choral briefs midwest clinic performance anxiety - KBB Music

TERM 3, 2012 

CHORAL BRIEFS 

Handy hints for Secondary School 

Choral Directors 

MIDWEST CLINIC 

Recipient of the 2012 KBB Music 

Midwest Scholarship Announced 

PERFORMANCE ANXIETY 

Ideas on getting through it 

1 Random Notes Musical Instrument Specialists since 1888

Introducing Tour Time - the Music 

Tour Specialists and the Associate 

Sponsor of the KBB Music Festival 

Planning a Music Tour? 

Whether it is a choir, orchestra, symphonic band, pipe 

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around the world. 

Enjoy master classes and performing at local venues 

as you tour whilst enjoying the hospitality, new friends 

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great musical experiences wherever in the world you 

are. Music groups choosing to tour with Tour Time can 

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especially percussion where the size of a drum kit can 

intrude on the convenience of travel. Likewise, when 

strings break, reeds split and drum sticks go missing, 

our Tour Time travel managers have the contacts to 

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“Travelling to Argentina in April 2012 with 54 Students, 8 staff, 2 

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www.tourtime.co.nz 2 Random Notes • info@tourtime.co.nz 

Musical Instrument Specialists since 1888

KBB Music Takapuna 

Now Open! 

KBB Music now has a new store on 

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Located at 124 Anzac Street, Takapuna, 

KBB Music Takapuna is open seven days, 

and houses a great range of Pianos, Brass, 

Woodwind, Stringed and Percussion 

instruments and accessories. 

Staff at KBB Music Takapuna are all musicians 

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(previously at KBB Music Epsom) is a multiinstrumentalist 

and music producer; 

Jacob Nansen is the Piano/Digital Piano 

Specialist. With their backgrounds and 

musical knowledge, they can help students 

and teachers alike with any queries. 

So if you are on the Shore, do pop in and say 

hello! 


124 Anzac Street, Takapuna, Auckland 

Ph 09 489-4131, takapuna@kbbmusic.co.nz 

From left: Carvin and Jacob are the Instrument 

Specialists at KBB Music Takapuna. 

5 

10 

8 

12 

CONTENTS 

5 'Once-in-a-Lifetime' Scholarship for Director 

7 KBB Music Festival Update 

8 Dealing with Performance Anxiety 

10 The Midwest Clinic - Do You Hear What I Hear? 

12 Choral Briefs - Handy Hints for Secondary School 

Choir Directors: I Don't Believe You! 

14 Developing Music Literacy with Ukulele 

15 Composers Compare Notes at the CANZ Nelson 

Composers Workshop 2012 

16 Education Specials 

COVER PHOTO: David Squire directing the NZ Youth Choir. Photo by Tony Speakman. 

Random Notes is a free magazine for music teachers 

and educators in New Zealand published by KBB Music. 

Enquiries should be sent to: 

KBB Music, PO Box 9788, Newmarket, Auckland 1149. 

Freephone: 0800 775 226 info@kbbmusic.co.nz 

www.kbbmusic.co.nz www.facebook.com/kbbmusicltd 

KBB Music Education 

Ph 0800 775 226 ext 205 

school@kbbmusic.co.nz 

KBB Music Epsom 

157 Manukau Road, Epsom, Auckland 

Ph 09 630-2577 

KBB Music Auckland Central & Piano Showroom 

136 Karangahape Road, Auckland CBD 

Ph 09 309-1140 

KBB Music Botany 

Shop 42, Botany Town Centre, Auckland 

Ph 09 271-2642 


124 Anzac Street, Takapuna, Auckland 

Ph 09 489 4131 

KBB Music Wellington 

40 Cuba Street, Te Aro, Wellington 

Ph 04 472-2526 


EVENTS 

Musical Memos Calendar 

AUGUST 

NZCT Chamber Music Contest Final 

3-4 August, Auckland. 

www.chambermusic.co.nz 

Waikato IMS Band & Orchestra Festival 

10 August, WEL Performing Arts Centre 

For more information email John Wright 

heatherandjohn@clear.net.nz 

Hawkes Bay Festival of Bands 

12 August, Lindisfarne College, 

Hastings. Email John Snowling 

snowling.p.j@lindisfarne.hb.school.nz for 

more information 

Big Sing Finale 

16-18 August. Visit www.nzcf.org.nz for 

details. 

KBB Music Festival 

21-25 August, Holy Trinity 

Cathedral & St Mary's Chapel, 

Parnell. 

www.kbbmusicfestival.co.nz 

SEPTEMBER 

Central Ukulele Festival 

1 September, Arena 2, Palmerston 

North. CUF is an annual fun celebration 

of the ukulele for primary/intermediate 

schools in the Central area of the 

North Island. For school registrations 

and info about professional learning 

opportunities please visit 

www.centralukulelefestival.org.nz 

NZ Concert Bands Festival 

14-16 September, Gallagher Performing 

Arts Academy, Hamilton. 

Proudly sponsored by KBB Music. 

www.nzcba.org 

NZ Woodwind Competition 

14-16 September, Westlake Girls 

High School. Annual competition for 

Saxophone, Flute, Recorder, Clarinet, 

Oboe & Bassoon players. 

