BILLIE EILISH - In Tune Monthly · column, o˚ ering young musicians an easier way into improvising...

MONTHLYMONTHLY

SPECIAL REPORTŒ

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VOL. 16 • NO. 1 • OCT 2018

NOTHING TO BOO ABOUTMAKE THE POP HIT “BOO’D UP” YOUR OWN

BILLIE EILISHEILISH

Sixteen-Year-Old Singer of “Ocean Eyes” and

“lovely” Makes Her Mark

GUIDE TONESIMPROVISING OVER CHORDS MADE EASIER





✦ Insights for Music Teachers -- from Music Teachers✦ How to Teach the In Tune Players Column✦ Getting the Most Bang for Your Music-Tech Buck✦ Student Edition of In Tune Monthly✦ Website and Subscription Information



THE YOUNG MUSICIAN’S TEXTBOOK

✦ T E AC H E R’ S E D I T I O N ✦

Every Music Student Needs to Get In Tune! To get subscriptionsfor your class, see the back cover

O c t O b e r 2 0 1 8 ○ V O l . 1 6 , N O . 1

Student subscriptions available at InTuneMonthly.com

As we begIn the 16th publishing season of In Tune Monthly, it

feels as though the winds of change in the music industry and, to

a certain extent, education have slowed some – creating a new

normal and letting us catch our collective breath. We have rolled

with the tsunami of new technology at home, in the workplace

and at school, while the conventional wisdom appears to

accommodate the importance of teaching the arts, including

music, as part of a well-rounded education. Music is now created

differently and distributed differently than it was in decades past, but we

have gotten used to that – and, thank goodness, music is still music.

In Tune Monthly has also settled into its place within the panoply of

educational resources. This magazine, “The Young Musician’s Textbook,” is

more available digitally and has found its way into more classrooms than

ever, as it remains a unique resource – designed for both students and

teachers – with the broadest view of music and its array of genres. In Tune

encompasses the creation of music and the techniques and technologies

that go along with it, delving into practice, performance, recording and more.

So why share In Tune with your students? Because the realm of music is

vast and the time you have with them is short. Our reason for being is to

enlighten and inspire. You never know what will turn on the light bulb in a

kid’s mind. Use the magazine to show your students options and

opportunities for musical study, for vocational direction, for a lifelong love of

the art. Get your students In Tune, and you’ll be opening them up to the wide,

wonderful world of music.

Why In Tune?Teachers ordering six or more sets of

In Tune student subscriptions can go to intunemonthly.com/lessonplansfor full lesson plans and videos.

This month, lesson plans are avail-able for the following stories:

Teacher’sediTion

billie eilishCover story traces singer Billie Eilish’s hit-making

rise, with her brother as collaborator.

Modern bandCharts and performance notes for how to

perform a band version of Ella Mai’s “Boo’d Up.”

TechniquesStudents can learn to use guide tones as

an aid to improvising over a chord progression.

College special ReportRead about the essential questions to ask when choosing a music school for college.

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i nt u nemont h ly.comO C T O B E R 2 0 1 8 • I N T U N E M O N T H L Y - T E A C H E R E D I T I O N 4

BILLIE EILISHThis issue’s cover story pro� les Billie Eilish, the Los Angeles-bred singer who had a viral hit with “Ocean Eyes” at age 13 and another smash earlier this year with “lovely” (featuring Khalid). Billie, now 16, discusses her musical upbringing and her close collaboration with her older brother, Finneas (a musician and actor who appeared on Glee). Billie and Finneas talk about songwrit-ing and facing such challenges as age discrimination.

MODERN BANDElla Mai’s breakout hit single, “Boo’d Up,” is built around a mostly electronic track. But there’s no reason why a student band can’t arrange the song for guitars, bass, keyboards and

acoustic drums – not to mention a singer who wants to ri� expres-sively. In addition to background on the song and technical tips for arrangements, the piece includes an accompaniment chart.

COLLEGEThe latest In Tune special report on college music schools includes two stories surveying the essential questions that a young person needs to ask when mulling over his or her options for where to study. The � rst story is “To Be or Not To Be…,” which explores how choosing a college for music can be a challenge if you’re not exactly sure what you want to be when you grow up. The second is “Consider This…,” which underscores the fact that while curriculum is key when choosing a school, there are a number of other factors that will shape a student’s experience. The report also includes capsule pro� les of 14 colleges for music.

CLASSIC ALBUM COVERSThis issue inaugurates a new back-page feature of In Tune, one devoted to classic album covers across the decades. The � rst piece in the series is on famous Pop Art innovator Andy Warhol’s cover portrait for Aretha, the 1986 album by the late, great Queen of Soul, Aretha Franklin.

Future Classic Album Covers installments will explore LP art for albums by Pink Floyd, Cream, The Beatles and more.

The Tao of In Tune

ICONThis In Tune feature devoted to great musical � gures in history presents, this month, a behind-the-scenes icon: recording engineer Rudy Van Gelder, who created the beloved “Blue Note sound” in his suburban New Jersey studio. Van Gelder recorded timeless albums by John Coltrane, Sonny Rollins, Herbie Hancock, Wayne Shorter, Grant Green, Art Blakey and many more.

PLAYERSMetal drummer Alex Rüdinger earned a name for himself by posting play-along videos to You-Tube. Now, at 26, he has toured the world multiple times with such bands as Good Tiger, The Faceless, Conquering Dystopia and Threat Signal. In this pro� le, he says that while quirky

traits are likely to be tolerated in rock’n’roll, it is vital that you’re “always kind and treat other people’s opinions and perspectives with respect.”

WHAT YOU WILL DO?This feature of In Tune profiles professionals working in music, o� ering insights for students into potential careers. This month’s subject is Nwaka Onwusa, a curator for the GRAMMY Museum, in Los Angeles. She talks about how studying voice and violin as well as performing and arranging choral music in church helped prepare her for the career she has now.

TECHNIQUESAvant-rock guitarist Nick Millevoi takes over this month’s Techniques column, o� ering young musicians an easier way into improvising over chord progressions by explaining the use of guide tones – those

signposts in the music that can aid in the � ow of ideas. He suggests ways of creating melo-dies and takes you through improvising over a common jazz chord progression, such as 12-bar blues.

“SometimeS i feel like indiana Jones – hunting down artifacts,” remarks GRAmmY museum Curator Nwaka onwusa as she reflects on her career at the museum. “finding new things, keeping in contact with artist teams and developing stories for upcoming projects” is typically how onwusa spends her time in the office, ensuring that her days are about searching and sifting, making links from the past to the present. As a museum curator, onwusa is responsible for producing multimedia exhibitions at the GRAmmY museum in los Angeles, placing stories about artists and their music into context for visitors.

Celebrating the 10th anniversary of its founding, the GRAmmY museum is rec-ognized as one of the leading spaces for the celebration of music history. During her time at the museum, onwusa has helped execute more than 15 exhibitions, including Hip Hop: A Cultural Odyssey and Legends of Motown: Celebrating the Supremes. Her work

has focused on the contributions of artists and sounds originating in the American South, particularly from musicians of color.

When asked about her experience work-ing at the museum, onwusa comments on the importance of recog-nizing the artists who came before our time: “i think it’s important to celebrate the foundations of music and the legacies of musi-cians – especially the trail-blazers who’ve created the platform that contempo-rary artists stand on today.” there is also room for creativity in how those stories are presented, which is why onwusa says that it’s important for someone in her job to stay flexible. “You never know who’s going to call and what documents and artifacts are going to become available. i sometimes have to be fast on my feet in order to capture an opportunity.”

Although onwusa now works within a museum environment, much of her previous experience in music was as a performer. After moving at 7 years old from Compton in los Angeles to the smaller town of fon-tana, Calif., onwusa joined both a city choir and a city orchestra. “i had double rehears-als,” she recalls. “i was performing and being formally trained in voice and violin. i’m so thankful for my mother, who was willing to support me and my ambitious sisters!” onwusa was deeply involved in her church choir, creating arrangements at a young age and directing singers, but she eventually decided to take a hiatus from her rigorous training in music to focus on schoolwork. She points out: “my formal training in violin and voice gave me the foundation to further develop musically on my own.”

A music education also prepared onwusa for her current job as a curator. “in church and during performances, i developed the mindset to jump in and take risks – a skill i use regularly in my career,” she says. “i started praise dance teams and performed solos on the spot, all calling for improvisa-tion and for me to be ready for something new. in my curatorial role, things don’t always go as planned, so i need to have that same mindset.”

As is often said, to know where we’re going, we have to know where we’ve been; in other words, it is vital that both musicians and listeners understand the diverse legacies

of the art they love, and yet “there are still too many sto-ries that go untold,” onwusa says. Just as she works to honor musical icons, the curator believes that it is important to recognize the key figures in her own per-sonal history, the ones who

helped her get to where she is today: “i still talk to my violin teacher, ms. Becky – she has had a tremendous impact on my life!”

