choral briefs midwest clinic performance anxiety - KBB Music
choral briefs midwest clinic performance anxiety - KBB Music
choral briefs midwest clinic performance anxiety - KBB Music
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TERM 3, 2012<br />
CHORAL BRIEFS<br />
Handy hints for Secondary School<br />
Choral Directors<br />
MIDWEST CLINIC<br />
Recipient of the 2012 <strong>KBB</strong> <strong>Music</strong><br />
Midwest Scholarship Announced<br />
PERFORMANCE ANXIETY<br />
Ideas on getting through it<br />
1 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
Introducing Tour Time - the <strong>Music</strong><br />
Tour Specialists and the Associate<br />
Sponsor of the <strong>KBB</strong> <strong>Music</strong> Festival<br />
Planning a <strong>Music</strong> Tour?<br />
Whether it is a choir, orchestra, symphonic band, pipe<br />
band or cultural group, the sound of music is an equal<br />
platform of expression for all cultures and languages<br />
around the world.<br />
Enjoy master classes and performing at local venues<br />
as you tour whilst enjoying the hospitality, new friends<br />
and the spirit of the “vibe” that brought you together.<br />
Our music consultants are always on the lookout for<br />
great musical experiences wherever in the world you<br />
are. <strong>Music</strong> groups choosing to tour with Tour Time can<br />
also include the hire of instruments at your destination,<br />
especially percussion where the size of a drum kit can<br />
intrude on the convenience of travel. Likewise, when<br />
strings break, reeds split and drum sticks go missing,<br />
our Tour Time travel managers have the contacts to<br />
source or repair. We believe it’s all about being happy,<br />
comfortable and enjoying a Tour like never before.<br />
“Travelling to Argentina in April 2012 with 54 Students, 8 staff, 2<br />
Tour Guides and a Concert Band was a mammoth operation made Tour Time is different to other companies because our<br />
possible by the outstanding work of the Team at Tour Time. They sold<br />
<strong>Music</strong> Tours are designed by musicians for musicians.<br />
themselves to us as a Company that would help us ‘tour like never<br />
before’ and they were absolutely correct in their self-promotion. Whether you are in Auckland, Australia, Amsterdam<br />
If you are looking to tour with your ensemble, contact Tour Time or Argentina our Tour Managers travel and remain<br />
for outstanding service and a truly memorable experience.” with your group 24/7. Everything we do - is Like never<br />
Ross Gerritsen - Head of <strong>Music</strong> - Saint Kentigern College, Auckland before!<br />
www.tourtime.co.nz 2 Random Notes • info@tourtime.co.nz<br />
<strong>Music</strong>al Instrument Specialists since 1888
<strong>KBB</strong> <strong>Music</strong> Takapuna<br />
Now Open!<br />
<strong>KBB</strong> <strong>Music</strong> now has a new store on<br />
Auckland's North Shore!<br />
Located at 124 Anzac Street, Takapuna,<br />
<strong>KBB</strong> <strong>Music</strong> Takapuna is open seven days,<br />
and houses a great range of Pianos, Brass,<br />
Woodwind, Stringed and Percussion<br />
instruments and accessories.<br />
Staff at <strong>KBB</strong> <strong>Music</strong> Takapuna are all musicians<br />
and Instrument Specialists - Carvin Knowles<br />
(previously at <strong>KBB</strong> <strong>Music</strong> Epsom) is a multiinstrumentalist<br />
and music producer;<br />
Jacob Nansen is the Piano/Digital Piano<br />
Specialist. With their backgrounds and<br />
musical knowledge, they can help students<br />
and teachers alike with any queries.<br />
So if you are on the Shore, do pop in and say<br />
hello!<br />
<strong>KBB</strong> <strong>Music</strong> Takapuna<br />
124 Anzac Street, Takapuna, Auckland<br />
Ph 09 489-4131, takapuna@kbbmusic.co.nz<br />
From left: Carvin and Jacob are the Instrument<br />
Specialists at <strong>KBB</strong> <strong>Music</strong> Takapuna.<br />
5<br />
10<br />
8<br />
12<br />
CONTENTS<br />
5 'Once-in-a-Lifetime' Scholarship for Director<br />
7 <strong>KBB</strong> <strong>Music</strong> Festival Update<br />
8 Dealing with Performance Anxiety<br />
10 The Midwest Clinic - Do You Hear What I Hear?<br />
12 Choral Briefs - Handy Hints for Secondary School<br />
Choir Directors: I Don't Believe You!<br />
14 Developing <strong>Music</strong> Literacy with Ukulele<br />
15 Composers Compare Notes at the CANZ Nelson<br />
Composers Workshop 2012<br />
16 Education Specials<br />
COVER PHOTO: David Squire directing the NZ Youth Choir. Photo by Tony Speakman.<br />
Random Notes is a free magazine for music teachers<br />
and educators in New Zealand published by <strong>KBB</strong> <strong>Music</strong>.<br />
Enquiries should be sent to:<br />
<strong>KBB</strong> <strong>Music</strong>, PO Box 9788, Newmarket, Auckland 1149.<br />
Freephone: 0800 775 226 info@kbbmusic.co.nz<br />
www.kbbmusic.co.nz www.facebook.com/kbbmusicltd<br />
<strong>KBB</strong> <strong>Music</strong> Education<br />
Ph 0800 775 226 ext 205<br />
school@kbbmusic.co.nz<br />
<strong>KBB</strong> <strong>Music</strong> Epsom<br />
157 Manukau Road, Epsom, Auckland<br />
Ph 09 630-2577<br />
<strong>KBB</strong> <strong>Music</strong> Auckland Central & Piano Showroom<br />
136 Karangahape Road, Auckland CBD<br />
Ph 09 309-1140<br />
<strong>KBB</strong> <strong>Music</strong> Botany<br />
Shop 42, Botany Town Centre, Auckland<br />
Ph 09 271-2642<br />
<strong>KBB</strong> <strong>Music</strong> Takapuna<br />
124 Anzac Street, Takapuna, Auckland<br />
Ph 09 489 4131<br />
<strong>KBB</strong> <strong>Music</strong> Wellington<br />
40 Cuba Street, Te Aro, Wellington<br />
Ph 04 472-2526<br />
3 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
EVENTS<br />
<strong>Music</strong>al Memos Calendar<br />
AUGUST<br />
NZCT Chamber <strong>Music</strong> Contest Final<br />
3-4 August, Auckland.<br />
www.chambermusic.co.nz<br />
Waikato IMS Band & Orchestra Festival<br />
10 August, WEL Performing Arts Centre<br />
For more information email John Wright<br />
heatherandjohn@clear.net.nz<br />
Hawkes Bay Festival of Bands<br />
12 August, Lindisfarne College,<br />
Hastings. Email John Snowling<br />
snowling.p.j@lindisfarne.hb.school.nz for<br />
more information<br />
Big Sing Finale<br />
16-18 August. Visit www.nzcf.org.nz for<br />
details.<br />
<strong>KBB</strong> <strong>Music</strong> Festival<br />
21-25 August, Holy Trinity<br />
Cathedral & St Mary's Chapel,<br />
Parnell.<br />
www.kbbmusicfestival.co.nz<br />
SEPTEMBER<br />
Central Ukulele Festival<br />
1 September, Arena 2, Palmerston<br />
North. CUF is an annual fun celebration<br />
of the ukulele for primary/intermediate<br />
schools in the Central area of the<br />
North Island. For school registrations<br />
and info about professional learning<br />
opportunities please visit<br />
www.centralukulelefestival.org.nz<br />
NZ Concert Bands Festival<br />
14-16 September, Gallagher Performing<br />
Arts Academy, Hamilton.<br />
Proudly sponsored by <strong>KBB</strong> <strong>Music</strong>.<br />
www.nzcba.org<br />
NZ Woodwind Competition<br />
14-16 September, Westlake Girls<br />
High School. Annual competition for<br />
Saxophone, Flute, Recorder, Clarinet,<br />
Oboe & Bassoon players.<br />
Entries close 1 August 2012.<br />
www.flutefocus.com/woodwindcompetitions.html<br />
OCTOBER<br />
<strong>KBB</strong> <strong>Music</strong> Young Performers<br />
Competition Finals<br />
28 October, Raye Freedman Arts Centre,<br />
Auckland. For entry forms and more<br />
information, email catherineb@apo.co.nz<br />
NOVEMBER<br />
Gisborne International <strong>Music</strong> Competition<br />
25 November - 1 December, War Meorial<br />
Theatre, Gisborne. A competition for<br />
<strong>Music</strong>ians aged 16-25 years. Entries close<br />
28 September 2012.<br />
www.gisbornemusiccompetition.com<br />
DECEMBER<br />
NZ Ukulele Festival<br />
1 December, The Trusts Stadium,<br />
Waitakere, Auckland.<br />
www.nzukulelefestival.org.nz<br />
JANUARY 2013<br />
2013 <strong>Music</strong> Education Conference<br />
Tuituia: towards a world of light through<br />
music and dance<br />
7-10 January, 2013, Hamilton. A<br />
collaborative venture between Waikato<br />
University, the NZ Orff Association (ONZA)<br />
and the <strong>Music</strong> Teachers Association<br />
(MENZA). www.tuituia.ac.nz<br />
2013 National IRMTNZ Conference<br />
"<strong>Music</strong> in Time"<br />
14-18 January, 2013, Raye Freedman Arts<br />
Centre, Auckland.<br />
www.irmt.org.nz<br />
If you would like your event listed in<br />
<strong>Music</strong>al Memos, please email details to<br />
jennifer@kbbmusic.co.nz<br />
4 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
'Once-in-a-Lifetime'<br />
Scholarship for <strong>Music</strong> Director<br />
DEVELOPMENT<br />
<strong>KBB</strong> <strong>Music</strong> is pleased to announce Auckland teacher, Milica Zjajic-Moon, as<br />
the recipient of the 2012 <strong>KBB</strong> <strong>Music</strong> Midwest Scholarship which will take her to<br />
the world’s largest instrumental music education conference in Chicago, USA<br />