Entries close 1 August 2012. 

www.flutefocus.com/woodwindcompetitions.html 

OCTOBER 

KBB Music Young Performers 

Competition Finals 

28 October, Raye Freedman Arts Centre, 

Auckland. For entry forms and more 

information, email catherineb@apo.co.nz 

NOVEMBER 

Gisborne International Music Competition 

25 November - 1 December, War Meorial 

Theatre, Gisborne. A competition for 

Musicians aged 16-25 years. Entries close 

28 September 2012. 

www.gisbornemusiccompetition.com 

DECEMBER 

NZ Ukulele Festival 

1 December, The Trusts Stadium, 

Waitakere, Auckland. 

www.nzukulelefestival.org.nz 

JANUARY 2013 

2013 Music Education Conference 

Tuituia: towards a world of light through 

music and dance 

7-10 January, 2013, Hamilton. A 

collaborative venture between Waikato 

University, the NZ Orff Association (ONZA) 

and the Music Teachers Association 

(MENZA). www.tuituia.ac.nz 

2013 National IRMTNZ Conference 

"Music in Time" 

14-18 January, 2013, Raye Freedman Arts 

Centre, Auckland. 

www.irmt.org.nz 

If you would like your event listed in 

Musical Memos, please email details to 

jennifer@kbbmusic.co.nz 


'Once-in-a-Lifetime' 

Scholarship for Music Director 

DEVELOPMENT 

KBB Music is pleased to announce Auckland teacher, Milica Zjajic-Moon, as 

the recipient of the 2012 KBB Music Midwest Scholarship which will take her to 

the world’s largest instrumental music education conference in Chicago, USA 

later this year. 

Now in its 66th year, the Midwest Clinic is 4-day International Band and 

Orchestra Conference held annually in Chicago with the sole purpose of raising 

the standards of music education and enriching music educators through 

workshops, concerts and exhibitions. 

"I was ecstatic when I found out," says Mrs Zjajic-Moon. “I am honoured to 

receive the KBB Music Midwest Scholarship" 

The KBB Music Midwest Scholarship is a unique professional development 

opportunity open to all music educators/directors of bands or orchestras across 

New Zealand. 

“We received a record number of applications this year," says Andrew 

Chamberlain, General Manager of KBB Music. "It has been a pleasure to offer 

the scholarship to Milica who through programmes in both practical and 

academic areas, has demonstrated the ability to increase students' participation 

in music, and contribute to youth music education in the country." 

Mrs Zjajic-Moon is the Head of Music Department and Arts Faculty at 

Mount Albert Grammar School. She currently directs the school's Concert Band 

as well as co-ordinating the Rock Band, among others. 

"I can't wait to get to Chicago and attend all the exciting workshops, 

concerts and presentations on offer," says Mrs Zjajic-Moon. "It will be a once-ina-lifetime 

opportunity, and I am particularly looking forward to meeting some 

of the composers and arrangers whose music I have performed with the school 

orchestra over the past decade." 

Past winners of the KBB Music Midwest Scholarship include Michelle 

Flint (St Paul's Collegiate School), Victoria Brown (St Peter’s School, Hamilton), 

Hamish Arthur (itinerant music teacher), Alastair Monteath (itinerant music 

teacher), Kathleen Mulligan (St Cuthbert’s College), John Snowling (Lindisfarne 

College), Antun Poljanich (St Peter’s College), Peter Thomas (Epsom Girls 

Grammar School), Stewart Stanbridge (Waikato Academy of Music) among 

others. • 

Milica Zjajic-Moon, recipient of the 2012 KBB Music 

Midwest Scholarship is looking forward to attending the 

Midwest Clinic in Chicago this December. 

KBB Music Welcomes New Member 

to Education Team 

It is with great pleasure that we welcome 

Roger Cleave as the Music Resource 

Specialist, based in Christchurch. 

Roger brings a wealth of experience to 

this position, having worked in the music 

retail field for twelve years, and as a multiinstrumentalist 

playing in professional and 

social bands for over 25 years. 

Roger's experience as a composer, arranger 

and producer for musical productions, albums 

and musical events, means that he has a 

wide knowledge of musical instruments and 

equipment for all situations, and will be able 

to provide suitable solutions for your music 

classroom. 

Roger will be in contact with schools in the 

South Island in the coming months. 

Having Roger work closely with our Aucklandbased 

Music Education Resource Specialist, 

Mitch Golner, we feel that we are now 

positioned better than ever before, to provide 

your school music programme the most 

comprehensive range of products at the best 

prices available in New Zealand, backed by a 

service ethic second to none. 

In his own words, Roger insists that 'music 

isn't just a passion, it's my life'. So if you have 

any questions about music and music-making 

at your school, then give Roger a call on 

027 703 9120 or email roger@kbbmusic.co.nz 

Freephone 0800 775 226 www.kbbmusic.co.nz 5

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KBB Music Festival Update 

An update on the 2012 KBB Music Festival by 

Chairperson Dr. Trevor Thwaites. 

Welcome back to Term III. Christmas will soon be 

here, but not before the KBB Music Festival, the main 

event in your calendars, has taken place. Judging by the 

entries, this year promises to be an outstanding event. Let 

me remind you of the date and venue: 

Tuesday 21 to Saturday 25 August, 2012 as the dates for 

the Festival. 

Venue: The Holy Trinity Cathedral and St Mary’s Church, 

Parnell 

The Gala Concerts will be at 2.30pm and 6.30pm on 

Saturday 25 August, so put this in your diary as a mustattend 

event. Saturday morning is reserved for the Fringe 

Festival for non-competitive entries. 

For the competitive entries, let me remind you of the five 

categories against which you will be marked: 

Technique: which considers the technical skills of the 

ensemble, as well as the technical demands of the music. 

Accuracy: in particular this pays attention to accuracy of 

notated articulation, expression, pitch and rhythm, as well 

as intonation. 

Musicianship: establishes how effective and affective the 

musical performance is in terms of stylistic integrity, feel, 

sensitivity and portrayal for the composer or arranger’s 

intentions. 

Cohesion: considers the balance between the parts, the 

togetherness of the ensemble in the production of a cohesive 

overall sound. 

Presentation: gives consideration to how effective and 

convincing the performance is, as well as audience rapport 

and general comportment and (professional) attitude while on 

stage. 

It is often estimated that to become an expert musician you 

need to have put in over 10,000 hours of practice. This means 

that practicing for two hours per day, seven days a week for 

twelve years or more should bring you close. However, there 

are ways to practice and ways of not practicing. Meaningful 

practice with planning, intent and reflection is beneficial, 

but simply practicing the same old routines day after day, 

year after year with no specific goal in mind is less likely to 

produce expertise. I have a friend who says “practice makes 

permanent” and we might take this to mean that if we install 

bad habits into our practice routines, then repeating these 

year in year out makes the habits harder to break once 

someone tells us what is wrong. 