JARRETT LAMPLEY is a senior at the University of California-Los Angeles, studying design/media arts. He is a two-time alumnus of GrAMMy Camp (grammycamp.com), in the music business career track and the music journalism career track.

intunemonthly.comIn Tune Monthly • October 201844

W H At W i l l Yo u D o ? Exploring CarEErs Through MusiC By JARREtt LAMPLEy

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WhAt ShE DOES: Produces multimedia exhibitions that celebrate music history

Nwaka onwusa


SOME OF THE GREATEST recordings in jazz history – by such artists as John Coltrane, Sonny Rollins and Herbie Han-cock – were made in the unlikely locale of suburban New Jersey. It was in his studios there that Rudy Van Gelder engineered albums for, most famously, Blue Note Records in the 1950s and ’60s. Van Gelder was the architect of what become known as “the Blue Note sound,” which author Richard Havers described in Uncompromising Expression, his book on Blue Note, as a sound that “makes you feel as if it were recorded just a few min-utes before you hear it, almost as though the musicians were next door.” Achieving such musical realism on record was both a science and an art: “part technology… part architecture… part alchemy.” The rich detail of the drums, the organic tone of the double-bass, the warmth of the piano and the ravishing, almost vocal sound of horns and guitar – all that was lightning Van Gelder bottled for future generations to enjoy.

Van Gelder didn’t only engineer magical

sessions for Blue Note. Working in the heyday of recorded jazz, he set the standard by capturing artists for such other top labels as Prestige, Riverside, Verve and Impulse. The classic albums Van Gelder put to tape include Coltrane’s Blue Train and A Love Supreme, Rollins’ Saxophone Colossus, Han-cock’s Maiden Voyage, Cannonball Adderley’s

Somethin’ Else, Kenny Burrell’s Midnight Blue and Freddie Hubbard’s Red Clay. But the list goes on and on, with Van Gelder recording evergreen albums by Art Blakey, Dexter Gordon, Grant Green, Red Garland, Eric Dolphy, Horace Silver, Lee Morgan, Hank Mobley, Stanley Turrentine,

Donald Byrd, Jackie McLean, Andrew Hill and Wayne Shorter, among many others. Moreover, the sound of these records has served as the sonic ideal for jazz – and much other music – up to the present day.

Before Van Gelder opened his pur-pose-built Englewood Cli� s studio in 1959, he fashioned a studio in the living room of his parents’ house in nearby Hackensack, where he � rst started recording in the late

’40s – taping Bud Powell, Miles Davis, Jimmy Smith and the Modern Jazz Quartet there with unprecedented depth and dimen-sion. The engineer also captured atmo-spheric concert recordings in Manhattan clubs for the likes of Rollins and Blakey. But it was with his Englewood Cli� s studio that Van Gelder created the ultimate environ-ment for recording jazz. The critic Ira Gitler sensed a special aura “in the high-domed, wooden-beamed spare modernity of Rudy Van Gelder’s studio… [It’s] a temple of music in which the sound and the spirit can seem-ingly soar unimpeded.”

A stickler allergic to giving away trade secrets, the otherwise mild-mannered Van Gelder—who originally trained as an optometrist—rarely gave interviews. But what commentary we have reveals his enlightened feel for acoustics, taste for vintage German microphones and penchant for getting a “hotter,” higher-decibel signal on tape than was usually done. Most of all, he had a keen concern that a jazz player recognized his or her sound in the playback. Van Gelder passed away in 2016 at age 91, but he never retired, even recording a cut-ting-edge album by trumpeter Christian Scott, Yesterday You Said Tomorrow, in 2009 – marking a half-century in his Englewood Cli� s studio. Current Blue Note president (and Rolling Stones producer) Don Was – who recalls the day he was trans� xed as a teenager in 1966 by the Van Gelder record-ing of Joe Henderson’s “Mode for Joe” – told me: “I love the way that the sound Rudy sculpted for Blue Note is a perfect compli-ment to Francis Wol� ’s famous photographs from the sessions, enhancing our experience of incredible music. Rudy Van Gelder was a brilliant audio architect, and the aural spaces he built remain unrivaled.”

I C O N GREAT MUSICIANS IN HISTORY BY BRADLEY BAMBARGER

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WHO: Jazz recording engineerWHAT: Helped create “the Blue Note sound”WHEN: Born: Nov. 2, 1924, Jersey City, NJ. Died: Aug. 25, 2016, Englewood Cliffs, NJ

“Rudy was a brilliant audio architect, and

the aural spaces he built remain

unrivaled.”— Don Was

Van Gelder engineered the most magical sounding jazz LPs of

the 1950s and ’60s. Just listen to John Coltrane’s Blue Train, Herbie

Hancock’s Maiden Voyage or Grant Green’s Complete Quartets

with Sonny Clark.

RUDY’S RECORDS

SOME OF THE GREATEST recordings sessions for Blue Note. Working in the

Rudy Van Gelder

Building a career in music has always required hustle. For heavy-metal drummer alex rüdinger, the new-era hustle of mas-tering social media has enabled him to tour the world with multiple bands, at just age 26. He realized that you could use social media to “make a name for yourself” after posting his first YouTube video – a decade ago. “There weren’t that many guys doing that yet,” he says. “That video got 30,000 views within the first few weeks. at that age, i had only played small local shows.”

after an initial round of lessons, the Maryland native began honing his technique by watching drummers on YouTube. “i had started with a local drum teacher, but i stopped by my mid-teens and never went to school for music,” rüdinger says, adding that his instructor was onto something, though. “That first teacher never got upset with me if i didn’t practice. i was 12, and i wasn’t ready to commit to a rigorous rou-

tine. He made it about having fun, which is important at that age. He understood that if a person really loves something, they’ll eventually put in the time.”

Since he was a teenager, rüdinger has used YouTube to audition for more than a dozen bands. “i did my first tour at age 18 – and haven’t been home for a birthday since,” he says. He has played across north america and europe “more times than i can count,” as well as parts of asia, australia and Mexico. The drummer estimates that he has played “thousands” of gigs, with most unpaid until he joined The Faceless at age 22; he insists that the experience from those early gigs was “payment in itself.”

This player’s formula for success? a combination of hunting for opportunities—and intensive practicing to be ready to act on them. early on, rüdinger checked web-sites for music news to spot bands that had lost a drummer. “i’d learn a song, make a

video, put it online and, if possible, send it directly to the band,” he recalls.

“Worst-case scenario was that they just didn’t respond. But even then, you learned a new song and improved. i got rejected plenty, which

pushed me to try harder.” as a seasoned pro now, rüdinger

prefers Tama drumkits, using several. “There’s no right or wrong way to build your first serious drum kit—it’s all about preference,” he explains. “But if you’re a professional musician, and have the resources and space, it makes sense to have options.” He uses Tama’s Starclassic B/B (“tons of low-end and boom”), Starclassic Maple (“lots of attack, high-end and clarity”) and SlP dynamic Kapur (“the perfect in-between of maple and birch”), plus “enough snare drums to sink a ship.”

Having recently left the band good Tiger, rüdinger has lined up some “exciting” ses-sion jobs for next year. “i would like to have another full-time gig at some point, but i’d rather wait for the right thing,” he says. Meanwhile, making videos has sharpened his entrepreneurial interests: “i have started a business creating a drum-programming/sampling plug-in for digital audio worksta-tions – so be on the lookout for that!”

a gung-ho attitude and superlative tech-nique aren’t necessarily enough to land and keep a player gigs, rüdinger insists. He sees personality and communication skills as essential, too. “People like personality. if you follow me on social media, you know that i’m a complete goofball 95 percent of the time – a hard-working goofball, but a goofball, nonetheless.” He adds that while quirky traits are likely to be tolerated in rock’n’roll, it is vital that you’re “always kind and treat other people’s opinions and per-spectives with respect.” M

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P l aY e r S THE LIvEs And TIMEs Of WORkInG MusICIAns By Geoff Giordano


P r o f i l eMain ClaiM To faMe: As a young veteran of multiple metal bands, Rüdinger has been called a “super-drummer”

BaCKGroUnd: Began playing drums at age 12, going on to become one of the most active drummers on YouTube

edUCaTion: Largely self-taught after lessons with his first teacher

inflUenCeS: Eloy Casagrande, Dirk Verbeuren, Chris Coleman, Tomas Haake

addiTional CrediTS: Good Tiger, Conquering Dystopia, The Faceless, Threat Signal

eQUiPMenT: Tama drums, Evans heads, Meinl cymbals, Vic Firth sticks, Gator cases, Vratim drumshoes

“People like personality.

But always be kind and

treat other people with

respect.”