later this year.<br />
Now in its 66th year, the Midwest Clinic is 4-day International Band and<br />
Orchestra Conference held annually in Chicago with the sole purpose of raising<br />
the standards of music education and enriching music educators through<br />
workshops, concerts and exhibitions.<br />
"I was ecstatic when I found out," says Mrs Zjajic-Moon. “I am honoured to<br />
receive the <strong>KBB</strong> <strong>Music</strong> Midwest Scholarship"<br />
The <strong>KBB</strong> <strong>Music</strong> Midwest Scholarship is a unique professional development<br />
opportunity open to all music educators/directors of bands or orchestras across<br />
New Zealand.<br />
“We received a record number of applications this year," says Andrew<br />
Chamberlain, General Manager of <strong>KBB</strong> <strong>Music</strong>. "It has been a pleasure to offer<br />
the scholarship to Milica who through programmes in both practical and<br />
academic areas, has demonstrated the ability to increase students' participation<br />
in music, and contribute to youth music education in the country."<br />
Mrs Zjajic-Moon is the Head of <strong>Music</strong> Department and Arts Faculty at<br />
Mount Albert Grammar School. She currently directs the school's Concert Band<br />
as well as co-ordinating the Rock Band, among others.<br />
"I can't wait to get to Chicago and attend all the exciting workshops,<br />
concerts and presentations on offer," says Mrs Zjajic-Moon. "It will be a once-ina-lifetime<br />
opportunity, and I am particularly looking forward to meeting some<br />
of the composers and arrangers whose music I have performed with the school<br />
orchestra over the past decade."<br />
Past winners of the <strong>KBB</strong> <strong>Music</strong> Midwest Scholarship include Michelle<br />
Flint (St Paul's Collegiate School), Victoria Brown (St Peter’s School, Hamilton),<br />
Hamish Arthur (itinerant music teacher), Alastair Monteath (itinerant music<br />
teacher), Kathleen Mulligan (St Cuthbert’s College), John Snowling (Lindisfarne<br />
College), Antun Poljanich (St Peter’s College), Peter Thomas (Epsom Girls<br />
Grammar School), Stewart Stanbridge (Waikato Academy of <strong>Music</strong>) among<br />
others. •<br />
Milica Zjajic-Moon, recipient of the 2012 <strong>KBB</strong> <strong>Music</strong><br />
Midwest Scholarship is looking forward to attending the<br />
Midwest Clinic in Chicago this December.<br />
<strong>KBB</strong> <strong>Music</strong> Welcomes New Member<br />
to Education Team<br />
It is with great pleasure that we welcome<br />
Roger Cleave as the <strong>Music</strong> Resource<br />
Specialist, based in Christchurch.<br />
Roger brings a wealth of experience to<br />
this position, having worked in the music<br />
retail field for twelve years, and as a multiinstrumentalist<br />
playing in professional and<br />
social bands for over 25 years.<br />
Roger's experience as a composer, arranger<br />
and producer for musical productions, albums<br />
and musical events, means that he has a<br />
wide knowledge of musical instruments and<br />
equipment for all situations, and will be able<br />
to provide suitable solutions for your music<br />
classroom.<br />
Roger will be in contact with schools in the<br />
South Island in the coming months.<br />
Having Roger work closely with our Aucklandbased<br />
<strong>Music</strong> Education Resource Specialist,<br />
Mitch Golner, we feel that we are now<br />
positioned better than ever before, to provide<br />
your school music programme the most<br />
comprehensive range of products at the best<br />
prices available in New Zealand, backed by a<br />
service ethic second to none.<br />
In his own words, Roger insists that 'music<br />
isn't just a passion, it's my life'. So if you have<br />
any questions about music and music-making<br />
at your school, then give Roger a call on<br />
027 703 9120 or email roger@kbbmusic.co.nz<br />
Freephone 0800 775 226 www.kbbmusic.co.nz 5
Do you have talented<br />
students aiming for a career<br />
in music?<br />
As they explore their options for tertiary study, let them know<br />
about the diplomas and degree available at Vision College.<br />
YEAR ONE YEAR TWO YEAR THREE<br />
Diploma of<br />
Contemporary<br />
<strong>Music</strong> (Level 5)<br />
Diploma in<br />
Performance<br />
<strong>Music</strong> (Level 6)<br />
Bachelor<br />
of <strong>Music</strong><br />
(CCM)<br />
MUSIC<br />
CAREER<br />
Campuses in Hamilton & Christchurch<br />
The Hamilton Campus has a Christian music focus.<br />
The Christchurch Campus focuses on mainstream music.<br />
CALL FREE NOW<br />
0800 834 834<br />
txt MUSIC to 027 557 8839<br />
www.visioncollege.ac.nz<br />
A division of ATC New Zealand. (Est 1984). NZQA Accredited.<br />
6 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
<strong>KBB</strong> <strong>Music</strong> Festival Update<br />
An update on the 2012 <strong>KBB</strong> <strong>Music</strong> Festival by<br />
Chairperson Dr. Trevor Thwaites.<br />
Welcome back to Term III. Christmas will soon be<br />
here, but not before the <strong>KBB</strong> <strong>Music</strong> Festival, the main<br />
event in your calendars, has taken place. Judging by the<br />
entries, this year promises to be an outstanding event. Let<br />
me remind you of the date and venue:<br />
Tuesday 21 to Saturday 25 August, 2012 as the dates for<br />
the Festival.<br />
Venue: The Holy Trinity Cathedral and St Mary’s Church,<br />
Parnell<br />
The Gala Concerts will be at 2.30pm and 6.30pm on<br />
Saturday 25 August, so put this in your diary as a mustattend<br />
event. Saturday morning is reserved for the Fringe<br />
Festival for non-competitive entries.<br />
For the competitive entries, let me remind you of the five<br />
categories against which you will be marked:<br />
Technique: which considers the technical skills of the<br />
ensemble, as well as the technical demands of the music.<br />
Accuracy: in particular this pays attention to accuracy of<br />
notated articulation, expression, pitch and rhythm, as well<br />
as intonation.<br />
<strong>Music</strong>ianship: establishes how effective and affective the<br />
musical <strong>performance</strong> is in terms of stylistic integrity, feel,<br />
sensitivity and portrayal for the composer or arranger’s<br />
intentions.<br />
Cohesion: considers the balance between the parts, the<br />
togetherness of the ensemble in the production of a cohesive<br />
overall sound.<br />
Presentation: gives consideration to how effective and<br />
convincing the <strong>performance</strong> is, as well as audience rapport<br />
and general comportment and (professional) attitude while on<br />
stage.<br />
It is often estimated that to become an expert musician you<br />
need to have put in over 10,000 hours of practice. This means<br />
that practicing for two hours per day, seven days a week for<br />
twelve years or more should bring you close. However, there<br />
are ways to practice and ways of not practicing. Meaningful<br />
practice with planning, intent and reflection is beneficial,<br />
but simply practicing the same old routines day after day,<br />
year after year with no specific goal in mind is less likely to<br />
produce expertise. I have a friend who says “practice makes<br />
permanent” and we might take this to mean that if we install<br />
bad habits into our practice routines, then repeating these<br />
year in year out makes the habits harder to break once<br />
someone tells us what is wrong.<br />
Recently, I noted in an old conducting text the library<br />
were throwing out the sane advice that technique means<br />
establishing the simplest and most comfortable way to<br />
produce the desired musical sound and effect (paraphrased).<br />
See you in August.<br />
Trevor Thwaites<br />
Chairperson<br />
<strong>KBB</strong> <strong>Music</strong> Festival<br />
New Technician Onboard<br />
Originally from Kansas, Jennifer Wiegel moved to Auckland in June<br />
this year with her young family to join <strong>KBB</strong> <strong>Music</strong>’s Technical Team.<br />
Before coming to New Zealand, Jennifer,<br />
or Jenny as she is known at <strong>KBB</strong> <strong>Music</strong>,<br />
was an instrument repair technician at<br />
Senseney <strong>Music</strong> in Kansas where she<br />
repaired and restored woodwinds, brasswinds,<br />
and orchestral strings for the last 8<br />
years, as well as guitars for a year.<br />
"Orchestral strings and woodwinds are my<br />
speciality and favourites to work on," says<br />
Jenny who is proficient on most woodwind<br />
and orchestral string instruments. "I also<br />
enjoy custom woodwork."<br />
“It took over a year to find a technician<br />
that has the level of skill that we were<br />
looking for,” says Michael Austin, <strong>KBB</strong><br />
<strong>Music</strong>’s Technical Manager. “Jenny<br />
brings with her a diverse range of skills<br />
and knowledge gained by working in a<br />
workshop with six technicians.”<br />
Jenny attended Kansas State University<br />