Recently, I noted in an old conducting text the library 

were throwing out the sane advice that technique means 

establishing the simplest and most comfortable way to 

produce the desired musical sound and effect (paraphrased). 

See you in August. 

Trevor Thwaites 

Chairperson 

KBB Music Festival 

New Technician Onboard 

Originally from Kansas, Jennifer Wiegel moved to Auckland in June 

this year with her young family to join KBB Music’s Technical Team. 

Before coming to New Zealand, Jennifer, 

or Jenny as she is known at KBB Music, 

was an instrument repair technician at 

Senseney Music in Kansas where she 

repaired and restored woodwinds, brasswinds, 

and orchestral strings for the last 8 

years, as well as guitars for a year. 

"Orchestral strings and woodwinds are my 

speciality and favourites to work on," says 

Jenny who is proficient on most woodwind 

and orchestral string instruments. "I also 

enjoy custom woodwork." 

“It took over a year to find a technician 

that has the level of skill that we were 

looking for,” says Michael Austin, KBB 

Music’s Technical Manager. “Jenny 

brings with her a diverse range of skills 

and knowledge gained by working in a 

workshop with six technicians.” 

Jenny attended Kansas State University 

(KSU) and Wichita State University (WSU), 

graduating with a Bachelor of Arts in 

Music with emphasis on Clarinet, as well 

as Musicology. 

“I knew straight away that I would apply 

for this job,” says Jenny. “And I am 

enjoying the new surroundings now I’m 

here!” 

Jenny is based in KBB Music's repair 

workshop in Epsom, Auckland. • 


Dealing with 

Performance 

Anxiety 

By Trevor Thwaites 

As the KBB Music Festival approaches we get more excited 

about the performances we might be giving or hearing. Often 

this excitement can get channelled in the wrong direction 

and suddenly morph into panic or nervous tensions. How we 

deal with pre-performance anxiety is a critical factor in the 

production of a successful performance. 

For me, knowing the music inside and out is important. As 

a percussionist, if I’m working with orchestral or big band 

scores, then analysing these and addressing any tricky bits is 

critical. If I’m playing music learned aurally from recordings, 

then I steep myself in the style of the music or a performer’s 

catalogue of recordings in the weeks or days beforehand, 

until I feel part of the genre. Where I might have tricky mallet 

parts in an orchestral or similar score, I mentally practice the 

stickings and the leaps etc, often several times a day. For very 

complex sections, I try to find the main harmonic guide tones 

that run through the specific section, so that if I do came adrift 

I can soon regain my place, and composure, through aurally 

recognising where I am. 

If playing drums in a jazz situation, knowing the tunes (heads) 

is very important, especially if I’m the one counting in. In these 

situations I mentally run through the first set before going on 

stage. People don’t make me nervous, not being musically 

prepared does. 

Warming up can be difficult for percussionists, and even if you 

do so immediately beforehand, you may not play anything 

technically demanding in an orchestral context for 40 minutes 

or more. This means being in a state of physical relaxation 

while also being mentally alert so that you play the part 

effectively when it comes up. Being tense produces nervous 

sounding music. I trust my body and find that before a big 

performance I often become overwhelmed by a feeling of 

absolute exhaustion and find myself wondering how on earth 

I’m going to be able to perform effectively in a few hours 

time. In learning to trust my body I find that sure enough, in 

the thirty minutes or so leading up to the performance, my 

body kicks in and I’m ready and eager to play. Playing the 

music becomes everything for me. 

I asked my secondary music teacher education graduate 

students how they deal with performance anxiety. All are 

experienced performers and here are some of their responses 

categorised under three headings—wellbeing, mental 

preparation, physical preparation: 

Wellbeing 

• Deep breathing before the performance 

• A good sleep the night before, or one in the afternoon 

prior to a performance 

• Putting lavender essential oil on a tissue and breathing in is 

relaxing 

• Tai Chi or movement exercises 

• A small squirt of Arnica liquid on my tongue seems to calm 

me down. I know musicians who use other herbal aids such 

as Rescue Me 

• Don’t eat too much before a performance 

• A small amount of physical activity to activate the body, I 

then do warm-up exercises and mentally run through the 

whole performance. I follow this process every time 

• An intake of ‘carbo food’, such as a banana, 90 minutes 

before a performance 

Mental preparation 

• Being well-prepared and run through the various stages of 

the performance mentally, including the coming on and off 

the stage 

• I run through the tricky parts in my head, with the 

music in front of me but no instrument 

• I think to myself that no one will notice my mistakes 

in that they are less important than the total 

ensemble performance 

• Confidence creates a confident performance 

• I tell myself not to worry, getting nervous/anxious is 

normal for performers 

• I like to find a quiet place, perhaps in the green or 

warm-up room, and look over the music 

• I try to put worrying about the performance as 

something to do after the performance is over – 

reflecting on how to improve for next time 

• I try not to worry or focus upon the expectations of 

others (fellow performers or audience) and simply 

try to meet my own expectations 

• As a singer I like to focus on the character or story 

of the lyrics 


• Mentally imagine the feel of the music, breathe 

deeply for a short time and then get excited about 

the imminent performance. 

Physical preparation 

• I personally find that taking a break from practicing the 

day before and big performance helps. I also seem to 

play better if I limit how much I play directly before the 

performance. 