Building a career in music has always Building a career in music has always Building a career tine. He made it about having fun, which is

alex rüdinger

WELCOME TO OCTOBER With the new school year well under way, that means the return of In Tune. There are new stories to tell and new lessons to teach, as well as tips on playing techniques, band arrangements and catchy songs to share. The October issue also brings our special report on college music schools, so students can also share this issue of In Tune with their parents.

WHAT’S IN THIS ISSUE AND WHY

TEACHING WITH IN TUNE

B A C H E L O R O F M U S I C I N Performance • Education • Composition • Theory

M I N O R Pedagogy

A R E A S O F E M P H A S I S Jazz & Improvisational Music • Collaborative Piano

D O U B L E D E G R E E Bachelor of Music/Bachelor of Arts

BRILLIANCE AWAITS.

i nt u nemont h ly.com6

THROUGHOUT A CAREER that’s included tours with stars like Justin Tim-berlake, Madonna, Christina Aguilera, and Janet Jackson, drummer Brian Frasi-er-Moore has always focused on learning new skills. The Philadelphia-native is no stranger to the spotlight of the stage and screen: His performance behind Timberlake at the 2018 Super Bowl halftime show marked his second appearance at the big game. But despite his success as a backing musician, Frasier-Moore believes diversity is the key to longevity in the music business. So when he’s not touring with the stars, he’s busy running his con-sulting business, giving clinics and lectures, and working on his � rst solo album. Frasier-Moore began playing at age � ve and was soon performing in church, where

he learned to keep time by watching the organist bang on the side of his keyboard. Largely self-taught, he was inspired to learn the intricate technqiue of jazz fusion after hearing Vinnie Colaiuta’s drumming on John Patitucci’s album On the Corner. By the time he � nished school, he was playing in clubs every weekend and turned fully professional when the weekend gigs started paying more than his part-time job at a legal publication. Once he decided to turn pro, Frasi-er-Moore called every producer, club, and studio he could � nd Philadelphia. “I wanted everybody to know who I was and what I was able to do.” His persistence paid o� when he was hired to play with area stars like DJ Jazzy Je� , Aaliyah, and Ginuwine. In 1996, he landed his � rst major tour, as

the drummer for Whitehead Brothers (who were opening for Blackstreet). “I was super cocky,” he admits. Then Blackstreet’s drum-mer Gerald Heyward took the stage: “That’s when I found out what this business is about,” he s ay s . “ H i s sound was incred-ible.” Among the most important lessons from that tour were the value of prepa-ration and keeping your ego in check. Today, he studies every part of every song, taking notes about beats and accents. “Instead of showing all of your chops, it’s better to calm down and learn the music,” says Frasi-er-Moore, who patterns himself after the late and much loved sideman Ricky Lawson. “He played with Michael Jackson, Phil Collins, and other legends and proved you could make a great living being a drummer for hire. Everybody called him [because] he had a great attitude. That’s what I want to be. ” To cover every musical style, Frasi-er-Moore’s drum set blends acoustic and electronic elements, including three snares for di� erent sounds, along with � ve toms. “It’s practical for playing a 30- to 40-song set,” he says.

When he’s not behind that massive kit, Moore, through his company BFM Consul-tation Services, mentors younger musicians (including Rihanna’s drummer Mike Reid) in skills like managing money and profes-sionalism. He hopes to expand BFM into a school for aspiring pros. “I want to give people con� dence [in managing their careers],” he says. As for managing his own: “I’m putting everything into my brand. Sometimes it seems like playing with Justin or Madonna is the simplest part of the day!”

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P L AY E R S THE LIVES AND TIMES OF WORKING MUSICIANS

BY GEOFF GIORDANO

intunemonthly.com

In Tune Monthly • May 2018

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P R O F I L EMAIN CLAIM TO FAME: Drummer for Justin Timberlake, Madonna, Christina Aguilera, Janet JacksonBACKGROUND: Began playing drums in churchEDUCATION: Self-taught

INFLUENCES: Vinnie Colaiuta, Ricky Lawson, Dave WecklADDITIONAL CREDITS: Super Bowls 46 and 52EQUIPMENT: Pearl drums. Sabian cymbals, Evans and DrumStatic heads, Vater sticks

“There’s always someone out there I can latch onto and learn from.”

Brian Frasier-Moore

O C T O B E R 2 0 1 8 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N


on – but whatever it is, I’m so ready for it!” (See Lesson No. 1.)

“On call” musicians frequently tell us that possessing the ability to quickly and expertly adapt to new musical situations is a key career skill for them. The keen ability to sight-read, to take direction and react with precision, as well as to understand and lock in with other musicians with whom they may not be familiar – these are the hallmarks of a suc-cessful Players subject. The most important thing to highlight here is that this is the stu� of study, practice and personal awareness, over and above any natural knack or talent for playing an instrument or singing.

EACH IN TUNE MONTHLY PLAYERS

column begins with a header that reads, “Players – The Lives and Times of Working Musicians.” In a nutshell, these stories are meant to pro� le the careers of artists who play professionally on stage and in the studio, in supporting roles. Most are operating on multiple

levels, augmenting recording session work, tours and appearances with any number of other musical activities. The overarching theme of most Players stories is that a musi-cian doesn’t have to become a rock or pop star, or even “� rst chair,” to enjoy a reward-ing career playing music.

Our Players columns pro� le the careers of artists who have made their way by taking individual paths. The journey is the focus of the story, featuring unintended connec-tions, the fortune that typically results from earnest effort, and how each journey is made up of a series of changes. Lesson No. 1: Change Happens. It’s inevitable, so it should be expected.

Change can be uncomfortable for some, primarily because it often involves new, challenging experiences. By definition, having a new experience means doing something you have never done before – and

perhaps you don’t know how to do it, which can be unsettling. But meeting challenges is often what life is all about. Maturation and personal growth depend on our learning to confront change and adapt to it, accu-mulating knowledge in the process. This is also what learning music is all about and why studying music imparts skills that can be applied throughout life.

For instance, everyone starts out not knowing how to play an instrument. Then we learn and practice until playing that instrument becomes second nature. We start out not knowing how to play a piece of music; then we learn and practice until we know the piece intimately. Once we have gone through this process a few times, we begin new learning with less trepidation and more con� dence, realizing that the exercise will lead us, as it has in the past, to a positive outcome. Relishing new experiences and entering into them with con� dence gives us a better chance for success.

The Players column in the April 2018 issue showcased guitarist Jon Dretto, who spoke about his efforts to break out as a featured artist, but he acknowledged: “I don’t have a normal career… I don’t know what’s going to happen tomorrow. I don’t know who’s going to call, or what tour I might be

studio he could � nd Philadelphia. “I wanted everybody to know who I was and what I was able to do.” His persistence paid o� when he was hired to play with area stars like DJ Jazzy Je� , Aaliyah, and Ginuwine. In 1996, he landed his � rst major tour, as P R O F I L EDrummer for Justin Timberlake,

Began playing drums in church

on – but whatever it is, I’m so ready for it!”

“On call” musicians frequently tell us that “On call” musicians frequently tell us that possessing the ability to quickly and expertly adapt to new musical situations is a key career skill for them. The keen ability to sight-read, to take direction and react with precision, as well as to understand and lock in with other musicians with whom they may not be familiar – these are the hallmarks of a suc-cessful Players subject. The most important thing to highlight here is that this is the stu� of study, practice and personal awareness, over and above any natural knack or talent

AWARD-WINNING jazz trumpeter Ingrid Jensen studied at Boston’s Berklee College of Music on a full scholarship, taught in Europe, moved to New York City, and had a recording contract—all while still in her 20s.

Such achievements would have most young musicians high-� ving themselves in the mirror. Instead, Jensen went back to the drawing board. “I had good ideas and good chops,” she explains. “But I couldn’t play them strongly enough.” One night after a gig, friend and fellow

trumpeter Rebecca Franks told her to call Laurie Frink, a teaching legend among NYC’s elite players. “I went into a mode of deep study with Laurie,” Jensen recalls. “I did everything she told me to do—to the letter. After day one, I sounded a bit better;

on day two I improved some more. After eight weeks, I found my sound. I could � nally play the music I’d been hearing in my head all along.”

Jensen grew up in a musical household near Vancouver, Canada. Some of her earliest memories are of playing her mom’s piano and singing songs as a family. At school, she wanted to learn the trombone. But because her older sister Janet was already playing it, her parents convinced her to try trumpet instead. “They said ‘no’ to two trombones,” she laughs. “But music was always a mode of expression in our house. We all studied piano. Mom had tons of lead sheets—sheet music with just the chords and melodies, and they were great for learning tunes and improvisation.”

