The CLARION – Nov., 2007 - Page 1

The CLARION Official Bulletin of the Washington State Music Teachers Association

Volume LX, No. 3 666666666666666 November, 2007

President’s Corner with Mary Kaye Owen, NCTM

I admit my finances are not in the best shape. Although my parents were able to raise three children and pay (without penalty, mind you) property taxes on the home they own, they brought us up with the motto, “You can’t take it with you.” If Mom and Dad knew a dime was coming, they’d spend two. It’s hard to change my mindset from this way of thinking. Every spring, MTNA sends me a notice that my membership needs to be renewed. The June 30th expira-tion date on my membership card seems so far away when that bill arrives. The dues notice went in my “Pay in September” folder, until as chapter yearbook chair, I noticed my name wasn’t on the MTNA or WSMTA membership lists. After I received the right to use “NCTM,” few people knew I was certified, be-cause that information is included in directories usually printed up in late August. I realized then, I’d better pay my dues before September. Since I’m nearly always broke in the summer, I decided I might as well pay when the notice arrives in my mailbox. It’s been good for me, personally, to

know without question that my name appears in all the appropriate lists and directories as a current and ac-tive member. Not until becoming WSMTA President did I realize that members’ timely renewals benefit our organization in more ways than just financially. I encourage all mem-bers to make their MTNA dues pay-ment a priority this coming spring, right up there with property taxes!

Future Events

November 10-11 WSMTA Outstanding Artist

Competition The WSMTA Outstanding Artist Competition will be held on Satur-day and Sunday, November 10-11, 2007. It will be held in the Music Building Recital Hall at Eastern Washington University in Cheney, Washington.

(Continued on Page 3)

WSMTA/MTNA Performance

Competitions

November 9, 10, 11, 2007 Whitworth University

Spokane, WA The MTNA Competition will pro-vide a wonderful opportunity to hear about 75 musicians ages 11 – 26. You will have the opportunity to hear brass, piano, strings, voice and wood-wind performances. The competi-tions will be held Friday, Saturday & Sunday from 8:00 AM – 6:30 PM, each day in the Music Building at Whitworth University. See wsmta. net for schedule of individual instru-mental competition times. Come and hear what these wonderful students from around the state are doing, and you may even have a chance to help

us in some way by filling in for the volunteers. Contact me and I’ll be looking for you in Spokane at Whit-worth University.

Dianne Johnston MTNA Competition Chair

Dianne@silverlink.net

Getting Ready for WSMTA Conference 2008

On the Waterfront Reserve June 23rd to 27th, 2008, on your calendars now. You won’t want to miss the WSMTA Conference “On the Waterfront” in Bremerton. State President Mary Kaye Owen is going to rent a DVD of the old Marlon Brando movie to get in the mood – perhaps you will too! You may also be enticed by a sam-pling of our wonderful presenters. Following up on our theme of Music-ian Wellness, Dr. Scott Ekin and Dr. Ernie Franz will give a power-point presentation on the anatomy of the hand and arm – the very muscles, bones, joints and nerves which Bar-bara Lister-Sink will demonstrate how to coordinate effectively in her lecture on healthy, injury-preventive technique. Louise Zamparutti, program di-rector for Health and Wellness at the Seattle YMCA will share elements of yoga practice which are particularly helpful for music teachers who sit long hours, and may benefit from ex-ercises which clear the mind, sharpen focus, and enervate the system. Val-erie Williams, WSMTA Technology Chair, will share techniques for using our voices in such a manner that there is some voice LEFT at the end of a day of talking, singing, cajoling, greeting, habit correction, telephone answering and all the rest of the vocalizations that make up our days in the studio.

(Continued on Page 3)

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WSMTA Contact Information WSMTA Executive Office Executive Manager: Judith Price, NCTM 4904 Hilton Rd. NE Olympia, WA 98516 Phone: 360-459-4338 e-mail: WSMTAoffice@comcast.net WSMTA Website www.wsmta.net