• Warm up properly before the performance 

• Practise slowly to warm up 

• Mentally reading the score and then playing from 

memory 

• I avoid any last minute fast and intense practising just 

before a performance 

• Be as musically prepared as you possibly can be 

Study music 

at New Zealand’s leading University 

The School of Music 

offers majors in: 

Classical performance 

Composition 

Jazz performance 

Musicology 

Popular music 

Trevor Thwaites has performed internationally in a wide variety of groups 

ranging from orchestral to jazz, professional theatre to big band, session 

musician to covers. He is the musical director of the Prohibition Big Band; 

plays vibraphone in the six-piece jazz group Emergency Exit, and is also 

the drummer in Crystal Silence, the Craig Williams Trio and the Stevie G 

Band. Trevor was Chairperson of the Music Advisory Group responsible 

for the development of unit standards in Music (1995 - 2002), a member 

of the expert panels in developing achievement standards in music (2000 - 

2012), National Moderator Music 2000 (unit standards) to 2007; and project 

Director for Music in the writing of The Arts in the New Zealand Curriculum 

(1998 - 2000). He is Principal Lecturer in Music Education at The University 

of Auckland, and since 2011, the Chairperson of the Auckland Secondary 

Schools Music Festival Trust which administers the annual KBB Music Festival. 

Find out more: 

www.creative.auckland.ac.nz 

Courses and Careers Day, Sat 25 Aug, 2012 

0800 61 62 63 | info-creative@auckland.ac.nz 

Evean Hunt - winner 

Songwriter of the Year 2011 

Schools Competition 


Do You Hear 

What I Hear? 

Michelle Flint from St Paul’s Collegiate School 

traveled to the world's largest music education 

conference in Chicago on the KBB Music Midwest 

Scholarship in December 2011. 

Michelle Flint 

While there she was most inspired by clinician 

Richard Floyd's seminar on Do You Hear What I Hear? 

The ear can’t hear what the mind can’t imagine” 

- Gunther Schuller 

The Lion in the Rock 

A man was carving a stone and a little boy was watching, 

curious to see what the man was doing. “Sir, what are you 

doing?” asked the little boy. “You may stay there and 

watch”, said the man, “but you must not say a word”. The 

boy watched the man carving away at the stone. Each 

day he visited the man to see the progress he had made. 

Finally, after many days, the carving was finished. The little 

boy approached the man and did not say a word. “Don’t 

you have anything to say?" asked the man. “You told me 

to stay quiet”, said the boy. “Do you not have anything 

to ask me about the work I have done?” replied the man. 

“Yes”, said the boy. “How did you know that lion was 

inside that rock?” 

Richard Floyd 

Richard Floyd, UIL State Director of Music at the University 

of Texas was one of the most inspiring clinicians at the 

Midwest Clinic in Chicago during my visit in December 

last year. The conference offers a plethora of clinics, 

concerts and rehearsal labs which offer outstanding 

educational clinics, concert performances and an exhibit 

hall that highlights all the latest “cutting-edge” materials in the 

music world. With the assistance of the United States Army Band 

the clinic, offered by Richard Floyd, focussed on the multiple kinds 

of listening that are critical factors in determining the effectiveness 

of rehearsals, offering strategies to refine these proficiencies. 

Tuning 

Richard began with a focus on tuning. He said that it is important 

to instruct the ears to listen and that playing in tune is to ‘serve the 

music’ not just for the sake of playing in tune, this is meaningless. 

We all listen for different things and perfect intonation is virtually 

unattainable, especially on a brass instrument. Musicians have 

to constantly adjust (tuning slides etc) to ‘create the illusion of 

perfection’. Rehearsals should begin with ‘Inclusive Listening’ 

using chords based on root “C”, so, C Major, C Minor, C Dim, C 

Aug, all of the above plus an added 6th, 7th, maj, min, dominant, 

diminished etc. When tuning the chord always tune the root first, 

followed by the 5th and finally the 3rd. The goal is to move the ear 

from ‘Unconscious Incompetence’ (not hearing) to ‘Unconscious 

Competence’ (hearing it and doing something about it). 


DEVELOPMENT 

Richard suggests that there are three types of tuning: 

• Unison and octave tuning - It is or it isn’t 

• Melodic tuning - Hear reality as opposed to your 

“inner music” 

• Harmonic tuning- Just intonation rules. 

“We must learn to listen from a musical mind-set as opposed 

to a pedagogical mind-set”. 

people in your section. Finally connect ‘Globally’ with the 

whole band, orchestra or group. 

Phrasing 

Think of music as one line of gesture of connection and make 

the bar lines evaporate. Phrases are sentences, the essay is 

the whole work. 

Rhythm and Articulation 

Musicians know you cannot keep time. 

Music travels in time and musicians take a ride. 

Tempo is liquid, like water it seeks its own level. 

A good tempo is discovery. 

- Bruce Adolphe 

“Metronomes can tell you that you 

are in time but not in rhythm”. All 

music has a heartbeat and we have 

to connect with its inner pulse. 

“To play with the metronome is 

to play mechanically - the reason 

being, of course, that we are then 

playing by the measure, or rather 

by the beat, instead of by the 

phrase. We have created a dead 

body in place of the living musical 

organism with its ebb and flow of 

rhythmical energy”. 

- Daniel Gregory Mason, grandson 

of Lowell Mason 

Before the first note articulation 

must be considered. There are 

infinite ways to articulate just as 

there are infinite ways you can exhale. Articulation is about 

note shape not tonguing. Note shape includes the ‘front end’ 

of the note, the ‘duration’ of the note and the resonance and 

‘weight ‘of the note. 

Balance, Blend and Dynamics 

The challenge is to hear the ‘inner voices’. Students must 

be able to hear internal lines whilst the melody is playing. 

Dynamics must have proportion and ‘serve’ the music. A 

good way to connect with other players around you is to take 

a ‘Global Perspective’. First of all connect ‘Locally’, with the 

persons on either side, next connect ‘Nationally’, with the 

“When the technical problems of finger dexterity have been 

solved, it is too late to add musicality, phrasing and musical 

expressing. That is why I never practice mechanically. If we 

work mechanically, we run the risk of changing the very nature 

of music”. 

- Daniel Barenboim 

Richard Floyd was a master at his 

art. He very cleverly used the United 

States Army Band to get across all of 

his strategies. As musical directors we 

all face the challenge of developing 

listening skills that serve to maximise 

rehearsal efficiency. 

