2018 Conference Schedule

2018 Conference Schedule 2017-06-30T22:02:38+00:00
Download the Conference Schedule

Friday, January 26, 2018

Conference Schedule

Note: See tabs below for individual session details.

  • Conference Registration | Visit NAMM – 9:30 – 10:30 AM
  • Session I – 10:00 – 10:50 AM
  • Session II – 11:00 AM – 11:50 AM
  • Visit Exhibitors (Grand Ballroom Foyer) – 12:20 – 1:10 PM
  • Session III – 1:00 – 1:50 PM
  • Session IV – 2:00 – 2:50 PM
  • Session V – 3:00 – 3:50 PM
  • Session VI – 4:00 – 4:50 PM

Keynote

  • Doc Severinsen (Grand Ballroom) – 5:00 – 6:30 PM
  • SCSBOA Honors Jazz Concert – 7:00 – 10:00 PM

Note: Finger foods and beverages will be available in the Grand Ballroom during the keynote and social time.

Hyatt Regency Orange County

Honor Group Rehearsals

  • HS Wind Ensemble in Grand Ballroom E-G – 9:00 AM – 4:30 PM
  • HS Symphonic Band in Garden 2-3 – 9:00 AM – 4:30 PM
  • HS Orchestra in Grand A – 9:00 AM – 4:30 PM
  • MS Jazz All-Stars in Imperial Room – 9:00 AM – 3:00 PM
  • HS Honor Jazz in Regal Room – 9:00 AM – 3:00 PM
  • HS Jazz All-Stars in Terrace Rooms – 9:00 AM – 3:00 PM

Tracks

Pedagogy: Clarinet
-Melissa Palmer, Presiding
Stronger Together; They’re Not Mine, They’re Not Yours; They’re Ours w/ Jermie Arnold
-Paul Bluto, Presiding
Session Description
Jermie Arnold and John Miller, both former Director of Bands in American Fork, Utah will present a clinic that will assist directors to find meaningful ways to work together for the success of their programs and their students. Below is a brief outline.

Building Collegial Relationships:

  • Open Communication
  • Sense of Humor
  • Musical Trust/Appreciation
  • Sacrifice
  • Shared Vision/Philosophy
  • Teamwork
  • Deflective Praise
  • Abundance Mentality

Developing a Band Program Culture:

  • Communication Parents
  • Representation on Booster Boards
  • Refer to things the same way i.e. the AF Band program
  • Perception is everything
  • Visible Positive relationships
  • Public relations
  • Be kind in public and private
  • Communication with Students

Challenges:

  • Administration
  • Hiring new teachers
  • Parents (at beginning)
  • AFJH Band parent story
  • Schedules
  • Dispositions
  • Philosophy

How do you make this work?

  • You will be the driving force
  • Everyone is busy
  • Someone has to think outside their band room
  • Who doesn’t want more students?
  • Be positive
  • You are always stronger together
  • Don’t Give up

Things we did…

  • Associate Conductor
  • Guest Conduct
  • Guest Clinician
  • Guest Soloist
  • Concert Attendance/Recognition
  • Band Bash/Pyramid Concert
  • Family Night
  • Marching Band Staff
  • Shared Section Leaders/Coaches/Staff
  • Elementary Recruiting Tour Fall
  • JH Recruiting Tour Spring
  • High School/Middle School Tour
  • Summer
  • Band Camp
  • Elementary Band at JH once a week
  • Lunch
  • …MORE

Jermie Arnold
About Jermie Arnold
Doctor Jermie Arnold was appointed to the Bob Cole Conservatory of Music at California State University Long Beach as the Associate Director of Bands in the fall of 2012. Dr. Arnold’s public school teaching experience includes 7 years as Director of Bands at American Fork Jr. High School in Utah.

Q&A Strong Session
-Pin Chen, Presiding
Jazz Articulation: That’s Where It’s At w/ Mike Wooten
-Mike Gangemi, Presiding
Session Description
What would music sound like without articulation? No matter what style of music you are listening to, articulation literally brings the music to life! When discussing articulation in the Jazz Ensemble setting, it is important to know that each style of music we perform calls for a different style of articulation. This session will be a hands on session with the South Hills HS Jazz Ensemble. We will demonstrate some of the daily exercises we work on to develop articulation and how it relates to the charts we perform.
About Mike Wooten
Mike Wooten has been the Director of Bands at South Hills HS since 1999. Mike’s responsibilities at South Hills include directing the Marching Band, Concert Bands, and Jazz Ensemble. The Jazz Ensemble at South Hills competes in the Advanced Division at local Jazz Festivals and is a regular attendee at the Reno Jazz Festival. Mike has been a member of the SCSBOA since 1999 when he began teaching. As a member of the SCSBOA, Mike has served as an Honor Jazz Band Manager, Honor Band Auditioner for both Jazz and Classical, Adjudicator for Marching Band, Concert Band, and Jazz Ensemble, and as a Conference Presenter.

While not working, Mike enjoys spending time with his daughter, Grace, spending time with his family, watching SportsCenter, and being a fan of the Anaheim (not Los Angeles) Angels and Pittsburgh Steelers.

The Three Pillars of Ensemble Directing w/ David Betancourt
-Jason Marshall, Presiding
Session Description
This session will engage the participants in skill building and idea sharing is the three pillars of ensemble directing are applied and discussed. The focus will be on conducting technique, score study, and rehearsal techniques as the attendees apply skill sets and discuss best teaching practices when directing ensembles.

Multiple handouts will be distributed (one for each of the three pillars) and will contain content and additional information and resources. There will also be space allotted for note taking. In addition, a PPP will be used in which prepared information and real time information can be shared.
David Betancourt
About David Betancourt
David Betancourt has been the Director of Bands and Orchestra at Cerritos College in Norwalk, California since 1998. He is the conductor for the Concert Band, Jazz Ensemble, Pep Band, Pop/Rock Ensemble and facilitates the Cerritos College Drumline. Beyond performing as the showcase ensemble at various jazz and band festivals, the bands at Cerritos College take great pride in performing in countless civic events and participating in social outreach at hospitals and shelters. Dr. Betancourt facilitated the collaboration with the youth organization Impulse, which led to the addition of numerous courses as well as the development of a national reputation for Cerritos College in the Drum and Bugle Corps international circuit. He was chair of the music department from 2008-2011 and was the director of the California State University Wind Ensemble from 2008-2011. In addition, Dr. Betancourt was a supervisor for the Master of Arts in Teaching at the University of Southern California since the inception of the MAT program. Previous to his appointments in Southern California, Dr. Betancourt was Assistant Director of Bands at Northern Arizona University. He began his music education career as the Director of Instrumental Music of Hopedale Junior/Senior High School in Hopedale, Massachusetts.Dr. Betancourt holds a DMA in music education from the University of Southern California, an MM in instrumental conducting from Northern Arizona University, and a BM in music education and performance from Berklee College of Music. He has arranged for wind band, jazz ensemble, marching band, latin, and pop genres. Dr. Betancourt is a member of the Phi Kappa Phi Honor Society, Pi Kappa Lambda Honor Society, NAfME, CBDNA, CMEA, CBDA, ITG, CMS, SCSBOA, and the Immediate Past President of the Music Association of California Community Colleges (MACCC).

