ukulele teaching tips midwest clinic dealing with the voice - KBB Music

UKULELE TEACHING TIPS 

Helpful tips on teaching ukulele to 

older beginners 

MIDWEST CLINIC 

Michelle Flint’s first report on the 

Midwest Clinic 

DEALING WITH THE VOICE 

Handy hints for secondary school 

choir directors

Simon Hocking House of Travel 

The music tour specialists 

Plan your performance tour now! 

With so many exciting destinations around the world, draw on the expertise and experience of Simon Hocking 

House of Travel to help organise your next performance tour. Let your musicians be inspired, motivated and 

exposed to the international scene, broadening their performance skills and enhancing their musical experience! 

ORCHESTRAS – CHOIRS – BARBER SHOP – JAZZ BAND – CONCERT BANDS – BRASS BANDS – WIND BANDS AND MORE 

2012 FESTIvAL OPTIOnS: 2013 FESTIvAL OPTIOnS: 

AUSTRALIA 

• June – Brisbane Festival 

• June /July – Sydney Festival 

USA / HAWAII 

• 24-31 March – Hawaii 

• March-April – Pacific Basin Music Festival 

• 16-20 June – LA Music Festival 

• Chicago, San Francisco & New York Music 

Festival 

ASIA 

• April – Beijing Festival 

• July – Singapore MUSE Festival 

EUROPE 

• July – Summa Cum Laude International 

Youth Music Festival Vienna 

• 18-25 July – 32nd International Youth 

Music Festival Amberg-Sulzbach County 

Simon Hocking 

Northtown Mall, Timaru | 0800 505 565 

simonh@hot.co.nz | simonhocking.co.nz 

AUSTRALIA 

• June – Brisbane Festival 

• June /July – Sydney Festival 

USA / HAWAII 

• 20-23 March – Hawaii 

• March-April – Pacific Basin Music Festival 

• 19-23 June – LA Music Festival 

• Chicago, San Francisco & New York 

Music Festival 

EUROPE 

• July – Summa Cum Laude International 

Youth Music Festival Vienna 

• July – 33rd International Youth Music 

Festival Amberg-Sulzbach County 

These are just a few of the exciting festivals on the calendar. Call 0800 505 565 

or email simonh@hot.co.nz to hear more on personalised group tour packages. 

001989

2012 KBB Music Makers 

Catalogue OUT NOW! 

3 

Freephone 0800 775 226 

Your one-stop Music 

Education Resource 

Catalogue of the year is 

out now! 

If you have not yet 

received your free copy, 

please email 

jennifer@kbbmusic.co.nz 

with your name, position 

in the school, and the 

name of the school. 

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 

KBB MusicMoney for 

Your School 

When the school makes a purchase from 

KBB Music, a 5% credit or KBB 

MusicMoney is generated. 

The school can then use their 

MusicMoney on future purchases 

from KBB Music - Awesome! 

MusicMoney is not redeemable 

for cash, but think of all the extra 

music products you can get for 

your school, or use towards your 

next invoice. 

Please note that KBB Music Money is not accumulated on 

rentals, repairs or freight costs. 

KBB Music Midwest Scholarship 

APPLY NOW! A unique professional development opportunity open to 

teachers and directors of bands and orchestras in New Zealand. Attend the 

world’s biggest Band & Orchestra Conference in Chicago, USA, the Midwest 

Clinic, and be inspired. 

Read Michelle Flint’s (2011 scholarship recipient) article on her 

experience at the Midwest Clinic on pages 11-12. For more information 

and to download an application form, go to www.kbbmusic.co.nz/ 

KBB+Music+Midwest+Scholarship.html 

APPLICATIONS CLOSE: 30 May 2012 

4 

8 11 

CONTENTS 

3 KBB Music Festival Update 

4 Tips for Teaching Ukulele to Older Beginners 

6 Kawai Pianist Inspires Young Students 

8 Choral Briefs - Handy hints for Secondary School 

Choir Directors: Dealing with the Voice 

11 The Midwest Clinic - Report by Michelle Flint 

13 Chamber Music Contest Turns 47 

15 NZ Trio Awarded KBB Music/CANZ Citation 

17 Music from the Shaky Isles 

COVER PHOTO: Kathy, Will and William performing on the 2011 NZ Ukulele Festival main stage with the NZ Ukulele Development Squad. Photo by Trevor Villers. 

KBB Music Education 

Ph 0800 775 226 ext 205 

school@kbbmusic.co.nz 

KBB Music Epsom 

157 Manukau Road, Auckland 

Ph 09 630-2577 sales@kbbmusic.co.nz 

KBB Music Auckland Central & Piano Showroom 

136 Karangahape Road, Auckland CBD 

Ph 09 309-1140 akcentral@kbbmusic.co.nz 

KBB Music Botany 

Shop 42, Botany Town Centre, Auckland 

Ph 09 271-2642 botany@kbbmusic.co.nz 


3

Get Creative in 

the Classroom 

with Avid 

Avid/Sibelius TraIning 

Workshop for Music Educators 

FREE EVENT! 

Thursday 7 June, 7pm 

KBB Music Auckland Central, 

136 Karangahape Road, 

Auckland CBD 

Join guest presenter Drew Parsons, 

Products Specialists from Avid, for 

an evening presentation covering 

the world of Avid Music Technology 

equipment aimed at Education and 

Education Facilities. 