Her parents also exposed her to jazz. “I grew up listening to Louis Armstrong, Harry James, Chet Baker, Miles Davis, Freddie Hubbard, Cli� ord Brown, Clark Terry, and many other great horn players,” she says. “Armstrong and Baker both sang and their trumpet tone

and phrasing re� ected that. My lessons with Laurie helped me � nd my own version of their vocal quality, and that gave me much more con� dence.”With that, Jensen was on her way. Her

1995 debut album, Vernal Fields, won a Juno (Canada’s version of the GRAMMY). She became a busy session and live player, per-forming in the big bands of Maria Schneider and Darcy James Argue, and collaborating with with Terri-Lyne Carrington, Esperanza Spalding, and many others. But her closest collaborator is her

younger sister, the award-winning saxo-phonist Christine Jensen. “She’s a brilliant composer and bandleader,” Ingrid says. “She’s a solo artist and an in-demand guest artist, teaches at McGill University in Mon-treal, and does clinics at the Miami Frost School of Music and NYC’s New School.” After appearing on many of each other’s solo projects over the years, the sisters shared top billing on their most recent album, the critically acclaimed, electroni-ca-� avored In� nitude (2017). “I’ve had a chance to do everything I’ve

wanted to do,” says Jensen, who was wrap-ping up a new album and teaching at SUNY Purchase College when we spoke. “But I keep learning. I tell my students it’s like starting with an empty toolbox; each new thing you learn adds a tool to the box. But after you � ll the box, you’re not done; you need to get another toolbox and � ll that one, and then the next one and on and on. ” C

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In Tune Monthly • February 2018

20


BY EMILE MENASCHÉ

P R O F I L EMAIN CLAIM TO FAME: Award-winning trumpeter,

composer, bandleader, session player, and educator. Artist

in Residence at the 2018 Monterey Jazz FestivalHAS PLAYED WITH: Maria Schneider, Clark Terry, Ter-

ri-Lyne Carrington, Esperanza Spalding, Christine Jensen.

EDUCATION: Graduated from Berklee College of Music;

studied privately with Laurie FrinkINFLUENCES: Miles Davis, Chet Baker, Louis Armstrong,

Clifford Brown, Harry James, Freddie HubbardEQUIPMENT: Custom Monette trumpets and mouthpieces

“You keep learning throughout your life”

Ingrid Jensen

BY PAUL IRWIN

HOW TO TEACH WITH THE IN TUNE PLAYERS COLUMN

i nt u nemont h ly.com 7

THROUGHOUT A CAREER that’s included tours with stars like Justin Tim-berlake, Madonna, Christina Aguilera, and Janet Jackson, drummer Brian Frasi-er-Moore has always focused on learning new skills. The Philadelphia-native is no stranger to the spotlight of the stage and screen: His performance behind Timberlake at the 2018 Super Bowl halftime show marked his second appearance at the big game. But despite his success as a backing musician, Frasier-Moore believes diversity is the key to longevity in the music business. So when he’s not touring with the stars, he’s busy running his con-sulting business, giving clinics and lectures, and working on his � rst solo album. Frasier-Moore began playing at age � ve and was soon performing in church, where

he learned to keep time by watching the organist bang on the side of his keyboard. Largely self-taught, he was inspired to learn the intricate technqiue of jazz fusion after hearing Vinnie Colaiuta’s drumming on John Patitucci’s album On the Corner. By the time he � nished school, he was playing in clubs every weekend and turned fully professional when the weekend gigs started paying more than his part-time job at a legal publication. Once he decided to turn pro, Frasi-er-Moore called every producer, club, and studio he could � nd Philadelphia. “I wanted everybody to know who I was and what I was able to do.” His persistence paid o� when he was hired to play with area stars like DJ Jazzy Je� , Aaliyah, and Ginuwine. In 1996, he landed his � rst major tour, as

the drummer for Whitehead Brothers (who were opening for Blackstreet). “I was super cocky,” he admits. Then Blackstreet’s drum-mer Gerald Heyward took the stage: “That’s when I found out what this business is about,” he s ay s . “ H i s sound was incred-ible.” Among the most important lessons from that tour were the value of prepa-ration and keeping your ego in check. Today, he studies every part of every song, taking notes about beats and accents. “Instead of showing all of your chops, it’s better to calm down and learn the music,” says Frasi-er-Moore, who patterns himself after the late and much loved sideman Ricky Lawson. “He played with Michael Jackson, Phil Collins, and other legends and proved you could make a great living being a drummer for hire. Everybody called him [because] he had a great attitude. That’s what I want to be. ” To cover every musical style, Frasi-er-Moore’s drum set blends acoustic and electronic elements, including three snares for di� erent sounds, along with � ve toms. “It’s practical for playing a 30- to 40-song set,” he says.

When he’s not behind that massive kit, Moore, through his company BFM Consul-tation Services, mentors younger musicians (including Rihanna’s drummer Mike Reid) in skills like managing money and profes-sionalism. He hopes to expand BFM into a school for aspiring pros. “I want to give people con� dence [in managing their careers],” he says. As for managing his own: “I’m putting everything into my brand. Sometimes it seems like playing with Justin or Madonna is the simplest part of the day!”

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BY GEOFF GIORDANO

intunemonthly.com

In Tune Monthly • May 2018

20

P R O F I L EMAIN CLAIM TO FAME: Drummer for Justin Timberlake, Madonna, Christina Aguilera, Janet JacksonBACKGROUND: Began playing drums in churchEDUCATION: Self-taught

INFLUENCES: Vinnie Colaiuta, Ricky Lawson, Dave WecklADDITIONAL CREDITS: Super Bowls 46 and 52EQUIPMENT: Pearl drums. Sabian cymbals, Evans and DrumStatic heads, Vater sticks


Brian Frasier-Moore

er-Moore called every producer, club, and studio he could � nd Philadelphia. “I wanted everybody to know who I was and what I was able to do.” His persistence paid o� when he was hired to play with area stars like DJ Jazzy Je� , Aaliyah, and Ginuwine. In 1996, he landed his � rst major tour, as

in skills like managing money and profes-sionalism. He hopes to expand BFM into a school for aspiring pros. “I want to give people

P R O F I L EDrummer for Justin Timberlake, INFLUENCES:

ADDITIONAL CREDITS: EQUIPMENT: DrumStatic heads, Vater sticks

AWARD-WINNING jazz trumpeter Ingrid Jensen studied at Boston’s Berklee College of Music on a full scholarship, taught in Europe, moved to New York City, and had a recording contract—all while still in her 20s.

Such achievements would have most young musicians high-� ving themselves in the mirror. Instead, Jensen went back to the drawing board. “I had good ideas and good chops,” she explains. “But I couldn’t play them strongly enough.” One night after a gig, friend and fellow

trumpeter Rebecca Franks told her to call Laurie Frink, a teaching legend among NYC’s elite players. “I went into a mode of deep study with Laurie,” Jensen recalls. “I did everything she told me to do—to the letter. After day one, I sounded a bit better;


Jensen grew up in a musical household near Vancouver, Canada. Some of her earliest memories are of playing her mom’s piano and singing songs as a family. At school, she wanted to learn the trombone. But because her older sister Janet was already playing it, her parents convinced her to try trumpet instead. “They said ‘no’ to two trombones,” she laughs. “But music was always a mode of expression in our house. We all studied piano. Mom had tons of lead sheets—sheet music with just the chords and melodies, and they were great for learning tunes and improvisation.”





wanted to do,” says Jensen, who was wrap-ping up a new album and teaching at SUNY Purchase College when we spoke. “But I keep learning. I tell my students it’s like starting with an empty toolbox; each new thing you learn adds a tool to the box. But after you � ll the box, you’re not done; you need to get another toolbox and � ll that one, and then the next one and on and on. ” C

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In Tune Monthly • February 2018

20


BY EMILE MENASCHÉ

P R O F I L EMAIN CLAIM TO FAME: Award-winning trumpeter,

composer, bandleader, session player, and educator. Artist

in Residence at the 2018 Monterey Jazz FestivalHAS PLAYED WITH: Maria Schneider, Clark Terry, Ter-

ri-Lyne Carrington, Esperanza Spalding, Christine Jensen.

