random notes - term 4, 2015

www.kbbmusic.co.nzFreephone 0800 775 22

Inspiration, Information & Resources for Music Teachers Term 4, 2015

MIDWEST CLINIC PART 3

KBB MUSIC FESTIVAL AWARDS

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Cover Photo: KBB Music Festival 2015, photograph by Rhiannon [email protected] • www.tourtime.co.nz

Licensed and Official Agents

Perform in Concert Halls around the Globe - like never before

Tour with Tour Time and perform in:

Carnegie Hall, the Musikverein, Teatro Colon, Sydney Opera House and more!

Tour Time are Official Agents/Partners for Festivals and Events around the Globe

Con

ten

ts &

Eve

nts

October

December

More information @ www.kbbmusic.co.nz

Upcoming Events

TERM 4 2015

ROYAL NEW ZEALAND NAVY BAND LIVE@THEVIC // 16Chamber music Concert - Victoria Theatre, Devonport 12.05pm

WELLINGTON UKULELE, RECORDER & MARIMBA FESTIVAL // 22Naenae Intermediate School, Lower Hutt

Contact Peter Pegler: [email protected]

CHRISTCHURCH BIG BAND FESTIVAL // 23-26Various locations around Christchurch

A festival of Big Bands from around NZ of all ages, with free public concerts, a gala concert featuring Rodger Fox and Rodger Manins with Symposium, swing ball, jazz workshops and more. Contact: www.bigbandfest.org.nz

SHURE NIGHT - // 10KBB Music, Epsom 10.00pm

RSVP to [email protected] by 1/11/15. Topics: Shure for education; wireless laws; trade in options; network session; Q&A.

ROYAL NEW ZEALAND NAVY BAND LIVE@THEVIC // 20Chamber Music Concert - Victoria Theatre, Devonport 12.05pm

ROYAL NEW ZEALAND NAVY BAND – NAVY BIG BAND – LIVE@THEVIC // 3-4Victoria Theatre, Devonport 7.30pm

TERM 4 ENDS // 18

MIDWEST CLINIC PART 3 (p.2)by the 2014 Midwest Scholarship winner Andrew Stopps

NEW TEAM MEMBER (p.5)We welcome KBB's new Education Manager, Tanya

KBB MUSIC FESTIVAL (p.6)Bigger Than Ever

THEME (p.10)Chamber Music NZ article by Hannah Neman

KBB ROLAND (p.12)The Feedback

YOU TEACH JAZZ?! (p.14)Kevin Field discusses the perceptions of jazz education

ArticlesIN THIS ISSUE

November

www.kbbmusic.co.nz2

RANDOM NOTES // Term 4, 2015

Every day at Midwest you wake up excited to get there and see what the day will

bring. Day three was no exception.

My first session on day three was a technology session. Coming from a school that was going completely BYOD, I was keen to learn about online learning systems for music. I was struggling to find one and was even looking at developing one myself.

This session opened with the following question: “what does every ensemble director want?” Answer: “I want my ensemble to sound awesome and I want my kids to practice more.”

Amen to that!

MusicFirst is the name of the online learning system and it integrates a number of music programs online so that students don’t need to download anything to their computers. They can do all their work “in the cloud” and we, as teachers, can mark and provide feedback directly to them via the same system. The online software includes: The Singing Classroom, MatchmySound™, Sight Reading Factory, Groovy Music Online, Morton Subotnik's Music Academy, Musition, O-Generator, Focus On Sound and Music Delta. You can get more information at musicfirst.com or by contacting [email protected]. I have been using this ever since I got back and it’s awesome. Any student with a device can access everything and it helps integrate online learning with a standard classroom program.

The next session I attended was Creating the Successful Band or Orchestra Rehearsal’, something we all strive for. This was presented by Dr Timothy Rhea, Director of Bands & Music Activities, Texas A&M University and Dr Paul Sikes, Director of Orchestras, Texas A&M University.

Tim described how best to prepare for each new school year, starting in the summer break by selecting the whole program of repertoire that his bands and choirs were going to perform. Then Paul spoke about score study and the importance of going through the score carefully. He told the story of as a young teacher and director he was working on a piece with his band called Variations on A Korean Folk Song by John Barnes Chance. By the end of his first rehearsal he was “falling all over himself with the piece.” A senior conductor was watching and walked up to him and said afterwards “You’ve got to know your score!” As a young teacher he didn’t know what that meant or how to do it - though his university conducting classes were more about the technique of conducting and not about score learning. He went away and started to really look at his score. The first thing he did was conduct his way through it all and make sure he actually could. As he got older however, he decided that that is not really where you need to be with your score study. The most important part of score study, according to Dr Sikes, is that you should have a very, very clear idea of what that music should be. That is the number one reason to do score study. “There’s not a maths teacher in the country (not a good one anyway) that would walk into their class not knowing what they are going to teach their students.” He said: “score study is our way of knowing exactly what we are going to teach our students. With score study, you just

by the 2014 Midwest Scholarship winner Andrew Stopps

MIDWESTTHE

CLINIC & MIDWEST BLUES

Dr Sikes

Dr. Sikes



3

have to do it.” The hardest thing with score study however, one which we can all relate to, is finding the time. We have classes to teach, duties to do, admin, reports, meetings and even rehearsals squeezed in there somewhere. “You have to do your score study during the summer break, so you have to plan in advance as best you can.” This is how you do it:

1. Read every single word in that score. If there are unfamiliar words you can translate and get the meaning of them. That includes the cover page, program notes, instrumentation – you need to know if there are E flat horn instead of F parts etc. For orchestral music you need to locate all the bowings.

2. Read through the dots in the score, get an overall impression of the piece. Orchestral music is wonderful because there are so many hundreds of recordings of that genre, but band music does not have as many opportunities to listen.

3. A formal study of the score identifying the form of the piece. You know then where the transitions occur between sections and where there is going to need extra work. You also can identify key changes in the piece. This allows you to start to prioritise your rehearsal time and to focus on those sections that you know will probably cause problems in your ensemble.