Gear covered will be M-Audio Audio 

Interfaces & Keyboard Controllers, 

Sibelius Notation Software, Groovy 

Music Software, Avid MBox Audio 

Interfaces with Pro Tools Express 

Recording Software. 

This is a great opportunity to see how 

Avid can help you and your students 

Get Creative in the Classroom. 

Entry by gold coin donation. 

Registration Essential. 

Email theresa@kbbmusic.co.nz 

or call 09 309 1140. 

Musical Memos Calendar 

MAY - NZ Music Month 

Matamata Brass Festival of Music 

20 May. Contact 

matamatabrass@gmail.com for details. 

Early Childhood Council Conference 

25-27 May, Auckland Sky City 

Convention Centre. www.ecc.org.nz 

KBB Music Midwest Scholarship 

30 May. Applications close. 

www.kbbmusic.co.nz/ 

KBB+Music+Midwest+Scholarship.html 

JUNE 

Avid/Sibelius Training Workshop for 

Music Educators - FREE 

7 June. KBB Music Auckland Central. 

To register: theresa@kbbmusic.co.nz or 

phone 09 309-1140 

Feilding 19th Festival of Bands 

24 June. 19th Festival of Bands with 

chief adjudicator, Selwyn Homes. Entries 

close 11 May. Download entry from from 

www.kbbmusic.co.nz or contact 

feildingbrass@inspire.net.nz for details. 

JULY 

Brass Band Championships 

4-8 July, Timaru. 

www.brassnz.co.nz 

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 

Entries close 29 June. 

For more information email 

heatherandjohn@clear.net.nz 

Hawkes Bay Festival of Bands 

12 August, Lindisfarne College, 

Hastings. 

Big Sing Finale 

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

details. 

KBB Music Festival 

21-25 August, Holy Trinity Cathedral, 

Parnell. Visit www.kbbmusic.co.nz or 

www.kbbmusicfestival.co.nz for details. 

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. 

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 leem@apo.co.nz 

DECEMBER 

NZ Ukulele Festival 

1 December, The Trusts Stadium, 

Waitakere, Auckland. 

www.nzukulelefestival.org.nz 

To have your event listed in Musical Memos, please send dates 

and a brief description of the event to jennifer@kbbmusic.co.nz 

May is NZ Music Month. 

How is your school celebrating? 

Post your photos and comments on our Facebook 

page, and be in to win a copy of NZ jazz icon, 

Nathan Haines’ latest album, The Poet’s Embrace. 

/kbbmusicltd 

4 Random Notes Musical Instrument Specialists since 1888

Welcome to another year in which we hope that 

the KBB Music Festival holds a special place in your 

calendar as an event that enables your students to 

perform and mix with some of the very best musical 

talent in Auckland. Aspiration is a wonderful habit, 

for we never truly attain the quality we seek in music, 

those that do are smothered under a veil of selfdeception. 

I recently purchased a DVD by drummer 

Tommy Igoe which even though it covers some basic 

concepts of drumming, also intrigues me, because 

I like to see how others teach. Igoe gives an 

important, and probably not original, message: “It is 

easier to have a closed mind than an open one!” 

So open your diaries, and your minds, and mark in: 

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 held on Saturday 25 

August to allow more parents and supporters to 

attend; with possibly some fringe groups performing 

in the morning but the timetable has not yet been 

finalised. Work is underway to streamline warm 

up procedures for ensembles performing in St. 

Mary’s. The committee is also looking at an extra 

commended award to raise the status of Bronze, so 

that awards will probably run Gold, Silver, Bronze, 

Commended. More details soon but note that 

entries go live in the third week of May. 

The KBB Music Festival is very fortunate to have 

a great line-up of seasoned adjudicators who are 

essential to the Festival’s success. They are Owen 

Clark, Rupert D’Cruze, Miranda Hutton, Shelley 

Wilkinson, Ron Samsom and Roger Manins. 

The committee for 2012 is Rowan Bolley, Ross 

Gerritsen, Nikki Hall, Christine Myhre, 

Freephone 0800 775 226 

Westlake Symphony at the 2011 KBB Music Festival Gala Concert, conducted by David Squire. 

KBB Music Festival Update 

An update on the 2012 KBB Music Festival by Chairperson Dr. Trevor Thwaites. 

Raewyn James, Rachel Snelling, Peter Thomas, Sally 

Tibbles, Nigel Weeks, and Ryan Youens. Warwick 

and Miriam Robinson are taking on administration 

and finance responsibilities, Jennifer Hsu is the KBB 

Music representative, with myself as Chairperson. Two 

long standing members of the committee are leaving 

because of other pressing commitments, Hamish 

Arthur and Christine Peak, although they will thankfully 

be around to help during festival week. Could I thank 

Christine and Hamish on behalf of the committee for 

their commitment and valuable input these past few 

years. You will both be sorely missed. 

At the end of 2011, committee members also 

successfully lobbied our principal sponsor KBB Music 

for some extra support and we thank Director Paul 

Skipper for agreeing to increase KBB Music’s financial 

contribution to the Festival. 

May I wish you all a successful teaching year for 2012 

and I look forward to meeting many of you at the 

KBB Music Festival. 