EDUCATION: Graduated from Berklee College of Music;

studied privately with Laurie FrinkINFLUENCES: Miles Davis, Chet Baker, Louis Armstrong,

Clifford Brown, Harry James, Freddie HubbardEQUIPMENT: Custom Monette trumpets and mouthpieces


Ingrid Jensen

the drummer for Whitehead Brothers (who were opening for Blackstreet). “I was super cocky,” he admits. Then Blackstreet’s drum-mer Gerald Heyward took the stage: “That’s when I found out what this business is about,” he s ay s . “ H i s sound was incred-ible.” Among the most important lessons from that tour were the value of prepa-ration and keeping your ego in check. Today, he studies every part of every song, taking notes about beats and accents. “Instead of showing all of your chops, it’s better to calm down and learn the music,” says Frasi-er-Moore, who patterns himself after the late and much loved sideman Ricky Lawson. “He played with Michael Jackson, Phil Collins, and other legends and proved you could make a great living being a drummer for hire. Everybody called him [because] he had a great attitude. That’s what I want to be. ” To cover every musical style, Frasi-er-Moore’s drum set blends acoustic and electronic elements, including three snares for di� erent sounds, along with � ve toms. “It’s practical for playing a 30- to 40-song

When he’s not behind that massive kit, Moore, through his company BFM Consul-tation Services, mentors younger musicians (including Rihanna’s drummer Mike Reid) in skills like managing money and profes-

BY GEOFF GIORDANO


(including Rihanna’s drummer Mike Reid) in skills like managing money and profes-sionalism. He hopes to expand BFM into a school for aspiring pros. “I want to give people


Jensen grew up in a musical household near Vancouver, Canada. Some of her earliest memories are of playing her mom’s piano and singing songs as a family. At school, she wanted to learn the trombone. But because her older sister Janet was already playing it, her parents convinced her to try trumpet





THE LIVES AND TIMES OF WORKING MUSICIANS

BY EMILE MENASCHÉ


Ingrid JensenIngrid Jensen

MUSIC HAS ALWAYS been a family a� air

for keyboardist Steve Weingart. He began

studying at age 3 when his mother recog-

nized his talent; today, he collaborates with

his wife, vocalist and bassist Renee Jones.

Yet Weingart is a seasoned collaborator

outside the family circle, too, recording and

touring with legends like guitarist Steve

Lukather, drummer Dave Weckl, bassist

Victor Wooten, and saxophonist Dave

Sanborn.

Born in Dayton, Ohio, in 1966, Weing-

art’s � rst studied classical piano. As a very

young child, he says, “I became aware of

notes and their corresponding names and I

was able to demonstrate that I have perfect

pitch.” Jazz improvisation entered his rep-

ertoire at The College Conservatory of

Music in Cincinnati, where professor Pat

Harbison gave him two pages with scales

and related chords. “I studied them in every

possible way, in every possible key signature,

in every song I learned,” he recalls. He was

still in college when he began playing pro-

fessional in the Cincinatti area. “I’m pretty

sure it was one of my teachers who recom-

mended me to a guitarist looking for a

keyboardist,” he says. “He had a band and

took a chance with me.”

In 1994, Weingart decided to relocate

to Los Angeles with the goal of writing and

performing original music. “I was really

ambitious,” he says. “I did a lot of networking

and attended jam sessions to meet area

musicians, which eventually led to a lot of

creative [partnerships].”

At one gig, Weingart was performing

when Dave Weckl walked into the

club. The buzz that he was there got

all the way to the stage. “On a break,

I went to meet him, and we made

plans to play and write. At the � rst

session, we were already ‘� nishing

each other’s sentences’ musically and

had written our � rst tune together.”

Beginning with Weckl’s album Transition,

(2000), Weingart recorded and toured with

the drummer’s band for several years. In

2005, he joined former Toto guitarist Steve

Lukather in the band El Grupo, eventually

recording three CDs with them.

Meanwhile, he began forging his own

identity as a headliner. He released his � rst

solo album Life Times in 2003. He and his

wife, whom he met in high school, released

their debut album as a duo, Dialogue, in 2011,

and are now on their third, Oasis. Though

he loves playing in bands, he also welcomes

the challenge of solo performerance. “Jazz

pianist Michel Petrucciani once said, ‘A

pianist is not complete until he’s capable of

playing by himself.’ I have to agree!”

Despite his many accomplishments

(which include writing a keyboard textbook

used by the Musician’s Institute) Weingart

still regards himself as a student. Last sum-

mer, he set the goal of composing a work

influenced by the classical music of his

youth,and dove into learning about sym-

phonic composition. “One thing that allows

me to switch gears is my curiosity,” he says.

“I took an ‘Instrumentation and Orchestra-

tion’ class at UCLA. I really enjoy studying

the ‘serious’ works of Ravel, Scriabin and

Debussy.” As for learning so many styles,

“I’ve always had great admiration for musi-

cians who can quickly adjust and perform

in any situation.”

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In Tune Monthly • March 2018

20


BY GEOFF GIORDANO

P R O F I L E

MAIN CLAIM TO FAME: Jazz keyboardist and composer

with extensive recording and touring credits

BACKGROUND: Began classical piano studies at age 3;

started playing jazz as a college student

EDUCATION: University of Cincinnati College-Conservatory

of Music

INFLUENCES: Herbie Hancock, Weather Report, Chicago,

Edvard Grieg, professor Pat Harbison

ADDITIONAL CREDITS: Member of bands led by guitarist

Steve Lukather’s and drummer Dave Weckl’s band

EQUIPMENT: Casio Celviano GP-500 Grand Hybrid Piano,

Casio Privia PX-5S, MOTU Digital Performer software

“I was

really

ambitious in

seeking out a

creative

situations”

Steve Weingart

Weingart

performs with

his wife and

duo partner

Renee Jones

i nt u nemont h ly.com8 O C T O B E R 2 0 1 8 • I N T U N E M O N T H L Y • T E A C H E R ’ S E D I T I O N

included tours with stars Justin Timberlake, Madonna, Christina Aguilera and Janet Jackson, drummer Brian Frasier-Moore has always focused on learning new skills.” The story goes on to note that “when he’s not touring with the stars, he is busy running his consulting business, giving clinics and lectures, and working on his first solo album.” (See Lessons Nos. 2 and 3.)

Players subjects also explain that performing di� erent kinds of music can result in varying economic bene� ts. Artists pursuing their lifelong love of, say, Klezmer or polka may � nd it chal-lenging to play that music as their sole income-producing activity; but they may still feel compelled to keep chas-ing that muse. So, to make ends meet, they also write articles and books, they � nd sponsors for blogs, they lecture, they record. They also

travel frequently so as to keep as active a performance schedule as possible. The principle here: Do what you love, and engi-neer your life and career to accommodate that love.

Jazz pianist Steve Weingart was the sub-ject of our March 2018 Players column. In the story, he talked about the benefits of collaboration. When he moved to Los Ange-les to write and record, he says, “I did a lot of networking, and attended jam sessions to meet area musicians, which led to a lot of creative partnerships.” In the process, Wein-gart met star jazz drummer Dave Weckl, beginning an association that has bene� ted each musician’s career. Lesson No. 4: Players Succeed by Playing Well with Others.

We frequently hear from those fea-tured in Players that musicians who are known for being easy to work with get more musical opportunities. Typically, our Players subjects have good attitudes, regardless of how gifted or in-demand they may be. They recognize that this quality enhances their worth, and that it’s an important ingredient for success. Consciously managing one’s personal-ity on the job in an e� ort to � t in, get along and cheerfully cooperate with collaborators leads to more gigs. In an industry where work is rarely constant – and you are, in a sense,

Our Players subjects do, and have done, many things in music. They have experi-mented and discovered what they like and what works for them. That’s Lesson No. 2: Try Things. Being open and willing to attempt a variety of activities increases the chances of � nding satisfaction. Sometimes satisfac-tion comes from doing things you didn’t expect to do, then discovering that you like them. In other words: You’ll never know until you try.

Some of our Players subjects have sus-tained their careers by doing multiple things at the same time, including intermittent touring and studio work alongside teaching, writing and performing in large and small ensembles, in both local and far-� ung set-tings. For the subjects of our Players stories, the musical life is a mixture. That’s Lesson No. 3: You Can Do More Than One Thing. Our subjects also tell us that one musical activity tends to inform another. One Play-ers subject soon to be pro� led in In Tune teaches percussion to other teachers via live lessons he webcasts, doing this even as he tours as a drummer himself. He says that his performance work always contrib-utes to his lessons, enlivening them.

The May 2018 Players column about drummer Brian Frasier-Moore opens with the line, “Throughout a career that has

in business for yourself – being fun to hang out with, in addition to being an excellent player, is an important asset.

These insights are focal points for every Players story. They are there to be identi� ed by student readers and shared in classroom discussions; they can also be the subjects of essays. Students can be asked to find similar “Players” and compare and contrast their careers; students can research and watch videos of the musicians performing and/or being interviewed about their gear or their impressions of other artists with whom they have worked. Overall, we hope that these musicians and their stories inspire students. If you assess reader comprehen-sion and � nd that to be the case, you can conclude that your students have learned the lessons of Players.

These lessons have applications for most young music students – in terms of their musical, but also personal, lives. The rise and success of celebrity artists can cer-tainly inspire and be instructive, but the insights of rank-and-� le musicians, work-ing to the side or just behind the stars, may actually be even more inspiring for students by illustrating the wide range of possibilities in music.


included tours with stars Justin Timberlake, Madonna, Christina Aguilera and Janet Jackson, drummer Brian Frasier-Moore has always focused on learning new skills.” The story goes on to note that “when he’s not touring with the stars, he is busy running his consulting business, giving clinics and lectures, and working on his first solo album.” (See Lessons Nos. 2 and 3.)

