Tag Archives: TMEA

What is MSMISP? -or- Who Wants $1000 of Free Sheet Music?

We had the good fortune to speak with TMEA about the MSMISP grant program more in depth. They were very helpful in providing answers to some of your most frequently asked questions. We thought we would share what they had to say.

 The Middle School Music Instructional Support Program (MSMISP) is a grant program from TMEA (Texas Music Educators Association) for 6-8th grade Choir, Orchestra and Band directors in Texas. It will provide $1,000 (yes, a full grand!) for sheet music to programs who are selected in the 2014 – 2015 school year. If you end up going over the grand TMEA will give you then your district will be billed for the difference. Penders is offering free shipping so you can make full use of your thousand without worry.

In order to qualify the director must have current membership with TMEA and teach at a Texas middle school. Applications may be submitted from September 15, 2014 to October 15, 2014. There is a total of $500,000 that will be allocated based on current funding and size of the program. So, if you want a snapshot of your program’s chances of getting this money, simply divide your budget by the number of students you have. If your dollar-per-student is lower than the state average you will have a great shot at getting a grant.

TMEA has told us that as of September 24, 2014there are only 230 applications filed, that means that even if you have a million dollars in the your budget you should still apply. There are currently 2,800 qualified campuses in Texas so odds are most of you haven’t even heard of this program. Even if you teach programs at multiple schools you can apply, the grant money is program specific not director specific. Even private school programs can get this money so you really have no reason not to apply.

Let’s get one thing straight, though, this music may only be used for sheet music designed for a full ensemble so you won’t be able to fund your next few years of solo and ensemble with this money. It also can’t be used for pop pieces such as show tunes or accompaniment CD’s. A limited number of sight-reading pieces will be acceptable in TMEA’s view. Finally, choral applications with less than 10 individual sheets per piece will be asked to bring that number up to an amount that can serve a choir rather than can be used for perusal. TMEA’s explicit goal is to place challenging music in front of every middle school choir, orchestra and band student in Texas.

Your application will need to be submitted with a quote from a qualified vendor that includes shipping (again, Penders has free shipping on all MSMISP quotes). TMEA will review each piece and let you know if something doesn’t work for the use of the money. If you get the grant the quote will then be sent back to the vendor who will fill your order will be paid directly from TMEA. They are considering allowing refunds and exchanges in extreme scenarios only but will be subject to an approval process at TMEA before they can be completed.

On their site TMEA has outlined some criteria to help you select music appropriate for this program.

Quickly they are:

  • Works that offer insight into significant composers.
  • Works that have cultural, historical relevance as defined by the TEKS.
  • Works that extend the technical demands and musical limitations normally associated with middle school repertoire.
  • Works that can be related to other artistic genre such as dance, visual arts and literature

If you were confused by some of these points don’t worry, so were we.

First, we asked what their definition of a significant composer was. They told us it is going to be anyone of historical or musical significance to include contemporary composers (think Tichelli, Whitacre and the like) and those doing Hollywood music (John Williams, Danny Elfman, Howard Shore and others). But again, NO POP.

In regards to the last point about relating to other genres, they said a piece would qualify under this condition if it could be related to another academic subject and specifically quoted ‘Of Sailors and Whales’ by Francis McBeth to relate to literature, ‘Solitary Dancer’ by Warren Benson to relate to dance and any piece with multiple time signatures or difficult rhythms to relate to math. Of course, this is not an exhaustive list so be creative when applying this one.

While these may seem restricting, TMEA has told us that anything on the UIL list that is appropriate for the average 6 – 8th grade ensemble will be fair game but they stressed that pieces grade 3 and above are their preference. This list is primarily meant to guide your selection of music outside the UIL list.

TMEA wants to work with you to provide your students with the best music education available. They will be reviewing each application personally and will do line by line acceptance of pieces rather than whole application rejection or acceptance. If something you selected is outside their expectations they will contact you. But feel free to contact TMEA or Penders with any questions or concerns you may have.

 TMEA wants to give you $1000 in music and my barber always told me to never reject money more than once.

 Get your application in now! Penders can help you do it. If you have any more questions then please email or call us (our information is below). You can also send us your list of music and we will return your proposal within one business day so you can get your application in quickly.

 Pender’s Music Co

 band@penders.com choir@penders.com orchestra@penders.com

1 (800) 772-5918

The Magnifica @ TMEA | TCU | TWU | UNT


The Magnifica
Brass Quintet from France @
TMEA | TCU | TWU | UNT Feb. 6, 7 & 10, 2012
 

Pender’s Music Co., Arpeges of France (IMD), and Music 1st are bringing the Magnifica Brass Quintet to the February 2012 Texas Music Educators Association (TMEA) Convention in San Antonio. The members will be presenting a master class and evening concert during the TMEA convention at the Henry B. Gonzalez Convention Center. They will also be spending time in the Pender’s Music Co. Booth (beginning @ #1219) throughout the weekend.

In addition to their appearance at TMEA, the Magnifica will also be presenting master classes and concerts at:

UNT on Monday, Feb. 6;

TCU on Monday and Tuesday, Feb. 6 and 7; and

TWU on Tuesday, Feb. 7.