In my first article I mentioned the 

opening speech by Richard C. Crain, 

President of the Board of Directors at 

the Midwest Clinic. I can’t finish this 

article without sharing with you his 

words of wisdom. 

“Teaching is a most noble profession. 

Instrumental music directors have the 

opportunity to reach more students 

in a school than teachers of any other 

discipline…. You possess the unique 

ability to literally change the lives of so 

many young people who choose to be part of their school’s 

music programme. You offer your students the priceless 

opportunity to enjoy, appreciate, support, and participate 

in music throughout their lives. You definitely make a 

difference”. 

Once again I would like to thank KBB Music for giving me 

the opportunity to attend the Midwest Clinic in December 

2011. The experience was invaluable to me. Thank you also 

to St Paul’s Collegiate School Hamilton for financial assistance 

to make this trip possible. Special thanks to Simon Hocking 

from House of Travel for his organisation of all my travel and 

accommodation. • 


CHORAL BRIEFS 

Handy hints for Secondary School Choir Directors 

I Don't Believe You! 

by David Squire, Schoir Ltd 

David Squire. Photo: Tony Speakman 

In the Random Notes article last term I mentioned 

that there were two things separating singers from 

other musicians, the first being that the instrument is 

inside the body, rather than ‘attached’ to it. I didn’t 

reveal the second difference, but promised I would this 

term. It is, of course, the added dimension in almost all 

vocal music: text. 

This is a double-edged sword for singers. There are issues 

of mechanics: the pronunciation of varying languages, 

consonants that can interrupt the legato cantabile line, 

regional dialects that hinder correct vowel placement, and 

even something as basic as enunciating clearly enough 

to be understood by the audience. There are also issues 

of understanding: ambiguity and intuitive meaning in 

the poetic language (and this can include foreign poetic 

languages), accurate syllable accents, compositional 

context, and character conveyed via various emotive 

pathways. 

However, there is a huge advantage to having text: it is the 

singer’s primary guide to the musicality inherent in a song. 

In fact, it all starts from the text. Provided the composer 

has set the text in a way that reflects the intent of the 

words, it becomes the singer’s basis for finding the finesse 

of the performance. 

Unfortunately, all too often this is ignored. As a choral 

adjudicator, I have heard many choirs sing works in 

such a way that I know they have no concept of the text 

“Singers in my choirs are all used to 

hearing me say a four-word phrase: 

'I don't believe you.' The moment I am not 

convinced that they are singing in a manner 

appropriate to the text, out it comes.” 

meaning. For example, how can one sing Vivaldi’s Gloria 

with a bored and serious face? If someone is singing the 

jazz standard I Can’t Give You Anything But Love, and they 

look disengaged and uncomfortable, then the audience 

(who effectively become the subject of the song) will not 

be inclined to give the singers a second chance. The mood 

in such a piece needs to be more alluring and less selfpitying! 

Singers in my choirs are all used to hearing me say a fourword 

phrase: “I don’t believe you.” The moment I am not 

convinced that they are singing in a manner appropriate 

to the text, out it comes. No doubt it annoys them, but it 

certainly keeps them honest, and usually has the desired 

effect – to remind them that integrity in singing is vital if 

they are to convey the message to the audience. It doesn’t 

matter if they believe it themselves or not. As singers they 

are required to convince the audience that they do, to 

suspend disbelief, in the same way that actors do. This 

requires a certain uninhibited approach to the music that 

many teenage singers find difficult to deal with, but must 

be encouraged to attempt and then perfect. 


For the choral director, this means doing a little research. 

Find out about the poet or lyricist. Examine the context 

of the text: when it was written, what for, who for? If it’s an 

excerpt from an opera, oratorio, cantata or musical, what 

is the dramatic context of the song at that point in the 

work as a whole? If the work is in a foreign language, ask 

a proficient speaker to give you a direct translation – and 

to explain the poetry and how a native speaker might 

read more into the text than a non-native speaker would. 

Don’t rely on a paraphrase – these are usually inaccurate 

(especially the sung paraphrase written in the choral 

arrangements, which are not word-for-word and therefore 

do not follow the natural text shape of the melodic line). 

Once your students are singing the work, ask them often 

what each word or phrase means. Each singer will have 

their own idea about the meaning, and many of these will 

be valid. Draw on their ideas and come to a shared vision 

of the work. It will make things so much more meaningful 

for the choir as a whole. 

At the 2009 NZCF Sing Aotearoa Festival in Rotorua, 

former King’s Singers member Simon Carrington gave a 

seminar entitled Tasting the Text – the Missing Ingredient. 

This mixing of the senses and allusion to a recipe for 

choral technique is very useful in this context. He describes 

singers as having the “unique privilege of singing 

words,” and says that choirs must focus not just on the 

mechanics of vocal technique, but also on the "organs of 

communication: the mouth, lips, tip of the tongue, eyes.” 

The end result of all this work to reflect the text? An 

effective and convincing performance that transports 

the audience to another time or place. Anyone who saw 

the King’s Singers on their recent tour to New Zealand 

will have seen evidence of this. Nothing is ever ‘half 

done’. Each piece is spellbinding. On the other hand, I 

have heard several professional-level choirs where the 

standard of singing is top-notch, the intonation flawless, 

the gradation of dynamics impeccable… but there is still 

something absent – passion, emotion, believability. All 

these come from the text. 

If you want somewhere to start, think about our own 

national anthem. Say the first two lines as if it was a 

poem, rather than a song. Now think about the word 

stress, elision at the ends of lines, the meaning. Once I 

had done this, I realised that I could never sing it again 

without a comma after “nations”, and with a breath 

after “feet” – despite the impression that 99% of the 

population sings it like that. If you really think about it, 

the meaning is almost reversed when sung that way! • 

David Squire is music director of the New Zealand Youth Choir and 

several secondary school choirs, orchestras and bands in Auckland. 