(KSU) and Wichita State University (WSU),<br />
graduating with a Bachelor of Arts in<br />
<strong>Music</strong> with emphasis on Clarinet, as well<br />
as <strong>Music</strong>ology.<br />
“I knew straight away that I would apply<br />
for this job,” says Jenny. “And I am<br />
enjoying the new surroundings now I’m<br />
here!”<br />
Jenny is based in <strong>KBB</strong> <strong>Music</strong>'s repair<br />
workshop in Epsom, Auckland. •<br />
Freephone 0800 775 226 www.kbbmusic.co.nz 7
Dealing with<br />
Performance<br />
Anxiety<br />
By Trevor Thwaites<br />
As the <strong>KBB</strong> <strong>Music</strong> Festival approaches we get more excited<br />
about the <strong>performance</strong>s we might be giving or hearing. Often<br />
this excitement can get channelled in the wrong direction<br />
and suddenly morph into panic or nervous tensions. How we<br />
deal with pre-<strong>performance</strong> <strong>anxiety</strong> is a critical factor in the<br />
production of a successful <strong>performance</strong>.<br />
For me, knowing the music inside and out is important. As<br />
a percussionist, if I’m working with orchestral or big band<br />
scores, then analysing these and addressing any tricky bits is<br />
critical. If I’m playing music learned aurally from recordings,<br />
then I steep myself in the style of the music or a performer’s<br />
catalogue of recordings in the weeks or days beforehand,<br />
until I feel part of the genre. Where I might have tricky mallet<br />
parts in an orchestral or similar score, I mentally practice the<br />
stickings and the leaps etc, often several times a day. For very<br />
complex sections, I try to find the main harmonic guide tones<br />
that run through the specific section, so that if I do came adrift<br />
I can soon regain my place, and composure, through aurally<br />
recognising where I am.<br />
If playing drums in a jazz situation, knowing the tunes (heads)<br />
is very important, especially if I’m the one counting in. In these<br />
situations I mentally run through the first set before going on<br />
stage. People don’t make me nervous, not being musically<br />
prepared does.<br />
Warming up can be difficult for percussionists, and even if you<br />
do so immediately beforehand, you may not play anything<br />
technically demanding in an orchestral context for 40 minutes<br />
or more. This means being in a state of physical relaxation<br />
while also being mentally alert so that you play the part<br />
effectively when it comes up. Being tense produces nervous<br />
sounding music. I trust my body and find that before a big<br />
<strong>performance</strong> I often become overwhelmed by a feeling of<br />
absolute exhaustion and find myself wondering how on earth<br />
I’m going to be able to perform effectively in a few hours<br />
time. In learning to trust my body I find that sure enough, in<br />
the thirty minutes or so leading up to the <strong>performance</strong>, my<br />
body kicks in and I’m ready and eager to play. Playing the<br />
music becomes everything for me.<br />
I asked my secondary music teacher education graduate<br />
students how they deal with <strong>performance</strong> <strong>anxiety</strong>. All are<br />
experienced performers and here are some of their responses<br />
categorised under three headings—wellbeing, mental<br />
preparation, physical preparation:<br />
Wellbeing<br />
• Deep breathing before the <strong>performance</strong><br />
• A good sleep the night before, or one in the afternoon<br />
prior to a <strong>performance</strong><br />
• Putting lavender essential oil on a tissue and breathing in is<br />
relaxing<br />
• Tai Chi or movement exercises<br />
• A small squirt of Arnica liquid on my tongue seems to calm<br />
me down. I know musicians who use other herbal aids such<br />
as Rescue Me<br />
• Don’t eat too much before a <strong>performance</strong><br />
• A small amount of physical activity to activate the body, I<br />
then do warm-up exercises and mentally run through the<br />
whole <strong>performance</strong>. I follow this process every time<br />
• An intake of ‘carbo food’, such as a banana, 90 minutes<br />
before a <strong>performance</strong><br />
Mental preparation<br />
• Being well-prepared and run through the various stages of<br />
the <strong>performance</strong> mentally, including the coming on and off<br />
the stage<br />
• I run through the tricky parts in my head, with the<br />
music in front of me but no instrument<br />
• I think to myself that no one will notice my mistakes<br />
in that they are less important than the total<br />
ensemble <strong>performance</strong><br />
• Confidence creates a confident <strong>performance</strong><br />
• I tell myself not to worry, getting nervous/anxious is<br />
normal for performers<br />
• I like to find a quiet place, perhaps in the green or<br />
warm-up room, and look over the music<br />
• I try to put worrying about the <strong>performance</strong> as<br />
something to do after the <strong>performance</strong> is over –<br />
reflecting on how to improve for next time<br />
• I try not to worry or focus upon the expectations of<br />
others (fellow performers or audience) and simply<br />
try to meet my own expectations<br />
• As a singer I like to focus on the character or story<br />
of the lyrics<br />
8 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
• Mentally imagine the feel of the music, breathe<br />
deeply for a short time and then get excited about<br />
the imminent <strong>performance</strong>.<br />
Physical preparation<br />
• I personally find that taking a break from practicing the<br />
day before and big <strong>performance</strong> helps. I also seem to<br />
play better if I limit how much I play directly before the<br />
<strong>performance</strong>.<br />
• Warm up properly before the <strong>performance</strong><br />
• Practise slowly to warm up<br />
• Mentally reading the score and then playing from<br />
memory<br />
• I avoid any last minute fast and intense practising just<br />
before a <strong>performance</strong><br />
• Be as musically prepared as you possibly can be<br />
Study music<br />
at New Zealand’s leading University<br />
The School of <strong>Music</strong><br />
offers majors in:<br />
Classical <strong>performance</strong><br />
Composition<br />
Jazz <strong>performance</strong><br />
<strong>Music</strong>ology<br />
Popular music<br />
Trevor Thwaites has performed internationally in a wide variety of groups<br />
ranging from orchestral to jazz, professional theatre to big band, session<br />
musician to covers. He is the musical director of the Prohibition Big Band;<br />
plays vibraphone in the six-piece jazz group Emergency Exit, and is also<br />
the drummer in Crystal Silence, the Craig Williams Trio and the Stevie G<br />
Band. Trevor was Chairperson of the <strong>Music</strong> Advisory Group responsible<br />
for the development of unit standards in <strong>Music</strong> (1995 - 2002), a member<br />
of the expert panels in developing achievement standards in music (2000 -<br />
2012), National Moderator <strong>Music</strong> 2000 (unit standards) to 2007; and project<br />
Director for <strong>Music</strong> in the writing of The Arts in the New Zealand Curriculum<br />
(1998 - 2000). He is Principal Lecturer in <strong>Music</strong> Education at The University<br />
of Auckland, and since 2011, the Chairperson of the Auckland Secondary<br />
Schools <strong>Music</strong> Festival Trust which administers the annual <strong>KBB</strong> <strong>Music</strong> Festival.<br />
Find out more:<br />
www.creative.auckland.ac.nz<br />
Courses and Careers Day, Sat 25 Aug, 2012<br />
0800 61 62 63 | info-creative@auckland.ac.nz<br />
Evean Hunt - winner<br />
Songwriter of the Year 2011<br />
Schools Competition<br />
Freephone 0800 775 226 www.kbbmusic.co.nz 9
Do You Hear<br />
What I Hear?<br />
Michelle Flint from St Paul’s Collegiate School<br />
traveled to the world's largest music education<br />
conference in Chicago on the <strong>KBB</strong> <strong>Music</strong> Midwest<br />
Scholarship in December 2011.<br />
Michelle Flint<br />
While there she was most inspired by <strong>clinic</strong>ian<br />
Richard Floyd's seminar on Do You Hear What I Hear?<br />
The ear can’t hear what the mind can’t imagine”<br />
- Gunther Schuller<br />
The Lion in the Rock<br />
A man was carving a stone and a little boy was watching,<br />
curious to see what the man was doing. “Sir, what are you<br />
doing?” asked the little boy. “You may stay there and<br />
watch”, said the man, “but you must not say a word”. The<br />
boy watched the man carving away at the stone. Each<br />
day he visited the man to see the progress he had made.<br />
Finally, after many days, the carving was finished. The little<br />
boy approached the man and did not say a word. “Don’t<br />
you have anything to say?" asked the man. “You told me<br />
to stay quiet”, said the boy. “Do you not have anything<br />
to ask me about the work I have done?” replied the man.<br />
“Yes”, said the boy. “How did you know that lion was<br />