WSMTA Board of Directors President: Mary Kaye Owen, NCTM 11445 SE 185th Place Renton, WA 98055-4370 Phone: 425-228-8721 e-mail: mary.k.owen@att.net President Elect: Jani Peterson, NCTM 2601 Mix Road Moscow, ID 83843 Phone: 208-883-3991 e-mail: jani@turbonet.com Immediate Past President: Margee Webster, NCTM 2246 S Rockwood Blvd. Spokane, WA 99203 Phone: 509-534-9678 e-mail: johnmargee@comcast.net Vice President: Dianne Johnston P.O. Box 655 Kingston, WA 98346 Phone: 360-297-3972 e-mail: dianne@silverlink.net Executive Manager: Judith Price, NCTM (see above) Treasurer: Patti Robertson, NCTM 209 E Canyon Drive Kennewick, WA 99337-5824 Phone: 509-586-2219 e-mail: pattiandken@charter.net Ed. Board Chair: Debra Florian, NCTM (see Ed. Board) Adjudications Chair: Janice Smith 15604 N Sycamore Mead, WA 99021-9376 Phone: 509-467-8147 e-mail: msmiths1@comcast.net District I VP: Mona Beach, NCTM 563 Walla Walla Way LaConner, WA 98257 Phone: 360-466-1703 e-mail: beachmb1@wavecable.com District II VP: Patrick Stephens 2900 S Massachusetts St. Seattle, WA 98144 206-380-5579 e-mail: Patrick@pianotempo.com District III VP: Julia Wentz 7911 258th Ave. E Buckley, WA 98321 Phone: 360-829-0836 e-mail: lwentz@juno.com District IV VP: Cinda Redman 14711 SE 29th St. Vancouver, WA 98684 Phone: 360-256-8888 e-mail: cindapiano@comcast.net

District V VP: Harriet West 2213 S Beaumont Moses Lake, WA 98837 Phone: 509-765-6585 e-mail: dhwest6@gcpower.net District VI VP: Onnie Adams 1516 Goethals Richland, WA 99352 Phone: 509-943-1758 e-mail: onnelle@aol.com District VII VP: Karen Schaefer, NCTM 37 E 26th Ave. Spokane, WA 99203 Phone: 509-624-1560 e-mail: sekaren2@msn.com Clarion Editor: Gary Alan Hind (see below)

WSMTA Education Board Ed. Board Chair: Debra Florian, NCTM 16725 Seminole Rd., NE Poulsbo, WA 98370 Phone: 360-697-1965 e-mail: flostudio@comcast.net Ed. Board Member: Marilyn Linde P.O. Box 430 Granger, WA 98932 Phone: 509-854-1583 e-mail: marilynl@bentonrea.com Ed. Board Member: Jeffrey Gilliam, NCTM Dept. of Music, WWU 516 High Street Bellingham, WA 98225-9107 Phone: 360-650-3709 e-mail: gilliam@cc.wu.edu Ed. Board Member: Margee Webster, NCTM (see Immediate Past President) Ed. Board Member: Colleen Hunter, NCTM 2911 N 5th St. Coeur d'Alene, ID 83814 Phone: 208-664-0910 e-mail: h4d2@verizon.net Ed. Board Members, Ex-Officio Mary Kaye Owen, NCTM (see President) Janice Smith (see Adjudications Chair) Judith Price, NCTM (see Exec. Manager) Diane Stober, NCTM 117 N Franklin Ave. Wenatchee, WA 98801 Phone: 509-663-7654 e-mail: dalsegno1@aol.com

The CLARION is published 9 times each year: Sept., Oct., Nov., Dec., Feb., March, April, May, and June. It includes membership news and an-nouncements, and pertinent news of the Music Teachers National Assoc-iation. Articles must be submitted no later than the first day of the pre-vious month.

Editor: Gary Alan Hind 20038 Lysir Ct. NE Poulsbo, WA 98370 (360) 697-2591 basinroad@comcast.net

WSMTA Board Members, Chairs, & Presidents Address

Lists Updates

E-mail & Phone Corrections & Changes to the Oct. Issue

Annual Officers List

District III Vice President Julia Wentz’s email address is:

lwentz@juno.com

Chapt. of the Year Chair, Marilyn Linde’s new phone number is: 509-854-2625. New email is:

jmlinde@netzero.net

Gig Harbor Chapter President Suzanne Gillman’s last name is spelled with two “l’s”, not one

Thank You Note for Jani Peterson

Receiving an invitation to the WSMTA Leadership Seminar is a perk of being chapter president or a state level officer or committee chair. This year’s Leadership Seminar in Ellensburg was beautifully organized by WSMTA President-Elect Jani Peterson. On behalf of all in attend-ance, Jani, I extend my congratula-tions and thanks for a job well done. The fine new setting at Days Inn Ellensburg was arranged for by WSMTA Executive Manager Judy Price. Your work, Jani and Judy, is greatly appreciated! With much grat-itude, Mary Kaye Owen.