Formerly a HOD music, he is now a freelance itinerant teacher 

based at Westlake Girls & Boys High Schools, Long Bay College 

and Kristin School. A conducting mentor for the New Zealand 

Choral Federation Association of Choral Directors, he is available 

for choir workshops and conductor training. 

Contact him at schoirltd@gmail.com, or check out his website: 

www.davidsquire.co.nz 

David Squire directing the NZ Youth Choir. Photo: Tony Speakman

Developing Music Literacy 

with Ukulele 

By Maria Winder, music consultant, The Sound of Music Education 

& Trustee of NZ Ukulele Trust 

Photo: Trevor Villers 

For thousands of children in New Zealand, ukulele learning is opening 

up a whole new world of music knowledge and skills. 

Music knowledge and skills such as: 

• Learning to read ukulele TAB and chord charts and to 

strum and pick in a variety of styles 

• Developing understandings about keys, chord 

progressions and intervals 

• Learning to sing and to accompany singing 

• Learning to play by ear and to improvise 

• Learning about the structure of songs and to write original 

songs 

• Developing the ability to cooperate, negotiate, encourage 

others and participate in reciprocal music learning 

• Developing performance skills 

Cracking the Code - Reading Ukulele TAB 

Each of the horizontal lines in the TAB represents one of the 

strings on the ukulele. 

Hold your ukulele with the strings facing 

you. The top line of the TAB is the A 

string. This takes a little getting used to 

because it seems like it’s upside down. 

The line below the A string is the E string, 

the line below that is the C string and the 

bottom line is the G string (the one that’s 

closest to you when you are playing). 

The numbers that appear in the TAB indicate which string to 

play and which fret to put your finger on e.g. 0 indicates to play 

the open string; 1 indicates to put your finger on the first fret; 2 

indicates to put your finger on the second fret etc. 

When notes appear one after the other, horizontally in the TAB, 

you play them in sequence. The above TAB shows a C Major 

scale. 

Comparing notation systems 

Many ukulele musicians are new to reading music and once 

they crack the TAB code they often find it easier to understand 

other forms of notation e.g. C written in ukulele TAB = C note 

letter names on tuned percussion and keyboard = C written in 

conventional notation. 

NZ Ukulele Trust offers performance and songwriting opportunities for 

both primary and secondary school students. 

See www.nzukulelefestival.org.nz for details. 

• NZ Ukulele Development Squad Primary and Intermediate School 

students can apply to be part of the Development Squad, a group 

of approximately 35 students who perform as part of an orchestra, 

playing instrumental arrangements. Applications close 30th July. The 

Development Squad will perform at the Auckland Town Hall as part of 

the APPA Music Festival on 21st November and on the main stage at 

the NZ Ukulele Festival on 1st December. 

• APRA Uke-Can-Do-It Songwriting Competition has 3 categories: 

Primary, Secondary Students and Adults (so teachers can enter too!) 

Winners receive cash prizes and are invited to perform at the NZ 

Ukulele Festival. The overall winner will also receive a recording prize 

from MAINZ. 

• Ukequest encourages students to develop solo and group 

performance skills. Ukequest is a covers competition for Intermediate 

and Secondary School students. Groups must feature the talents of at 

least one ukulele player. 

• Kiwileles is the famous NZ Ukulele Trust massed schools orchestra. 

Over 2000 children from 117 schools in Northland, Auckland and 

Waikato have registered this year. The registration cost of $110 per 

school includes the 2012 Kiwileles Songbook and CD, 2 workshops for 

teachers, 6 regional rehearsals and the opportunity to participate in the 

Kiwileles performance and other activities at the NZ Ukulele Festival. 

Take up the challenge. Go to www.nzukulelefestival.org.nz and 

encourage your students to get involved. The ukulele is fun and a truly 

happy musical experience for both teachers and students alike. 


Composers Compare Notes 

at the CANZ Nelson 

Composers Workshop 2012 

By Glenda Keam, President of the Composers 

Association of New Zealand 

Alex Taylor (violin) and Jeremy (piano) rehearsing 

a student work. Photo: James Gardner 

For five days in early July of each 

year, the Composers Association of NZ 

runs the Nelson Composers Workshop, 

convened by two dedicated and 

energetic members of CANZ. Nearly 30 

student composers from tertiary level 

study and sometimes upper secondary 

school come to Nelson from around the 

country, along with composer mentors, 

performers and observers, all of whom 

find this a valuable forum for discussing 

technical, practical and aesthetic 

considerations involved in the act and 

process of composition. 

This year’s workshop took place between 

1 and 5 July, and was convened by Mary 

Binney and Anthony Young, whose 

many months of preparation brought 

together a very interesting group of 

composition-minded people. This year’s 

mentors were Chris Adams, Virko Baley, 

Rachel Clement, David Downes, Robbie 

Ellis, John Elmsly, James Gardner, Chris 

Gendall, Thomas Goss, Ross Harris, 

Glenda Keam, Ryan Youens and Anthony 

Young. Other musicians also attended 

parts of the workshop, including Leonie 

Holmes and Richard Nunns. There 

were many fine professional performers 

who brought the new works to life 

very effectively, including members of 

175 East and the NZSO. 

Each year since 1982, when Jack Body 

initiated the first such gathering in 

Nelson, the workshop has enjoyed the 

facilities offered by the Nelson School 

of Music. Their beautiful old building 

in central Nelson offers a large concert 

hall space, a discussion room, catering 

space, and the ever-necessary rehearsal 

rooms. Most participants stay at the 

Nelson YHA, which is a great place to 

continue compositional conversations 

over breakfast or dinner. 

The format of the workshops is that each 

student work is performed, and then the 

composer (and their mentor) participates 

in a discussion about what went well, 

what might have been done differently, 

how to use the instruments well, and 

what was challenging about the work. 

Hannah Bright demonstrating her piano score 

(Blas Gonzalez at the piano). Photo: James Gardner 

Everyone learns from everyone in this 

environment, and it’s a fabulous way to 

find out more about composers in other 

parts of the country. These days, thanks 

to modern technology, all workshop 

performances are efficiently and expertly 

recorded, so each student composer 

has a CD of their new recording by the 

end of their discussion. 