Dr. Trevor Thwaites 

Chairperson 

The KBB Music Festival Committee were 

saddened to hear of the recent passing of 

Peter Goddard. Peter was a founding member 

of the Festival when it began in 1983, and 

worked hard in the committee as secretary for 

many years. Although not a musician himself, 

he supported music with young people 

Peter Goddard 

whenever possible. Peter was also a founding 

member of the Aotea Youth Symphony 

Orchestra, serving on the executive committee for nearly 25 years 

and helping to organise tours. The members of the KBB Music 

Festival Committee wish to send their condolences to Peter's 

family, especially his wife, Pat Goddard, who was also a founding 

member and organiser of the KBB Music Festival for over 20 years. 

Find out more about the KBB Music Festival at www.kbbmusicfestival.co.nz 


5

Tips for Teaching 

Ukulele to Older Beginners 

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

& Trustee of NZ Ukulele Trust 

The ukulele is a happiness machine, a weapon of massed affection. 

It encourages people to sing and it’s so easy to play and teach. 

TUNE-UP 

Always start with tuned ukuleles. You’ll have a better time 

playing and singing! Right from the first lesson, encourage 

your students to listen to and play the open strings G C E A, 

sing My Dog Has Fleas, so-do-me-la, 5-1-3-6, or create other 

phrases with the note letter names e.g. Give Compliments 

Every Afternoon. Encourage students to identify if a string is 

flat or sharp. 

STRUM A ONE-CHORD SONG 

Strumming can be as simple as playing the down 

beat with your thumb or index finger. Keep your 

wrist floppy and relaxed as you strum. The wellknown 

song “We Will Rock You” by Queen can be 

played with just one chord. 

Learn a more interesting rhythm for “We Will Rock You” using 

this speech pattern as you strum: down-down-chk-rest. 

GET READY TO CHANGE CHORDS 

This works well as a warm-up activity. The leader plays the 

chord changes and the class responds with body percussion. 

2-chord song: pat your legs for chord I and pat your head for 

chord V i.e. pat legs for C and pat head for G7. 

3-chord song: pat legs for chord 

I, shoulders for chord IV and head 

for chord V i.e. pat legs for C, 

shoulders for F and head for G7. 

Kiwileles rehearsing at East Tamaki School 

PLAY A REPEATED SEqUENCE OF CHORDS 

It’s amazing how many songs use the same chord sequence. 

Repeat this 12 bar blues sequence, ending on chord C. 

C C C C F F C C 

G7 G7 F F C C G7 G7 

N.B. Bill Sevesi (the inspiration behind NZ’s ukulele revival and Patron of NZ Ukulele 

Trust) uses the above format when teaching children about chord changes. 

The 12 bar blues is one of the favourites in the NZ Ukulele 

Kiwileles repertoire. 

For details on how your school can get involved in the 2012 

Kiwileles, see the NZ Ukulele Trust website 

www.nzukulelefestival.org.nz or email Maria Winder 

maria@thesoundofmusic.co.nz Maria coordinates the massed 

Kiwileles Orchestra for NZ Ukulele Trust. 

The 2012 NZ Ukulele Festival will be held on 

Saturday 1 st December at The Trusts Stadium, Waitakere. 


Students playing their new keyboards at Bruce McLaren Intermediate School. 

“After a couple of years knowing 

about the funding programme, I decided 

it was about time I gave KBB Music’s 

offer of support in applying for financial 

assistance a try. What a fantastic decision 

that turned out to be after we received 

$5000 worth of funding! 

The music programme is now so much 

more enriching for the students and we 

Freephone 0800 775 226 

are able to offer them so many more 

opportunities! 

I felt completely at ease throughout the 

whole process and the guidance and 

support from KBB Music was not to be 

faulted.” 

Katie Ross 

Bruce McLaren Intermediate School 

FUNDING 

Funding Assistance 

for your School 

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. 

Bruce McLaren Intermediate 

School’s Wish List 

a2 x Acoustic Guitars 

a6 x 61-Key Keyboards 

a6 x Keyboard Stands 

a9 x Headphones 

a1 x Djembe Drum 

a1 x Guitar Amp 

a1 x Bass Amp 

aLots of guitar strings and more 


7

Stefan with Davyd Antipov of St Peter’s College (Auckland) Students from Westlake Boys High School listens with Stefan 

Kawai Pianist Inspired Young Students 

In February, KBB Music was pleased to bring Australian 

Kawai Piano Artist, Stefan Cassomenos into local New 

Zealand schools to inspire young pianists. 

Considered one of Australia’s most talented virtuosic 

pianists, Stefan shares his knowledge and experience 

with aspiring piano students in a series of masterclasses 

that he gave at Westlake Boys High School, St Peter’s 

College, Wellington College, Hutt Valley High School 

and KBB Music’s Piano Showroom in Auckland Central. 

“It was a pleasure to work with students during 

masterclasses in New Zealand,” says Stefan. “We 

worked on many facets of piano playing, naturally 

including obvious technical pointers, but especially 

on some of the more elusive aspects of performance 

such as the sorts of sounds which are appropriate to 

different compositional styles and context, and also 

on developing an awareness of the importance of 

atmosphere and how one can really draw the audience 

into the music, creating a truly imaginative experience.” 

KBB Music believes in the importance in giving as 

many aspiring pianists as possible the chance to work 

with someone of Stefan Cassomenos’ calibre. “We are 

very pleased to be able to bring Stefan into our stores, 

schools and communities,” says Andrew Chamberlain, 

KBB Music General Manager. 