All university events are free and open to the public.

Dr. Etienne Stoupy (TWU) & David Begnoche (TCU)

are scheduled guest artists.

NOTE: Magnifica performance music and CDs will be available for purchase at each of the venues.

Elementary Music Resources

Dr. Vicky V. Johnson, Assistant Professor and Area Coordinator at Tarleton State University (Stephenville, TX), has compiled a comprehensive website of music resources, including some valuable elementary music links. Here is one of them, which is sourced from the TMEA website, on tips for new teachers:

Teaching Resources

As part of our commitment to excellence in music education for all students, TMEA supports its members through a myriad of professional development opportunities. TMEA sponsors Region workshops with grant funding, hosts the annual clinic/convention that offers hundreds of hours of professional development opportunities, partners in a mentoring network for teachers, provides pedagogical resources through its monthly magazine, and offers additional resources through this website.

Teaching the Fine Arts TEKS

The backbone of fine arts instruction in Texas, the Texas Essential Knowledge and Skills TEKS, help educators structure instruction around what students should know and be able to do by the end of each grade level in art, dance, music, and theatre. The Center for Educator Development in Fine Arts CEDFA supports fine arts teachers in implementing the Fine Arts TEKS. This network began as a cadre of educators and administrators trained by CEDFA to provide professional development workshops specifically targeted on TEKS implementation. CEDFA offers resources through its website and hosts statewide fine arts summits that focus on teaching strategies aligned with the TEKS. The CEDFA Summits serve as the only venue for educators from all four fine arts disciplines to meet and discuss relevant issues such as assessment and integration of the arts with other academic disciplines.

Fine Arts TEKS

TAC Chapter 117

One O’Clock Lab Band @ TMEA

Hopefully all of you jazzers out there @ the TMEA Convention made it to the University of North Texas One O’Clock Lab Band concert that was held last night at the Lila Cockrell Theatre. If not, however, all is not lost. Pender’s is one of the primary distributors of UNT’s Lab Band recordings.

UNT’s premier jazz ensemble, the One O’Clock Lab band, was nominated for a Grammy (Best Large Jazz Ensemble) in 2009 for their CD, Lab 2009; their conductor, Steve Wiest, was also nominated that year for his composition, Ice-Nine (Best Instrumental Composition), which is recorded on the same CD.

The UNT College of Music, their Jazz Studies Program (the first of its kind in the nation), and the Lab Band traditions have a great history in North Texas, as well as across the country. If you missed the performance at TMEA, maybe you can catch one later in the spring.

Boonshaft on Teaching Music

This week is the Texas Music Educators Association Convention, and many members of our staff are away from our store(s) manning the booths there. It’s so easy to get caught up in the hustle and bustle of all that’s going on, once you get to San Antonio — there’s definitely something that appeals to everyone there. This year, one of our favorites is in Texas again: Dr. Peter Boonshaft.

One of Boonshaft’s latest endeavors is as the co-author of a new band method, Sound Innovations by Alfred Publishing Company. But it’s perhaps his Teaching books that resonate and speak volumes for most of us. There are three books in the series: Teaching Music with Passion, Teaching Music with Purpose, and Teaching Music with Promise.

Additionally, Boonshaft has melded the three inspirational music education books into a whole new edition, which is appropriate for ALL educators. It’s entitled Teaching Music with Passion, Purpose and Promise, and was released 2010.

Boonshaft will be presenting two sessions at TMEA, plus he’ll be in the Pender’s booth immediately following the sessions. Attend either or both of the sessions, and then stop by our booth to say HELLO!

Unleashing the Power of Sound Innovations: The Revolutionary New Band & String Method
Friday, February 11th
12:30 – 1:30pm – CC102
Clinicians: Bob Phillips (Alfred Publishing Co.) & Dr. Peter Boonshaft (Hofstra University)

The 33 P’s of How to Conduct a Wonderful Rehearsal
Friday, February 11th
2:00 – 3:00pm – CC Ballroom B
Clinican: Dr. Peter Boonshaft (Hofstra University)

Dr. Peter Boonshaft in the Pender’s Booth

Friday, February 11th
3:15 – 4:15pm – Band Island (near booth 1420)

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Midweek Newspeak for band/instrumental, the series, will post to www.pendersbuzz.com a couple of times a month, with information from our staff, our publisher partners, guest bloggers and more. Come back to this site, or access it from our main Home Page, to find out the latest buzz!

John Jacobson @ TMEA & in the Pender’s Booth 02/11

John Jacobson, now a bonafide YouTube sensation, will be at the TMEA convention on Friday, February 11th to speak about his new publication written in collaboration with Cristi Cary Miller, Order from Chaos.

Incorporating tidbits from the book, Jacobson will show you how to embrace the chaos, discuss the importance of having a plan, highlight how to get and keep your students’ attention and more!

Then, shortly after his session, John will be in the Pender’s Booth, from 5pm to 6pm. It’ll be a great time for you meet with him further — and have him sign a copy of his book, too!