Dr. Betancourt was recognized as Outstanding Faculty in 2015 and Most Outstanding Faculty in 2016.

Panel of Arts Coordinators (Q&A on What Districts are Looking For) w/ Tony White, Pauline Crooks, Stacy Harris, Neil Anderson (Moderator)
-Neil Presiding, Presiding
Tony White

Tracks

Is Playing the French Horn Easy or Difficult? w/ Warren Gref
-Melissa Palmer, Presiding
Building Your Instrumental Music Program: A Practical Guide to Recruitment and Retention w/ Marcia Neel
-Paul Bluto, Presiding
Session Description
Based on “best practices” from highly successful directors, the Music Achievement Council, a 501(c)(6) non-profit organization, has compiled several tools that cover every aspect of recruiting and retaining instrumental music students. Because it covers the fundamentals in great detail, this information is great for new teachers, young teachers, or even experienced teachers as it offers a number of innovative approaches. It not only provides sample forms and letters that are ready-to-use, but also shares retention ideas that can be implemented at any stage of the school year. Each attendee will receive a complimentary flash drive containing a copy of this newly published, must-have resource as well as the 24 Tips for Success for Instrumental Music Educators and Bridging the Gap from Middle School and High School.
Marcia Neel
About Marcia Neel
Marcia Neel, former Coordinator of Secondary Fine Arts for the Clark County School District in Las Vegas, currently serves as the Senior Director of Education for Yamaha Corporation of America’s Band and Orchestral Division, as Education Advisor to the Music Achievement Council and as President of Music Education Consultants, Inc.
Basic “Do-It-Yourself” Repairs for Violins w/ Charlie Wolf
-Pin Chen, Presiding
Session Description
Session will be a hands-on approach to discovering the Luthier’s approach to basic string repairs. Session is intended to give the orchestral string teacher the proper ways and “how-to’s” in order to:

The Instrument Body:

  • Put a string on an instrument – correctly!
  • Lubricate the Nut, Bridge, and Saddle
  • Checking proper location for the Sound Post and Bridge
  • How to prevent the Bridge from warping (usually)
  • Selecting strings that are the right choice
  • Cleaning and polishing to prevent rosin from dampening the resonance

The Bow:

  • When is it time to rehair the Bow
  • Why won’t the Bow tighten anymore
  • Is the “ivory tip” really necessary
  • How to check the balance of the Bow (& why!)

Charles Wolf
About Charlie Wolf
Charlie is a 35-year music educator, now retired from classroom teaching. He owns and operate his own violin repair shop in San Diego. To stay active and to continue teaching in our SCSBOA family, Charlie enjoys adjudicating during marching season and festivals, and especially enjoys guest conducting for honor bands and orchestras.

Starting at Square One for the Squares: Teaching Improvisation in the Middle School Jazz Band by Non-Jazz Teachers w/ Henry Miller
-Mike Gangemi, Presiding
Session Description
The techniques and procedures go far beyond what would be helpful to beginning improvisers in a middle school band. As a classically trained musician myself, it is my hope to share some of the methods I use to help my students lower their anxiety and perform improvised solos at concerts and festivals.
Henry Miller
About Henry Miller
A graduate of California State University, Long Beach, Henry Miller has taught in the Irvine Unified School District for twenty-six years, the last thirteen at Sierra Vista Middle School. There he teaches three bands, three orchestras and jazz band.
The Business of Music: Exploring Copyright and Other Legalities w/ Paul Young
-Jason Marshall, Presiding
Paul Young
About Paul Young
Paul Young teaches in the fields of music industry studies, music education, jazz and private/applied trombone. Additionally, he serves as the Chair of the Music Industry Program, USC Thornton School of Music.

Accomplished as both a musician and industry veteran, Young began leading and booking professional groups at age 13. Earning his bachelor of music degree from University of the Pacific in 1993, he majored in music business/management under Dick Etlinger (former attorney for RCA and Casablanca Records) and Don Gorder (founder of Berklee College of Music’s music industry program) while performing all four years as the lead trombonist and a regularly featured soloist with the UOP Jazz and Wind ensembles. Upon moving to Los Angeles in 1993, Young started his private teaching studio and performed at night while working by day at Lee Solters Public Relations as a junior publicist for Paul Anka, Michael Jackson’s MJJ Records label, and actors from the TV show Mighty Morphin Power Rangers. In 1995, Young joined MCA Records working as a paralegal and a sample use coordinator for new releases by their artists, including Mary J. Blige, Heavy D, Sean “Diddy” Combs and Sublime, to name a few. Moving over to their Licensing Department in 1997, Young became a licensing negotiator, sample clearance expert, contract specialist and royalty collector for MCA as they merged with PolyGram Records (later re-named Universal Music Group), while producing several compilation records for their re-issue imprint, Hip-O Records. By the time Young left he had become director of Licensing and Contract Administration for Universal Music Group (now the largest record label in the world) as well as a highly in-demand performer and arranger for hire, becoming a working professional with a unique blend of actual experience spanning literally all styles and genres of music.

To further his inter-disciplinary musical interests, from 2004-09 Young attended the USC Thornton School of Music to earn his master of music and doctor of musical arts degrees, working closely with professors Bill Watrous, Shelly Berg, Kim Richmond, Terry Cravens, Sheila Woodward, Joanna Demers, Mark Goldstein and Dick McIlvery. As a graduate student, he concentrated on specializations jazz and classical performance, music education, 20th century music history and modern music technology, while serving several years as the lead trombonist in the USC Thornton Jazz Orchestra and as a lecture assistant for the music industry department.

Today, Young teaches primarily about the business of music, including music publishing, record companies, monetizing musical creations and performances, while offering limited private/applied music lessons and other general music/technology classes for Thornton’s future performers, arrangers and educators, at the undergraduate and graduate levels. He is 4x Grammy-nominated: 3x as a member of John Daversa Progressive Big Band, for Kaleidoscope Eyes: Music of the Beatles. Also appear on John Beasley’s MONKestra, Vol. 1. Young is also a certified member of the Technology Institute for Music Educators (“TI:ME”), teaches computer music notation classes for the American Federation of Musicians in Hollywood, guest lectures at colleges and trade shows, and is on the board of the Rising Star Music Fund charity program run by former music industry professionals to benefit under-funded music education programs.

Young has performed live with countless artists, including Bobby McFerrin, Wynton Marsalis, Dave Brubeck, Terry Gibbs, Gerald Wilson, Les Brown, Bill Holman, Bill Watrous, Med Flory, Steve Miller, Michael Bolton, Stevie Wonder, Take 6, Patti Austin, Wynonna Judd, Natalie Cole, Jason Mraz, Bebe Winans, Ledisi, Monica Mancini, Seth McFarlane, and more. He has recorded for many Hollywood TV shows, including Family Guy, American Dad, The Cleveland Show, Mad Men, Vegas and CSI among others, can be heard regularly performing as a current member/soloist in the John Daversa Progressive Big Band, Alan Chan Jazz Orchestra, Emil Richards Big Band, Gregg Field Big Band, Tex Beneke Band, Billy Vaughn Orchestra, Budman-Levy Orchestra and No Vacancy Orchestra, and with his own jazz quintet at the Lighthouse Café jazz club in Hermosa Beach.