“The masterclass was a great opportunity and it 

was a great pleasure to play for Mr Cassomenos. His 

expertise really helped me perfect the piece I played. I 

was impressed with his knowledge and by the way he 

explained everything to the group. I am hoping to go to 

another of his masterclasses in the future” 

- Davyd Antipov, St Peter’s College 

“Stefan was a delight to work with. He had such 

a positive encouraging manner with our pianists - 

regardless of their level or experience. Each student was 

given personal advice and two of our junior students 

have been particularly inspired by him in their piano 

playing. It was particularly interesting for me to hear 

Stefan promoting the use of pedal in Bach - I agree!! 

We are very grateful to KBB Music for making this 

masterclass possible.” 

- Raewyn James, HOD Music, 

Westlake Boys’ High School 

“Mr Cassomenos was very friendly and put us as 

ease. He taught me a lot and it was helpful for me 

to be allowed to take part in the masterclass. The 

most important thing was that he was able to explain 

everything very clearly. He gave me some new ideas to 

work on. I hope to be able to play for him again in the 

future.” 

- Leon Liu, St Peter’s College 

Do you have students that could benefit from instrumental masterclasses? Let us know! 

Email jennifer@kbbmusic.co.nz 


Freephone 0800 775 226 


9

CHORAL BRIEFS 

Handy hints for Secondary School Choir Directors 

Dealing with the Voice 

by David Squire, Schoir Ltd 

The beginning of the year is usually a frantic time for 

choir directors and music departments in general, and 

any preparation that has already occurred at the end of 

the previous year pays dividends at this time. By now 

I’ve usually sorted almost all of my repertoire for the 

year, and most of my choirs are auditioned and ready to 

go (more on this in a future edition of Random Notes!), 

so it’s just a case of getting going. 

If you’re like me, there’s probably a little trepidation 

mixed in with the excitement of the first rehearsal. 

While there is hopefully refreshment and optimism 

post-holiday, there is also the realisation 

that everything starts from scratch again 

and the first sound that you hear from the 

choir will likely be raw and probably either 

somewhat insipid or rough. Never fear! This 

is the perfect time to instill some good skills 

in your singers and set them on a course for 

musical success. 

The first thing is to get them singing, 

and spend some time developing vocal 

technique in a group setting as soon as they get going. 

The advantage of this is that you can achieve a better 

sound almost instantly, and develop good vocal habits 

that can be applied to all the styles of music being 

sung. The group approach to vocal technique is a much 

lower threat to those singers who might be nervous 

about being singled out, and also enables you to craft 

a choral sound that is more consistent across the choir. 

Note that this does not need to happen in isolation 

– use your repertoire and highlight areas that need 

attention as the singers learn the music. 

Since the choral director deals with only one instrument 

(albeit an instrument with many variations), it makes 

sense that they should know at least the basics of vocal 

technique. This is particularly important when dealing 

with adolescents, as most are in the crucial phase 

of the changing voice. I would strongly recommend 

getting on-side with a competent singing teacher and 

asking them to either assist you in rehearsal or, at the 

very least, give you some idea of the different facets 

of the vocal mechanism and how to enable them to 

work in a healthy, functional manner. If you are based 

in a more remote region where there are no singing 

teachers suitable for this, consider inviting one to your 

area to take a weekend workshop. You could even 

band together with other like-minded people in order 

to spread the costs of such a venture. If this is still not 

feasible, try borrowing or buying some suitable books 

about vocal technique for choral singers. Some of these 

are from a somewhat scholarly perspective (e.g. Richard 

Miller) and some provide tips for a more practical, chalkface 

scenario (e.g. Tim Seelig). 

“...the best choirs enhance the musicianship of 

their members and make them better singers, 

since it is more than likely that these choirs 

demonstrate elements of healthy vocal technique 

in order to achieve their distinctive choral sound.” 

Some singing teachers refuse to allow their students to 

sing in choirs. There are a number of reasons for this 

(and not all are valid), but the fact remains that a good 

choir consists of a majority of capable singers who 

have at least a basic understanding of how their voice 

works. I also believe that the best choirs enhance the 

musicianship of their members and make them better 

singers, since it is more than likely that these choirs 

demonstrate elements of healthy vocal technique in 

order to achieve their distinctive choral sound. 

There are two major differences between singers and 

other musicians. The most obvious one is that the 

instrument is not ‘attached’ to the body like a violin, 

trumpet or piano. Since the sound is created almost 

completely inside the body, it is much more difficult to 

explain to a young singer how to alter their technique. 

The science of singing (or vocal pedagogy) is constantly 

changing as experts develop a greater understanding 

of how the voice works, or revise obsolete ideas 

that may have once been considered gospel. This 


can make it difficult for choral directors to stay up to 

date with current knowledge, and can be more than 

a little intimidating. Therefore the relationship with a 

competent singing teacher is all the more important. 

However, there are a few basic aspects of vocal 

technique that can be covered by a choral director with 

relative ease, and will definitely make your choir sound 

better. You could start by ensuring that your singers 

know about the following terms, and how to approach 

them when it comes to singing (with grateful thanks to 

Morag Atchison, voice teacher at Auckland University, 

for checking this list for me): 

Posture 

The singer should stand with shoulders aligned with 

pelvis and ankles, in a tall but not tense stance. 

Shoulders should be straight across and not rounded 

forward. The neck should be long in the front and the 

back, so that the head sits straight. 