4. A phrase analysis. Go through every phrase and count how many bars long it is. I use a “cheat sheet” where I plot out the sections and phrases and number of bars in each so I can better learn the piece. This is especially helpful when there are odd numbered phrases, like a 9 bar phrase or 11 bar phrase. This will really help stop you from getting lost.

5. Start identifying potential problem areas that your ensemble may have. Work out bowings, look for tricky fingerings and work out solutions in advance.

By doing this type of score study and taking the time to learn the music and come up with solutions for potential problems, it means that if you only have a 50 minute rehearsal, you are using all your time very effectively. This also instils a sense of confidence in you from your ensemble.

The final stage to creating an amazing ensemble program is to set goals. You set your long term goals and short term.

Long term goals: what is the youngest grade in your school? What do you want that year group to have done by the end of that first year? What kind of sound are they going to make? What scales can they play? What key signatures can they play in?

Then look at the next year and so on.

Short term goals: we are going to play this piece and we have six weeks. What is going to happen in each rehearsal?

It’s important to remember that when making these goals, both long and short, that we need to tell other people about them, particularly our students. It’s easy to just forget and get stuck into rehearsing and forget that our students need to know where we are headed too. Dr Rhea shared what he does regarding planning.

www.kbbmusic.co.nz4


Every Friday he sits down and plans exactly what is going to happen the following week at rehearsals. If you have identified areas that sections or the whole ensemble was struggling with during the previous week, that is what you can focus on the next week. He also uses email to send announcements and describes what the focus is for the coming week, so he hardly spends any time during the rehearsal doing anything other than rehearsing.

This was one of many fantastic teaching ideas told in this session. You can access the handout of the session (and other sessions I attended) at andrewstopps.com/midwest.

As quickly as it all started it was suddenly over. After my last session I returned to the main foyer – there was hardly anyone there, where just hours before it was jam packed with people. That’s when the Post-Midwest Blues set in. I didn’t want it to be over yet.

To try and get over the blues I visited the Museum of Science and Industry (see photo). This was fantastic seeing whole aircrafts hanging from the ceilings and plasticised humans. Then I caught a cab downtown and explored Chicago. On almost every corner there were Jazz musicians playing (photo), noise everywhere. It was a breath taking experience. Finally I trudged back

to my hotel (South Loop Chicago, which I thoroughly recommend), picked up my gear and hailed a cab to go to the airport. But the magic of Midwest hadn’t quite gone. It was while waiting for the cab that a couple approached me, asked if I was going to the airport and if they could share a ride, “Of course!” I said. It was then I met Dr Rich Roberts and his wife Karen. They were at Midwest too and I hadn’t even met them until now!

We chatted all the way to the airport, where I invited Rich and his wife to come to New Zealand. Rich came and adjudicated at WeBO and took some workshops, he is fantastic! They are coming back next year to do WeBO again and the NZCBA Festival. I have also made some wonderful good friends.

I want to thank KBB Music with all my heart for giving me the scholarship and letting me experience Midwest. A friend of mine said, “After you have been to Midwest, you will never be the same.” She was right! I am planning on going back in 2017, this time as a presenter.

Thanks for taking the time to read this trilogy of articles. It’s been a joy to share just a small part of my adventures in Chicago. You can download the PDF’s of the sessions I attended, and also find an audio recording of it here: andrewstopps.com/midwest



In July we welcomed a new member to the KBB Education Team. With the departure

of Katrina earlier in the year a new position became available for a KBB Educational Business Account Manager.

Having previously worked for the company for 12 years, Tanya returned to join the team

at KBB. With 8 years practical hands on teaching experience on piano, 13 years of instrument retail and product management, plus over 25 years of performance skills in jazz, pop and rock groups, Tanya is a great addition to our team to assist schools with the latest product information and instrument solutions.

Currently she is contacting and visiting Auckland's schools to make sure you have all the support you need to make quick and informed choices.

She is also available to help and discuss funding assistance, leasing options, as well as maximising your budget and giving you friendly, helpful support. So, please use her extensive knowledge in this busy area.

Tanya will also keep you informed of any master class opportunities and education specific product demonstrations that are held close to your school area, and keep you up to date with any product specials and promotions that might be useful.

As the year starts to disappear and the residual budget amounts need to be used, please feel free to contact Tanya on 027 403 5553 or by email [email protected]. Alternatively you can contact your local KBB sales person to assist you with this.

By having another team member available we hope you receive the best sales support available.

Thanks from all the KBB Team!!

Tanya HiskinsKBB Educational Business Account Manager

WELCOME

NEWTEAM MEMBER

to a

www.kbbmusic.co.nz6


The KBB Music Festival has been celebrating youth music since 1983

and this year's festival was bigger than ever. With more than 3,800 students participating in 136 ensembles from 47 high schools (including one from Melbourne), it is the largest youth music festival of its kind in New Zealand. So a big thank you to all the schools who participated in some way and to their teachers and students. Thank you also to those who attended even though they not participate. Thanks must also go to the staff of the Holy Trinity Cathedral who went out of their way to accommodate us all so graciously. The 2016 Festival is also planned to be at the Holy Trinity Cathedral.

What a fantastic week of music it was, beginning with the Fringe Festival on Monday 17 August, and ending with two Gala Concerts on Saturday 22 August. The Peter Goddard Award, selected by members of the Committee, was awarded to the Avondale College String Ensemble for their positive and outgoing attitude. The Chairpersons Command Performance Award, based on adjudicator feedback, went to the Mount Albert Grammar School (MAGS) Jazz Band for their performance of You are my Sunshine,

Bigger than Ever

KBB MUSICFESTIVAL 2015



featuring soulful vocals from the five singers; and the Tour Time Jazz Improvisation Award – a new award at this year’s festival – went to the Lynfield College Big Band.