Top 10 Things I Couldn’t Learn in College w/ Neil Anderson
-Neil Anderson, Presiding

Tracks

If You Take THAT Position w/ Paul Young
-Melissa Palmer, Presiding
Paul Young
About Paul Young
Paul Young teaches in the fields of music industry studies, music education, jazz and private/applied trombone. Additionally, he serves as the Chair of the Music Industry Program, USC Thornton School of Music.

Accomplished as both a musician and industry veteran, Young began leading and booking professional groups at age 13. Earning his bachelor of music degree from University of the Pacific in 1993, he majored in music business/management under Dick Etlinger (former attorney for RCA and Casablanca Records) and Don Gorder (founder of Berklee College of Music’s music industry program) while performing all four years as the lead trombonist and a regularly featured soloist with the UOP Jazz and Wind ensembles. Upon moving to Los Angeles in 1993, Young started his private teaching studio and performed at night while working by day at Lee Solters Public Relations as a junior publicist for Paul Anka, Michael Jackson’s MJJ Records label, and actors from the TV show Mighty Morphin Power Rangers. In 1995, Young joined MCA Records working as a paralegal and a sample use coordinator for new releases by their artists, including Mary J. Blige, Heavy D, Sean “Diddy” Combs and Sublime, to name a few. Moving over to their Licensing Department in 1997, Young became a licensing negotiator, sample clearance expert, contract specialist and royalty collector for MCA as they merged with PolyGram Records (later re-named Universal Music Group), while producing several compilation records for their re-issue imprint, Hip-O Records. By the time Young left he had become director of Licensing and Contract Administration for Universal Music Group (now the largest record label in the world) as well as a highly in-demand performer and arranger for hire, becoming a working professional with a unique blend of actual experience spanning literally all styles and genres of music.

To further his inter-disciplinary musical interests, from 2004-09 Young attended the USC Thornton School of Music to earn his master of music and doctor of musical arts degrees, working closely with professors Bill Watrous, Shelly Berg, Kim Richmond, Terry Cravens, Sheila Woodward, Joanna Demers, Mark Goldstein and Dick McIlvery. As a graduate student, he concentrated on specializations jazz and classical performance, music education, 20th century music history and modern music technology, while serving several years as the lead trombonist in the USC Thornton Jazz Orchestra and as a lecture assistant for the music industry department.

Today, Young teaches primarily about the business of music, including music publishing, record companies, monetizing musical creations and performances, while offering limited private/applied music lessons and other general music/technology classes for Thornton’s future performers, arrangers and educators, at the undergraduate and graduate levels. He is 4x Grammy-nominated: 3x as a member of John Daversa Progressive Big Band, for Kaleidoscope Eyes: Music of the Beatles. Also appear on John Beasley’s MONKestra, Vol. 1. Young is also a certified member of the Technology Institute for Music Educators (“TI:ME”), teaches computer music notation classes for the American Federation of Musicians in Hollywood, guest lectures at colleges and trade shows, and is on the board of the Rising Star Music Fund charity program run by former music industry professionals to benefit under-funded music education programs.

Young has performed live with countless artists, including Bobby McFerrin, Wynton Marsalis, Dave Brubeck, Terry Gibbs, Gerald Wilson, Les Brown, Bill Holman, Bill Watrous, Med Flory, Steve Miller, Michael Bolton, Stevie Wonder, Take 6, Patti Austin, Wynonna Judd, Natalie Cole, Jason Mraz, Bebe Winans, Ledisi, Monica Mancini, Seth McFarlane, and more. He has recorded for many Hollywood TV shows, including Family Guy, American Dad, The Cleveland Show, Mad Men, Vegas and CSI among others, can be heard regularly performing as a current member/soloist in the John Daversa Progressive Big Band, Alan Chan Jazz Orchestra, Emil Richards Big Band, Gregg Field Big Band, Tex Beneke Band, Billy Vaughn Orchestra, Budman-Levy Orchestra and No Vacancy Orchestra, and with his own jazz quintet at the Lighthouse Café jazz club in Hermosa Beach.

Charms Office: Your Ticket to Organization
-Paul Bluto, Presiding
Working with Your String Session w/ Cathy Olinger
-Pin Chen, Presiding
Programming Music for Your Jazz Set w/ Mike Gangemi
-Mike Gangemi, Presiding
The Ins and Outs of LGBT w/ Russ Sperling
-Duane Otani, Presiding
Getting to Know You: Mock Interviews, Part 1
-Neil Anderson, Presiding

Tracks

TBA
-TBA, Presiding
TBA
-TBA, Presiding
TBA
-TBA, Presiding
Live Interview w/ Colonel Arnald Gabriel
-Neil Anderson, Presiding
Colonel Arnald Gabriel

Tracks

It’s All About the Thumbs: A Beginner’s Approach to Bassoon w/ Cameron Domingues
-Becky Othmer, Presiding
Quick Tips for Repairing an Instrument w/ Bertrand’s Music
-Brendan McBrien, Presiding
Meet Local Composer Brendan McBrien
-Pin Chen, Presiding
How to Start and Run an Effective Jazz Combo w/ Samantha Thiesen
-Mike Gangemi, Presiding
The Music Within: Best Practices for Students with Special Needs w/ Julia Hahn
-Duane Otani, Presiding
Session Description
This session will address best practices for all students in a k-12 music classroom.An emphasis will be placed on accepting educational, behavioral and ability differences among all learners, so that as music educators, we become open to the related issues that allow us to explore full inclusion accommodations, while maintaining the integrity of the program and the value of the music experience for all learners. The participant will see that “accommodations” does not mean losing the intended value of the experience. Specific, practical and hands-on practices will be shared that have been successfully implemented with all learners. The speaker will address how to include mild, moderate and profoundly impaired learners with typical peers in a music setting. The speaker will also demonstrate how these practices are mutually beneficial for the typical learner. Join this presenter in discovering the “can” for all music learners and how to continue a comprehensive and valuable musical experience for all students.
Julie Hahn
About Julie Hahn
Julia Hahn graduated from Immaculata University in 1983 with a Bachelor of Music in Music Education and Music Therapy. She received her Music Teaching Credentials that time. She completed her clinical internship at Pennhurst State Hospital and received her Certified Music Therapy Credential. She cleared her single subject credential and earned a Severely Handicapped specialist credential at California State University, Fullerton in 1991. She became a Board Certified Music therapist in 2013 following new national guidelines and is a member of the American Music Therapy Association. She has worked in private schools and state facilities as a music therapist. For the last thirty years she has been the music teacher at Hope School, a special program in the Anaheim Union High School District. Although technically a Special Education teacher, Hahn provides a general music and choral program for students with special needs. Following the general music curriculum and introducing the elements and music and regular choral practices in line with the state standards, the program is therapeutically based. Using music and musical instruction to change behavior in many areas, Hahn works to include her special needs students with typical peers in the general musical curriculum. The program presents several performances throughout the school year working to share the love of music for her students with the community. She and her students do several collaborative projects with comprehensive programs in the district. She is the co-founder of the Visual and Performing Arts cross-curricular project, The Pageant of Hope. Hahn is currently the Junior High School Department Chair and has served on the AUHSD Superintendent’s Advisory Council. She also serves on the VSA California Planning Committee with the Orange County Department of Education. Hahn has been named the Anaheim Union High School District Teacher of the Year and has been recognized by the Council for Exception Children. She was a finalist for the Bravo Award. Hahn was the first recipient the Orange County Music and Arts Administrators’ Award Teacher of the Year in the category of Special Education. She is a member of Pi Kappa Lambda, Music Honor Society.
Getting to Know You: Mock Interviews, Part 2
-Neil Anderson, Presiding