Jaw 

This should be ‘unlocked’ and relaxed. It should not 

be forced open into a position where the throat is 

‘crushed’, and should be dropped and ‘hung’ rather 

than forced either forward or back. 

Tongue. The tongue should sit forward and relaxed 

on the bottom row of teeth, just behind the lower lip. 

Judy Bellingham (voice teacher at Otago University) 

describes it as being “like a good steak: thick, fat and 

juicy.” 

Soft palate 

The soft palate sits behind the hard palate at the roof of 

the mouth and the top of the throat. It should sit high, 

but not be forced up. A useful indicator: if the choir 

members sing an open vowel and block then unblock 

their noses repeatedly, the sound should stay virtually 

the same if the palate is high enough. 

Larynx 

The larynx contains the vocal folds, and should sit low 

in the throat, but not forced down. The singers can feel 

Freephone 0800 775 226 

the larynx move up and back down if they gently 

place their fingers on the front of the throat and 

swallow. A stage whispered “cat” sound will produce 

a higher larynx, while a stage whispered “hot” sound 

will produce a lower larynx. 

Diaphragm 

The diaphragm is a large involuntary muscle at the 

base of the lungs, and controls breathing. Since 

breath is the fuel for singing and also the cause of 

many vocal faults in young singers, it is useful to know 

how to breathe in a way that uses the full capacity 

of the lungs. A ‘sleeping breath’ is the most natural 

form of breath, since it is completely unassisted, 

and therefore the best type to model for singing. 

This breath is placed much lower in the body than 

the typical manipulated breath seen in many young 

singers. A useful indicator: during a good singing 

breath the stomach and lower ribcage will extend and 

the shoulders will not rise. 

Note that the reason for numbers 2-5 is to create 

more space for vocal resonance, and therefore vocal 

colour and volume. 

Once you start using these terms and their associated 

techniques to create a more uniform vocal sound, 

you will find that the singers begin to respond only to 

the term itself, putting the onus of responsibility back 

on them to ensure that they are singing correctly, 

which gives you more rehearsal time to concentrate 

on musical rather than mechanical details. 

And the second major difference between singers 

and other musicians? We’ll have a look at that next 

term! 

David Squire is musical 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 


11

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12 Random Notes 

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The Midwest Clinic 

Surprisingly enough the weather 

was quite mild and a mere one degree 

when we landed at Chicago Airport. 

We were carrying big winter coats, 

thick woolly socks and hats, scarves and 

gloves in anticipation for the freezing 

temperatures we were expecting in 

Chicago for December. 

Finally, I was here, after a 12 hour flight 

to San Francisco and then a 4 hour 

flight to Chicago, I was all excited to 

be attending the 65th Midwest Clinic in 

Chicago Illinois. We landed at 8pm on 

Monday 12th December, very confusing 

since we left NZ at 7.30pm on Monday 

12th December. So, after 24 hours 

we had arrived on the same day and 

practically the same time as we had left! 

I really had no idea what to expect and 

couldn’t wait to get going. 

Our taxi took us to the very wonderful 

Sheraton Hotel. We were on the 17th 

floor and couldn’t believe the wonderful 

view we had from our hotel room. 

We overlooked the city, in its entire 

splendor. The scene was beautiful 

with Christmas lights everywhere and 

a slight of anticipation of snow as the 

temperature was set to drop. KBB Music 

I couldn’t thank you enough! 

I had one day before the conference, 

to find my feet, establish my bearings 

Freephone 0800 775 226 

and prepare for the conference on the 

following day. So, on Tuesday morning 

I was up bright and early, caught a taxi 

to McCormick Place, the venue for the 

Midwest Clinic. 

When I arrived I couldn’t believe the 

sheer size of the place. The venue was 

very impressive with 2.6 million sq feet 

of exhibit halls, 173 meeting rooms, 

600,000 square feet of meeting room 

space, 4 ballrooms, 2 of which are the 

largest in the 

city, assembly 

seating for 

18,000 people 

and 5000 

parking spaces. 

This was to be 

the third year 

that the Midwest 

Clinic had been 

held in this 

venue. 

“How on earth am I going to find my 

way around here?” I thought to myself! 

Suddenly I felt very daunted. The venue 

itself was open for traders to set up 

and groups to rehearse. I realized that I 

maybe shouldn’t have been there until 

the next day. However, I was eager 

to have a look around and possibly 

register. 

So, up the escalator I 

went. At the top I was 

greeted with a big sign 

saying “Registration”. 

Here many booths were 

open and I was able to 

chat to a very nice lady 

who gave me the 2011 

conference book for me 

to take away and look 

through! I must add that 

the conference book was 

the size of our Yellow 

Pages! 

So, back to the hotel 

room I went and started 

DEVELOPMENT 

In December last year, Michelle Flint from St Paul’s Collegiate School arrived at the world’s 

largest music education conference in Chicago on the KBB Music Midwest Scholarship. 

This is her first impressions of the Midwest Clinic. 

“Many visitors to the conference have been 

there since its first event, 65 years ago, and 

they still attend every year. This says something 

about the experience of the Midwest Clinic. It is 

certainly the best professional development 

experience that a music educator can have.” 

the task of reading my table of contents 

and planning my clinics, labs and 

concerts for the next four days. The 

dilemma one faced, however, was what 

to choose? The programme consisted of 

88 clinic sessions, 38 concerts, 2 reading 

sessions and 5 rehearsal labs. 