Mornings are the time for rehearsals 

(composers working with the performers 

and their mentor), while the afternoons 

and evenings feature workshop 

performances and discussions, 

focused on an impressively varied and 

accomplished range of new works. 

For those not involved in rehearsals 

in the mornings, there is a series 

of presentations from participating 

composers talking about works in 

progress or recent compositional 

approaches. 

This year’s format was slightly different 

from most, in that one workshop 

session was devoted to performing 

15 microscores written by participants 

specially for the lineup of bass clarinet 

(or contrabass clarinet), violin and viola. 

To hear such compositional ‘snapshots’ 

rubbing shoulders with each other, and 

hear such fresh new music from so many 

people in one room, was really an earopener. 

The Workshop opened with an evening 

concert of recent works from New 

Zealand and beyond, and the final 

evening was rounded off with a New 

Zealand Music Quiz, with six teams 

competing fiercely. I’m looking forward 

to next year’s workshop already; the 

convenors in 2013 will be Anthony Young 

and Louise Webster, and I am keen 

to hear how the various participants’ 

music develops through another twelve 

months. • 

Reuben Jelleyman discussing his work. 

Photo: James Gardner 


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16 Random Notes

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18 Random Notes 

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BOOBWPG RRP $38 T3 SPECIAL $30 

BOOBWDG RRP $53.95 T3 SPECIAL $40 

BOOBWKG RRP $62.95 T3 SPECIAL $50 

BOOBWJG RRP $79.95 T3 SPECIAL $60 

BOOBWJG 

Bass Diatonic Set 

BOOBWKG 

Bass Chromatic Set 

TERM 3 

SPECIAL 

8-PACK 

OCTAVTOR 

CAPS 

Drops tube 

tones by an 

octave. Play as 

usual or hold 

vertically and 

tap on the floor. 

RRP $25 

$ 

15 



REMET7110 

KIDS LOLLIPOP DRUM 

Designed and shaped like 

a lollipop, kids will love to 

play with this pre-tuned 

graphic drumhead. Mallet 

included. 10". Other sizes 

available (6" and 8") 

EDU 

SPECIAL 

RRP $51 

$ 

43 30 

KIDS PERCUSSION 

DOUMBEK 

Although similar in shape to 

the West African Djembe, 

the Doumbek is based on 

the drums of ancient Egypt 

and Persia. Play using 

individual finger strokes and 

snaps. 

REMKD508001 

KIDS FLOOR TOM 

10"x7.5", the compact size 

of this floor tom makes 

it just right for classroom 

drum circles, and can be 

played with hands, mallets 

or sticks. For age 3 and 

order. 

EDU 

SPECIAL 

RRP $122 

$ 

103 70 

KIDS KONGA - 6" 

Winner of the prestigious 

Oppenheim Gold Seal Toy 

Awards for product quality, 

kids enjoy playing this 

Konga standing up using 

the nylon shoulder strap 

included, or just sitting and 

playing for pure fun. 

Sample a 

MANHASSET 

Music Stand 

REMKD030601 

EDU 

SPECIAL 

RRP $132 

$ 

112 20 

REMKD150601 

EDU 

SPECIAL 

RRP $142 

$ 

120 70 

...and get one 

FREE! 

• All components are made in the USA 

• High quality, durable hardware 

• Lightweight desk resistant to bending 

or breaking 

• Made with the utmost precision and detail 

• No plastic joints 

• Backed by a 10 Year Warranty 

HURRY! Only 30 Manhasset 

Stand samples available. 

HOW THIS WORKS: 

The western world's first full-time solo 

percussionist, Dame Evelyn Glennie has won 

a Grammy, been awarded the DBE, toured 

the world repeatedly for 25 years and played 

in Oscar the Grouch's Junk Band on Sesame 

Street. This is all pretty remarkable, but when 

you discover that Glennie has been profoundly 

deaf since the age of 12, it's even more 

astonishing! 

A musical child from a musical family in a 

musically-rich region (Aberdeenshire, Scotland), 

it seems like music was in Glennie's blood right 

from the start. She has certainly had to defy the 

odds to make it to where she is today, and her 

techniques and skillset are utterly unique in the 

world of music - performing barefoot, Glennie 

'feels' her music through the instruments' 

vibrations. "I really believe that the body just 

opens up and becomes like a huge ear, in a 

way," Glennie says. "It literally involves opening 

up all the senses, using the eyes - the sense of 

sight - and really concentrating on that sense of 

touch to gauge the dynamics and to gauge the 

sound's colour." 

And what more colourful sounding instruments 

than Boomwhackers? The brightly coloured 

musical tubes are just one of more than 

1800 instruments in Glennie's collection, 

and she's extremely fond of them. "I've had 

Boomwhackers myself for a number of years, 

and I use them for all sorts of things," she says. 

"They're so adaptable for the kids, but then 

of course adults become curious about them 

as well! They discover that they can take part 

and have fun with the kids. You don't have to 

feel as though you have to be a musician or a 

percussionist or something like that. For me, 

obviously I'm using them more as a musical 

instrument, and in a musical context. A real 

thing for some media music, TV or film music, 

that type of thing. Sometimes I use them just 

as a kind of demonstration, when I'm using 

different percussion instruments, and it's just 

something that's so lightweight and easy to fit 

in the car. They're just really handy!" 

As well as her Boomwhackers fun, Glennie's 

currently got loads of projects on the go, 

including children's book (including an 

autobiography specifically written for young 

readers), a jewellery range, motivational 

speaking all over the world - as well as all her 

touring, of course. Make sure you go and see 

her when she's next in your town, as she's truly 

inspirational. 

Source: UK GEAR Magazine 

Call 0800 775 226 ext 205 or email school@kbbmusic.co.nz to order 

1. If you are a school or an orchestra, 

contact KBB Music to sample a 

Manhasset 4801 Symphony Stand. 