Thank you to our hard working adjudicators: Michael Joel and Shelley Wilkinson for Chamber Orchestras; Peter Van Drimmelen and Ronan Tighe for Symphony Orchestras; Peter Adams and Alison Housley for Concert Bands and Dr Roger Fox and Ron Samsom for taking good care of the jazz big bands. The Honours ensembles played on the Friday evening and thank you to Michael Joel for the splendid job conducting the Honours Symphony Orchestra and to Dr Roger Fox for his ingenious direction of the (2) Honours Big Bands.

The two symphony orchestra adjudicators – one from the APO and the other having just retired from the NZSO – commented to me that one particular work performed by a school orchestra during the week had approached the standard of effectiveness expected by their respective professional orchestras. Both adjudicators agreed that the overall standard of orchestral playing at the festival was extremely high. Across all categories, adjudicators commented on the value of a good musical director/conductor and I myself have noticed a vast improvement in musical direction by some teachers who just a few years ago were absolute novices (I remember going through the same phase myself back in 1983).

To KBB Music, a big thank you, we really value your ongoing belief in the festival, provision of backline

instruments and technical support during the festival. We also value our associate-sponsor Tour Time and both Brent Imrie from Tour Time and Andrew Chamberlain from KBB who are members of the KBB Music Festival Committee. Thank you also to Foundation North for additional funding and to ABRSM, BDO Accountants, The University of Auckland (NICAI and Faculty of Education) and the New Zealand School of Music. Additional appreciation must be shown to the Quality Inn, Parnell, for their generous discounts on adjudicator accommodation.

Finally, special thanks to the KBB Music Festival Committee and the Auckland Secondary School Music Festival Trust Committee (ASSMFT) who volunteered so much of their time helping to plan and run the event. An extra special thanks to our Administration Team, Warwick and Miriam Robinson, who worked so hard throughout the year to keep everything on track and then still managed to give a

huge additional burst of energy to ensure the Festival itself ran smoothly. What a team.

We look forward to seeing you all in 2016.

Dr Trevor Thwaites Chairperson of KBBMF and ASSMFT

88


KBB MUSIC FESITVAL 2015 Awards

www.kbbmusic.co.nz

SPECIAL AWARDS

Peter Goddard Memorial Award: Avondale String Ensemble

Chairpersons Command Performance Award:

MAGS Jazz Band (Mount Albert Grammar School)

You Are My Sunshine by Ray CharlesTour Time Trophy for Jazz

Improvisation: Lynfield College Big Band

BEST PERFORMANCE OF A NEW ZEALAND

By a chamber orchestra: Sebastian Squad (St Cuthberts College)

Aquarius: Suite No 2 by John RitchieBy a symphony orchestra: Westlake Symphony OrchestraTango Mangle by Leonie Holmes

By a jazz band: Birkenhead College Jazz Orchestra

Theodore by Cam AllenBy a concert band:

Auckland Grammar School Premier Concert Band

Paper Cut by David Hamilton

MOST OUTSTANDING PERFORMANCES

By a chamber orchestra: Sebastian Squad (St Cuthberts College)

By a symphony orchestra: Westlake Symphony Orchestra

By a jazz band: Lynfield College Big Band

By a concert band: Macleans Senior Concert Band

GOLD AWARDS (19)

Diocesan Chamber OrchestraSebastian Squad (St Cuthberts College)

St Mary’s Chamber OrchestraWestlake Chamber Orchestra

Diocesan SymphonyMacleans Symphony OrchestraWestlake Symphony Orchestra

AGS Big Band (Auckland Grammar School)Lynfield College Big Band

Pukekohe High School Stage BandSaint Kentigern Stage Band

TGS Jazz Band (Takapuna Grammar)Westlake Big Band

Diocesan Concert BandKing’s College Premier Concert Band

Macleans Senior Concert BandPukekohe High School Senior Concert Band

St Peter’s College Senior Concert BandWestlake Concert Band

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www.kbbmusic.co.nz

SILVER AWARDS (36)

ACG Parnell College Chamber OrchestraAvondale College String Ensemble

Chamber Orchestra D.S Bach (St Peter’s College and Baradene College)

Epsom Chamber Orchestra (Epsom Girls Grammar)Grammar Virtuosi (Auckland Grammar School)

Macleans Chamber OrchestraMAGS Strings (Mount Albert Grammar School)

Saint Kentigern College Chamber OrchestraWestern Springs College Chamber Group

Westlake Boys CamerataAuckland Grammar School Symphony Orchestra

St Peter’s and St Mary’s SinfoniaBirkenhead College Jazz Orchestra

Edgewater College Jazz BandGlendowie College Big Band

King’s College Little Big BandLong Bay College Big BandMacleans College Big Band

Manurewa High School Jazz BandOrewa College Jazz Band

Pukekohe High School Big BandRangitoto College Big BandSt Peter’s College Jazz Band

ACG Parnell College Senior Concert BandAuckland Grammar School Premier Concert Band

Baradene Concert BandEpsom Concert Band (Epsom Girls Grammar)

Glendowie College Concert BandLong Bay College Concert BandLynfield College Concert Band

Macleans Symphonic BandPakuranga College Concert Band

Rosehill College Concert BandSaint Kentigern Concert Band

St Cuthbert’s College Concert BandTakapuna Grammar Concert Band

COMMENDED AWARDS (7)

Long Bay College Chamber OrchestraPukekohe High School String GroupTGS Strings (Takapuna Grammar)

WBHS Conchordia (Westlake Boys High School)Rangitoto Sinfonia OrchestraWestlake Taharoto OrchestraRosehill College Tour Band

BRONZE AWARDS (46)

Howick College Chamber OrchestraKing’s College Chamber Orchestra

Kristin OrchestraLynfield College Chamber Orchestra

MRGS String Orchestra (Mount Roskill Grammar School)

Pakuranga College Chamber OrchestraRangitoto College Chamber Orchestra

Sacred Heart College String GroupBlack Watch Orchestra (St Cuthbert’s College)

Epsom Symphonia (Epsom Girls Grammar)King’s College Symphony Orchestra

Macleans SinfoniettaRangitoto College Orchestra

Saint Kentigern Symphony OrchestraSt Mary’s Orchestra

ACG Parnell College Jazz BandEpsom Stage Band

Howick College Jazz BandMAGS Jazz Band (Mount Albert Grammar School)