Interestingly, in addition to this, the 

Midwest Clinic event this year featured 

clinics and concert presentations that 

had subject matter content focused 

on new teachers and college students. 

They titled these sessions “Generation 

Next”. These presentations specifically 

targeted young teachers and college 

students in order to address their 

unique needs. They were designed to 

be timely and relevant with practical, 

information rich clinics presented 

by educators with a diverse and 

comprehensive range of experience. 

So, day one of the conference arrived. 

There was a complementary shuttle 

Continued on page 12 


13

service from the hotel to McCormick 

Place. The shuttle service ran every 30 

minutes both to and from the venue. I 

knew, however, that once I was there I 

would be there for the duration of the 

day. I sat on the bus that first morning 

in anticipation of what the day would 

bring. I had my programme “directory” 

with me and had highlighted the 

sessions I intended to attend that day. 

This included the initial welcome and 

concert by the USA Army Band and 

a welcome address by members of 

the Midwest Board of Directors. The 

president of the Board of Directors, 

Richard C. Crain delivered an inspiring 

speech. He reminded us as educators 

that everyone of us can make a 

difference, every one of us can change 

a music programme for the better. We 

can all deliver new ideas but most of all 

we can all inspire young people to be 

musicians. 

The opening welcome finished around 

9.50 am and everyone then headed 

up to the Exhibit Hall for the opening. 

The Exhibit Hall, pictured above, was 

impressive with 273 exhibitors featuring 

everything from instruments to music, 

software to marching band equipment, 

school tour packages to Army, Navy 

and Air force recruitment. All exhibitors 

giving out free CDs, chocolates and 

goody bags! 

So, 10.20am arrived and I set off to my 

first clinic, “Different Ways To Think 

About Music, Teaching and Advocacy”. 

This was followed by “Brassed On: A 

Guide to Expressive Brass Playing”, 

“You Are Only as Good as Your Last 

Breath: Improving Brass Pedagogy” and 

“It Sounded Better At Home: tips and 

Techniques to Manage Performance 

Anxiety”. My day was complete with a 

concert by the United States Army Band 

“Pershing’s Own”. I didn’t think I could 

absorb any more but this proved to be 

the highlight of the day. 

The Band played many wonderful 

pieces, including “Hail the Dragon” 

by Philip Sparke, who incidentally was 

sitting 5 seats away from me! Can’t get 

better than that! This was a common 

occurrence throughout the conference; 

the composers of various works would 

sit in on the performance! So, having 

set off from the hotel room at 7.30am, I 

arrived back at 7.30pm, exhausted but 

none the less totally inspired and raring 

to go the next day. 

One important thing I learned on my 

first day was to choose carefully! It is 

really important to pick a mixture of 

Clinics, Performance/Rehearsal Labs 

and Concerts. Also you need to make 

time to visit the Exhibit Hall. It would be 

easy to miss some spectacular rehearsal 

labs by excellent technicians if you just 

visited the clinics. Listen to the advice 

of people who have visited before. The 

Conference is full of people who are 

willing to share information. They take 

one look at your name tag, read that 

you come from New Zealand and are 

absolutely dumfounded at the journey 

you have taken to get there. Many 

visitors to the conference have been 

there since its first event, 65 years ago, 

and they still attend every year. This says 

something about the experience of the 

Midwest Clinic. It is certainly the best 

professional development experience 

that a music educator can have. In my 

next article I will discuss some of the 

highlights from the clinic. 

I would like to take the opportunity 

to thank KBB Music for giving me 

this opportunity and in particular Paul 

Skipper and Jennifer Hsu. If you are 

interested in applying for next Year’s 

KBB Music Midwest Scholarship then 

I suggest you visit the Midwest Clinic 

Website at www.midwestclinic.org 

Here you can view some of the concerts 

and find out more about the clinic. 

Special thanks also to Simon Hocking of 

House of Travel for organising all of my 

travel and accommodation. 

2012 KBB Music Midwest Scholarship 

APPLY NOW! 

This year’s KBB Music Midwest Scholarship is now open for 

application. If you are a director or teacher of concert bands 

and orchestras ready for a unique professional development 

opportunity, apply now. 

For more information and to 

download an application form, 

go to www.kbbmusic.co.nz 

Applications close: 30 May 2012 


The NZCT Chamber Music Contest is the longest running 

youth music competition in New Zealand and is the only 

nationwide chamber music competition for young secondary 

school musicians and composers in the country. 

In its infancy in 1965, only 250 students were involved. This 

year’s Contest reached a milestone with 503 groups entered 

into the Instrumental Performance section – that’s 1763 young 

people – and 29 budding composers entering the Original 

Composition section, including 10 entries for the new junior 

category. And it’s not just the main centres that are getting 

behind this competition. We have district competitions 

throughout June from as far north as Whangarei to the south 

of the south in Invercargill. 

The purpose of the Chamber Music Contest is to encourage 

young musicians regardless of standard or experience to 

perform together and strive towards excellence. It has a 

series of prizes, including the KBB Music Awards which are 

Freephone 0800 775 226 

2012 NATIONAL FINALS 

Auckland 

Concert Chamber, Town Hall, THE EDGE 

Friday 3 August 

Semi Finals 

The Jones Trio from Burnside High School, Winner of the KBB Music Award at the 

2011 Chamber Music Contest Finals. From left: Lena Taylor, Juea Park and Sam Jones. 

PHOTO: Chamber Music New Zealand 

Chamber Music Contest Turns 47 

presented to groups with wind, brass and percussion players at 

district contests who the adjudicators judge to be striving for 

excellence in their music making. The awards are in the form of 

KBB Music vouchers which are awarded to each member of the 

group. 