inside that rock?”<br />
Richard Floyd<br />
Richard Floyd, UIL State Director of <strong>Music</strong> at the University<br />
of Texas was one of the most inspiring <strong>clinic</strong>ians at the<br />
Midwest Clinic in Chicago during my visit in December<br />
last year. The conference offers a plethora of <strong>clinic</strong>s,<br />
concerts and rehearsal labs which offer outstanding<br />
educational <strong>clinic</strong>s, concert <strong>performance</strong>s and an exhibit<br />
hall that highlights all the latest “cutting-edge” materials in the<br />
music world. With the assistance of the United States Army Band<br />
the <strong>clinic</strong>, offered by Richard Floyd, focussed on the multiple kinds<br />
of listening that are critical factors in determining the effectiveness<br />
of rehearsals, offering strategies to refine these proficiencies.<br />
Tuning<br />
Richard began with a focus on tuning. He said that it is important<br />
to instruct the ears to listen and that playing in tune is to ‘serve the<br />
music’ not just for the sake of playing in tune, this is meaningless.<br />
We all listen for different things and perfect intonation is virtually<br />
unattainable, especially on a brass instrument. <strong>Music</strong>ians have<br />
to constantly adjust (tuning slides etc) to ‘create the illusion of<br />
perfection’. Rehearsals should begin with ‘Inclusive Listening’<br />
using chords based on root “C”, so, C Major, C Minor, C Dim, C<br />
Aug, all of the above plus an added 6th, 7th, maj, min, dominant,<br />
diminished etc. When tuning the chord always tune the root first,<br />
followed by the 5th and finally the 3rd. The goal is to move the ear<br />
from ‘Unconscious Incompetence’ (not hearing) to ‘Unconscious<br />
Competence’ (hearing it and doing something about it).<br />
10 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
DEVELOPMENT<br />
Richard suggests that there are three types of tuning:<br />
• Unison and octave tuning - It is or it isn’t<br />
• Melodic tuning - Hear reality as opposed to your<br />
“inner music”<br />
• Harmonic tuning- Just intonation rules.<br />
“We must learn to listen from a musical mind-set as opposed<br />
to a pedagogical mind-set”.<br />
people in your section. Finally connect ‘Globally’ with the<br />
whole band, orchestra or group.<br />
Phrasing<br />
Think of music as one line of gesture of connection and make<br />
the bar lines evaporate. Phrases are sentences, the essay is<br />
the whole work.<br />
Rhythm and Articulation<br />
<strong>Music</strong>ians know you cannot keep time.<br />
<strong>Music</strong> travels in time and musicians take a ride.<br />
Tempo is liquid, like water it seeks its own level.<br />
A good tempo is discovery.<br />
- Bruce Adolphe<br />
“Metronomes can tell you that you<br />
are in time but not in rhythm”. All<br />
music has a heartbeat and we have<br />
to connect with its inner pulse.<br />
“To play with the metronome is<br />
to play mechanically - the reason<br />
being, of course, that we are then<br />
playing by the measure, or rather<br />
by the beat, instead of by the<br />
phrase. We have created a dead<br />
body in place of the living musical<br />
organism with its ebb and flow of<br />
rhythmical energy”.<br />
- Daniel Gregory Mason, grandson<br />
of Lowell Mason<br />
Before the first note articulation<br />
must be considered. There are<br />
infinite ways to articulate just as<br />
there are infinite ways you can exhale. Articulation is about<br />
note shape not tonguing. Note shape includes the ‘front end’<br />
of the note, the ‘duration’ of the note and the resonance and<br />
‘weight ‘of the note.<br />
Balance, Blend and Dynamics<br />
The challenge is to hear the ‘inner voices’. Students must<br />
be able to hear internal lines whilst the melody is playing.<br />
Dynamics must have proportion and ‘serve’ the music. A<br />
good way to connect with other players around you is to take<br />
a ‘Global Perspective’. First of all connect ‘Locally’, with the<br />
persons on either side, next connect ‘Nationally’, with the<br />
“When the technical problems of finger dexterity have been<br />
solved, it is too late to add musicality, phrasing and musical<br />
expressing. That is why I never practice mechanically. If we<br />
work mechanically, we run the risk of changing the very nature<br />
of music”.<br />
- Daniel Barenboim<br />
Richard Floyd was a master at his<br />
art. He very cleverly used the United<br />
States Army Band to get across all of<br />
his strategies. As musical directors we<br />
all face the challenge of developing<br />
listening skills that serve to maximise<br />
rehearsal efficiency.<br />
In my first article I mentioned the<br />
opening speech by Richard C. Crain,<br />
President of the Board of Directors at<br />
the Midwest Clinic. I can’t finish this<br />
article without sharing with you his<br />
words of wisdom.<br />
“Teaching is a most noble profession.<br />
Instrumental music directors have the<br />
opportunity to reach more students<br />
in a school than teachers of any other<br />
discipline…. You possess the unique<br />
ability to literally change the lives of so<br />
many young people who choose to be part of their school’s<br />
music programme. You offer your students the priceless<br />
opportunity to enjoy, appreciate, support, and participate<br />
in music throughout their lives. You definitely make a<br />
difference”.<br />
Once again I would like to thank <strong>KBB</strong> <strong>Music</strong> for giving me<br />
the opportunity to attend the Midwest Clinic in December<br />
2011. The experience was invaluable to me. Thank you also<br />
to St Paul’s Collegiate School Hamilton for financial assistance<br />
to make this trip possible. Special thanks to Simon Hocking<br />
from House of Travel for his organisation of all my travel and<br />
accommodation. •<br />
Freephone 0800 775 226 www.kbbmusic.co.nz 11
CHORAL BRIEFS<br />
Handy hints for Secondary School Choir Directors<br />
I Don't Believe You!<br />
by David Squire, Schoir Ltd<br />
David Squire. Photo: Tony Speakman<br />
In the Random Notes article last term I mentioned<br />
that there were two things separating singers from<br />
other musicians, the first being that the instrument is<br />
inside the body, rather than ‘attached’ to it. I didn’t<br />
reveal the second difference, but promised I would this<br />
term. It is, of course, the added dimension in almost all<br />
vocal music: text.<br />
This is a double-edged sword for singers. There are issues<br />
of mechanics: the pronunciation of varying languages,<br />
consonants that can interrupt the legato cantabile line,<br />
regional dialects that hinder correct vowel placement, and<br />
even something as basic as enunciating clearly enough<br />
to be understood by the audience. There are also issues<br />
of understanding: ambiguity and intuitive meaning in<br />
the poetic language (and this can include foreign poetic<br />
languages), accurate syllable accents, compositional<br />
context, and character conveyed via various emotive<br />
pathways.<br />
However, there is a huge advantage to having text: it is the<br />
singer’s primary guide to the musicality inherent in a song.<br />
In fact, it all starts from the text. Provided the composer<br />
has set the text in a way that reflects the intent of the<br />
words, it becomes the singer’s basis for finding the finesse<br />
of the <strong>performance</strong>.<br />
Unfortunately, all too often this is ignored. As a <strong>choral</strong><br />
adjudicator, I have heard many choirs sing works in<br />
such a way that I know they have no concept of the text<br />
“Singers in my choirs are all used to<br />
hearing me say a four-word phrase:<br />
'I don't believe you.' The moment I am not<br />
convinced that they are singing in a manner<br />
appropriate to the text, out it comes.”<br />
meaning. For example, how can one sing Vivaldi’s Gloria<br />
with a bored and serious face? If someone is singing the<br />
jazz standard I Can’t Give You Anything But Love, and they<br />
look disengaged and uncomfortable, then the audience<br />
(who effectively become the subject of the song) will not<br />
be inclined to give the singers a second chance. The mood<br />
in such a piece needs to be more alluring and less selfpitying!<br />
Singers in my choirs are all used to hearing me say a fourword<br />
phrase: “I don’t believe you.” The moment I am not<br />
convinced that they are singing in a manner appropriate<br />
to the text, out it comes. No doubt it annoys them, but it<br />
certainly keeps them honest, and usually has the desired<br />
effect – to remind them that integrity in singing is vital if<br />
they are to convey the message to the audience. It doesn’t<br />
matter if they believe it themselves or not. As singers they<br />
are required to convince the audience that they do, to<br />
suspend disbelief, in the same way that actors do. This<br />
requires a certain uninhibited approach to the music that<br />
many teenage singers find difficult to deal with, but must<br />
