classes8:30 – 9:50 a.m. Seminar –Dr. David Fienen (FAM 214)10:30 - 12:30 Rehearsal (10:30-11:30/B&P sectional;

11:30-12:30 full)2:00 - 4:30 Rehearsal (2:00-3:00/WW sectional; 3:00-4:30

full)

NB: The weekday schedule (MTWRF) for 6-21 January will be the same.

11 January, Saturday10:00 - Noon Rehearsal 2:00 - 4:00 Rehearsal

12 January, Sunday1:00 – 3:30 Rehearsal

18 January, Saturday10:00 - Noon Rehearsal 2:00 - 4:00 Rehearsal

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19 January, Sunday1:00 – 3:30 Rehearsal

The schedule for Monday and Tuesday, January 20 and 21 may change. Please stay tuned!

22 January, Wednesday Fly to Prague, the Czech Republic (see full itinerary from MCI)

7 February, Friday Return home to Gustavus

NB: We will have our annual required TOUR TALK Tuesday, January 14, 6:30 – 8:30 PM.

Gustavus Wind Orchestra Home Concert: Saturday, February 15, Björling Recital Hall, 1:30 PM

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Planning Ahead: GWO Tour 2014

GWO International Tour Planning—think long term—plan for the future.

2014 will be my seventh international tour as conductor of GWO

All have been incredible, with wonderful students—truly magnificent! We have never left anyone home who wanted to go. This will be an experience that leaves me speechless. I hesitate to say it is

better than this or that experience in my life, but it is really something BIG. Perhaps you were overseas with your HS Band on a Spring Break week-long

band trip. And while I am sure such an experience was very good, this will be much

different than that. You are older now, more experienced, a better musician, and more mature. So, you will bring A LOT more personal resource and insight to the tour. And

that is important to remember, because it means that you will also get a lot more out of the experience.

Important Points:

17 days/excellent coaches (busses) 8 performances at absolutely excellent venues Stay in quality hotels, except when we are in Hungary, when we will have . . . 3 home stays in Hungary (talk to the seniors who were on the tour about

that) Companion Tour to come with us (friends of the College—perhaps your

parents!) We will be on two busses; all the CT folks will be on one bus, so if you are one

who would love to travel with them, you can—if you would rather be on a students only bus, you can do that, too.

If you know of folks—parents, relatives, neighbors, who you think would love to be a part of this, tell them about it now. There will be a lot more CT information coming out very soon.

Incredible places as part of our city tours—see the itinerary.

As a reminder, the cost is expected to be $5363. That IS expensive, but in fact, it is less so than some other J-Term experiences that do not provide ANYTHING like what you will experience. In the end, even with the expense, it is a very good investment into your Gustavus Education.

The airlines have really increased costs – I think it is fair to say that most of the increase is due to that, and we cannot control that. But, we CAN plan carefully for it.

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Whenever our company (Music Celebrations International)- MCI or other good companies plan something like this for an ensemble, they try to estimate the price from a upper end perspective, so that they don’t need to come back to us with a higher price, if hotels or bus companies or instrument rental agencies or food suppliers choose to raise prices between now and then. Some companies bid low to win the business, but then if prices go up, there is unhappiness—that is not good for business. So, setting the price in this way is actually better for us, but it always means (in my experience) that the price is higher than I wish it were.

Might the price be lower? That is possible, and I am hopeful, but I don’t want to plan for that and then be disappointed. I want to work with the price we know, because then all the cards are on the table. Then, I want to make sure that EVERYONE can go. Period. EVERYONE.

My experience is that virtually every GWO member who has ever gone on an GWO International Tour has returned saying these kinds of words. “If I had somehow missed that—wow. I am SO thankful and happy that I was able to go to East Central Europe with GWO, which included some my very best friends, and where we performed great music that changed my life and changed the lives of the people in each audience. It was REALLY great.” (And some have said that it was THE best single Gustavus experience of their college career.)

Financing the tour:

Some have the resources and simply write a check. Some have part of the cost and then take out a student loan for the

remainder. Remember, this is a legitimate education expense, so it can be a part of your regular Gustavus expense, should you choose to use the loan option. Don’t put it on a credit card!

Some take a loan for the entire amount of the tour. Some will receive gifts from relatives for this very purpose (grandpa, uncle).

Plan ahead: Let the people who regularly give you gifts know that you will be doing this. In that way, you might be able to suggest a gift of financial support.

Some of you have worked a summer job specifically to help finance the tour. Regardless how you pay for your tour, remember to see the big picture and

plan well. Remember, the only people who have not gone on past GWO International Tours are those who did not want to go. I’ll be candid. That would be a mistake. In this case, I do know what I am talking about. This

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will be amazing, and you will not know how amazing until you are in the middle of it.

On every one of those six international tours, we have found a way for virtually EVERYONE to go, and I choose not to leave anyone at home. This is too important. I wish those students who have gone before you (1990, 1994, 1998, 2002, 2006, 2010) were here among you, now, listening. I can see them, smiling, with tears in their eyes, so excited for each of you, because they know what will happen. Michael Hepperlen, Rene Borleske, Annalisa Eckman, John Grimsby, Erin Crimmins, Matt Pettis, Amy Armour, and so many others. Hundreds.

Finally, a bit of logistics – lots more to come.

We will return from Christmas on Friday, Jan 3 or Saturday, Jan 4 for early rehearsals. (J-Term will begin on Monday, the 6th, so plan ahead.) We will have a class each morning with Dr. David Fienen (8:30 – 10:00), and then rehearsals each day until 4:30. We will be done each day at 4:30, so that you will have private practice time and sectionals in the evening. This will be the only class you take next J-Term, and it will count one full course credit. Dr. Fienen will travel with us to EE (he is great—you will love him). Dr. Karrin Meffert Nelson will also travel with us, and she will additionally be a guest soloist on the program, performing the Frank Ticheli Concerto for Clarinet.

Our tour guides will be with us every day: Annamaria and Carmen. They are SO excited to be with you next year. Plan ahead, continue talking about this with family and friends. It will be great. I can’t wait to do this with you!

Stay tuned for more information soon. If you have questions, stop by my office.

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