Membership Welcome New Members!

Eastside Chapter

Loretta Brown Monica Pak Rhan Rha

Gig Harbor Chapter

Coni Liljengren

Olympia Chapter Yun Hee Kim

Seattle Chapter

Nancy Kate Kern Molly Knight

South King County Chapter

Wendy Cheung Leaine Gibson

Diana Kay Quick

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Ji Young Song

Spokane Chapter Philip Richard Baldwin

Tri Cities Chapter

Pauline Ann Carlson Letitia Webb

Whatcom County Chapter

Julie Mumford

Whidbey Island Chapter JD Charlesworth

Yakima Chapter

Ellen Bjorge

Collegiate Rian DeFaccio Ben Dietzen Kana Ishii

Christina Liu Laitlin Lohr Dana Wen

Katrina Marie Wible

WSMTA Pedagogy Chair Myrna Capp Performs in U.K. Myrna Capp, adjunct music fac-ulty at Seattle Pacific University, per-formed at the Fourth Biennial Inter-national Symposium and Festival on Composition in Africa and the Dias-pora at The Centre for Intercultural Musicology at Churchill College in Cambridge, United Kingdom, Aug-ust 1-4, 2007. She presented the world premiere of “Five Egyptian Folk Songs” by Egyptian composer Halim El-Dabh. She also presented a work by A.P. Pradel, and selected improvisations on African-American spirituals arranged by Myrna. She also accompanied an African-Ameri-can soprano in a program of music by African-American composers.

Future Events

(continued from Page 1)

November 10-11 WSMTA

Outstanding Artist Competition

(continued from Page 1) Directions: Going east on I-90, take exit 257 toward Tyler/Cheney. Turn right onto Lt. Col. Michael Anderson Memorial Highway (WA

904). Turn left onto College Avenue (0.2 mi.), turn right onto 5th Street. There are two piano divisions. Students 11-14 years of age will per-form in the junior piano division on Saturday from 8:25am to 2:30pm. Students age 15-18 will perform in the senior division, starting at 3:25pm Saturday and finishing at 12:30pm Sunday. There is no charge to attend, and people can choose to stay for one or more performances throughout the day. If you have questions, you may contact Laurie Eash, OAC Chair, at laurie52@aol.com or phone 509-747-696

Getting Ready for WSMTA Conference 2008

On the Waterfront (continued from Page 1)

To stimulate and inspire our teaching, Willard Schultz will present a session on sequencing repertoire for intermediate and advanced stu-dents. Regina Yeh will share her in-sights into the wonderful and un-usual Ligeti Etudes. Irene Bowling will give a lecture-demonstration on piano ensemble teaching, utilizing the latest technology and equipment. Forrest and Akiko Kinney will talk about Inviting Inspiration and Over-coming Fear. Kathy Strickland and Paul Twedt will first share how they organize a chamber trio festival each year in the Gig Harbor/Tacoma area, and then showcase students in a trio concert. There will be a rich offering of recitals by Milica Jelaca-Jovanovic, Geisa Dutra, and a group of teachers in a 5-piano program. Other special events include the State Honors Re-citals, the Young Composers Recital, the Washington State Winners Reci-tal, and our conference guest artist, Barbara Lister-Sink, performing rep-ertoire by composers who were also visual artists and showing slides of their work. Offerings specifically for voice teachers, and for collegiate chapter members are some of the other sessions planned, and of course, there will be first-rate master classes! After you mark the last full week in June in your daytimer as an op-portunity to recharge your batteries and enjoy professional camaraderie, call a friend and make plans to car

pool to Bremerton. We can make this conference “green” as well as refresh-ing! We look forward eagerly to seeing you there.