Players subjects also explain that performing di� erent kinds of music can result in varying economic bene� ts. Artists pursuing their lifelong love of, say, Klezmer or polka may � nd it chal-lenging to play that music as their sole income-producing activity; but they may still feel compelled to keep chas-

travel frequently so as to keep as active a performance schedule as possible. The Our Players subjects do, and have done,

IN THE TRADITION of rock drummers

(like Rush’s Neil Peart and Foo Fighters’

Dave Grohl) who also wear the hats of

bandleader and songwriter, Germany’s

Anika Nilles takes a versatile approach to

her artistry. “As a drummer or musician in

general,” she says, “you have to be multifar-

ious: a teacher, a composer, a producer, your

own brand manager, and so on.”

Nilles’ � rst EP release, Alter Ego in 2014,

was followed in 2015 by her � rst worldwide

tour—as a clinician (demonstrating drum-

ming techniques in an educational context)

rather than a concertizer. Her debut album,

the 10-song Pikalar, arrived in February

2017, and for next year she’s planning a

book, a series of international drum camps,

songs for a new album, and a tour for her

pop/rock fusion band Nevell. She also writes

for numerous drumming journals and has

won polls in DRUM! and Modern Drummer;

the latter magazine noted that her playing

style incorporates “quintuplets, sextuplets,

and various combinations of other odd

groupings over straight 4/4 time.”

You could say that Nilles has drumming

in her blood. Born in Ascha� enburg, Ger-

many, in 1983, she grew up with “a drum

set and a rehearsal studio in our basement

where my dad [also a drummer] was rehears-

ing with his band. I sat there and watched

my dad playing. He taught me the first

grooves.”

From there, she recalls, “I moved to

di� erent teachers. I started learning drums

at a local music school, and then I had some

private teachers and was in bands and orches-

tras, where I learned a lot about playing with

other musicians.” She began composing at

age 19 (on guitar) and got

her first paying job

about nine years ago:

“I got hired for a

mus ic book i ng

agency specializing

in big, high-class

events. Of course they

were looking for a female drummer!”

Setting goals has been key to Nilles’

success. She advises players to think about

what type of musician they want to be—

specialist, all-around player, traditionalist,

teacher—and adjust those goals as desired.

“I appreciate drummers who are able to play

all styles of music,” she says, “but I also

appreciate those who are specialists and still

can lead the band through di� erent music

styles. In the end it’s all about timing, sound,

and feel.”

Speaking of sound, Nilles is quite par-

ticular about the sonic impact that her drums

and cymbals make. “I love a dry cymbal

sound and a punchy, deep-tuned drum

sound,” she explains. “I try to hear what a

song needs to � gure out a suitable drum

sound. In the studio it’s easy because you

can change drums, cymbals, and heads for

each track. A good live sound should work

for all tracks, so I prefer a good mix of dry

and brilliant cymbals in di� erent sizes and

tune the drum set appropriately.”

Being a musician, she notes, is about

more than one’s equipment. “Success for

me is to reach people with my craft on the

one hand and be emotionally satis� ed with

what I’m doing on the other hand.”

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intunemonthly.com

In Tune Monthly • December 2017

20


BY GEOFF GIORDANO

Anika Nilles

P R O F I L E

MAIN CLAIM TO FAME: World-touring drummer,

composer, and educator with more than 13 million

YouTube views

BACKGROUND: Grew up in a family of drummers

(her father, two uncles, and a cousin), left a career in

social education to pursue music

EDUCATION: Studied at the Popakademie University of

Popular Music and Music Business in Mannheim, Germany

INFLUENCES: Jeff Porcaro, Michael Jackson,

Joss Stone, John Mayer, John Scofi eld, Foo Fighters

EQUIPMENT: Meinl cymbals, Vic Firth sticks,

Evans drumheads, Tama drums

“In the

end it’s all

about timing,

sound, and

feel.”

collaboration. When he moved to Los Ange-les to write and record, he says, “I did a lot of networking, and attended jam sessions to meet area musicians, which led to a lot of creative partnerships.” In the process, Wein-gart met star jazz drummer Dave Weckl, beginning an association that has bene� ted

Players

We frequently hear from those fea-tured in Players that musicians who are known for being easy to work with get more musical opportunities. Typically, our Players subjects have good attitudes, regardless of how gifted or in-demand they may be. They recognize that this

constant – and you are, in a sense,

ALTHOUGH HE’S BEEN PLAYING the keyboard since the age of 5, pianist and com-poser Fabian Almazan didn’t get his � rst “real” piano until seven years ago, when he was 26. Even after attending a performing arts high school in Miami and being accepted into the Brubeck Institute—an acclaimed jazz program founded by jazz great Dave Brubeck at Cali-fornia’s University of the Paci� c—Almazan says his main instrument was a “really cheap [electric] piano,” the only instrument that would � t in his family’s small trailer home.Born in Cuba, he was 9 when his family,

moved to Miami seeking political asylum. Although both his parents worked three jobs to make ends meet, there was always time for music. His dad, a classically-trained bassist, played

jazz in Miami and greatly admired Miami -based virtuoso Jaco Pastorius. But Fabian became more interested in the keyboard when his older sister started taking lessons. He took lessons from a private teacher through his high school years, and after graduating from the Brubeck Institute, he went on to earn a master’s degree from NYC’s Manhattan School of Music.Now based in New York City, the

33-year-old has built a busy and varied career. His � rst big break was a gig with famed jazz trumpeter Terence Blanchard in 2007, an ongoing collaboration that earned Almazan a 2016 GRAMMY nomination. In 2008, he added “� lm composer” to his résumé, writing music for Spike Lee’s Miracle at St. Anna followed by George Lucas’s Red

Tails in 2011—the same year he founded his own label, Biophilia Records. Almazan sees the label as a way to combine

music with social and environmental activism. “My goal is to help society,” he says. “We need [art to express] human psychology. Art brings

peace.” Biophilia artists are required to volunteer to help environmental causes, and their music is sold exclusively through online downloads to avoid the need for the plastic used in the manu-facture of CDs.

In addition to his roles as sideman and label owner, Almazan is a recording artist. His third and most recent solo album, Almazan, earned him recognition—along with bandmate, label-mate, and � ancé, jazz bassist Linda Oh—in NPR’s 2017 Jazz Critic’s Poll, thanks to his inventive mix of Latin and experimental jazz. “I want to dispel stereotypes of the jazz musician,” he says. “Jazz is not something from the past; it is alive and evolving.” Yet when it comes to maintaining his piano

technique, his practice routine often goes back to the classical masters. “I love Chopin,” he says. “I know a number of Chopin études that I like to play back-to-back to get my blood and heart going.”

Aside from his instrument, Almazan’s most trusted tools are the two notebooks he carries at all times. “One is a manuscript notebook where I come up with exercises and compo-sitional sketches,” he says. “The second is basically pages upon pages of goals and objec-tives for every aspect of life, whether personal or professional.”

As for setting and achieving goals, he o� ers this advice to young musicians: “Keep your minds and ears open. Come to terms with the fact that it is not a straight road ahead. There are many, many failures along the way. Be humble, respectful, genuine, and attentive—and you’ll be surprised how happy you’ll be.”

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intunemonthly.com

In Tune Monthly • January 2018

20


BY KATE KOENIG

P R O F I L E

MAIN CLAIM TO FAME: Pianist and composer; founder

of Biophilia Records; sideman with Terence BlanchardINFLUENCES: Maurice Ravel, Igor Stravinsky, Frédéric

Chopin, Jonny Greenwood, Danilo Perez, John ColtraneEDUCATION: New World School of the Arts, The Brubeck

Institute, Manhattan School of Music (M.M.)

SELECTED CREDITS: Nominated for a 2016 GRAMMY

with Terence Blanchard; composed music for fi lms by Spike

Lee and George Lucas; 2014 NEW Jazz Works commission

recipient from Chamber Music America; released solo

albums Personalities (2011), Rhizome (2014), Alcanza (2017)EQUIPMENT: Yamaha acoustic piano pickup system, Dave

Smith synthesizer, Ableton Live recording software

“I never chose music as a career; it’s more of a friend that I couldn’t part ways with.”

Fabian Almazan

music.depaul.edu☎ 773-325-7444

✉ [email protected] depaulschoolofmusic

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The DePaul University School of Music Faculty is dedicated to your success.

› Upon graduation, DePaul Music Education majors obtain teaching positions at schools throughout the Midwest and across the country.

› Undergraduate students obtain teaching experience in their junior year, while receiving individual attention from the faculty throughout their four years of study.

› Master’s students earn a degree while continuing to teach and are eligible for a School of Music scholarship.