Massey High School MafiosoNorthcote College Jazz BandPakuranga College Jazz Band

Pinehurst Jazz BandRangitoto College Junior Jazz Orchestra

Rangitoto College Stage BandRosmini Big Band

Selwyn College Stage BandSt Cuthbert’s College Stage Band

Western Springs College Jazz BandWestlake Boys Stage Band

Whangaparaoa College Jazz BandBDSC Concert Band (Botany Downs Secondary College)

Birkenhead College Symphonic BandEpsom Intermediate Concert Band

Glendowie College Wind BandManurewa Symphonic BandManurewa Wind Symphony

Mt Roskill Grammar Concert BandOrewa College Concert Band

Pukekohe High School Wind BandRangitoto College Concert Band

Sacred Heart & Baradene College Senior Concert BandSt Mary’s College Concert BandTauhara College Concert BandWestlake Boys Symphonic Band

Whangaparaoa College Concert Band

www.kbbmusic.co.nz10


Throughout 2015 we have been celebrating the Contest Jubilee. For 50 years the NZCT Chamber

Music Contest has helped in launching the careers of young musicians. Generations of New Zealanders have been introduced to chamber music through participating in the contest ensuring on going interest in this music.

The culmination of the year was the National Finals weekend in Wellington on 1-2 August, when over 50 young musicians descended on the capital to demonstrate their skills and passion for making chamber music.

The contest may culminate at the finals, but what makes it special is where it begins. With district rounds held in 15 centres, from Whangarei in the north to Invercargill in south, this event engages people across the breadth of New Zealand. This led a member of the Doric Quartet to comment last year: “If only we had something quite like this in the UK – it is a truly unique event.”

This year video footage of the National Finals in Wellington was livestreamed on the internet to viewers across the world – an opportunity for contestants and their supporters to continue to participate in the Contest following the District rounds. Videos of each performance are on the CMNZ Youtube Channel and have received thousands of views.

Congratulations go to the overall winning group, Trio Glivenko, featuring Shweta Iyer (violin), Bethany Angus (cello) and Claudia Tarrant-Matthews (piano). They performed Piano Trio No.1 by Shostakovich for the final competition. The members of the trio are students at Queen Margaret College, Wellington East Girls’ College and Te Aho o Te Kura Pounamu (The Correspondence School) and are the first Wellington based group to win the competition since 1980. Each member of the group received a framed certificate - the Arthur Hilton Memorial Award, and the James Wallace Arts Trust Prize which this year was $2000.

The National KBB Music Award went to the Auckland based group, Cube. This ensemble featured Michelle Yue Wang (flute), Josh Webster (oboe) and Riley Cahill (piano).

This was the first year we had a People’s Choice Award with votes cast through cell phone text messages. Audience members, including those watching the live stream, were given a cell number to send their choice to in the form of a code printed on the programmes. The award went to Papricca, a saxophone quartet made up from students from Riccarton and Papanui High Schools. Mark Holdaway, Rachel Liao, Alena Le Ngoc and Mahlon Moevao performed Diffusion for Sax Quartet by Gordon L. Gordon. The group had a last minute set back when the ligature broke on Mark’s soprano saxophone during the dress rehearsal for the finals. Their tutor dashed to KBB Music who kindly loaned them an instrument for the afternoon and they played on undaunted.

The Original Composition section, sponsored by SOUNZ (Centre for NZ Music) and CANZ (Composers Association of New Zealand) had a total of 20 entries from across the country. The Composition Adjudicator was well-known New Zealand composer, Leonie Holmes, senior lecturer in Composition and Music Studies at the School of Music, University of Auckland. Congratulations to the Senior Section winner Riley Cahill (Auckland) with his piece The Lightning in Me for piano, string quartet and trumpet and also to the Junior Section winner Benjamin Sneyd-Utting (Wellington) with Neptune's Horses for String Quartet.

Both winners received their SOUNZ prizes at the National Finals in Wellington on 2 August; and Riley’s piece was played as a demonstration performance with the composer at the piano during the finals concert.

Whilst the adjudicators were deliberating at the Sunday finals concert, the audience was treated to engaging performances of Riley Cahill ’s The Lightning in Me and

by Hannah NemanContest volunteer and Master of Music student at Victoria University

THEME SEPTEMBER 2015



11

also Anthony Young’s Invocation performed by Cantus Bellorum, Auckland, who were the winners of the National Award for the Best Performance of a New Zealand Work. This award was presented by Leonie Holmes (Composition Adjudicator, on behalf of SOUNZ) and is made with the help of the estate of Auckland Composer Keith Statham (1934 – 2012).

The Marie Vandewart Memorial Award was presented to Ingrid Culliford. Ingrid is a flute player and teacher who has been the District Contest Organiser in Wanganui since 2005. A Contest Finalist herself long ago she has for many years been a huge supporter of the contest.

Throughout 2015 we have showcased the Contest’s incredible Alumni by reconnecting these people with CMNZ.

Many of our artists this year have been contest alumni. In addition to The Turnovsky Jubilee Ensemble we had two groups of young NZ musicians on tour who are forging careers at an international level. The piano trio CliK the Ensemble toured our main centres and offered workshops in regional centres. The Mimosa Ensemble was a group of emerging professionals who as school students had national wins in the Contest.

In partnership with Chamber Music Hutt Valley CMNZ pioneered a new programme that aimed to engage school students and the broader community. The Play It Up! Residency: Chamber Music Hutt Valley with Mimosa Ensemble was held over a week in July leading up to the National Finals as well as performances for the Wellington 150th celebrations.

The New Zealand Community Trust continues their generous support as the principal funder of the Contest since 2004.

Other 2015 sponsors and funders included SOUNZ (Centre for NZ Music), The Wallace Arts Trust, ABRSM, KBB Music and various regional funders who supported district events.