2. We'll send you a sample stand for 

you to trial with a product survey. 

3. Complete and return the product 

survey on the stand to KBB Music 

within 2 weeks of receiving the 

stand. 

4. Keep the Manhasset stand! 

5. Get one FREE Manhasset 

Director stand per any 

subsequent orders of 

24 stands as a result of 

the sampling. 

Contact Mitch @ KBB Music 

0800 775 226 ext 205 

school@kbbmusic.co.nz 


21

CLEARANCE 

ROCKSCHOOL BOOKS 2006-2012 

Rockschool are releasing a new syllabus later this 

year, the current books (2006-2012) however, are 

still able to be used for next year's exams. 

As Rockshop books are graded they are also 

great for internal assessment and standard 

repertoire. Great time to stock up at great prices! 

HURRY! LIMITED STOCK. (Please note special 

prices on in stock items only. Standard EDU 

discount applies for any books that need to be 

ordered in) 

GUITAR, BASS, DRUMS, OR PIANO/KEYBOARD 

DEBUT 2006-2012 RRP $35 T3 SPECiAL $25 

GRADE 1 2006-2012 RRP $35 T3 SPECiAL $25 








JUST RELEASED! 

A NEW TUNE A DAY: POP PERFORMANCE PIECES 

An inspiring collection of pop songs, clearly presented 

with playalong CD for the advanced beginner. The 

pieces have been chosen and arranged to build a 

repertoire of pop songs for performance and for fun, 

and include classic hits from The Beatles, Michael 

Jackson, Coldplay, Rihanna and Taylor Swift. 

NEW! 

NEW! 

AVAILABLE FOR FLUTE, CLARINET, ALTO SAX, 

TRUMPET & VIOLIN. 

TERM 3 

SPECIAL 

RRP $35 

$ 

29 75 

MUSIC THEORY & TRANSPOSING GUIDE 

CLASSROOM POSTER 

A must for every school music room! 

61x91cm poster makes teaching music theory. 

Circle of Fifths, Table of Keys, Chord & Scale 

Table, the poster also shows how to write chord 

charts and transpose chord progressions. 

MUSIC STAND LIGHT 

XTRAFLEX DUET 

Dual gooseneck light 

heads with 2 LED lights and 

separate switches. Clip-on 

or freestanding. No bulbs to 

replace, runs on 3xAAA batteries 

(not included). Ideal 

for shows and productions! 

TU80 METRONOME 

& TUNER 

An essential teaching tool! 

Chromatic tuner with builtin 

metronome. Reference 

tone, Memory function, 

Ultra-thin body. Also tunes 

7-string guitars and 6-string 

basses. 

TERM 3 

SPECIAL 

RRP $20 

$ 

17 

MIGMBCL5 

EDU 

SPECIAL 

RRP $29.95 

$ 

25 45 

BOSTU80 

EDU 

SPECIAL 

RRP $59.95 

$ 

49 95 

EX-RENTAL 

Bb TRUMPETS 

• Buescher 

• Antigua XP 

Mouthpiece and case included. 

KBB Music Ex-Rental instruments have 

been fully-serviced and in good playing 

condition. Only while stocks last! 

$ 

299each 

EX-RENTAL 

Bb CLARINETS 

• Buescher 

• Antigua WWC485 

• Vito 7212 





$ 

299each 

EX-RENTAL 

Bb TENOR TROMBONES 

• Buescher 

• Blessing 





$ 

499each 

NUVJFSK 

NUVSFSK 

NEW! 

JFLUTE KIT 

EDU SPECIAL 

NUVO STUDENT FLUTE 

A new flute especially designed for beginners of all ages! 

Now children as young as 5 years can learn on a real flute 

designed with them in mind! Ultra-light construction and 

interchangeable parts mean that the Nuvo Flute will grow with 

the student, and the "Firstnote" mouthpiece means they can 

get a good sound from the first try. Curved head flute kit also 

available. 

RRP $209 

$ 

177 

STANDARD KIT 

EDU SPECIAL 

RRP $239 

$ 

203 

CRESV75 

SV75 VIOLIN OUTFITS 

1/4 to 4/4 size. Great value 

student violin with solid 

spruce top, solid maple 

back and sides. 

Available in Natural, Black, 

Blue, Green, Purple or Rose 

finishes. 

EDU 

SPECIAL 

RRP $199 

$ 

169 



MADE IN JAPAN 

KAWAI K-3 

Students from Glendowie College with the new instruments the College 

recently purchased. 

"Thank you so much for the opportunity and 

assistance to acquire funding to purchase 

instruments for our school. 

We now have a beautiful and functional oboe, 

as well as a tuba and euphonium to add to our 

previously rather top-heavy Concert Band. 

Two more timpani have also allowed us to 

extend our repertoire, and the whole purchase 

has made it possible for more students to be 

involved in our programme." 

Christine Myhre 

Arts Faculty Manager 

Glendowie College 

Acoustic Piano of the Year 

2008 / 2009 / 2010 / 2011 

Voted in MMR Magazine (USA) 

"The best value acoustic 

piano for its quality in NZ" 

Piano Tuners & Technicians Guild NZ 

Got a 'Wish List' for 

your music department? 

Need new music equipment for your school 

or band programme but don’t have the 

budget? 

Let KBB Music help you! 

Have your Wish List ready and call us on 

0800 775 226 ext 205, or email 

school@kbbmusic.co.nz to find out more. 

• 121cm High 

• Millennium III Action 

(Approx. 16% faster than traditional actions) 

• Solid spruce soundboard 

• Extra long music rest 

• Ultra-slow fallboard 

• Double brass casters 

• Available in Ebony Polish and 

Mahogany polish 

• Made in Japan with the tone quality 

and performance of a grand piano 

KAWAI DEALER 

0800 775 226 

www.kbbmusic.co.nz

choral briefs midwest clinic performance anxiety - KBB Music

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