Tracks

I’m Better Than You: An Approach to Playing the Trumpet w/ David Betancourt
-Becky Othmer, Presiding
Session Description
Teaching the trumpet, (the greatest instrument ever made), can be a challenge! Whether you are a non-brass player or a seasoned high brass guru, you’ll enjoy this hands on session where teaching nuggets will be shared and applied. Instruments and a handout will be provided! You’ll walk away with teaching tips for trumpet players of any age and ability!
David Betancourt
About David Betancourt
David Betancourt has been the Director of Bands and Orchestra at Cerritos College in Norwalk, California since 1998. He is the conductor for the Concert Band, Jazz Ensemble, Pep Band, Pop/Rock Ensemble and facilitates the Cerritos College Drumline. Beyond performing as the showcase ensemble at various jazz and band festivals, the bands at Cerritos College take great pride in performing in countless civic events and participating in social outreach at hospitals and shelters. Dr. Betancourt facilitated the collaboration with the youth organization Impulse, which led to the addition of numerous courses as well as the development of a national reputation for Cerritos College in the Drum and Bugle Corps international circuit. He was chair of the music department from 2008-2011 and was the director of the California State University Wind Ensemble from 2008-2011. In addition, Dr. Betancourt was a supervisor for the Master of Arts in Teaching at the University of Southern California since the inception of the MAT program. Previous to his appointments in Southern California, Dr. Betancourt was Assistant Director of Bands at Northern Arizona University. He began his music education career as the Director of Instrumental Music of Hopedale Junior/Senior High School in Hopedale, Massachusetts.Dr. Betancourt holds a DMA in music education from the University of Southern California, an MM in instrumental conducting from Northern Arizona University, and a BM in music education and performance from Berklee College of Music. He has arranged for wind band, jazz ensemble, marching band, latin, and pop genres. Dr. Betancourt is a member of the Phi Kappa Phi Honor Society, Pi Kappa Lambda Honor Society, NAfME, CBDNA, CMEA, CBDA, ITG, CMS, SCSBOA, and the Immediate Past President of the Music Association of California Community Colleges (MACCC).

Dr. Betancourt was recognized as Outstanding Faculty in 2015 and Most Outstanding Faculty in 2016.

Rehearsal Techniques w/ Colonel Arnald Gabriel
-Brendan McBrien, Presiding
Colonel Arnald Gabriel
From Finger Numbers to Artistry: A Discussion on Effective Cello Fingering w/ Ka-Wai Yu
-Pin Chen, Presiding
Session Description
Fingering is not only an important technical tool for executing pitch and rhythm accurately on string instruments, but it is also an art itself that helps shape the music, allowing deep musicality to flow through notes after notes.

It comes to my attention that a number of string players often uncritically copy fingerings of famous performers and pedagogues. Many string students indulge themselves in the tedious work to copy every single finger number fromtheir teachers’ sheet music trying to learn the “right” fingerings. However, the question is whether so-called “right”fingerings will actually work for each individual player.

The first part of this presentation will discuss structure found in cello fingerings: individual notes can be grouped together through fingering patterns, and efficient utilization of fingers with minimal physical tension and effort. The second part talks about how fingering decisions can match the style of the music, express the emotions in music, connect and shape phrases, and articulate the rhythm. The third part discusses the flexibility of fingering: to change fingering according to the genres and musical occasions (e.g. solo versus chamber and orchestral music), and theadvantage of having more than one set of fingerings for the same passage. Last, but not least, the presentation will address issues such as individual body size, levels of playing, age and personal comfort.

Relevant examples from solo, chamber and orchestral repertoire will be demonstrated on the cello and included in the PowerPoint presentation.
Ka-Wai Yu
About Ka-Wai Yu
Dr. Ka-Wai Yu is Assistant Professor of Music at Dixie State University. Yu has presented in the national conferences of ASTA and Historical Keyboard Society of North America. Yu obtained his D.M.A. from the University of Illinois and holds degrees from the Chinese University of Hong Kong and Indiana University.

Blending the Sax Section w/ Alex Hahn
-Mike Gangemi, Presiding
Keep the Flame Lit: Strategies to Combat Professional Burnout w/ Michael Stone
-Duane Otani, Presiding
Budget? What Budget? Developing a 5-Year Financial Plan for Your Program w/ Tony White
-Neil Anderson, Presiding
Session Description
Being able to discuss the financial needs of your music program with your constituency (administrators, parents, and funders) is paramount for a successful music program. This session will help music teachers in developing the necessary conversations to build and maintain a successful music program.
Tony White

Keynote w/ Doc Severinsen

Doc Severinsen
Heeeeere’ s Johnny!” That lead-in, followed by a big band trumpet blast, was the landmark of late night television for three decades. The ‘ Johnny’ was Johnny Carson, the announcer was Ed McMahon and the bandleader was Doc Severinsen. Beginning in October 1962, The Tonight Show with Johnny Carson ruled the night air for thirty years. On May 22, 1992, it came to an end…

Within a week of the final telecast, Doc Severinsen and His Big Band were on the road, and to this day, audiences across America love and respect Doc and his big band, not just because he shared their living room with them for so many years, but because of Doc’ s love of the Big Band repertoire. His musicianship keeps this iconic American music fresh to this day. Their repertoire includes Ellington and Basie standards, pop, jazz, ballads, big band classics and, of course, The Tonight Show theme. Severinsen can still blow hard with his horn, and hit the high notes, a result of his continued commitment to the practice studio and the refinement of his craft. But as a band leader, Doc continues to surround himself with the best in the business, and he’ s only too happy to give them a turn in the spotlight.

A Grammy award winner, Doc has made more than 30 albums–from big band to jazz-fusion to classical. Two critically acclaimed Telarc CDs with the Cincinnati Pops Orchestra showcase his multifaceted talents from Bach to ballads. The Very Best of Doc Severinsen reprises fifteen of Doc’ s signature pieces. His other recordings include Unforgettably Doc with the Cincinnati Pops on Telarc, and the Grammy nominated Once More With Feeling on Amherst. He received a Grammy Award for “Best Jazz instrumental Performance – Big Band” for his recording of Doc Severinsen and The Tonight Show Band-Volume I.

In 2006, Doc moved to San Miguel de Allende, in Mexico, ostensibly to retire from performance. Within weeks, he was jamming with the magnificent guitarist Gil Gutierrez. He now tours regularly with Gil in a quintet called The San Miguel Five, performing a mix of Latin and Gypsy jazz and standards, to exceptional acclaim. They just released their most current CD, Oblivion, in January 2014.