CMNZ acknowledges the core funding it receives from Creative New Zealand.

Thanks to CMNZ staff for the incredible work that you all do. Organisations like this can make a huge and positive difference, and from what I can tell only having been in NZ just over a year, CMNZ shows just how important that positive difference

can be to a community. I always enjoy being able to lend a hand, especially to young percussionists with big set-ups, so never hesitate to ask! :)

CUBE - WINNERS OF THE NATIONAL KBB MUSIC AWARD. PHOTOS BY SIMON DARBY, WANAKA PHOTOGRAPHY



KBB ROLAND DIGITAL PIANO FEEDBACKKBB General Manager Andrew Chamberlain sat down with Stuart Angel from the Auckland Philharmonic Orchestra to talk about the Roland Digital Grand Piano and how the Orchestra is utilizing it.



What was the main reason you were requiring a Digital Grand Piano like the Roland?

Acoustic grand pianos are heavy, cumbersome, and require regular tuning and maintenance to keep them sounding in top condition. We also have to be mindful of the conditions the instrument will be played in, such as humidity, heat, and other inclement weather conditions.

These operational and artistic constraints significantly limited APO’s ability to fully achieve our mission of engaging Auckland’s diverse cultures and communities. Previously, it had been difficult and expensive to perform sonatas and other accompanied works outside of the concert hall. We wanted to decrease the cost, and increase operational feasibility so that we can take music to Aucklanders, in any and every space and place.

Has it met this need?

The Roland Digital Grand Piano has allowed us to make music outside of the concert hall, strengthening ties with Aucklanders and our artistic partners, such as Auckland Live.

What is it main advantage for you over Acoustic Piano?

The key advantages are that it is significantly lighter, making it easier to move and transport. Releasing us from tuning constraints significantly decreases costs, while increasing the number of places APO players can now perform accompanied works.

The Roland Digital Grand Piano also increases consistency, thereby decreasing risk. By nullifying previous constraints outside our

control, such as weather, the digital makes us confident that APO performers can live up to their high standards, and the standards that Aucklanders have come to know and expect from their APO players.

How have you found the action and feel of the Piano compared to an acoustic piano?

Here is what one of our players at The Box Piano Series thought of the Roland Digital Piano:

“The action of the piano was slightly

heavier than acoustic grands – the

keys felt more responsive allowing me

to play more effortlessly. I was able to

play a really fast and difficult piece

easier than some acoustic pianos. “

– Lucy Zeng, APO Young

Achiever Pianist

How have you found the sound quality through its own speakers and through a sound system?

“I thought the sound quality of

the piano through its own speakers

was very good – it was pretty,

round and mellow. The top register,

clear and bright, is suitable to play

a wide range of repertoire.”

APO has used the piano to perform, playing both through its own speakers, and through a sound system. The decision of which option to choose has depended on venue

requirements and blend with other musicians (whether other instruments are amplified).

We have found both methods adaptive to our needs.

What concerts have you used it for so far?

• The 2015 Gucci fashion show in Auckland

• Two separate Jaguar car launches

• The Box piano series at Auckland Live – 3 week series with Young Achievers performing twice a day, three times a week. Over 18 performances to a total estimated audience of 900 Aucklanders.

Any further comments?

We are very grateful for KBB Music’s continued support of APO. This instrument has allowed us to let loose on Auckland, and we have some exciting projects in the pipe-line for next year allowing us to fully engage with Aucklanders – letting them know that their orchestra is here to serve them.



Iwas recently interviewed on Radio New Zealand and my

host mentioned how most of his listeners would be surprised that jazz can be taught – particularly in a university environment. This got me thinking about perceptions of jazz education and how the teacher-student relationship within a jazz environment works.

Of course, a large amount of ‘jazz teaching’ may not actually relate specifically to jazz as it deals with areas that are common to all genres – typically technique and sound. I know several teachers of jazz (myself included) who use classical exercises and repertoire to develop reliable technique and tone that is then transferrable to any genre. For a jazz student the only difference might be that the ‘models’ they are listening to are the great jazz artists.

This brings us to perhaps the most important point for teaching and learning jazz – you need to listen to jazz in order to learn it! Jazz can’t be learnt out of a real book, textbook or even play-along recordings though all of these are useful tools. A good teacher will be able to open a student’s ears to important recordings and more crucially, what to listen for. Things such as: the role of the instruments, interaction between musicians, the groove and feel

of both the collective band and the individual players, as well as performer specifics such as tone, texture, register and our next big point – language.

Alongside listening is learning the language of jazz. This is perhaps where a jazz teacher is most valuable – explaining and imparting the qualities that make up the vocabulary of jazz and jazz improvisation. This typically involves the study of such things as:

• Chord/scale theory – the relationship between chords and scales

• Harmony – chord constructions, extensions and progressions

• Time feel – what makes the music feel good and ‘swing’

• Rhythm• Phrase construction and contour

Observant readers will notice a slight L theme emerging – Listen, Language ... and yes there’s

one more - License! Or more specifically taking license with all the knowledge gained from the first two Ls. This is at the very heart of what jazz musicians do – creating distinctive improvisations derived from the study of harmony, melody and rhythm along with technique and tone on one’s instrument. Taking license also involves the freedom to break rules and make new ones. An effective jazz teacher helps inspire, guide and develop a student’s improvisational style from learning the tradition to eventually adding to it – going from imitator to initiator of great musical statements.

Kevin Field is a jazz pianist and composer who recently released his third album The A List featuring some of the top jazz artists in the USA. He is also a Senior Lecturer in Jazz Studies at the University of Auckland.

www.kevinfieldmusic.com

YOU TEACH JAZZ?!by Kevin Field



MAKE YOUROWNCAJON

One of the most popular percussion instruments today is the Cajon and now with the new MEINL Cajon Kit you can build your own. The kit comes with all the parts and a list of the materials and tools you need. The instructions will guide you through this fun project and at the end you will be able to customise the finish of the instrument by adding oil, a lacquer, wax, or paint it with an entirely unique design.