be encouraged to attempt and then perfect.<br />
12 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
For the <strong>choral</strong> director, this means doing a little research.<br />
Find out about the poet or lyricist. Examine the context<br />
of the text: when it was written, what for, who for? If it’s an<br />
excerpt from an opera, oratorio, cantata or musical, what<br />
is the dramatic context of the song at that point in the<br />
work as a whole? If the work is in a foreign language, ask<br />
a proficient speaker to give you a direct translation – and<br />
to explain the poetry and how a native speaker might<br />
read more into the text than a non-native speaker would.<br />
Don’t rely on a paraphrase – these are usually inaccurate<br />
(especially the sung paraphrase written in the <strong>choral</strong><br />
arrangements, which are not word-for-word and therefore<br />
do not follow the natural text shape of the melodic line).<br />
Once your students are singing the work, ask them often<br />
what each word or phrase means. Each singer will have<br />
their own idea about the meaning, and many of these will<br />
be valid. Draw on their ideas and come to a shared vision<br />
of the work. It will make things so much more meaningful<br />
for the choir as a whole.<br />
At the 2009 NZCF Sing Aotearoa Festival in Rotorua,<br />
former King’s Singers member Simon Carrington gave a<br />
seminar entitled Tasting the Text – the Missing Ingredient.<br />
This mixing of the senses and allusion to a recipe for<br />
<strong>choral</strong> technique is very useful in this context. He describes<br />
singers as having the “unique privilege of singing<br />
words,” and says that choirs must focus not just on the<br />
mechanics of vocal technique, but also on the "organs of<br />
communication: the mouth, lips, tip of the tongue, eyes.”<br />
The end result of all this work to reflect the text? An<br />
effective and convincing <strong>performance</strong> that transports<br />
the audience to another time or place. Anyone who saw<br />
the King’s Singers on their recent tour to New Zealand<br />
will have seen evidence of this. Nothing is ever ‘half<br />
done’. Each piece is spellbinding. On the other hand, I<br />
have heard several professional-level choirs where the<br />
standard of singing is top-notch, the intonation flawless,<br />
the gradation of dynamics impeccable… but there is still<br />
something absent – passion, emotion, believability. All<br />
these come from the text.<br />
If you want somewhere to start, think about our own<br />
national anthem. Say the first two lines as if it was a<br />
poem, rather than a song. Now think about the word<br />
stress, elision at the ends of lines, the meaning. Once I<br />
had done this, I realised that I could never sing it again<br />
without a comma after “nations”, and with a breath<br />
after “feet” – despite the impression that 99% of the<br />
population sings it like that. If you really think about it,<br />
the meaning is almost reversed when sung that way! •<br />
David Squire is music director of the New Zealand Youth Choir and<br />
several secondary school choirs, orchestras and bands in Auckland.<br />
Formerly a HOD music, he is now a freelance itinerant teacher<br />
based at Westlake Girls & Boys High Schools, Long Bay College<br />
and Kristin School. A conducting mentor for the New Zealand<br />
Choral Federation Association of Choral Directors, he is available<br />
for choir workshops and conductor training.<br />
Contact him at schoirltd@gmail.com, or check out his website:<br />
www.davidsquire.co.nz<br />
David Squire directing the NZ Youth Choir. Photo: Tony Speakman
Developing <strong>Music</strong> Literacy<br />
with Ukulele<br />
By Maria Winder, music consultant, The Sound of <strong>Music</strong> Education<br />
& Trustee of NZ Ukulele Trust<br />
Photo: Trevor Villers<br />
For thousands of children in New Zealand, ukulele learning is opening<br />
up a whole new world of music knowledge and skills.<br />
<strong>Music</strong> knowledge and skills such as:<br />
• Learning to read ukulele TAB and chord charts and to<br />
strum and pick in a variety of styles<br />
• Developing understandings about keys, chord<br />
progressions and intervals<br />
• Learning to sing and to accompany singing<br />
• Learning to play by ear and to improvise<br />
• Learning about the structure of songs and to write original<br />
songs<br />
• Developing the ability to cooperate, negotiate, encourage<br />
others and participate in reciprocal music learning<br />
• Developing <strong>performance</strong> skills<br />
Cracking the Code - Reading Ukulele TAB<br />
Each of the horizontal lines in the TAB represents one of the<br />
strings on the ukulele.<br />
Hold your ukulele with the strings facing<br />
you. The top line of the TAB is the A<br />
string. This takes a little getting used to<br />
because it seems like it’s upside down.<br />
The line below the A string is the E string,<br />
the line below that is the C string and the<br />
bottom line is the G string (the one that’s<br />
closest to you when you are playing).<br />
The numbers that appear in the TAB indicate which string to<br />
play and which fret to put your finger on e.g. 0 indicates to play<br />
the open string; 1 indicates to put your finger on the first fret; 2<br />
indicates to put your finger on the second fret etc.<br />
When notes appear one after the other, horizontally in the TAB,<br />
you play them in sequence. The above TAB shows a C Major<br />
scale.<br />
Comparing notation systems<br />
Many ukulele musicians are new to reading music and once<br />
they crack the TAB code they often find it easier to understand<br />
other forms of notation e.g. C written in ukulele TAB = C note<br />
letter names on tuned percussion and keyboard = C written in<br />
conventional notation.<br />
NZ Ukulele Trust offers <strong>performance</strong> and songwriting opportunities for<br />
both primary and secondary school students.<br />
See www.nzukulelefestival.org.nz for details.<br />
• NZ Ukulele Development Squad Primary and Intermediate School<br />
students can apply to be part of the Development Squad, a group<br />
of approximately 35 students who perform as part of an orchestra,<br />
playing instrumental arrangements. Applications close 30th July. The<br />
Development Squad will perform at the Auckland Town Hall as part of<br />
the APPA <strong>Music</strong> Festival on 21st November and on the main stage at<br />
the NZ Ukulele Festival on 1st December.<br />
• APRA Uke-Can-Do-It Songwriting Competition has 3 categories:<br />
Primary, Secondary Students and Adults (so teachers can enter too!)<br />
Winners receive cash prizes and are invited to perform at the NZ<br />
Ukulele Festival. The overall winner will also receive a recording prize<br />
from MAINZ.<br />
• Ukequest encourages students to develop solo and group<br />
<strong>performance</strong> skills. Ukequest is a covers competition for Intermediate<br />
and Secondary School students. Groups must feature the talents of at<br />
least one ukulele player.<br />
• Kiwileles is the famous NZ Ukulele Trust massed schools orchestra.<br />
Over 2000 children from 117 schools in Northland, Auckland and<br />
Waikato have registered this year. The registration cost of $110 per<br />
school includes the 2012 Kiwileles Songbook and CD, 2 workshops for<br />
teachers, 6 regional rehearsals and the opportunity to participate in the<br />
Kiwileles <strong>performance</strong> and other activities at the NZ Ukulele Festival.<br />
Take up the challenge. Go to www.nzukulelefestival.org.nz and<br />
encourage your students to get involved. The ukulele is fun and a truly<br />
happy musical experience for both teachers and students alike.<br />
14 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
Composers Compare Notes<br />
at the CANZ Nelson<br />
Composers Workshop 2012<br />
By Glenda Keam, President of the Composers<br />
Association of New Zealand<br />
Alex Taylor (violin) and Jeremy (piano) rehearsing<br />
a student work. Photo: James Gardner<br />
For five days in early July of each<br />
year, the Composers Association of NZ<br />
runs the Nelson Composers Workshop,<br />
convened by two dedicated and<br />
energetic members of CANZ. Nearly 30<br />
student composers from tertiary level<br />
study and sometimes upper secondary<br />
school come to Nelson from around the<br />
country, along with composer mentors,<br />
performers and observers, all of whom<br />
find this a valuable forum for discussing<br />
technical, practical and aesthetic<br />
considerations involved in the act and<br />
process of composition.<br />
This year’s workshop took place between<br />
1 and 5 July, and was convened by Mary<br />
Binney and Anthony Young, whose<br />
many months of preparation brought<br />
together a very interesting group of<br />
composition-minded people. This year’s<br />
mentors were Chris Adams, Virko Baley,<br />
Rachel Clement, David Downes, Robbie<br />
Ellis, John Elmsly, James Gardner, Chris<br />