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summer.esm.rochester.eduEmail: [email protected] Call: (585) 274-1545

i nt u nemont h ly.com 11

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I n T u n e M o n T h l y • T e a c h e r ’ s e d I T I o n • o c T o b e r 2 0 1 8

W ith the excitement and exhaustion of the first weeks of school fading away, now is a critical time to evaluate the effectiveness of your music program’s vision. Is it still in focus? as the leader of your program, it is imperative that you communicate a vision to all involved for the improvement or

maintenance of the program, as well as the success of each student – and the preservation of your san-ity. did you effectively articulate the vision to your students, their fami-lies, your colleagues, the community and all sup-porters? are you wishing you would have consid-ered another component or worded something dif-ferently? are you effec-tively referencing the vision in your daily teaching, correspondences and performances? Most important, are you passionately embodying the vision through activities both inside and outside the school?

building a superior music program, particularly one that contains performing ensembles, requires acknowledgement of specific components from its members and supporters. It is the primary job of the program’s director to communicate the plan through realistic means. In spring 2014, I was asked to serve as band director for the opening of a newly constructed school. students enrolled in this new school came from 27 previous schools, due to school-system redistricting, feeder placements or family moves. My challenge was to funnel the varying experiences and preconceived ideas of these numer-ous students and their families into one newly organized, intentional vision. before even stepping foot into the new school, my efforts required an abundance of preparation, passion, persistence, positivity and pride. I aimed to create a dynamic

vision for this new school, as it would serve as the foundation for the program’s future. I wanted those involved in the program to visualize where it was headed before any music was performed.

In preparing to establish this new school’s music program, I spent time evaluating key components that I found beneficial in building the two previous band programs I had led. I carefully reviewed student expectations, rehearsal routines, program perceptions,

administrative requests and community support. I chose to create a vision that was brief and concise, embraced my distinct philosophy of teaching, would be sup-ported by administration, and would motivate mem-bers. after writing several drafts of this vision and obtaining administrative approval, I settled on these words (with “band” easily

replaced by chorus or orchestra, etc.): building a superior band program requires the

following from its members and supporters:1. an understanding that band is a commitment of

time, money and emotion, a commitment that will help children to develop a sense of responsibil-ity, time management and perseverance. band is a group-performance class, and all members are crucial to the overall success of the ensemble for every event. attendance, preparation and discipline will be daily expectations.

2. The ability of each musician to commit to a daily, diligent practice routine both at home and school. Practicing must be treated like any other homework assignment.

3. The kindness of families and supporters to willingly serve as volunteers for the program.

4. The support of the community to recognize the massive impact music has on educating the whole child, while fostering a sense of pride and unity.I placed this vision everywhere that seemed

sharpen your VisionEnvisioning and Articulating Your Program’s Future

Lori Schwartz Reichl is a music educator and writer. Visit her at makingkey changes.com.

tooLS FoR EducAtoRSb Y L o R i S c h w A R t z R E i c h L

K e y C h a n g e s : R e f R e s h i n g y o u R M u s i C P R o g R a M

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TOOLS FOR EDUCATORS

appropriate – in the band handbook, website, documents, bulletin boards, e-mails, etc. I prefaced this vision with the band’s motto: “One Band. One Sound. One Family.” (See my In Tune Teacher’s Edition article from October 2016 titled “A Motto for Success: The Surprising Bene� ts of Music Classroom Sloganeering” to discover ideas for creating an inspira-tional classroom motto.) The vision was well-received. So much so that a few years later, I saw my vision posted on the website of a colleague – with no credit given. (Reference the April 2017 art icle, “Embrace Your Uniqueness: Gaining Inspiration Without Plagiarizing” to review professional ways for utilizing the intellectual property of others.)

My vision includes signi� cant words and phrases that often roll o� my tongue with little thought or e� ort because they are at the core of my educational beliefs. I have observed that a bene� t of this practice is that members and supporters begin using the same terminology when referencing the program; moreover, the administration supports the instructional methods, col-leagues value the program’s worth, parents appreciate the organizational e� orts, and students trust the expertise.

When creating your program’s vision, consider including some of the following program components:

• assessment • commitment• curriculum • discipline• expectation • goal setting• instruction • motivation• perception • performance• philosophy • recruitment• retainment • support• unity • volunteerismA vision gives purpose, provides passion,

o� ers direction. Without a vision, a program can appear one-dimensional, meaning only the current school year is in focus. The music program’s director and creator of the vision must think beyond the current year and understand how previous, present and pro-spective students, performances and experi-ences have and will shape the program’s path. A promising future must be envisioned, articulated and practiced daily.

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O c t O b e r 2 0 1 8 • I n t u n e M O n t h l y - t e a c h e r e d I t I O n 14

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tools for Educators

S ince the late 1990s, I have been helping teachers incorporate technology into their music programs. I have seen great strategies and implementation plans lead to broad, enduring benefits for students. But I’ve also seen money wasted on software, equipment and, believe it or not, furniture.

For example, a school administrator heard a slick pre-sentation about the future of music education, so he put $20,000 into the budget to build a music technology pro-

gram for his high school. Eighteen months later, a high-end music lab was installed, including fancy furniture, piano keyboards and professional studio software.

Sounds great, right? Except that the administrator did not consult the arts supervisor, building principal or teachers. The newly hired arts supervisor was brought in just before the contract with the vendor had to be signed. Because the plan moved ahead without consulting all of the stakeholders, the only space in which to install

Marjorie loPresti is digital content manager for MusicFirst, a corporate member of TI:ME, Technology in Music Education

(musicfirst.com). She has some 25 years of experience teaching elementary and secondary general and vocal music, piano,

music technology, music theory and composition. She was named a New Jersey Music Educators Association Master Music

Teacher, as well as a TI:ME Music Technology Teacher of the Year.

By Marjorie LoPresti

GoT ExTrA pAddING IN Your School MuSIc budGET? dIdN’T ThINk So.

GEttinG MorE BanG Music tEch Buck

for Your

the lab was a three-quarter-size classroom. The limited space could accommodate only 16 students due to the bulky furniture. Much of the high-end software was never used, because the teachers never received training. The piano keyboards had features students would never need.

In short, though aligned with the school’s technology goals, the purchase decision was n ot aligned with instructional goals. That’s why, in order to make the most cost-efficient and instructionally sound purchasing decisions with music tech, you need to ask the right questions at the outset. Or it all could be money down the drain.

Are you making the most of your music tech dollars? Turn the page to take the accompanying quiz and find out. The secret to making the most cost-efficient and instructionally sound decisions with music technology lies in the questions you ask and the answers you find.

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$$$$$$

10 WAYS TO DECREASE THE COST AND INCREASE THE FUNCTIONALITY OF MUSIC TECH1 First things fi rst. Plan for instruction, then

decide what technology – equipment and software – is needed to support instruction, assessment and student creativity.

2 Know the big picture. Align your plan with the instructional and technology goals of your

school and district to keep stakeholders on board.

3 Be collaborative. Consult teachers early in the process, well before decisions are made.

4 Ask an expert. If you do not have an expert in music technology in your district, bring in a

teacher from another school to add perspective.

5 Ask lots of questions. Get options and estimates from different vendors and other

professionals. These varied viewpoints should guide you toward what you really need, not just what vendors are trying to sell you.

6 Take inventory. Be sure to account for the equipment, software and learning systems

that you already have available before issuing purchase orders.

7 Plan for 24/7 access. Consider whether student access to the technology outside of

school is an important piece of your instructional plan. If so, opt for cloud-based software such as Soundation, Soundtrap, Notefl ight or Groovy, in addition to computer-installed programs like Mixcraft, GarageBand, Logic or Pro Tools.

8 Provide adequate training. Some teachers will need more time to become comfortable

with certain technologies, so the training relationship should include ongoing support.

9 Ask your business administrator about purchasing cooperatives. Many county and

state educational agencies sponsor cooperatives that can help bring down costs or provide rebates.

10 Start small. Begin by implementing one or two ideas at a time. This will ensure that

you can handle any bumps in the road and keep everyone on board.

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tools for Educators

Music tEch iMplEMEntation sElf-assEssMEnt chEck list

student readiness

1. What is the technological experience level of your students relative to their age?

Strong Moderate Novice

2. What school-owned devices do students already use?

Chromebooks, Netbooks or

Laptops

iPads or Tablets

Desktops

3. Does your school have a policy that allows students to use their own smartphones and other devices?

Yes No Don’t know

4. Are devices available at all times? Yes Shared or on request

No

5. Do any students require assistive or adaptive technologies?

Yes No Don’t know

6. Do students have school-assigned e-mail and network accounts?

Yes No Don’t know

7. Can students access the technology outside school? Yes No Don’t know

teacher readiness

1. What is your comfort level with technology? Strong Moderate Novice

2. Is there an instructional technology plan in place? Yes No Don’t know

3. What are you trying to accomplish with technology? (Music performance? Theory? Listening and critique? Technology skills?)