Severinsen’ s accomplishments began in his hometown of Arlington, Oregon, population: 600. Carl H Severinsen was born on July 7th, 1927, and was nicknamed “Little Doc”after his father, Dr. Carl Severinsen a dentist. Little Doc had originally wanted to play the trombone. But Doc Sr., a gifted amateur violinist, urged him to follow in his father’ s footsteps. The Doc Jr. insisted on the trombone, which turned out to be unavailable in tiny Arlington’ s music store. And so, a trumpet it would be. A week later, with the help of his father and a manual of instructions, the seven-year-old was so good that he was invited to join the high school band. At the age of twelve, Little Doc won the Music Educator’s National Contest and, while still in high school, was hired to go on the road with the famous Ted Fio Rito Orchestra. However, his stay with the group was cut short by the draft. He served in the Army during World War II and following his discharge, landed a spot with the Charlie Barnett Band. When this band broke up, Severinsen toured with the Tommy Dorsey, then, the Benny Goodman bands in the late 40′s. After his days with Barnett and Dorsey, Doc arrived in New York City in 1949 to become a staff musician for NBC. After years of playing with NBC’ s many studio bands, Doc was invited to play a gig in the highly respected Tonight Show Band. The band leader at the time, Skitch Henderson, asked him to join that band in 1962 in the first trumpet chair. Five years later, Doc became the Music Director for The Tonight Show and the rest is history. His loyalty to Johnny Carson and Ed McMahon never faltered, and the warm camaraderie between the three was an enormous part of the show’ s success. When Johnny decided to retire from The Tonight Show, Doc and Ed said their goodbyes as well. Of course, free from the nightly grind of the TV studio, Doc Severinsen had far more time to expand his musical horizons and continues to keep an extensive touring schedule.

In addition to his San Miguel 5 appearances, Doc tours regularly with his own Big Band and continues to perform with symphony orchestras all over the country. Over the years has been Principal Pops Conductor with the Phoenix Symphony, the Milwaukee Symphony, the Minnesota Orchestra, the Colorado Symphony, the Pacific Symphony and the Buffalo Philharmonic.

Doc performs on a S.E. Shires Severinsen Destino III, a trumpet he developed with Steve Shires and the S.E. Shires Company in Massachusetts. The factory has 25 craftsmen who are professional, working brass players and totally understand what is involved in making great brass instruments. The S.E. Shires Company features a line of trumpets that includes the S.E. Shires Severinsen Destino III which was developed through Doc’ s supervision until his exacting standards of quality and sound were achieved. Doc continues to make regular visits to the factory.

Today, Doc has not lost his flair for the outrageous fashion statement or his trademark wit. But his gregarious nature has never interfered with the fact that he has been one of the greatest trumpeters and musicians of the last 60 years, respected in the worlds of classical music, jazz, big band, and now even world music. In the end, Doc Severinsen has transcended his celebrity, and rejoiced in his remarkable ability to simply play his
trumpet as well as he can. Which has proven to be good enough for the millions of people who count themselves his fans.

Saturday, January 27, 2018

Conference Schedule

Note: See tabs below for individual session details.

  • Conference Registration | Visit Exhibitors | University of Phoenix Registration  | Coffee and Doughnuts – 7:00 – 8:30 AM
  • Session I – 8:30 – 9:20 AM
  • Session II – 9:30 – 10:20 AM
  • Visit Exhibitors (Grand Ballroom Foyer) – 10:20 – 10:40 AM
  • Session III – 10:40 – 11:30 AM
  • Lunch (Royal Ballrooms) – 11:45 AM
  • Session IV – 1:10 – 2:00 PM
  • Session V – 2:10 – 3:00 PM
  • Session VI – 3:10 – 4:00 PM
Hyatt Regency Orange County

Honor Group Rehearsals

  • MS Full Orchestra in Grand Ballroom E-G – 8:00 AM – 12:00 Noon
  • MS Symphonic Band in Garden 2-3 Ballroom – 8:00 AM – 12:00 Noon
  • MS Orchestra in Grand A – 8:00 AM – 12:00 Noon
  • HS Wind Ensemble in Grand Ballroom E-G – 1:00 – 9:00 PM
  • HS Symphonic Band in Garden 2-3 – 1:00 – 9:00 PM
  • HS Orchestra in Grand A – 1:00 – 9:00 PM

Elementary Honor Band Concert 4:15 PM, Elementary Orchestra Concert in Royal Ballroom 5:15 PM

Tracks

Well Cello There! w/ Jennifer Landaverde
-Scott Domingues, Presiding
Session Description
Engage your cellists and develop technique with fun and games.
Jennifer Landaverde
About Jennifer Landaverde
Jennifer Landaverde is a cellist and currently the director of instrumental music at Valadez Middle School Academy in Placentia, California. She received her B.A. in Music Education from Cal State Fullerton and her Masters in Education from Brandman University.
Beginning Band: Strategies for a Successful Sign-Up Night
-Curt Richardson, Presiding
Step Zero: Rhythmic Underpinnings – How First Teaching the Rhythmic Pulses of a New Piece Can Set the Tone for a Successful Performance w/ Jason Sah
-Pin Chen, Presiding
Session Description
Do you ever wonder why a student performance falls flat, even when students have demonstrated a good grasp of the fundamentals leading up to the concert? Maybe they never truly internalized the rhythms that propel a piece forward. This session will show how prioritizing rhythm when teaching a new piece provides students with a context to better assimilate other fundamentals. Using excerpts from Vivaldi’s 2 violin concerto in a minor, 2nd mvt., RV 522, Tavener’s Mother of God, here I stand, and Telemann’s Viola Concerto in G major, 1st mvt, TWV 51:G9, Part I of this session will be the analysis of the rhythmic motives that move the music. Part II will demonstrate how an understanding of these rhythms affects student intonation, phrasing, articulation, and dynamics on a deeper and more intuitive level.
Jason Sah
About Jason Sah
Dr. Jason Sah is currently Director of Orchestras for the Tuacahn School of Performing Arts, UT. He has worked alongside instructors from El Sistema and Tocar y Luchar, and specializes in working with emerging string programs. He holds the DMA from the Eastman School of Music.
Should SCSBOA Sanction and Host Jazz Festivals? Open Forum Discussion w/ Mike Gangemi
-Mike Gangemi, Presiding
Google Forms w/ Judy Blakeny
-Naomi Norwick, Presiding
Branding Your Program: The Power of Social Media w/ Matt Armstrong
-Neil Anderson, Presiding

Tracks

TBA
-TBA, Presiding
TBA
-TBA, Presiding
TBA
-TBA, Presiding
Passionate Conducting w/ Frank Ticheli
-Neil Anderson, Presiding
Session Description
As conductors, we strive to be as faithful as we can to the composer’s intentions, and some conductors forget that that means going beyond the notes on the page. It also means going beyond beyond technical perfection. Nobody is ever going to approach us after a concert and say, “Wow, thank you, that was the most accurate performance I’ve ever heard! ”It’s about something much more profound than technical accuracy.
Frank Ticheli
About Frank Ticheli
Frank Ticheli’s music has been described as being “optimistic and thoughtful”(Los Angeles Times), “lean and muscular”(The New York Times), “brilliantly effective”(Miami Herald)and “powerful, deeply felt crafted with impressive flair and an ear for striking instrumental colors”(South Florida Sun-Sentinel). Ticheli (b. 1958) joined the faculty of the University of Southern California’s Thornton School of Music in 1991, where he is Professor of Composition. From 1991 to 1998, Ticheli was Composer in Residence of the Pacific Symphony.