Gendall, Thomas Goss, Ross Harris,<br />
Glenda Keam, Ryan Youens and Anthony<br />
Young. Other musicians also attended<br />
parts of the workshop, including Leonie<br />
Holmes and Richard Nunns. There<br />
were many fine professional performers<br />
who brought the new works to life<br />
very effectively, including members of<br />
175 East and the NZSO.<br />
Each year since 1982, when Jack Body<br />
initiated the first such gathering in<br />
Nelson, the workshop has enjoyed the<br />
facilities offered by the Nelson School<br />
of <strong>Music</strong>. Their beautiful old building<br />
in central Nelson offers a large concert<br />
hall space, a discussion room, catering<br />
space, and the ever-necessary rehearsal<br />
rooms. Most participants stay at the<br />
Nelson YHA, which is a great place to<br />
continue compositional conversations<br />
over breakfast or dinner.<br />
The format of the workshops is that each<br />
student work is performed, and then the<br />
composer (and their mentor) participates<br />
in a discussion about what went well,<br />
what might have been done differently,<br />
how to use the instruments well, and<br />
what was challenging about the work.<br />
Hannah Bright demonstrating her piano score<br />
(Blas Gonzalez at the piano). Photo: James Gardner<br />
Everyone learns from everyone in this<br />
environment, and it’s a fabulous way to<br />
find out more about composers in other<br />
parts of the country. These days, thanks<br />
to modern technology, all workshop<br />
<strong>performance</strong>s are efficiently and expertly<br />
recorded, so each student composer<br />
has a CD of their new recording by the<br />
end of their discussion.<br />
Mornings are the time for rehearsals<br />
(composers working with the performers<br />
and their mentor), while the afternoons<br />
and evenings feature workshop<br />
<strong>performance</strong>s and discussions,<br />
focused on an impressively varied and<br />
accomplished range of new works.<br />
For those not involved in rehearsals<br />
in the mornings, there is a series<br />
of presentations from participating<br />
composers talking about works in<br />
progress or recent compositional<br />
approaches.<br />
This year’s format was slightly different<br />
from most, in that one workshop<br />
session was devoted to performing<br />
15 microscores written by participants<br />
specially for the lineup of bass clarinet<br />
(or contrabass clarinet), violin and viola.<br />
To hear such compositional ‘snapshots’<br />
rubbing shoulders with each other, and<br />
hear such fresh new music from so many<br />
people in one room, was really an earopener.<br />
The Workshop opened with an evening<br />
concert of recent works from New<br />
Zealand and beyond, and the final<br />
evening was rounded off with a New<br />
Zealand <strong>Music</strong> Quiz, with six teams<br />
competing fiercely. I’m looking forward<br />
to next year’s workshop already; the<br />
convenors in 2013 will be Anthony Young<br />
and Louise Webster, and I am keen<br />
to hear how the various participants’<br />
music develops through another twelve<br />
months. •<br />
Reuben Jelleyman discussing his work.<br />
Photo: James Gardner<br />
Freephone 0800 775 226 www.kbbmusic.co.nz 15
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16 Random Notes
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capture your creativity with its<br />
complete, professional audio<br />
recording and MIDI sequencing<br />
functions; Fine-tune <strong>performance</strong>s<br />
using industry-standard, sampleaccurate<br />
audio and MIDI editing features;<br />
Polishes your mixes with the most advanced mix engine trusted<br />
by professionals around the world. Perfect for use at school,<br />
studio or home! For PC and Mac. Special pricing for Students,<br />
Education facilities and Teachers.<br />
Avid Pro Tools Express<br />
Bundled with MBox (3rd Gen) and<br />
MBox Mini (3rd Gen) interfaces, Pro<br />
Tools Express is a 16-track version of<br />
Pro Tools 10 in a more streamlined<br />
package with the essential tools and<br />
work flow to create music and audio,<br />
quickly and easily. Work between<br />
Pro Tools 10 and Pro Tools Express<br />
seamlessly. For PC and Mac.<br />
M-Audio MBox<br />
Standard (3rd Gen)<br />
M-Audio ProFire 2626 Audio Interface<br />
A powerful interface that delivers 26x26 simultaneous analogue/<br />
digital input/output, complete with an onboard DSP mixer sources<br />
from up to 52 audio streams. Features 8 Award-winning Octane<br />
technology preamps that deliver clean, transparent sound with<br />
low noise. It also doubles as an 8-channel mic pre/and A/D-D/A<br />
converter. For PC and Mac.<br />
High -<strong>performance</strong> 4x4 audio<br />
interface, the MBox records, edits<br />
and mixes <strong>performance</strong>s<br />
with stunning sound<br />
quality. Great value with<br />
Pro Tools Express software.<br />
Simply connect mics,<br />
instruments, monitors and<br />
more with your computer to capture and create studio-quality<br />
productions with ease. You can also pair MBox with other audio<br />
software such as Logic. For PC and Mac.<br />
Special pricing for Students, Education facilities and Teachers.<br />
M-Audio Axiom 49 MKII USB MIDI Controller<br />
M-Audio KeyRig MIDI Controller<br />
Combining all the production<br />
power and <strong>performance</strong> you need<br />
to get the most from your music<br />
software and MIDI gear, the Axiom®<br />
49 features 49 piano-style, semiweighted<br />
keys, 9 mixer-style faders and 8<br />
smooth rotary encoders, Axiom Instrument<br />
Maps for instant access to virtual instrument<br />
parameters for a hardware synth-like experience.<br />
For PC and Mac.<br />
Turn your PC or Mac into a versatile keyboard workstation with the<br />
M-Audio KeyRig! A 49-key velocity-sensitive synth-action keyboard,<br />
KeyRig 49 makes it easy to start composing and performing music with<br />
a computer. Powered via a single USB cable and works instantly with<br />
computers running Windows XP or Mac OS X. Ideal for computer labs.<br />
Call 0800 775 226 ext 205 to find out more or to order<br />
17 Random Notes <strong>Music</strong>al Instrument Specialists since 1888
Education Specials<br />
WHAT A DEAL!<br />
M5 KEYBOARD<br />
61 Touch Response keys,<br />
300 Tones, 100 Styles,<br />
100 Songs. MIDI, USB.<br />
MEDM5<br />
6+ BUY<br />
SPECIAL<br />
RRP $249<br />
$<br />
199<br />
CTK1100 KEYBOARD<br />
61 Piano-Style keys. 100<br />
Tones, 110 Rhythms.<br />
Auto-Accompaniment,<br />
MIDI, USB. Great value!<br />
CASCTK1100<br />
EDU<br />
SPECIAL<br />
RRP $249<br />
$<br />
217<br />
M30 KEYBOARD<br />
HURRY! LIMITED STOCK!<br />
61 Touch Response keys,<br />
395 Tones, 150 Styles,<br />
100 Songs, 32-note<br />
Polyphony. MIDI, USB.<br />
MEDM30<br />
TERM 3<br />
SPECIAL<br />
RRP $449<br />
$<br />
299<br />
CTK4000<br />
KEYBOARD<br />
61 Touch Response<br />
keys, 570 Tones, 10<br />
Digital Effects, Lesson<br />
Function, Metronome,<br />
Auto-Accompaniment,<br />
and more!<br />
CASCTK4000<br />
6+ BUY<br />
SPECIAL<br />
RRP $499<br />
$<br />
399<br />
$499<br />
MC780 KEYBOARD<br />
76 Touch Response<br />
keys, 559 Tones, 203<br />
Styles, 60 Songs, 64-<br />
Note Polyphony, Pitch<br />
Bend, Transpose. MIDI.<br />
MEDMC780<br />
TERM 3<br />
SPECIAL<br />
RRP $899<br />
$<br />
699<br />
E09 INTERACTIVE<br />
ARRANGER<br />
KEYBOARD<br />
Interactive Arranger<br />
with 61 Touch Response<br />
keys, high, quality<br />
sound engine with 870<br />
tones, 70 drum kits and<br />
16 track recorder.<br />
In Black or White.<br />
ROLE09<br />
EDU<br />
SPECIAL<br />
RRP $1,099<br />
$<br />
899<br />
FURTHER REDUCTIONS<br />
WK7500<br />
WORKSTATION<br />
KEYBOARD<br />
Offering powerful and<br />
extensive features at a<br />
great price! 800 worldclass<br />
tones, 250 rhythms,<br />
17-track sequencer,<br />
32-channel mixer, as well as<br />
audio recording capabilities.<br />
Create, edit and play<br />
your compositions with<br />
ease.and more!<br />
CASWK7500<br />
TERM 3<br />
SPECIAL<br />
RRP $1,199<br />
$<br />
999<br />
F120 DIGITAL<br />
PIANO<br />
The stylish F120 is an<br />
ideal choice for piano<br />
lovers who want<br />
authentic sound and<br />
touch in a space-saving<br />
cabinet that will<br />
blend into any home<br />
interior. Available in<br />
black or white finish. RRP $2,499<br />
ROLF120SB /<br />
ROLF120WH<br />
TERM 3<br />
SPECIAL<br />
$<br />
1,699<br />
KDP80 DIGITAL<br />
PIANO<br />
Featuring Kawai's<br />
Advanced Hammer<br />
Action IV-F keyboard<br />
for the distinctive<br />
touch of a traditional<br />
grand piano.<br />
Authentic Kawai<br />
piano sounds. Lesson<br />
function, 1-track<br />
recorder.<br />
KAWKDP80<br />
EDU<br />
SPECIAL<br />
RRP $2,595<br />
$<br />
2,295<br />
UP118 CLASSROOM<br />
UPRIGHT PIANO<br />
118cm tall, 88 keys.<br />
Available in Black,<br />
Walnut or Mahogany<br />
finishes. Piano bench<br />
included. Awesome<br />
value and our most<br />
popular piano!<br />
ARIUP1181<br />