Curriculum and plan in

place

General idea and direction

Not clearly defined

4. Do you have enough usable gear to get started? Yes No Not sure

5. Do you expect students to have access to technology outside of school?

Yes No Don’t know

6. How often do you plan to use technology for instruction or assessment?

Daily Weekly Don’t know

school & facility readiness

1. Will students be able to use technology in your classroom, or is another space like a lab needed?

Yes No Don’t know

2. Do you have space and electrical outlets to install or charge devices?

Yes No Don’t know

3. How robust or reliable is the WiFi in your classroom? Strong Glitchy Nonexistent

4. Do you have adequate, secure storage for gear such as microphones, stands and interface boxes?

Yes No Don’t know

5. Does the school already sponsor an online learning system like Google Classroom?

Yes No Don’t know

6. Does the school offer “loaner” devices for students to take home?

Yes No Don’t know

administrator preparation

1. Is there a school/district technology integration plan? Yes No Don’t know

2. Who are the stakeholders? (Teachers, administrators, IT department, community members?)

Team in place and on board

General idea Not clearly defined

3. Do current curricula include technology integration and standards?

Yes No Don’t know

4. Is there a long-term music tech integration plan for the next 5-10 years?

Clearly defined or approved

General idea Not clearly defined

5. Do you have a budget for music technology? Yes No Don’t know

6. Does your school participate in a county- or state-sponsored buying cooperative to help manage costs?

Yes No Don’t know

7. Is a music technology training program for teachers in place?

Yes No Don’t know

The NAMM Foundation’s Best Communities for Music Education (BCME) national recognition program is in its 20th year of honoring schools and districts that demonstrate a strong commitment to continuing and growing their music education programs.

Get The National Recognition Your Music Program Deserves! Apply by January 31, 2019 at NAMMFoundation.org/BCME

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K-12 music educators and school administrators register

at NAMM.org/MED

Nonprofits that share The NAMM Foundation’s mission to create more music makers register

at NAMMFoundation.org/Nonprofits

College music students and faculty register

at NAMM.org/GenNext

Celebrating 20 Years of Commitment to Music Education

Photo Credit: Rob Davidson

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Audition for a chance to perform on the High School Honors Recital at the International Saxophone Symposium! Saxophonists may choose either a jazz or classical work. Piano accompanists are provided at no charge.

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In Tune Sax Honors 41st.indd 1 7/5/2018 11:41:56

i nt u nemont h ly.com I n T u n e M o n T h l y • T e a c h e r’ s e d I T I o n • o c T o b e r 2 0 1 8 19

P o P Q u i z

M a t c h Q u i z

the following quiz questions can be used to test for comprehension or for general reading of this issue of In Tune. (answers are on pg. 3 of the teacher’s Edition.)

Match the name in the left column to the song on the right.

1. Which famous artist painted a portrait of Aretha Franklin for one of her 1980s albums?

a. Edvard MunchB. Andy Warholc. Mark RothkoD. Julian Schnabel

2. With what brand of keyboard did pop singer Billie Eilish first learn to play?

a. MoogB. Fender Rhodesc. CasioD. Korg

3. Which Amy Winehouse album is English singer Jorja Smith’s favorite?

a. Back to BlackB. Back in Blackc. Greatest HitsD. Frank

4. The Suffers have a sound reminiscent of which 1970s soul band?

a. The CommodoresB. Parliament-Funkadelicc. Earth, Wind & FireD. Ohio Players

5. Which Joe Henderson tune recorded by engineer Rudy Van Gelder impressed a young Don Was?

a. “Blue Bossa”B. “Inner Urge”c. “Recorda Me”D. “Mode for Joe”

6. Where did metal drummer Alex Rüdinger first make his mark?

a. TwitterB. Coachella c. American IdolD. YouTube

7. Where is the Musicians Institute based?

a. Hollywood, Calif.B. Hollywood, Fla.c. ChicagoD. New York City

8. Which iconic American conductor-composer would have celebrated his 100th birthday this year?

a. Leopold StokowskiB. Elliott Carterc. Leonard BernsteinD. Aaron Copland

9. Which of these world-famous violinists graduated from Indian University?

a. Joshua BellB. Midoric. Hilary HahnD. Jascha Heifetz

10. Which is one of the most commonly used chord progressions?

a. 12-tone methodB. Lydian modec. 10-bar bluesD. 12-bar blues

a r t i s t

1. Ella Mai

2. Billie Eilish

3. Rudimental

4. Childish Gambino

5. lovelytheband

6. DJ Martin Garrix

7. Jorja Smith

8. Jay-Z & Alicia Keys

9. Aretha Franklin & George Michael

10. John Coltrane

s o n g

a. “Blue Train”

B. “Boo’d Up”

c. “I Knew You Were Waiting (for Me)”

D. “Where Did I Go?”

E. “Empire State of Mind”

F. “These Days”

g. “Ocean”

h. “Ocean Eyes”

i. “Summertime Magic”

J. “Broken”

tools For EDucators

Books For StudentsCOOL JOBS IN THE MUSIC BUSINESS $24.95 x _____ copies = $_________Jeffrey Rabhan starts from his own experience to clearly explain career paths in today’s (and tomorrow’s) music business (w/DVD).

JAZZ THEN & NOW $24.95 x _____ copies = $_________A textbook (w/CD) on jazz history and its relationship to today’s jazz.

MUSIC ALIVE!’S PERCUSSION $24.95 x _____ copies = $_________Daniel Glass offers students a comprehensive introduction to drums and percussion (w/CD).

YOUR SOUND ONSTAGE $33.95 x _____ copies = $_________A textbook (w/CD) about gear, mixing live sound, onstage presentation, and more!

MARCHING MUSIC $24.95 x _____ copies = $_________Everything young musicians need to know to get started–and succeed–in marching music.

Lesson Books For TeachersA TEACHER’S GUIDE TO JAZZ THEN & NOW $39.95 x _____ copies = $_________With lessons on jazz history and its relationship to today’s jazz. Companion textbook for students also available! (w/CD)

SOUNDS OF THE CITIES $39.95 x _____ copies = $_________Explore the unique sounds and artists of famed cities such as New Orleans, Memphis, Philadelphia, and Chicago (w/CD).

MUSIC FROM AROUND THE WORLD$39.95 x _____ copies = $_________Explore the music and culture of South Africa, Mexico, Brazil, India, China, and more! (w/CD)

EXPLORING THE BLUES $39.95 x _____ copies = $_________Topics include: Birth of the Blues, Early Blues Guitarists, Women with the Blues, The Blues Begin to Rock (w/CD).

GREAT COMPOSERS OF THE 20TH CENTURY$39.95 x _____ copies = $_________With lessons about Debussy, Stravinsky, Bernstein, and others (w/CD).

CLASSICAL CONNECTIONS TO U.S. HISTORY $39.95 x _____ copies = $_________Connect history and classical music with lessons on the War of 1812 (Beethoven, Schubert), the Civil War (Liszt, Brahms), and the early 20th century (Holst, Prokofi ev) (w/CD).

In Tune is accepting subscription orders for the 2018-2019 school year, so act now to get The Young Musician’s Textbook for your students. Order today to get eight issues of the magazine that addresses students’ passion for music and helps you give them a well-rounded music education.

MONTHLY

VOL. 15 • NO. 6 • MARCH 2018

BLACK PANTHERUNMASKED!

THE MUSIC OF

How the hit fi lm spawned two successful soundtrack albums.

HOW TOGET IN STEP

SPECIAL REPORT

MARCHING 2018

ACCLIMATEYOURSELFWITH MUSICAL

ARTICULATIONS

BE AN “ALL STAR” BY LEARNING TO PLAY

SMASH MOUTH’SHIT SINGLE

March 2018 $3.99 Vol. 15 • No. 6

UPC 8 8 4 0 8 8 5 4 7 5 1 6

THE YOUNG MUSICIAN’S TEXTBOOK

✦ Gypsy Jazz: Swing with a European Flair

✦ King of the Jukebox Louis Jordan

✦ The “Hit Like a Girl” Drum Contest

✦ Mikky Ekko, the Listening List, and More!

VOL. 15 • NO. 6 • MARCH 2018

BLACK PANTHER

BLACK PANTHERUNMASKED!

UNMASKED!

UNMASKED!

THE MUSIC OF

THE MUSIC OF





HOW TOGET IN STEP

SPECIAL REPORT

MARCHING 2018

✦ Gypsy Jazz: Swing with a European Flair

✦ King of the Jukebox Louis Jordan

✦ The “Hit Like a Girl” Drum Contest

✦ Mikky Ekko, the Listening List, and More!

The In Tune LibraryPresenting a series of books for students and lesson books for teachers from the publishers of In Tune Monthly and Music Alive! magazines. Lesson books feature reproducible articles with lesson plans, activities, and a CD.

Now’s the Time to Get Your Students

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fax this page to 914-741-1136, or mail this page to:

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BILLIE EILISH - In Tune Monthly · column, o˚ ering young musicians an easier way into improvising...

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