Ticheli’s orchestral works have received considerable recognition in the U.S. and Europe. Orchestral performances have come from the Philadelphia Orchestra, Atlanta Symphony, Detroit Symphony, Dallas Symphony, American Composers Orchestra, theradio orchestras of Stuttgart, Frankfurt, Saarbruecken, and Austria, and the orchestras of Austin, Bridgeport, Charlotte, Colorado, Haddonfield, Harrisburg, Hong Kong, Jacksonville, Lansing, Long Island, Louisville, Lubbock, Memphis, Nashville, Omaha, Phoenix, Portland, Richmond, San Antonio, San Jose, Wichita Falls, and others. Ticheli is well known for his works for concert band, many of which have become standards in the repertoire. In addition to composing, he has appeared as guest conductor of his music at Carnegie Hall, at many American universities and music festivals, and in cities throughout the world, including Schladming (Austria), Beijing and Shanghai, London and Manchester, Singapore, Rome, Sydney, and numerous cities in Japan.

He is the recipient of a 2012 Arts and Letters Award from the American Academy of Arts and Letters, his third award from that prestigious organization. His Symphony No. 2 was named winner of the 2006 NBA/William D. Revelli Memorial Band Composition Contest. Other awards include the Walter Beeler Memorial Prize and First Prize awards in the Texas Sesquicentennial Orchestral Composition Competition, Britten-on-the-Bay Choral Composition Contest, and Virginia CBDNA Symposium for New Band Music. Ticheli was awarded national honorary membership to Phi Mu Alpha Sinfonia, “bestowed to individuals who have significantly contributed to the cause of music in America,” and the A. Austin Harding Award by the American School Band Directors Association, “given to individuals who have made exceptional contributions to the school band movement in America.” At USC, he has received the Virginia Ramo Award for excellence in teaching, and the Dean’s Award for Professional Achievement. Ticheli received his doctoral and masters degrees in composition from The University of Michigan. His works are published by Manhattan Beach, Southern, Hinshaw, and Encore Music, and are recorded on the labels of Albany, Chandos, Clarion, Klavier, Koch International, Mark and Naxos.

Tracks

Drum Maintenance w/ Doug Steinmetz
-Scott Domigues, Presiding
Vocal Techniques for the Instrumental Choral Director w/ Michelle Voss
-Curt Richardson, Presiding
Achieving Physical Freedom Through Bowing Choices – How Our Bowing Choices for High School String Orchestras Can Get to the Heart of the Music, While Also Freeing Up Students Physically w/ Jason Sah
-Pin Chen, Presiding
Session Description
In high school string orchestra, we sometimes choose conventional and expedient bowings over bowings that better reflect the flow of the music. The results can be at odds with the composer’s intended rhythmic pulse. With a focus on J.S. Bach’s Sheep May Safely Graze, BWV 208, and H. Purcell’s Chaconne in g minor, Z730, comparisons of bowing options will reveal some pitfalls of common choices, and show how more thoughtful bowings can capture the music’s vitality. When bowings better represent the pulse and gestures of the music, students play more physically free and sound more expressive. The effect is immediate and awesome.
Jason Sah
About Jason Sah
Dr. Jason Sah is currently Director of Orchestras for the Tuacahn School of Performing Arts, UT. He has worked alongside instructors from El Sistema and Tocar y Luchar, and specializes in working with emerging string programs. He holds the DMA from the Eastman School of Music.
Rhythmic Section Communication
-Mike Gangemi, Presiding
Engaging and Portable Classroom Music Appreciation Lessons w/ Gina Vanides
-Naomi Norwick, Presiding
Session Description
I have created my own Music Appreciation lessons that are highly engaging and easily understandable to students, and that help students feel the aesthetic value of music. My lessons include students learning about famous orchestral works such as Vivaldi’s “4 Seasons” and Beethoven’s “Pastorale Symphony,” movement and music, and learning about basic rhythms in a fun way. I use portable mini percussion instruments (maracas, rhythm sticks, castanets, and bells) as a teaching tool to make the lessons enjoyable for the students.

I have taught Instrumental and Classroom Music in the Buena Park School District for the past 20 years, and I teach at all 6 elementary schools in the district. I think I would be an interesting Presenter because I have had the patience, creativity, organizational skills, and dedicated heart for creating meaningful musical experiences for children at the elementary school level for the past 2 decades.
Gina Vanides
About Gina Vanides Description
Gina Vanides has taught elementary school Instrumental Music and Classroom Music for the past 20 years. She teaches at all 6 elementary schools in the Buena Park School District, working with all the students from TK-6th grade.

Just the Facts: A Discussion About the Legal Aspects of Hiring Coaches, Clinicians, Fundraising, and Donations w/ Brad Van Patten
-Neil Anderson, Presiding

Tracks

Come Toot a Flute w/ Kerri Arakawa
-Scott Domingues, Presiding
Kerri Arakawa
About Kerri Arakawa
Kerri Arakawa is a graduate of California State University Long with a Bachelors of Music in Music Education and California Teaching Credential. During her time at CSULB, she was a student of Dr. John Barcellona and performed regularly with many large and chamber ensembles. She has also studied with Kim Hensley, Rena Urso, and Catherine Ransom.

Mrs. Arakawa is currently the founder and President of the Orange County Flute Association and is the Music Director and Conductor of the Orange County Flute Ensemble. She is also active as a private Flute instructor in the southern Orange County area where her students have won placement in numerous honor bands and orchestras. In 2011, she was invited to serve as the Flute Coach for the Wildwood Institute of Music and the Arts Intermediate Session. She is on staff with several award-winning school band programs throughout Orange County.

In demand as a clinician and conductor, Kerri has given workshops and clinics covering a wide assortment of topics related to flute performance. Most recently, she presented at the NFA National Convention in Anaheim as part of the Yamaha Exhibitor Showcase and has been featured in the Making Music Magazine. For 13 years, Mrs. Arakawa has taught in Capistrano Unified School District and Irvine Unified School District as an Elementary Music Specialist and holds membership in several professional organizations including the NFA, MENC, and SCSBOA.