EDU<br />
SPECIAL<br />
RRP $2,995<br />
$<br />
2,495<br />
K15 UPRIGHT<br />
PIANO<br />
110cm high and<br />
features Kawai’s Ultra<br />
Responsive Action.<br />
Compact piano deal<br />
for classrooms or<br />
practice rooms. Ebony<br />
Polish finish. Heightadjustable<br />
bench<br />
included. 12 Year<br />
Warranty.<br />
KAWK15EP<br />
TERM 3<br />
SPECIAL<br />
DEAL OF THE TERM!<br />
RRP $6,795<br />
$<br />
4,999<br />
RX2 GRAND PIANO<br />
178cm and features<br />
Kawai’s Millennium<br />
III Ultra Responsive<br />
Action. Softfall lid and<br />
NeoTex keys. Ebony<br />
Polish finish. Includes<br />
matching piano bench.<br />
12 Year Warranty.<br />
KAWRX2EP<br />
EDU<br />
SPECIAL<br />
$<br />
POA<br />
TARGET DRUM KIT with SABIAN CYMBALS<br />
5-piece ready-to-play kit with chrome hardware<br />
and Sabian SBR cymbal pack.<br />
12MT/13MT/16FT/22BD/14SD with 14" hi-hats<br />
and 18" crash/ride.<br />
Fusion sizes also available.<br />
In Black or Wine Red.<br />
PETGC625 /<br />
SASVR2PKSET<br />
RRP $1,420<br />
EDU<br />
SPECIAL<br />
$<br />
999<br />
ROLHD1KIT<br />
HD1 V-DRUMS LITE<br />
ELECTRONIC DRUM KIT<br />
Quiet, easy to set up and<br />
operate, compact with<br />
great sounds in a variety of<br />
kits. Great for the practice<br />
room and use with the<br />
JamHub Silent Rehearsal<br />
Studio.<br />
RRP $1,299<br />
EDU<br />
SPECIAL<br />
$<br />
999<br />
18 Random Notes<br />
All prices include GST and valid until 30 September 2012 or while stocks last. E&OE.
UKULELE WALL HANGERS<br />
HOHUKOSS<br />
KO-S Soprano<br />
Ukuleles by Lanikai<br />
Great student ukulele<br />
featuring nato top, back<br />
and sides. Geared machine<br />
heads for stable tuning.<br />
Satin finish body.<br />
6+ BUY<br />
SPECIAL<br />
RRP $59.00<br />
$<br />
34 99<br />
ea<br />
LMMAKALAS<br />
'Dolphin Bridge'<br />
Student Soprano<br />
Ukulele<br />
Features rosewood 'Dolphin'<br />
bridge and fingerboard<br />
in a range of colours.<br />
Includes carry bag.<br />
EDU<br />
SPECIAL<br />
RRP $47.50<br />
$<br />
39<br />
EDU<br />
SPECIAL<br />
PH02WBE<br />
$<br />
14 40<br />
ea<br />
Organise your classroom ukes,<br />
hang them easily and safely on<br />
walls. Fits all ukulele sizes.<br />
12+ BUY<br />
SPECIAL<br />
RRP $16.95<br />
Order Now for<br />
October Delivery!<br />
$<br />
12 50<br />
ea<br />
UKULELE MINI STAND<br />
HOHG1313S<br />
HC03 3/4 SIZE<br />
CLASSICAL GUITAR<br />
Spruce top, nato back,<br />
sides and neck. Gloss finish.<br />
Exclusive to <strong>KBB</strong> <strong>Music</strong>!<br />
EDU<br />
SPECIAL<br />
RRP $129<br />
$<br />
110<br />
HOHG2675S<br />
ESSENTIAL PRO<br />
SOLID TOP ACOUSTIC<br />
Solid spruce top Dreadnought<br />
guitar. Exclusive to<br />
<strong>KBB</strong> <strong>Music</strong>!<br />
EDU<br />
SPECIAL<br />
RRP $399<br />
$<br />
347<br />
Lightweight, solid and very<br />
portable! Folds down flat for<br />
easy carrying and storage.<br />
EDU<br />
SPECIAL<br />
12+ BUY<br />
SPECIAL<br />
RRP $24.95<br />
$<br />
21 20<br />
RRP $16.95<br />
ea<br />
$<br />
18 50<br />
ea<br />
MUGS2422BE.<br />
UKULELE NOT INCLUDED.<br />
LES PAUL JUNIOR<br />
ELECTRIC GUITAR<br />
SPIDER JAM COMBO<br />
GUITAR AMPLIFIER<br />
10' CLASSIC SERIES<br />
GUITAR CABLE<br />
EPILPJRAWCH1<br />
Get real vintage Les Paul<br />
tone with the LP Junior.<br />
Available in White, Ebony or<br />
Sunburst.<br />
EDU<br />
SPECIAL<br />
RRP $299<br />
$<br />
249<br />
LISPIDERJAM<br />
12" Celetion speakers, 16<br />
amp models, 20 Smart FX<br />
with built-in backing tracks<br />
and chomatic tuner!<br />
EDU<br />
SPECIAL<br />
RRP $699<br />
$<br />
594<br />
PWCGT10<br />
10' long, straight plug ends,<br />
extremely low capacitance<br />
and top-quality construction<br />
equals a guitar cable with<br />
the purest signal transparency<br />
and the longest life<br />
possible. RRP $19.95<br />
EDU<br />
SPECIAL<br />
$<br />
16 20<br />
E20 SHORT SCALE BASS<br />
Great for younger players<br />
and players with smaller<br />
hands. Vintage style contoured<br />
body, maple neck,<br />
rosewood fingerboard, splitcoil<br />
Guitar Tech pickup.<br />
E4 P-STYLE BASS<br />
Perfect for beginners.<br />
Vintage-style contoured<br />
body, maple neck,<br />
rosewood fingerboard.<br />
Black, Sunburst and Vintage<br />
White finishes.<br />
DS-1 DISTORTION<br />
PEDAL<br />
The classic DS-1 Distortion<br />
pedal provides a<br />
harder distortion effect<br />
for guitar and keyboard<br />
sounds.<br />
ENCE20<br />
EDU<br />
SPECIAL<br />
RRP $239<br />
$<br />
203<br />
ENCE4<br />
EDU<br />
SPECIAL<br />
RRP $269<br />
$<br />
228<br />
BOSDS1<br />
EDU<br />
SPECIAL<br />
RRP $119<br />
$<br />
89<br />
BASS COMBO AMPS<br />
WARBC20 / WARBC40 / WARBC80 / WARBE80 / WARBE150 / WARBC300<br />
This series of combo bass amplifiers have full<br />
frequency, extended headroom, and could be<br />
used for virtually any amplified instrument.<br />
Great value!<br />
BC20 20W RRP $299 EDU PRICE $254<br />
BC40 40W RRP $369 EDU PRICE $314<br />
BC80 80W RRP $599 EDU PRICE $509<br />
BC150 150W RRP $699 EDU PRICE $594<br />
BC300 300W RRP $899 EDU PRICE $764<br />
RTT1<br />
GUITAR/BASS/<br />
VIOLIN TUNER<br />
Compact and easy-touse.<br />
LED display. 1/4<br />
mic input. Tunes guitars,<br />
basses and violins.<br />
TERM 3<br />
SPECIAL<br />
RRP $24.95<br />
$<br />
20<br />
Call 0800 775 226 ext 205 or email school@kbbmusic.co.nz to order<br />
www.kbbmusic.co.nz<br />
19
TERM 3 HAND PERCUSSION PACK<br />
Includes:<br />
1 x CENMAEC Egg Maracas (pair)<br />
1 x CENMAEH Eggs on Handles<br />
1 x CENTR-2 8" Triangle w beater<br />
1 x CENTR-3 10" Triangle w beater<br />
1 x CENPA21 Hand Bells<br />
1 x CENPA37 Single Woodblock<br />
1 x CENWB-3 Tulip Woodblock<br />
1 x CENPP40210 Finger Cymbals (pair)<br />
1 x CENWB-4 Agogo Woodblock<br />
1 x CENHDN210 10" Hand Drum<br />
TERM 3<br />
SPECIAL<br />
RRP $131.86<br />
$<br />
99<br />
CENCYM4<br />
CENTURY 14"<br />
HANDHELD CYMBALS<br />
14" pair with hand straps.<br />
TERM 3<br />
SPECIAL<br />
RRP $85<br />
$<br />
65<br />
Images are not to scale.<br />
CENCOW1 / CENCBB7<br />
RRP $11.99<br />
$<br />
9 50<br />
TERM 3<br />
SPECIAL<br />
COWBELL<br />
6." black cowbell.<br />
TERM 3<br />
SPECIAL<br />
COWBELL<br />
5.5" black cowbell.<br />
RRP $16.99<br />
$<br />
13 50<br />
PBX311<br />
Bass Diatonic<br />
PBX313<br />
Alto Diatonic<br />
PBX315<br />
Soprano Diatonic<br />
CENGL311<br />
XYLOPHONES<br />
TERM 3<br />
SPECIAL<br />
CLEARANCE<br />
CENTURY GL311<br />
GLOCKENSPIEL<br />
30-note chromatic<br />
glockenspiel in<br />
carry case. Includes<br />
a pair of beaters.<br />
RRP $339<br />
$<br />
239<br />
Ideal for school and great in the classroom! Durable<br />
and come with extra Bb bars and a pair of beaters.<br />
ONLY WHILE STOCKS LAST!<br />
PBX311 RRP $899 T3 SPECIAL $499<br />
PBX313 RRP $515 T3 SPECIAL $299<br />
PBX315 RRP $500 T3 SPECIAL $269<br />
TAKE AN EXTRA 5% OFF FOR ORDERS OF<br />
3 OR MORE PIECES!<br />
JUMBIE JAM<br />
STEEL PAN DRUM<br />
PACKAGE<br />
Add a Caribbean sound<br />
to the classroom! Kids<br />
and teachers alike will<br />
love the sound and<br />
how easy and fun it<br />
is to play. Package<br />
includes Jumbie Jam<br />
Pan, height-adjustable<br />
and collapsible stand<br />
with Fun Feet, Mallets,<br />
Instructional booklet<br />
with Playalong CD,<br />
<strong>Music</strong> for 5 Tunes.<br />
PANW1070<br />
EDU<br />
SPECIAL<br />
RRP $349<br />
$<br />
299<br />
NEW!<br />
CENBE1<br />
BEATERS<br />
Small hard rubber tip<br />
beaters (pair)<br />
METALLOPHONES<br />
CLEARANCE<br />
RRP $7.99<br />
$<br />
6<br />
TERM 3<br />
SPECIAL<br />
Ideal for school and great in the classroom! Durable<br />
and come with extra Bb bars and a pair of beaters.<br />
ONLY WHILE STOCKS LAST!<br />
CENBE3<br />
BEATERS<br />
Medium wooden tip<br />
beaters (pair)<br />
RRP $6.99<br />
$<br />
5<br />
TERM 3<br />
SPECIAL<br />
PBM323<br />
Alto Diatonic<br />
PBM325<br />
Soprano Diatonic<br />
PBM321<br />
Bass Diatonic<br />
PBM321 RRP $899 T3 SPECIAL $499<br />
PBM323 RRP $515 T3 SPECIAL $299<br />
PBM325 RRP $500 T3 SPECIAL $269<br />
TAKE AN EXTRA 5% OFF FOR ORDERS OF<br />
3 OR MORE PIECES!<br />
BOOBWDG<br />
C Major Diatonic Scale Set<br />
BOOBWEG<br />
Treble Extension Set<br />
BOOBWPG<br />
C Major Pentatonic Scale Set<br />
BOOMWHACKERS<br />
Colourful plastic tubes tuned by length to musical<br />
notes. Combine sets to form two complete octaves!<br />
Easy and fun to play. Get everyone involved!<br />
BOOBWEG RRP $29.95 T3 SPECIAL $20<br />
BOOBWPG RRP $38 T3 SPECIAL $30<br />
BOOBWDG RRP $53.95 T3 SPECIAL $40<br />
BOOBWKG RRP $62.95 T3 SPECIAL $50<br />
BOOBWJG RRP $79.95 T3 SPECIAL $60<br />
BOOBWJG<br />
Bass Diatonic Set<br />
BOOBWKG<br />
Bass Chromatic Set<br />
TERM 3<br />
SPECIAL<br />
8-PACK<br />
OCTAVTOR<br />
CAPS<br />
Drops tube<br />
tones by an<br />
octave. Play as<br />
usual or hold<br />
vertically and<br />
tap on the floor.<br />
RRP $25<br />
$<br />
15<br />
20 Random Notes<br />
All prices include GST and valid until 30 September 2012 or while stocks last. E&OE.