MATERIAL> Resonating Body: Baltic

Birch (Betula pendula)

> Frontplate: Baltic Birch (Betula pendula)

INCLUDES> 1 x assembly instructions> 2 x side panels> 1 x base panel> 1 x top panel> 1 x rear panel> 1 x playing surface

(with MEINL logo)> 2 x side battens> 1 x base & 1 x top batten> 1 x securing batten

for the snare> 1 x snare> 4 x rubber feet> 15 x screws 3 x 20 mm

(for playing surface)> 4 x screws 4 x 15 mm

(for rubber feet)> 2 x screws 3 x 12

mm (for snare)

11 3/4" W X 18" H X 11 3/4" D

$119ONLY


RANDOM NOTES // Term 4, 2015Sp

ecials

LIM

ITE

D S

TO

CK

ON

SO

ME

IT

EM

S.

BE

QU

ICK

!L

IMIT

ED

ST

OC

K O

N S

OM

E I

TE

MS

. B

E Q

UIC

K!

MUGSP38WB

HERCULES GSP38WB AUTOGRAB GUITAR WOODEN WALL MOUNTGuitar Hanger with Screws

$29.95$22

T4 S

PEC

IAL

MUGSP29WB

HERCULES GSP29WB AUTOGRAB GUITAR WOODEN WALL MOUNT CLASSICAL AND WIDE NECK GUITAR HANGER W SCREWS

$29.95$22

T4 S

PEC

IAL

RCL30205D6C

ROCKCABLE INSTRUMENT CABLE (CURLY)X5.0m jack>jack

$15.95$11.01

EDU

PR

ICE

RCL30206D6C

ROCKCABLE INSTRUMENT CABLE (CURLY) 6.0m jack>jack

$19.95$16.96

EDU

PR

ICE

ANTGMS95

ANTIGUA GMS95 ORCHESTRAL STACKABLE MUSIC STAND MS-8R

$80$60

T4 S

PEC

IAL

RICRCA25

RICO CLARINET REED - SINGLE ORANGE 25 PACK Sizes 1.5, 2, 2.5

$3.2$2.65 per reed

T4 S

PEC

IAL

RICSJA11

RICO SJA11 Soprano & Alto Saxophone Strap

$19.95$15

T4 S

PEC

IAL

LMNE3301001

NEOTECH 3301001 BASSOON SEAT STRAP

$59.5$50 .58

EDU

PR

ICE

QKMS320

QUIKLOK MS320 3-PAGE MUSIC STAND

$99.95$84.96

EDU

PR

ICE

QKMS334

QUIKLOK MS334 LIGHTWEIGHT MUSIC STAND Black

$29.95$22

T4 S

PEC

IAL

INCLUDES CARRY BAG!

Pianos & Keyboards

ROLF20CB

ROLAND F20CB DIGITAL PIANO W/ STANDClassic Satin Black with KSC68CB Stand

$1799$1359

EDU

PR

ICE

ROLRP401RCB

ROLAND RP401R DIGITAL HOME PIANOClassic Black

$2599$2,039

EDU

PR

ICE

KAWK300

KAWAI K300 ACOUSTIC PIANO122cm - Ebony Polished

$8995$7645.75

EDU

PR

ICE

EDU

PR

ICE

CASPX360

CASIO PX360 PRIVIA DIGITAL PIANO

$1699$1444.15

CASCTK3400SK

CASIO CTK3400SK KEYBOARD Edu Model 61-Note, Touch Sensitive Keys w/ AD95 Adapt

$399$259

EDU

PR

ICE

Pianos & Keyboards

Colour Touch Interface, Tri-Sensor Scaled Hammer Action II Keyboard, Acoustic and Intelligent Resonator

NEWMODEL!

ARITACLASSIC

ARIA TA-CLASSIC SEMI-HOLLOW ELEC GUITARBlack, Brown Sunburst or Wine Red

$699$594.15

EDU

PR

ICE

ARIPETR1G

ARIA PE-TR1-G LP STYLE ELECTRIC GUITARNatural Mahogany Open Pore Finish – Gold Hardware

$599$509.15

EDU

PR

ICE



Specials

ACCESSOR

IES

MUGS523B

HERCULES GS523B MULTI GUITAR STAND Holds 3 Guitars

$119$101.15

EDU

PR

ICE

MUDG200B

HERCULES CLAMP ON SMARTPHONE HOLDERSuits 43.5-90mm

$45$29.95

T4 S

PEC

IAL

QKMS19

QUIKLOK MS19 10-LED CLIP ON LIGHT for Music Stands, includes AC Adaptor OR AA Batteries

$99.95$80

T4 S

PEC

IAL

QKMS307

QUIKLOK MUSIC STAND LIGHT-CLAMP ON

$59.95$50.96

EDU

PR

ICE

RICRJA25

RICO ALTO SAXOPHONE REED – ORANGE 25 PACK Sizes 1.5, 2, 2.5

$4.5$3.75 per reed

T4 S

PEC

IAL

RICRKA25

RICO TENOR SAXOPHONE REED – ORANGE 25 PACKSizes 1.5, 2, 2.5

$6$5 per reed

T4 S

PEC

IAL

PWCGT10

PLANET WAVES INSTRUMENT CABLE Classic Series – 10ft

$19.95 eaBuy One

get one Free

T4 S

PEC

IAL

PWCMIC25

PLANET WAVES CMIC25 MIC CABLEClassic Series, 25ft – XLR to XLR

$34.95$29

T4 S

PEC

IAL

QKA302BK

QUIKLOK A302 MIC STAND

$69.95$55

T4 S

PEC

IAL

AUDF50

AUDIX F50 DYNAMIC CARDIOID VOCAL MIC

$99$69 .95

T4 S

PEC

IAL

END209

HUMES & BERG END209 STONELINED TUBA CUP MUTE

$512$410

T4 S

PEC

IAL

END102

HUMES & BERG END102 STONELINED TRUMPET CUP MUTE

$72.95$60

T4 S

PEC

IAL

QKS171PAK

QUIKLOK S171PAK SPEAKER STANDS WITH BAG Black Pair

$169$140

T4 S

PEC

IAL

END152

HUMES & BERG END152 STONELINED TROMBONE CUP MUTE

$88.95$70

T4 S

PEC

IAL

END241A

HUMES & BERG END241A STONELINED TRUMPET SWISH WHA ALUMINUM MUTE

$132$105

T4 S

PEC

IAL

END159BK

HUMES & BERG END159BK STONELINED TROMBONE WA-WAH MUTE BLACK

$176$140

T4 S

PEC

IAL

ANTGMS80

ANTIGUA GMS80 HEAVY DUTY CONDUCTORS STAND (MS-10R)