Implementing a Visual Program Into Your Marching Band Program w/ Brian Peter
-Pete Jackson, Presiding
Brian Peter
Teaching the Basics: Help for Those New to Teaching Strings, Part 1 w/ Dianna Gray
-Pin Chen, Presiding
Session Descriptions
This session will address the many issues of teaching strings at the beginning level. Session will include tips and tools on how to size your string players with speed and accuracy, proper posture and position tips and techniques, sequence of teaching note reading, left hand, right hand (bow) including fun tips and techniques to keep yours tudents engaged and practicing at home and music appropriate for the beginning string level player. I will provide a handout on the first 16 weeks of teaching that include step by step fun lessons utilizing my successful Rote method book. The entire Rote Method book will also be provided.
About Dianna Gray
Dianna Gray has been a string specialist in the Irvine Unified School District for 28 years where she proudly instructs 850 fourth through sixth grade elementary string students at five schools in a Block Music Program. Her successful curriculum, strategies and methods are widely used throughout the Southern California area.
Reading Band w/ the SCSBOA Jazz All-Stars w/ Dennis Crystal
-Mike Gangemi, Presiding
Advocacy Strategies for Your Community w/ Bincins Garcia
-Naomi Norwick, Presiding
Your Journey Continues: Preparing for Student Teaching w/ Phil Mortensen
-Neil Anderson, Presiding

Tracks

Pedagogy: Tuba w/ Tony Mazzaferro
-Melissa Palmer, Presiding
Tony Mazzaferro
About Tony Mazzaferro
Dr. Anthony Mazzaferro was born and raised in San Francisco. He received his Bachelor of Music degree from San Francisco State University. During his undergraduate years, he served as the Principal Tubist in the Symphonic Band and Symphony Orchestra. In addition to this he was the Assistant Conductor for both the Symphonic and Concert Bands. After graduating with honors in 1978, Dr. Mazzaferro attended Northwestern University. He pursued a Master of Music degree in Instrumental Conducting where he studied with John P. Paynter. In 1986 he received his Doctor of Musical Arts degree from Arizona State University. As a Graduate Assistant Dr. Mazzaferro worked with the Band and Music Education departments While at Arizona State, Dr. Mazzaferro studied with Richard Strange, Robert Fleming, Daniel Perantoni, Ronald LoPresti and Barrie Wells.

Previous to his appointment at Fullerton College, Dr. Mazzaferro taught for the Mount Diablo and Palo Alto Unified School Districts. His assignments included both elementary and secondary instrumental ensembles. His guest conducting and adjudication assignments have included Honor Bands and Orchestras throughout the Western United States, Canada, and New Zealand. In 1994 and 2001 Dr. Mazzaferro was selected to conduct the California All-State Honor Band. In 2000 Dr Mazzaferro was selected to conduct the Alberta, Canada All-Provincial Honor Band. In 2007 Dr. Mazzaferro will conduct the California All-State Junior High Symphonic Band and the Northern California High School Honor Band. As a clinician, Dr. Mazzaferro has worked with Concert Bands and Orchestras from The United States, Japan, Singapore, New Zealand, Canada, and China.

On his principal instrument, tuba, Dr. Mazzaferro has performed with numerous bands and orchestras throughout California. This includes the Diablo Symphony Peninsula Symphony, Symphony of the Mountain, Berkeley Symphony, Santa Cruz Symphony, Santa Ana Symphony, and the Crystal Cathedral “Hour of Power” Orchestra.

Dr. Mazzaferro is active in several other musical affiliations outside of Fullerton College. His most recent activities include serving on the Board Of Directors for the Cazadero Performing Arts Camp in Northern California. Dr. Mazzaferro is a member of, CBDA, CBDNA, MENC SCSBOA, TUBA and WASBE.

Dr. Mazzaferro is currently the Director of Bands at Fullerton College. In addition to his academic assignments, Dr. Mazzaferro conducts the Symphonic Wind Ensemble, Community Band, and instructs Applied Euphonium and Tuba. He is also completing his eleventh year as Principal Conductor of the Claremont Symphonic Winds.

Basic Rehearsing Techniques and Score Study w/ Kevin Mayse
-Pete Jackson, Presiding
Session Description
In this lecture, I will cover the following topics:

  • Warm up process – Will include different approaches to the “traditional” warm up.
  • Tuning process or listening process – It is of my opinion that if we teach the students to listen correctly and tell them what to listen to, the intonation problems will be minimal.
  • Basic Score Study – This could be a three-day seminar by itself, but my goal is to stress the importance of being prepared and always have a purpose to the rehearsal.
  • Common Orchestration issues to look for and how to correct them.
  • Common Intonation issues to look for and how to correct them.

I will include both recorded examples and partial copies of actual scores including, O Magnum Mysterium, Holst First and Second Suites and Irish Tune, to name a few.

I will discuss percussion mallet recommendations as well as other percussion equipment recommendations. This has been one of the most popular topics of discussion each time I have given this lecture.

I will have a list of recommended reading and resource material and we will discuss Literature selection.

Although this is only a 50 minute lecture and it covers many topics, it is meant to give the listener a starting point for further study into score study and basic rehearsal techniques that have been proven to work.

I have given this lecture (or a version of it) over 10 times to all levels of teaching and it has always been well received.
Kevin Mayse
About Kevin Mayse
Kevin Mayse is currently the Wind Ensemble Conductor, Symphony Orchestra Conductor, and Department Chair at Riverside City College.

He is very active as a guest conductor, clinician, and trumpet player throughout the US including conducting the Westminster Brass Ensemble which often includes members of the LA Philharmonic brass section.

Teaching the Basics: Help for Those New to Teaching Strings, Part 2 w/ Dianna Gray
-Pin Chen, Presiding
Session Descriptions
This session will address the many issues of teaching strings at the beginning level. Session will include tips and tools on how to size your string players with speed and accuracy, proper posture and position tips and techniques, sequence of teaching note reading, left hand, right hand (bow) including fun tips and techniques to keep yours tudents engaged and practicing at home and music appropriate for the beginning string level player. I will provide a handout on the first 16 weeks of teaching that include step by step fun lessons utilizing my successful Rote method book. The entire Rote Method book will also be provided.
About Dianna Gray
Dianna Gray has been a string specialist in the Irvine Unified School District for 28 years where she proudly instructs 850 fourth through sixth grade elementary string students at five schools in a Block Music Program. Her successful curriculum, strategies and methods are widely used throughout the Southern California area.
Let’s Stick to the Basics: A Beginning Jazz Imrov Lesson w/ Maurice Limon
-Mike Gangemi, Presiding
Changes to the 2019 Festival Experience w/ Brendan McBrien and Jason Marshall
-Duane Otani, Presiding
Beyond the Baton: The Non-Music Part of the Job – Tips for the Organizational and Other Aspects of Running a Program w/ Stacy Harris
-Neil Anderson, Presiding

Tracks

Sax Education 101 w/ Melissa Palmer
-Melissa Palmer, Presiding
Melissa Palmer
About Melissa Palmer
Ms. Palmer has a strong background in music education. She earned her music degree and teaching credential from CSU Fullerton. She taught for three years at Yorba Linda Middle School. For the past 7 years, she was at Canyon High School in Santa Clarita, where she directed several performing groups: marching band, wind ensemble, symphonic band, jazz ensemble, competitive drum line, competitive color guard, and PE color guard. Her students participated in competitions such as the Band & Orchestra Festival and the Solo & Ensemble Festival. She was named Canyon HS Teacher of the Year for 2010-11.