REMET7110<br />
KIDS LOLLIPOP DRUM<br />
Designed and shaped like<br />
a lollipop, kids will love to<br />
play with this pre-tuned<br />
graphic drumhead. Mallet<br />
included. 10". Other sizes<br />
available (6" and 8")<br />
EDU<br />
SPECIAL<br />
RRP $51<br />
$<br />
43 30<br />
KIDS PERCUSSION<br />
DOUMBEK<br />
Although similar in shape to<br />
the West African Djembe,<br />
the Doumbek is based on<br />
the drums of ancient Egypt<br />
and Persia. Play using<br />
individual finger strokes and<br />
snaps.<br />
REMKD508001<br />
KIDS FLOOR TOM<br />
10"x7.5", the compact size<br />
of this floor tom makes<br />
it just right for classroom<br />
drum circles, and can be<br />
played with hands, mallets<br />
or sticks. For age 3 and<br />
order.<br />
EDU<br />
SPECIAL<br />
RRP $122<br />
$<br />
103 70<br />
KIDS KONGA - 6"<br />
Winner of the prestigious<br />
Oppenheim Gold Seal Toy<br />
Awards for product quality,<br />
kids enjoy playing this<br />
Konga standing up using<br />
the nylon shoulder strap<br />
included, or just sitting and<br />
playing for pure fun.<br />
Sample a<br />
MANHASSET<br />
<strong>Music</strong> Stand<br />
REMKD030601<br />
EDU<br />
SPECIAL<br />
RRP $132<br />
$<br />
112 20<br />
REMKD150601<br />
EDU<br />
SPECIAL<br />
RRP $142<br />
$<br />
120 70<br />
...and get one<br />
FREE!<br />
• All components are made in the USA<br />
• High quality, durable hardware<br />
• Lightweight desk resistant to bending<br />
or breaking<br />
• Made with the utmost precision and detail<br />
• No plastic joints<br />
• Backed by a 10 Year Warranty<br />
HURRY! Only 30 Manhasset<br />
Stand samples available.<br />
HOW THIS WORKS:<br />
The western world's first full-time solo<br />
percussionist, Dame Evelyn Glennie has won<br />
a Grammy, been awarded the DBE, toured<br />
the world repeatedly for 25 years and played<br />
in Oscar the Grouch's Junk Band on Sesame<br />
Street. This is all pretty remarkable, but when<br />
you discover that Glennie has been profoundly<br />
deaf since the age of 12, it's even more<br />
astonishing!<br />
A musical child from a musical family in a<br />
musically-rich region (Aberdeenshire, Scotland),<br />
it seems like music was in Glennie's blood right<br />
from the start. She has certainly had to defy the<br />
odds to make it to where she is today, and her<br />
techniques and skillset are utterly unique in the<br />
world of music - performing barefoot, Glennie<br />
'feels' her music through the instruments'<br />
vibrations. "I really believe that the body just<br />
opens up and becomes like a huge ear, in a<br />
way," Glennie says. "It literally involves opening<br />
up all the senses, using the eyes - the sense of<br />
sight - and really concentrating on that sense of<br />
touch to gauge the dynamics and to gauge the<br />
sound's colour."<br />
And what more colourful sounding instruments<br />
than Boomwhackers? The brightly coloured<br />
musical tubes are just one of more than<br />
1800 instruments in Glennie's collection,<br />
and she's extremely fond of them. "I've had<br />
Boomwhackers myself for a number of years,<br />
and I use them for all sorts of things," she says.<br />
"They're so adaptable for the kids, but then<br />
of course adults become curious about them<br />
as well! They discover that they can take part<br />
and have fun with the kids. You don't have to<br />
feel as though you have to be a musician or a<br />
percussionist or something like that. For me,<br />
obviously I'm using them more as a musical<br />
instrument, and in a musical context. A real<br />
thing for some media music, TV or film music,<br />
that type of thing. Sometimes I use them just<br />
as a kind of demonstration, when I'm using<br />
different percussion instruments, and it's just<br />
something that's so lightweight and easy to fit<br />
in the car. They're just really handy!"<br />
As well as her Boomwhackers fun, Glennie's<br />
currently got loads of projects on the go,<br />
including children's book (including an<br />
autobiography specifically written for young<br />
readers), a jewellery range, motivational<br />
speaking all over the world - as well as all her<br />
touring, of course. Make sure you go and see<br />
her when she's next in your town, as she's truly<br />
inspirational.<br />
Source: UK GEAR Magazine<br />
Call 0800 775 226 ext 205 or email school@kbbmusic.co.nz to order<br />
1. If you are a school or an orchestra,<br />
contact <strong>KBB</strong> <strong>Music</strong> to sample a<br />
Manhasset 4801 Symphony Stand.<br />
2. We'll send you a sample stand for<br />
you to trial with a product survey.<br />
3. Complete and return the product<br />
survey on the stand to <strong>KBB</strong> <strong>Music</strong><br />
within 2 weeks of receiving the<br />
stand.<br />
4. Keep the Manhasset stand!<br />
5. Get one FREE Manhasset<br />
Director stand per any<br />
subsequent orders of<br />
24 stands as a result of<br />
the sampling.<br />
Contact Mitch @ <strong>KBB</strong> <strong>Music</strong><br />
0800 775 226 ext 205<br />
school@kbbmusic.co.nz<br />
www.kbbmusic.co.nz<br />
21
CLEARANCE<br />
ROCKSCHOOL BOOKS 2006-2012<br />
Rockschool are releasing a new syllabus later this<br />
year, the current books (2006-2012) however, are<br />
still able to be used for next year's exams.<br />
As Rockshop books are graded they are also<br />
great for internal assessment and standard<br />
repertoire. Great time to stock up at great prices!<br />
HURRY! LIMITED STOCK. (Please note special<br />
prices on in stock items only. Standard EDU<br />
discount applies for any books that need to be<br />
ordered in)<br />
GUITAR, BASS, DRUMS, OR PIANO/KEYBOARD<br />
DEBUT 2006-2012 RRP $35 T3 SPECiAL $25<br />
GRADE 1 2006-2012 RRP $35 T3 SPECiAL $25<br />
GRADE 2 2006-2012 RRP $35 T3 SPECiAL $25<br />
GRADE 3 2006-2012 RRP $35 T3 SPECiAL $25<br />
GRADE 4 2006-2012 RRP $39 T3 SPECiAL $30<br />
GRADE 5 2006-2012 RRP $42 T3 SPECiAL $32<br />
GRADE 6 2006-2012 RRP $42 T3 SPECiAL $32<br />
GRADE 7 2006-2012 RRP $42 T3 SPECiAL $32<br />
GRADE 8 2006-2012 RRP $42 T3 SPECiAL $32<br />
JUST RELEASED!<br />
A NEW TUNE A DAY: POP PERFORMANCE PIECES<br />
An inspiring collection of pop songs, clearly presented<br />
with playalong CD for the advanced beginner. The<br />
pieces have been chosen and arranged to build a<br />
repertoire of pop songs for <strong>performance</strong> and for fun,<br />
and include classic hits from The Beatles, Michael<br />
Jackson, Coldplay, Rihanna and Taylor Swift.<br />
NEW!<br />
NEW!<br />
AVAILABLE FOR FLUTE, CLARINET, ALTO SAX,<br />
TRUMPET & VIOLIN.<br />
TERM 3<br />
SPECIAL<br />
RRP $35<br />
$<br />
29 75<br />
MUSIC THEORY & TRANSPOSING GUIDE<br />
CLASSROOM POSTER<br />
A must for every school music room!<br />
61x91cm poster makes teaching music theory.<br />
Circle of Fifths, Table of Keys, Chord & Scale<br />
Table, the poster also shows how to write chord<br />
charts and transpose chord progressions.<br />
MUSIC STAND LIGHT<br />
XTRAFLEX DUET<br />
Dual gooseneck light<br />
heads with 2 LED lights and<br />
separate switches. Clip-on<br />
or freestanding. No bulbs to<br />
replace, runs on 3xAAA batteries<br />
(not included). Ideal<br />
for shows and productions!<br />
TU80 METRONOME<br />
& TUNER<br />
An essential teaching tool!<br />
Chromatic tuner with builtin<br />
metronome. Reference<br />
tone, Memory function,<br />
Ultra-thin body. Also tunes<br />
7-string guitars and 6-string<br />
basses.<br />
TERM 3<br />
SPECIAL<br />
RRP $20<br />
$<br />
17<br />
MIGMBCL5<br />
EDU<br />
SPECIAL<br />
RRP $29.95<br />
$<br />
25 45<br />
BOSTU80<br />
EDU<br />
SPECIAL<br />
RRP $59.95<br />
$<br />
49 95<br />
EX-RENTAL<br />
Bb TRUMPETS<br />
• Buescher<br />
• Antigua XP<br />
Mouthpiece and case included.<br />
<strong>KBB</strong> <strong>Music</strong> Ex-Rental instruments have<br />
been fully-serviced and in good playing<br />
condition. Only while stocks last!<br />
$<br />
299each<br />
EX-RENTAL<br />
Bb CLARINETS<br />
• Buescher<br />
• Antigua WWC485<br />
• Vito 7212<br />
Mouthpiece and case included.<br />
<strong>KBB</strong> <strong>Music</strong> Ex-Rental instruments have<br />
been fully-serviced and in good playing<br />
condition. Only while stocks last!<br />
$<br />
299each<br />
EX-RENTAL<br />
Bb TENOR TROMBONES<br />
• Buescher<br />
• Blessing<br />
Mouthpiece and case included.<br />
<strong>KBB</strong> <strong>Music</strong> Ex-Rental instruments have<br />
been fully-serviced and in good playing<br />
condition. Only while stocks last!<br />
$<br />
499each<br />
NUVJFSK<br />
NUVSFSK<br />
NEW!<br />
JFLUTE KIT<br />
EDU SPECIAL<br />
NUVO STUDENT FLUTE<br />
A new flute especially designed for beginners of all ages!<br />
Now children as young as 5 years can learn on a real flute<br />
designed with them in mind! Ultra-light construction and<br />
interchangeable parts mean that the Nuvo Flute will grow with<br />
the student, and the "Firstnote" mouthpiece means they can<br />
get a good sound from the first try. Curved head flute kit also<br />
available.<br />
RRP $209<br />
$<br />
177<br />
STANDARD KIT<br />
EDU SPECIAL<br />
RRP $239<br />
$<br />
203<br />
CRESV75<br />
SV75 VIOLIN OUTFITS<br />
1/4 to 4/4 size. Great value<br />
student violin with solid<br />
spruce top, solid maple<br />
back and sides.<br />
Available in Natural, Black,<br />
Blue, Green, Purple or Rose<br />
finishes.<br />
EDU<br />
SPECIAL<br />
RRP $199<br />
$<br />
169<br />
22 Random Notes<br />
All prices include GST and valid until 30 September 2012 or while stocks last. E&OE.
MADE IN JAPAN<br />
KAWAI K-3<br />
Students from Glendowie College with the new instruments the College<br />
recently purchased.<br />
"Thank you so much for the opportunity and<br />
assistance to acquire funding to purchase<br />
instruments for our school.<br />
We now have a beautiful and functional oboe,<br />
as well as a tuba and euphonium to add to our<br />
previously rather top-heavy Concert Band.<br />
Two more timpani have also allowed us to<br />
extend our repertoire, and the whole purchase<br />
has made it possible for more students to be<br />
involved in our programme."<br />
Christine Myhre<br />
Arts Faculty Manager<br />
Glendowie College<br />
Acoustic Piano of the Year<br />
2008 / 2009 / 2010 / 2011<br />
Voted in MMR Magazine (USA)<br />
"The best value acoustic<br />
piano for its quality in NZ"<br />
Piano Tuners & Technicians Guild NZ<br />
Got a 'Wish List' for<br />
your music department?<br />
Need new music equipment for your school<br />
or band programme but don’t have the<br />
budget?<br />
Let <strong>KBB</strong> <strong>Music</strong> help you!<br />
Have your Wish List ready and call us on<br />
0800 775 226 ext 205, or email<br />
school@kbbmusic.co.nz to find out more.<br />
• 121cm High<br />
• Millennium III Action<br />
(Approx. 16% faster than traditional actions)<br />
• Solid spruce soundboard<br />
• Extra long music rest<br />
• Ultra-slow fallboard<br />
• Double brass casters<br />
• Available in Ebony Polish and<br />
Mahogany polish<br />
• Made in Japan with the tone quality<br />
and <strong>performance</strong> of a grand piano<br />
KAWAI DEALER<br />
0800 775 226<br />
www.kbbmusic.co.nz
24 Random Notes <strong>Music</strong>al Instrument Specialists since 1888