$65$50

T4 S

PEC

IAL

ANTWAR2

ANTIGUA WAR2TR SOPRANO RECORDERAvailable in Trans Red, Blue, Green, Pink & Brown

$8.99$7

T4 S

PEC

IAL

AIRBT105DIGIT

AIRTURN BT105 DIGIT BLUETOOTH PAGE TURNER For all Devices Bluetooth Transmitter Only

$130$110.5

EDU

PR

ICE

HOHG1313S

HOHNER HC03 3/4-SIZE CLASSICAL GUITAR

$149$119.00

EDU

PR

ICE HOHNER HC06 4/4-SIZE

CLASSICAL GUITAR

HOHG1311S

$169$119.00

EDU

PR

ICE

CREDU1

KALANI SOPRANO UKULELE W/ MATCHING BAGAvailable in Black, Red, Orange, Yellow, Green, Light Blue, Purple, White & Pink T4

SPE

CIA

L

$26 .00

Bulk buy 6+ for only

each!

Guitars $39$35.00



ecials

FLEFLT4030

FLEET FLT-4030 GLOCKENSPIEL 30 Note with Case

$69.99$55

T4 S

PEC

IAL

FLEFLTHDB30

FLEET FLT-HDB30 BEATER Maple Head and Shaft – Pair

$6.95$5

T4 S

PEC

IAL

FLEFLTTL25S

FLEET FLT-TL25S GLOCKENSPIEL 25 Note with Case

$39.95$30

T4 S

PEC

IAL

FLEXM1S

FLEET XM1S MALLET Soft PVC 28mm Black Head – Pair

$9.95$8

T4 S

PEC

IAL

FLEFLTLB17

FLEET FLT-LB17 PERCUSSION SET W/ BAG Set 1 up to 20 Players

$79.95$62

T4 S

PEC

IAL

FLEFLTFL27A

FLEET FLT-TL27A MARCHING GLOCKENSPIEL 27 Note

$79.95$20

T4 S

PEC

IAL

FLEFLTLT9

FLEET FLT-LT9 PERCUSSION SET W/ BAGMini Set

$52.95$40

T4 S

PEC

IAL

FLETW20

FLEET FLT-TW20 PLASTIC POWER TAMBOURINE 20 Pair Jingles Half Round – All Colours

$19.95$15

T4 S

PEC

IAL

LP441TL

LATIN PERCUSSION LP441TLTWIST SHAKER – LOUD

$35$29 .75

EDU

PR

ICE

FLEFLTLT17

FLEET FLTLT17 PERCUSSION SET W/ BAG Set 2 up to 17 Players

$99.95$80

T4 S

PEC

IAL

LP234C

LATIN PERCUSSION LP234C DELUXE CABASA Wood

$99$84.15

EDU

PR

ICE

LUDLE2475

LUDWIG LE2475 EDUCATIONAL SNARE DRUMSETJet Pak

$495$420.75

EDU

PR

ICE

MLMYOCAJOV

MEINL MAKE YOUR OWN CAJON PACK WITH OVANGKOL FRONT PLATE

$129$99

T4 S

PEC

IAL

LP441TM

LATIN PERCUSSION TWIST SHAKER MEDIUM LP441TM

$35$29.75

EDU

PR

ICE

REMCRP11000

REMO CROWN PERCUSSION 10 AND 11 INCH CONGASNatural Double Stand Fibreskin 3 Head Pair

$949$799

T4 S

PEC

IAL

LEGJDB105

LEGACY JDB105 7 BONGOS AND 8 INCH STRIPE FINISH

$69.95$49.95

EDU

PR

ICE

SONSXGB

SONOR ORFF SXGB SOPRANO GLOBAL BEAT 16 BAR C2 - A3 C MAJOR WITH F#2 B FLAT2 F3 & MALLETS

$419$356.15

EDU

PR

ICE

SONKSP50C

SONOR ORFF 27857001 KSP50C PRIMARY DEEP BASS CHIME BAR C

$199$169.15

EDU

PR

ICE

SONMAGBINT

SONOR ORFF MAGBINT ALTO METALLOPHONE C MAJOR SCALE 16 BARS C1 A2 F#1 BFLAT1 F#2 WITH MALLETS

$329$279.65

EDU

PR

ICE

SONLWX

SONOR ORFF LWX WALKING XYLOPHONE C PENTATONIC 6 BARS

$319$271.15

EDU

PR

ICE

P E R C U S S I O N



Specials

MAJMTG2600A

MAJESTIC TIMPANI MAJESTIC HARMONIC Fibreglass 26”

$3799.00$3000

T4 S

PEC

IAL

SAB8X16SC

SABIAN 16 INCH B8X SUSPENDED CYMBAL 41623X

$179$152.15

EDU

PR

ICE

MAJM6540P

MAJESTIC DELUXE MARIMBA M6540P 4 OCTAVE PROLON BARS

$4999.00$3995

T4 S

PEC

IAL

MAJMCS1465MA

MAJESTIC MCS1465MA CONCERT BLACK SNARE DRUM MAPLE 6.5X14

$895.00$700

T4 S

PEC

IAL

MAJMTK3200

MAJESTIC TIMPANI MAJESTIC HARMONICCopper 32”

$5999.00$4900

T4 S

PEC

IAL

MAJMTG2900A

MAJESTIC TIMPANI MAJESTIC HARMONICFibreglass 29”