Claire Marshall, NCTM 2008 Conference Co-Chair

West Sound Chapter President

Education Certif ication Corner

Certification Grants

Congratulations to the following people who have qualified for the $100 Certification grants:

Cassandra Bridges, Wenatchee Carol Champney, Puyallup Mary Foster Grant, Bainbridge Island Laura Klein, College Place Cinda Redman, Vancouver Jeffrey Savage, Pullman Karen Savage, Pullman Kay Veteto, Wenatchee

Why Certify? By Phyllis Pieffer

(Continued from Oct. issue) It is my belief we must attain and maintain the highest professional Identity that we can achieve within our overall professional image. We cannot expect the public to regard us as professionals if we do not acquire the necessary education-academic-ally, musically, and pedagogically, the necessary credentials, and busi-ness management skills. A degree validates our acquisition of a body of knowledge. Rev. Edward A. Malloy in Monk’s Reflections, states, “A col-lege degree is not a sign that one is a finished product but an indication that a person is prepared for life.” The teacher certification program encourages independent thinking and synthesis of learning and pro-vides evidence that the teacher can indeed structure a teaching studio that ensures quality education for students. The MTNA Professional Certification Standards—What a Nationally Certified Teacher of Music Should Know and Be Able to Do—encompass professional preparation, professional teaching practices, pro-fessional business management, pro-fessionalism and partnerships, and

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professional and personal renewal (www.mtna.org). For those teachers who become certified through the MTNA pro-gram, the process: affirms what we know as musicians, teachers, and in-dependent business owners; vali-dates what we can do—teach and communicate our knowledge, love of music, and expertise to another human being; and, challenges us to learn what we do not know and to continually renew and upgrade our skills. Does it mean that as a certified teacher, we will earn a higher in-come? Possibly. Does it mean that we will have better recognition in our community? Possibly. Does it mean that we will attract more dedicated and talented stu-dents to our studios? Possibly. I say “possibly” because we have to provide the public relations and marketing promotion ourselves. We have to place “NCTM” after our names in all of our studio materials, display our certification certificate and/or plaque in a prominent place in our studios, conduct our business in a professional manner, and contin-ually make the public aware of our status as a certified teacher. We have to educate the public to what it means that we have earned the right to the initials, “NCTM.” With the state and national associations sup-porting us in this endeavor, we can raise the public’s awareness of music teachers as professionals, and finally let go of the image of the “teacher down the block.” Does it mean that we will be better teachers? Yes. Does it mean that we will contin-ually work to set higher standards? Yes. Does it mean that we will work in community with other teachers to continually raise the level of music teaching? Yes. As professional independent mu-sic teachers, we are in very good company with Chopin, Liszt, and Beethoven. Stewart Gordon writes in Etudes for Piano Teachers (Oxford University Press, 1995), “We need to forget for awhile that ‘anyone can hang out a shingle,’ the negative viewpoint, and remember that some of the greatest teachers in history have at some points in their careers been private teachers. One could be-

gin by pointing out that such was true of Liszt and Leschetizky and go on from there…Build a career as a professional teacher in the private studio.” BECOME CERTIFIED.

New Certifications Congratulations to the following certified teachers!

MTNA and WSMTA Certification in Piano

Margaret McNeill, NCTM, Tri-Cities Elizabeth K. Yusim, NCTM, Eastside

MTNA Certification in Piano

Mary K. Loeffelbein, NCTM, Moses Lake

Jeffrey Savage, NCTM, Pullman

Diane Stober, NCTM, WSMTA Certification Chair

117 N. Franklin Ave. Wenatchee WA 98801

509 663-7654 DalSegno1@aol.com

The Piano is a Percussion Instrument/the Organ is a

Wind Instrument Organ students generally fall into two categories: (1) pianists who are pressed into service as organists by the need for employment or service to their own church; and (2) students who are excited by the sound and repertoire of the organ and wish to learn to play the organ for its own sake. Because the majority of my students fall into the pianist-turned-organist category, this article will offer suggestions to help with a tran-sition from piano to organ. Even though they both have key-boards, the piano and the organ are fundamentally different instruments. The piano is a percussive instrument. The organ is a wind instrument. As such, the organist’s finger works in much the same way as the tongue works for other wind instrument players—to allow air into the pipe and control the articulation. So, use a light touch. Caress the keys. Less arm and body motion is required. Generally, if you can hear the keys, you’re pushing too hard or using arm weight. Unlike playing the piano, hitting an organ key harder will not make it get louder, but it may damage the action of the organ.