She is also dedicated to excellence in music education beyond the classroom. For three years, she was the manager of the Honor Jazz Band for the prestigious Southern California School Band and Orchestra Association (SCSBOA). She served on the SCSBOA Board for two years as Vice President of Jazz Education. In addition, she serves as a judge for marching band and jazz band festivals.

Her musical performance talents extend to multiple instruments: alto sax, flute, clarinet, piccolo, and trumpet. As a professional musician, she toured with Motown stars The Four Tops, and performed in the Disneyland Band.

She is married to professional trumpet player Kye Palmer, a former member of the Tonight Show Band. They are the parents of a 2-year son, Clayton. The family just recently relocated to the Los Al area. She looks forward to meeting her new students and colleagues at McAuliffe and settling in to the Los Al community. Eventually, she hopes to expand the instrumental music program at McAuliffe and to expose her students to competitive music festivals.

Programming and Rehearsal Efficiency for the Marching Band w/ James Rocillo
-Pete Jackson, Presiding
Session Description
We will be discussing different techniques to run rehearsals in a time efficient manner, as well as addressing how to effectively program for your band.

I want to help band directors realize that marching band does not have to be the only thing they do in the fall season, as well as allowing their students to be more successful from an academic standpoint. Work smarter not harder.

From the programming standpoint helping band directors make programming choices based on their budget, talent, time and strengths.
James Rocillo
About James Rocillo
Over the course of two decades, James Rocillo has cultivated a diverse curriculum vitae in music as a performer, educator, and competition adjudicator. His formal music education spans the campuses of Long Beach City College, Citrus College, and California State University, Northridge. Throughout the years, he has had the great privilege of receiving instruction from renowned trumpet artists Bobby Shew, Tony Lujan, Ron Stout, Sal Cracchiolo, Rob Roy McGregor, Bob Slack,Charlie Davis,Clay Jenkins, and Wayne Bergeron. Consequently, James himself has become an internationally accomplished musician and can easily shift between the genres of classical and jazz. He has been featured in Del-Fi Records’ Brown Bag and the Blue Note Swing Orchestra in addition to leading his very own James Rocillo Jazz Quartet. His performances have taken him around the Pacific and back again, traveling through California, Hawaii, Canada, and Japan. James’ experience as an educator is threefold, instructing at the high school, college, and drum corps capacities. From 2000-2010, he was the Assistant Director of Bands at the BOA Grand National Finalist Ayala High School in Chino Hills, CA. Concurrently, he began his tenure at Nogales High School in La Puente,CA where he worked with the marching band, concert band, and jazz ensemble. In 2007, James joined the staff at Riverside Community College to lead the wind program for the world famous Marching Tigers and serves as director of The Lab Jazz Ensemble and Community Concert Band. In 2010 James became the Director of Bands at Colony High School in Ontario, California. Here James directs the Titan Regiment Marching band,wind ensembles and jazz ensembles. Moreover, the sum of such a career has lent itself well to the role of adjudicator and clinician, which he has also fulfilled during several marching band competitions and jazz festivals in California, Missouri, Nebraska, Oklahoma,Seattle, Malaysia and Guatemala. James is an adjudicator for the Western Band Association (WBA) and a member of the Southern California Band and Orchestra Association (SCSBOA) Over the years, James has had the pleasure of working with several Open and World class groups including Yamato Drum and Bugle Corps, Concord Blue Devils B, and the six-time DCI World Champion Santa Clara Vanguard. He has also held the position of Brass Caption Head at Troopers Drum and Bugle Corps and Esperanza Drum and Bugle Corps. 2008 marked the beginning of a new and exciting chapter as James’ first year on staff at the sixteen-time DCI World Champion Concord Blue Devils. James is proud to be apart of five DCIChampionships with the Blue Devils (2009,2010,2012,2014,2015) and three Jim Ott awards for Best Brass performance (2008,2010,2014) James earned
his Bachelor of Science in Business/Marketing from the University of Phoenix in February of 2008. Most recently he received his Masters degree in education from National University in May of 2013. James resides in Eastvale, CA.

Double Bass: A Teacher’s Guide to Basic Technique w/ Robert Matheson
-Pin Chen, Presiding
Session Description
The two main difficulties young musicians face when first learning to play the bass are rooted in poor technique and inadequate instrument setup. The two primary technical aspects of playing the bass are left hand positioning, and right hand tone production.

The left hand is primarily responsible for intonation. Finger angles and contact point certainly affect tone, however the primary focus with a beginning student’s left hand is accurate intonation. I will discuss Francois Rabbath’s position system of organizing the fingerboard (as taught in Rabbath’s Nouvelle Technique and George Vance’s Progressive Repertoire) and how his system simplifies playing the entire range of the bass into six positions based on the overtone series.

The right hand is primarily responsible for tone production. I will present the basics of the German and French bow holds. The variables of bow speed, arm weight, and bow angle and placement determine the tone created. These four factors are constantly changing while playing the bass. The ideal balance of these variables depends on the length of the string (stopped or open), the thickness (or mass) of the string, and the desired tonal and dynamic outcome.

I will conclude with basic elements of double bass setup, including string height and spacing, fingerboard camber, bridge position, and endpin length. This will not be a crash course on bass luthiery. I plan to present this information so that teachers will know if their student’s basses are a stumbling block to their progression.
Robert Matheson
About Robert Matheson
Robert Matheson has performed with ensembles representing a wide range of musical genres. He holds a Doctorate of Musical Arts degree in bass performance from the University of Arizona. Robert teaches at Dixie State University in Saint George, UT and performs in the orchestra at Tuacahn Center for the Arts.

15 Things YOU Can Do Tomorrow to Improve Your Jazz Band w/ Maurice Limon
-Mike Gangemi, Presiding
Values: Why Do We Do All That We Do? w/ David Nieymeyer
-Duane Otani, Presiding
Session Description
A session dedicated to music educators to both share and learn from one another. What is the value in attending festivals? marching competitions? fundraising? winter guard? winter percussion? jazz ensembles? concert ensembles? technology? booster clubs? etc. My intent is to turn the chairs into a circle and go around the room proclaiming why we value what we do for our students. Master teachers will share their values for what kept them moving forward. Young directors will share new and exciting reasons values that led to them becoming teachers. Between the two we will also find shared values that will be refreshing and invigorating. I strongly believe that after this session, directors will go back to their classrooms with new and refreshed feelings about why they work long hard hours – often spent on tasks not related to teaching music. This sessions could also be likened to a “shop talk” that will be geared to helping ourselves and our peers recommit to why we became teachers. This is not a chance to “complain” but rather proclaim. I’m sure most if not all educators at some point during the school year stop and think…why? Why am I doing what I’m doing? Is there value here? If you are feeling stuck or compelled to share your positive energy, come recharge and get back to work with excitement and focus. Strong values will lead to strong teaching and learning.
David Nieymeyer
About David Nieymeyer Description
Mr. Niemeyer is director of bands at Warren HS. Degree’s include: Bachelors in Music Education ~ Washing State University; Masters in Music ~ American Band College. Mr. Niemeyer serves the SCSBOA as an adjudicator and recently honored to direct the Long Beach and Beverly Hills Middle School honor bands.
Building a Program w/ Michael Stone
-Neil Anderson, Presiding
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