$3899.00$3100

T4 S

PEC

IAL

MAJMTG3200

MAJESTIC TIMPANI MAJESTIC HARMONICFibreglass 32”

$4599.00$3800

T4 S

PEC

IAL

MAJMTK2300

MAJESTIC TIMPANI MAJESTIC HARMONICCopper 23”

$5199.00$4100

T4 S

PEC

IAL

ADMSMSHV43

ADAMS MSHV43 SOLOIST MARIMBARosewood Bars 442hz A2 C7

$11999.00$8995

T4 S

PEC

IAL

ADMSXSHV35

ADAMS XS2HV35 SOLIST XYLOPHONE 3.5 Oct. F4-C8 Honduras Rosewood 38 5 mm Octave Tuned

$6199.00$4895

T4 S

PEC

IAL

ROLTD1K

ROLAND VDRUMS TD1K ELECTRONIC DRUMKIT

$1199$999

T4 S

PEC

IAL

SAB8X18BC

SABIAN 18 INCH B8X BAND CYMBALS PAIR 41822X

$399$339.15

EDU

PR

ICE

SA5TRIANGLE

SABIAN 5 INCH BRONZE TRIANGLE

$69$57

T4 S

PEC

IAL

SAB8X16BC

SABIAN 16 INCH B8X BAND CYMBALS PAIR 41622X

$349$296.65

EDU

PR

ICE

SATRIHOLDER

SABIAN TRIANGLE HOLDER 61123

$89.95$76.46

EDU

PR

ICE

SA4TRIANGLE

SABIAN 4 INCH BRONZE TRIANGLE

$59$49.00

T4 S

PEC

IAL

SONGBMP1PT1INT

SONOR ORFF SONGBMP1PT1INT DEEP BASS METALLOPHONE C MAJOR SCALE 16 BARS C-A1 MAJOR SCALE WITH MALLETS

$1099$934.15

EDU

PR

ICE

SATRISTRIKER

SABIAN 3/16 INCH TRIANGLE STRIKER STAINLESS STEEL 61129

$15$12.75

EDU

PR

ICE

SATRICLIP

SABIAN TRIANGLE CLIP 61122

$15.00$12.75

EDU

PR

ICE

P E R C U S S I O N



ecials

Brassand

Woodwind

PRETS710

PRELUDE TS710 TENOR SAXOPHONE Case by Conn Selmer

$1199$995

T4 S

PEC

IAL

INCLUDES CASE!

PREAS710

PRELUDE AS710 ALTO SAXOPHONE Case by Conn Selmer

$995$795

T4 S

PEC

IAL

INCLUDES CASE!

JUPJBR462L

JUPITER JBR462L BARITONE HORN with JKC90BA Abs Case

$2395$1895

T4 S

PEC

IAL

INCLUDES CASE!

ANTAS3100LQ

ANTIGUA AS3100LQ ALTO SAXOPHONE Lacquer

$1599$1250

T4 S

PEC

IAL

PRETB710

PRELUDE TB710 TROMBONE Lacquer finish w/ case by Bach

$799$495

T4 S

PEC

IAL

INCLUDES CASE!

JUPJCB382L

JUPITER JCB382L BB 3 VALVE TUBA Abs Case JKC80A

$6395$4295

T4 S

PEC

IAL

INCLUDES CASE!

BS313710

B&S CHALLENGER I 313710 TRUMPET Lacquer; Soft Case

$2295$1885

T4 S

PEC

IAL

INCLUDES CASE!

J IGPTRUMPET1

JIGGS WIGGHAM PTRUMPETAvailable in Blue or Red

$270$229.50

EDU

PR

ICE

INCLUDES BAG!

J IGPBONE1

JIGGS WIGGHAM PBONE Available in Red, Blue, Yellow, White, Pink, Purple, Orange, Green or Black

$270$229.50

EDU

PR

ICE

INCLUDES BAG!

PRETR710

PRELUDE TR710 TRUMPET Lacquer finish; Case by Bach

$595$485

T4 S

PEC

IAL

INCLUDES CASE!

PRECL710

PRELUDE CL710 CLARINET Case by Conn Selmer

$599$450

T4 S

PEC

IAL

INCLUDES CASE!

PREFL710E

PRELUDE FL710E FLUTE SPLIT E Case by Conn Selmer

$495$320

T4 S

PEC

IAL

INCLUDES CASE!

JUPJFL511ESSC

JUPITER JFL511ESSC FLUTEE mechanism, silver riser, airmold JKC11CA case and JKB23JR bag

$1150$849

T4 S

PEC

IAL

INCLUDES CASE &

BAG!

JUPJCL931S

JUPITER JCL931S CLARINET 440 pitch; JKC35W Wooden Case

$2195$1865.75

T4 S

PEC

IAL

Sales, Rentals, Repairs & Servicingwww.kbbmu s i c . c o . n z

A U C K L A N D – E P S O M | A L B A N Y

T A K A P U N A | B O T A N Y • H A M I L T O N

W E L L I N G T O N • N E L S O N • C H R I S T C H U R C H

years

Proudly supporting musicians for over125

INCLUDES CASE!

FREE!Buy one get one

NIGHT FREEEVENT

10 NOVEMBER 2015 6PM KBB EPSOM

JOIN KBB & SPECIAL GUEST CARL WIN, SHURE NZ

KBB EPSOM I 377 Manukau Road, Epsom, Auckland 1023 I 10 NOVEMBER 2015 I 6PM

TOPICS AT A GLANCE- SHURE FOR EDUCATION FACILITIES- HOW THE NEW WIRELESS LAWS AFFECT YOU- CURRENT SHURE TRADE IN OPTIONS- Q&A- NETWORK SESSION

Don’t miss this opportunity to learn from a Qualified Shure Specialist.

FOOD & BEVERAGES PROVIDED ON THE NIGHT

NIGHT FREEEVENT







NIGHT FREEEVENT







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random notes - term 4, 2015

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