The Contest has developed into so much more than simply string 

quartets, and now includes brass, wind and percussion ensembles 

and a junior and senior original composition section. It is seen as 

the breeding ground for developing young New Zealand musical 

talent with musical heavyweights such as Michael Houstoun, Rae 

De Lisle and Wilma Smith – to name but a few – having been 

finalists in this Contest. 

The NZCT Chamber Music Contest also acknowledges support 

from ABRSM, the Wallace Arts Trust and SOUNZ. 

The 2012 National Finals will be held in Auckland on 3 and 4 

August 2012. 

Saturday 4 August 

National Final 

Tickets on sale 1 June 2012 | 0800 BUY TICKETS (289 842) | www.buytickets.co.nz 

www.chambermusic.co.nz | /ChamberMusicNZ | 0800 CONCERT (266 2378) 


15

EDUCATION SPECIALS 

16 Random Notes 

$399 

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MEDELI M20 Keyboard 

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ROLAND RP301 Digital Piano 

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Piano technology recreating an acoustic piano's 

expressiveness, sound and touch. Rosewood finish. 

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$ 2495 

ARIOSO UP118 Classroom Piano 

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CASIO CTK3000 Keyboard 

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ROLAND E09 Interactive Arranger 

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ROLAND F120 Digital Piano 

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finish. 

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KAWAI KX21 Upright Piano 

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CASIO WK3800 Keyboard 

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CASIO WK7500 Workstation 

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ROLAND HP307 Digital Piano 

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expect from a Roland piano. 

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$ 14995 

$1199 

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KAWAI 

GM10K Grand 

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Includes matching 

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Year Warranty.

The NZTrio (Ashley Brown, Justine 

Cormack and Sarah Watkins) will be 

presented with the KBB Music/CANZ 

Citation for Services to New Zealand 

Music on the evening of their concert 

on Sunday May 27 at the Maori Court 

of the Auckland Museum. As part of the 

NZ Music Month celebrations, the Trio 

has scheduled a programme of all-local 

music, by Jack Body, David Farquhar, 

Rachel Clement, Lyell Cresswell, 

Victoria Kelly and Anthony Ritchie. In 

typical style, three of these works were 

commissioned by the trio, and the work 

by Body will receive its world première. 

Annually awarded by KBB Music and 

the Composers Association since 

1976, the Citation recognises a person 

or organization that has made an 

outstanding contribution to New Zealand 

music. The NZTrio has been bringing 

stylish, challenging and beautiful music 

to audiences in NZ and beyond for a 

decade, during which time they have 

commissioned works by nearly 20 NZ 

composers, and played many more. They 

have to date produced three CDs of their 

performances: their 2006 album Spark 

featured works by six NZ composers; 

bright tide moving between (2008) 

included Gillian Whitehead’s Piano Trio 

Freephone 0800 775 226 

alongside works from Japan, Australia 

and China, and Flourishes includes 

NZTrio commissions from Eve de Castro- 

Robinson and Wayan Yudane alongside 

music by Mozart, Ravel and Pärt. They 

also appear on the John Psathas 2011 

album Helix, and further recordings are 

due to be released this year. 

The standard of the Trio’s performances 

has gone from strength to strength, 

and they have championed much of the 

most challenging piano trio repertoire in 

this country. They have also broadened 

the range and style of their music by 

collaborating with such musicians as 

Horomona Horo (taonga pūoro), the 

Finnish Accordion/Bass duo Lepisto 

and Lehti, and a trio of Cambodian folk 

musicians. The Trio has toured NZ with 

their extraordinary repertoire, including 

smaller regional centres, and taken 

NZ music to many countries including 

Australia, France, Great Britain, the USA 

and South American countries, China, 

Taiwan, and other parts of Asia. 

Their performance in Sydney in April 

2010, as part of the International Society 

for New Music’s World New Music 

Days, was a major highlight of that 

festival. Featuring the works of six NZ 

PHOTO: JOHN CRAWFORD 

New Zealand Trio Awarded Citation 

Glenda Keam on the recipient of this year’s prestigious KBB Music/CANZ Citation for Services 

to New Zealand Music. 

composers, the concert was broadcast 

live via ABC’s radio networks and 

streamed through the ABC website, and 

received high praise from the Festival 

organizers, who lauded the quality of 

their performance and the quality of 

the music they presented. Likewise, 

the trio’s appearance at the Asia-Pacific 

Festival held in Wellington in 2007 was 

a highlight of that extraordinary festival. 

The Trio also appears regularly at the 

International Festivals held biannually in 

Wellington and Auckland. 

Forthcoming concerts by the Trio 

over the next few months will include 

performances in the Auckland region 

and around the South Island (April/May), 

a collaboration with Vector Wellington 

Orchestra in August to première a brand 

new triple concerto by Chris Gendall, 

and a tour to China in mid-September 

with a programme that includes two 

works by John Psathas. 

CANZ is delighted that KBB Music has 

continued to sponsor this Citation; 

we have come to love and trust the 

adventure, commitment and quality 

of each Trio concert, and we are very 

much looking forward to making the 

presentation on May 27. 