Due to differences between organ and piano construction and different techniques required to play these instruments, consider music written for the organ as opposed to trying to adapt piano music to the organ. Be-cause the organ does not have a damper pedal to sustain the notes, adapting piano music is often unsuc-cessful for a beginning organist. When I began serious organ study, it was a great relief for me to learn that there is a great body of original organ music that was written for the hands alone. Before Felix Mendelssohn be-gan giving organ concerts in England in the 1800s, English organs did not have pedal boards (the keyboard played with the feet). Many French and Italian organs also had very limited pedal boards. To begin a transition to organ without worrying about playing the pedals, some of the following music may be welcome. Oxford publishes a fine series of books, Old English Organ Music for Manuals (Old Eng-lish music only); and Organ Music for Manuals (variety of style periods). These books contain original organ compositions for only the hands. Manuals Only, compiled and ed. by David N. Johnson, includes a variety of accessible works. The many “Noels” written by French composers Daquin, Balbastre, and Dandrieu are delightful. It is great fun to play Bach Two-Part Inventions on the organ with one hand on the upper manual (keyboard) using one set of sounds (registration) and the other hand on the lower manual with a different registration. Most of the Baroque music already played by pianists is eminently suitable for the organ. Check out the catalog of the Organ Historical Society (http://www.ohscatalog.com) for an incredible selection of organ music, CDs, videos, and books. Type “man-uals only” in the search engine and a variety of music for every occasion from weddings to funerals will ap-pear. Easier arrangements of familiar hymns are also available for be-ginning organists who must lead a congregation. Two instruction books designed for pianists who need to make a rapid transition to organ are: (1) Wayne Leupold (ed.): First Organ Book; and (2) Joyce Jones: King of Instruments: A Short Method. These organ books will also gently guide a new organist in using the pedals as

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well as provide basic information about the organ itself. Finally, I encourage you to get continuing education and take some lessons, whether you are a beginning organist or an already-established or-gan teacher. A qualified teacher may be found through MTNA, a local college or university, or through the local chapter of the American Guild of Organists (AGO). The AGO (www.agohq.org) also sponsors many educational programs for or-ganists. For the experienced organ teacher, resuming organ study can revitalize your own playing and teaching. For the pianist, organ study will make you a better pianist. It will also open your eyes and ears to a marvelous repertoire, a wonder-ful instrument, and a beautiful ave-nue for musical self-expression. Enjoy!

Joann Richardson, NCTM WSMTA Organ Chair

naggy@richardsonlaw.biz

Enrichment

A IMTF Corner A

Ending The Isolation When Marvin Blickenstaff spoke to us at the WSMTA State conference June 2004 in Bellingham he quoted this national statistic for the drop out rate in the United States for private piano students. “50% of students drop in the 1st year and 92% of stu-dents drop in the 2nd year”. This statistic just makes me say ouch and wonder what we are doing wrong? While many factors contribute to this high drop out rate such as: parents pushing students into private lessons without the student’s consent, stu-dents starting private study at an im-mature age (usually below the age of seven.), lack of rote song teach-ing/ear training, (this often leads to student discontentment because the teacher will only provide access to music via the reading of music nota-tion). I think again of what Marvin Blickenstaff said, “Students study piano for one reason, they want to make exciting sounds on the piano.” Well no matter how you sell it “Let’s Play Ball” by Randall Faber may not be very exciting for a beginning stu-

dent. Indeed finding the right peda-gogy for each student is one of our greatest challenges. Finally and per-haps the most important contributing factor for the student drop out rate may be the simple reality of the daily isolation students are placed in while practicing the piano. A student in a public school band or orchestra pro-gram faces a little isolation practicing daily on the saxophone or violin, yet returns to play in a group setting usually three or more days a week. It is in this group atmosphere that the students are rejuvenated and sup-ported emotionally. The frequency and social aspect of these programs offer a student an emotional advan-tage over traditional private lessons. So what can we private teachers do to mimic the positive dimension of these programs?

How to end the isolation: 1. Set up a pen pal program with-in your studio via email. Assign each student an E-Friend. Have them write to each other and share thoughts about music, prac- ticing etc… This would be like having a practice buddy. Change buddies at the end of each quarter or semester.

2. My Space Accounts: These are for older students 14 and up. If you are unfamiliar with them talk with the parents and students. They will explain them to you and whether or not they will allow their child to have one. If allowed have the students create a My Space Account and have them get in touch with each other. These accounts can really help students form friendships. Tell your studio parents what you are doing and create safety guidelines for using the accounts. With just a bit of guidance these accounts can be safe and fun. You will need to create your own my space account so you can interact with them. Your account can become a forum for music and ideas. Help your students get into the music world and help yourself get into their world.

3. Hold monthly group classes at your studio.

4. Cell phones and text messaging might be another way for our stu-dents to communicate, but as you

know the cost can be prohibitive so be careful.

5. Parental involvement. Help the parents understand the need to play a supportive role in daily music practice. Small things like inviting “Sue” to sit with Mom at the kitchen table with milk and cookies while working on the music theory book. For the very young home sticker charts of practice success can be a great motivator. Have Mom or Dad set aside a special few minutes to sit and listen to “John’s newest learn-ed song”.

6. Listening to music. Get your students to bring in lists of music they listen to and like. I am al-ways amazed that some of my youngest students have never listened to music as a hobby. I have one piano student, a boy age ten who has never listened to the radio, does not own a CD player or Ipod and he openly says “I don’t listen to music”. How can this guy want to study piano? If he doesn’t find some music to listen to soon he will surely be ad-ded to the drop out statistics. One of our greatest tools today is the Internet. Most homes have inter-net access and again with some parental help students can be guided to “YOU TUBE” almost every recorded performance of music can be found there, for ex-ample the 1970’s Horowitz con-cert at White House, the Horowitz Carnegie Hall concert of 1960’s, rare jazz footage and interviews with musicians such as Miles Davis, Art Tatum and on and on. Create Links to these YOU TUBE sites and place them on your piano website or maybe on your music chapter’s website. Lastly remember how special the time is that your student spends with you. Build a mentoring friend-ship that is supportive musically and emotionally.

Happy Teaching.

Rick Seifert, IMTF Chair

E e NEW MUSIC e E

Celebrated Virtuosic Solos, by Robert Vandall; Book 1-5, six to

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nine solos in each book, Alfred, $6.95 each book.

These “virtuosic solos”, ranging from late elementary to late inter-mediate, include many of Vandall’s characteristic compositional techni-ques—the energy, meter changes, and brilliant patterns that have made him so popular with teachers and young students. In Book 1, Power Walk and Rowdy! both include changes in articulation, accents, syncopation, and a strong rhythmic drive that will appeal to be-ginning students. Book 2’s Scherzo is an energetic piece with changing meters , textures, and a showy ending, just right for a late elementary recital piece. Sprite’s Delight is in 6/8 meter and has the sparkle of a tarantella. Changing oc-taves and cross-handed arpeggios give this piece a showy appeal. A particularly clever composition in Book 3 (lower intermediate level) is Scale Train, opening with a legato ostinato bass and including scale “practice” for both hands (alternat-ing) and the syncopation and accents that do give the piece a “train” flavor. Book 3 also includes Handbell Joy, a showy, rhythmic piece in D major, with long pedals and bass resonance. Encore Toccata in Book 4 (inter-mediate) is reminiscent of Prokofiev’s Toccata (rather in the same way that the opening of Ravel’s La Valse re-minds one of the theme from Jaws.) Marked Presto, the student will be kept from speeding without brakes by the alternating of the hands on a single note. A ff ending and a low octave flourish give this piece great flair. White Heat in Book 5 (intermediate to late intermediate) has the appeal of a piece that sounds more difficult than it is. Something for what I con-sider “the permanent intermediate student.” Descending legato broken octaves in the left hand give a slight-ly ominous flavor, while the five fin-ger patterns of the right hand (six-teenth notes) are good practice for the student whether they know it or not. Again there is a brilliant ending, giving the piece recital appeal for performer and parents. The Toccata in F Minor (Presto con fuoco) has driving rhythmic motifs, change of meter, and a brilliant climax.