17

Having endured a year in which one of our favourite cities 

kept wobbling, and things kept tipping off a boat in the Bay of 

Plenty, here is some of the music that has been shaken out of 

our local composers, and is coming to you through this year: 

The New Zealand 

International Arts Festival 

in Wellington has again 

presented some very 

special experiences. Top 

of my list would be Jenny 

McLeod’s opera Hōhepa, 

which tells the story of the 

Māori chief Hōhepa Te 

Umuroa, presented by a 

cast of outstanding local 

opera singers and the Vector 

Wellington Orchestra. 

Jack Body 

Also in the Festival, the NZ String Quartet presented Ross 

Harris’ Variation 25, and together with Jonathan Lemalu they 

premiered the newest work from Christchurch-based composer 

Gao Ping: Three Poems by Mu Xin. The NZTrio worked with 

percussionists Lenny Sakofsky and Jeremy Fitzsimons to 

present works by American composers George Crumb and 

Morton Feldman (rarely heard here) alongside favourites by 

local composers Victoria Kelly and John Psathas, and a new 

work by Jack Body. 

The International Festival’s travelling component, ‘Art on the 

Move’ included events by the Topp Twins and the extraordinary 

songs of Maisey Rika, who also performed with four other 

songstresses – local and international – as part of the Barefoot 

Divas, with their ‘Walk a Mile in My Shoes’ show. 

The NZ Symphony Orchestra has woven NZ music through 

their year of programmes, the first being Ross Harris’ The 

Floating Bride, which again brought the Wellington composer’s 

talents together with those of soprano Jenny Wollerman and 

poet Vincent O’Sullivan. In March, the orchestra’s national 

tour included a new work by Kenneth Young, the orchestra’s 

April concerts will include the classic Symphony No. 3 by 

Douglas Lilburn, and in September their North Island tour will 

NEW MUSIC 

FROM THE 

SHAKY ISLES 

By Glenda Keam, President of the Composers’ Association 

of New Zealand (CANZ) 

Hōhepa Te Umuroa 

include Anthony Ritchie’s Diary of a Madman: Dedication to 

Shostakovich. 

The orchestra’s NZ Music Month special concert, which happily 

will again be presented in both Auckland and Wellington, 

is titled “Wonderland”, and features Chris Cree Brown’s 

and (artist) Julia Morrison’s Celestial Bodies for orchestra, 

electroacoustic sounds and visual images. Lyell Cresswell’s 

Concerto for String Quartet will bring together the NZSO and 

the NZ String Quartet, and the orchestra will perform with 

Helen Medlyn to present Gillian Whitehead’s monodrama Alice, 

an award-winning work written for the Auckland Philharmonia 

in 2002. 

This year’s Auckland Philharmonia programme offers two 

locally-based works in NZ Music Month, with Ross Harris’s new 

Cello Concerto (written for, and performed by Li Wei Qin) on 

May 3rd, and their ‘Remix the Orchestra’ collaboration with Hip 

hop artists on May 31st. Their June programme includes a new 

work by Jack Body. 

The Christchurch Symphony Orchestra is offering an interesting 

programme this year, an impressive achievement after 

the challenges of the past year in finding an appropriate 

performing space in their city. Their March concert included 

Anthony Ritchie’s French Overture, in June Gareth Farr’s From 

the Depths Sound the Great Sea Gongs will sit alongside other 

works that relate to the sea, and in August they will premiere 

a new work by Gao Ping. The end of NZ Music Month will be 

marked by the CSO collaboration with The Adults, a trio of 

lead singers from Shihad, Dimmer and Fur Patrol. 

Our music will also be travelling to Los Angeles in April, where 

a 10-day programme of NZ music will be presented, including 

works by Chris Cree Brown, James Gardner, Ross Harris, 

Samuel Holloway, Leonie Holmes, Michael Norris, John Psathas 

and Gillian Whitehead. Most of the music will be performed by 

American performers from CalArts (California Institute for the 

Arts), together with a handful of NZ-based performers including 

Richard Nunns, who will be on his return from performances in 

London with the NZ String Quartet. 


Soprano Ukuleles 

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“Here at Ormiston Senior College we 

have been very excited about the new 

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The students have taken their 

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developed a further understanding 

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NATALIE ROBERTSON 

Ormiston Senior College 


19

CENHDN210 

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ANTIGUA TS3100Lq 

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21

GIUSEPPI GV10 

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EDIROL R05 Portable Recorder 

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KALEIDOSCOPE Ensemble Music 

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Kaleidoscope is superb for money - each set contains a score 

plus around 50 parts, each one carefully written to suit the 

needs of each instrument. For example, easy string parts 

are in first position only whilst eay clarinet parts take care to 

avoid the break. There are more demanding parts too, for 

experienced players. 

Four New Titles! 

Kaleidoscope: Journey’s Don’t Stop Believin’ (featured on Glee) 

Kaleidoscope: Leonard Cohen’s Hallelujah 

Kaleidoscope: Bob Dylan Make You Feel My Love 

(performed by Adele) 

Kaleidoscope: Snow Patrol’s Run 

Available for viewing now at KBB Music Epsom! 


Random Notes Special $ 130 

(normally $200) Be quick! One only! 


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ukulele teaching tips midwest clinic dealing with the voice - KBB Music

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