Robin Chadwick, NCTM New Music Review Chair

Local Chapters Chapter Spotlight

Puyallup Valley Hello from the scenic Puyallup valley, home of berry fields, Christ-mas tree farms and 26 enthusiastic music teachers from the surrounding communities of Puyallup, Edge-wood, Sumner and Graham! We are dedicated to the advance-ment of musical knowledge and edu-cation in our community. Our cur-rent membership includes piano, voice, violin and flute teachers who maintain a high standard of ethics and wish to stimulate interest in quality music and student achieve-ment. Many of our teachers are also members of the National Guild of Piano Teachers and the National Fed-eration of Music Clubs. Chapter programs and activities are crafted to fit the needs of each teacher and we believe that each teacher has both great value and spe-cial gifts that they are encouraged to share. We feature a 10-minute “Mo-ment for Motivation” at meetings where a teacher presents a successful way she/he problem-solves rhythm, practice tips, motivation, games, fees, etc. Any of these topics can easily turn into a one-hour program! One of our teachers has volunteer-ed her musical talents at a Headstart program where she has taught three classes every Thursday for the past ten years. Several years ago our chapter decided to collect funds to buy books for these needy children instead of exchanging holiday gifts for ourselves, so each child receives five books that we lovingly wrap at our November meeting. Winter Festival, a series of eleven recitals for students of all ages and levels, is held in February where graduating seniors are honored for their years of achievement. We are very pleased to award a $200 scholar-ship to each senior who has perform-ed in WSMTA Auditions for three years and upon the teacher’s recom-mendation. Seniors who have not met that criteria are still awarded a $50 scholarship for their years of study. Our chapter is proud to present the “Joy of Music” award to one de-

serving student in memory of Dar-ren Alexander (1975-1998), son of composer Dennis Alexander and piano teacher, Christine Alexander. The plaque is given at the first recital of the Winter Festival series. An an-onymous donor from our community provides a $1000 scholarship yearly, by audition, for a music student who plans to study music in college. In support of our teachers’ contin-uing study and performing, the “Tea-Time Gals” play at the April meet-ing. This year we had the most teachers ever – playing beautifully in a very supportive and appreciative setting! The Puyallup Valley Chapter is a very special group because we re-spect, support and deeply care for each other and all of our students! As we go into our 24th year as a chapter, we strive to learn more, to stretch our students more and to give more. There’s more than strawber-ries growing in the Puyallup Valley!

Mary Ellen Cavelti, NCTM Puyallup Valley Chapter President

Lake Washington Chapter

Co-Sponsors Music & Dance Workshop

Lake Washington MTA and Emer-ald Ballet Theatre are organizing a Music and Dance Workshop in March 2008. This workshop is de-signed to teach developing musicians and dancers to combine their talents to create a collaborative form of per formance art. This is a visual, kines-thetic and auditory approach to learning how music can be expressed and characterized. Format: Participating students will prepare a piece of music 1 ½ - 3 minutes long and record it on CD which should be submitted to Judy Huehn by Friday, January 18, 2008. Dance teachers will work on chore-ography. All will meet for the first time on March 15, there will be a seminar on Music and Dance and then students will rehearse together. Dress rehearsal and performance open to public on March 22, 2008.

Contact: Judy Huehn judy@judyhuehn.com

425-233-5506

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Bulletin Board

Greetings to all Composers! It is time to start work with your wonderful creative ideas once again. The WA State Federation of Music Clubs' Composition Contest deadline is Jan. 25. You have an opportunity to win cash awards, points toward a gold cup, and great adjudication of your work. If you place first or second in the state, your piece will go on to the regional contest, and possibly to the national contest. Contact Sharon Van Valin at 206-236-7394 for instruc-tions, information, and forms. She will be gone from Oct. 11-31 and Dec. 1-11

1983 Baldwin L 6’4” Parlor Grand

One owner, very carefully maintained,

suitable for large hall or home

Asking price reduced to $21,500

Gary Hind basinroad@comcast.net

Pianos for Sale Privately (Seattle/Olympia)

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a mass-produced instrument? Appraised at $52,000, asking just $21,500.

Gorgeous Hamburg Steinway,

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The CLARION – Nov., 2007 - Page 8

Washington State Music Teachers Association 4904 Hilton Road NE Olympia, WA 98516

f Dates & Deadlines s

Nov. 4: Dalcroze Northwest Chapter Workshop. For more info. call Julia Schnebly-Black 206-527-7034 or Mary Boyum 253-759-9928. Nov. 9-11: WSMTA Outstanding Artist Compe-tition, EWU, Cheney. Nov. 9-11: State Level MTNA Performance Competitions, Whitworth University, Spokane. March 29-April 2, 2008: MTNA 2008 Conference, Denver, Colorado. June 23-27, 2008: WSMTA 2008 Conference in Bremerton.

NON PROFIT US POSTAGE

PAID SILVERDALE

WA PERMIT NO 111

In This Issue

✺ Invitation to MTNA Performance Competitions (page 1)

✺ OAC Competition (page 3)

✺ Getting Ready for WSMTA Conference 2008 (page 1)

✺ Remember to visit your WSMTA website at : www.wsmta.net & see The CLARION in full color!