Remember:

Order from Chaos: Taming the Wild Classroom
Clinician: John Jacobson, Hal Leonard Corporation
3:30 – 4:30 PM / CC BALLROOM C3

Followed by:

Meet and Greet John Jacobson
Pender’s Booth – Elementary Section (near booth #1620)
5:00pm – 6:00pm

In the meantime, did you see John’s debut on the Ellen DeGeneres show? For Ellen’s birthday, he went to the show’s studio and taught her staff the routine to “Double Dream Hands” (aka Planet Rock by Jacobson & Huff). He then led them in a surprise performance that was aired on January 26, 2011. John and his routine has garnered quite a following: it has been recreated, spoofed and posted many, many times on YouTube.

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View other John/Ellen “Double Dream Hands” videos on our YouTube channel, and on our Facebook page, under the YouTube tab….see you on Friday, February 11th @ TMEA!

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Elementary Music Mondays, the series, will post to www.pendersbuzz.com a couple of times a month, with information from our staff, our publisher partners, guest bloggers and more. Come back to this site, or access it from our main Home Page, to find out the latest buzz!

The Texas Original Score Contest Wants You!

How would you like to win up to $25,000 for your choir? Wouldn’t that be something? $25,000, to put toward important supplies and resources for your school’s music program.

Well, as the well-known slogan says…State Farm is there [to give you a chance to win money for your choir]. That’s right. All you have to do is enter the Texas Original Score Contest, a combined initiative courtesy of TMEA and State Farm Insurance.

With a commitment of  $100,000 from State Farm, a Texas high school music program has the potential to win up to $25,000! All you and your students have to do is create and perform an original score that reflects something great about the state of Texas. One of the beauties of this particular contest is that schools of all sizes can get involved, and be judged appropriately. 1A-3A high schools will compete in one pool; 4A-5A in another. Additionally, you can use just one part of your fine arts program (i.e. the choir), or combine the efforts of everyone, and produce a collaborative project among multiple music groups (choir, band, orchestra, etc) from your school.

What do you need to do? In a nutshell:

  • compose an original score that reflects something great about Texas,
  • bring together an ensemble of high school student musicians to perform the composition

Winning ensembles will be determined based on their composite score comprising three components: (1) the number of votes received in relation to the total possible number of votes in the contest (500 points), (2) score received from Texas Original Score Contest Adjudication panel based on standard TMEA/UIL competition criteria and integration of TEKS in the collaboration and creation process (250 points), and (3) score received from music industry adjudication panel, including members of Los Lonely Boys and other music industry professionals.

Go to the contest website to download the teacher handbook, review the rules, and learn more about how you and your students can participate.

(information courtesy of TMEA & OriginalScoreContest.com)

Choral Cache Thursdays, the series, will post to www.pendersbuzz.com a couple of times a month, with information from our staff, our publisher partners, guest bloggers and more. Come back to this site, or access it from our main Home Page, to find out the latest buzz!

Vocal Jazz Ensemble, anyone?

It’s Choral Cache Thursday @ Pender’s Music Co.! As we begin 2011, we also begin a new initiative — The Pender’s Buzz — an added way in bringing content, resources, teaching tidbits & strategies, social media and more to our loyal customers. And since our home base is in Texas, early 2011 is filled with preparations in getting ready for TMEA. So it’s quite fitting that one of our inaugural posts begins with just that! So, here we go…

Don’t miss all of the Alfred choral sessions at TMEA February 9-11! School choral reading sessions will feature incredibly popular clinician Sally K. Albrecht presenting new choral arrangements of pop titles that can be performed by both large and small choral ensembles! When you get a chance, check out Alfred’s clinic schedule!

The annual Jazz Education Network Conference was just last week, so while the genre is fresh on our minds, it’s a great time to evaluate the ins and outs of adding a vocal jazz ensemble to the choral curriculum. Small vocal groups are really popular right now, so take a look at this article, entitled How Do I Start a Vocal Jazz Ensemble by Darmon Meader, Arranger, Saxophonist, Conductor, Singer, and founder of New York Voices:

“The vocal jazz ensemble world has continued to grow and develop over the past few decades. Over the past 50 years, groups such as Lambert, Hendricks & Ross, Singers Unlimited, The Manhattan Transfer, and New York Voices have given this idiom significant exposure. Like instrumental jazz before it, vocal jazz has become more and more respected in the public school education system.

However, the vocal jazz ensemble is a bit of a “mutt” or hybrid, which can often confuse and frustrate choral enthusiasts and educators. Though an SATB style of music, the roots of the style are deeply ingrained in instrumental jazz. SATB vocal jazz voicings are often more related to jazz piano voicings or big band saxophone section writing than to traditional choral sensibilities.

Over the years, I have had many choral directors approach me, asking how to start a vocal jazz ensemble. Many of these directors had vast choral experience, but were new to the jazz idiom and found the whole thing a bit daunting. So, what does this mean for the choral instructor who is venturing into this for the first time? First of all, it is important to have a solid understanding of basic jazz harmony. Understanding and being able to recognize (both visually and aurally) common jazz chord progressions, song forms, chord symbols, and upper-structures such as 9, #11, & 13 are important steps to being able to develop a solid vocal jazz choir.


Most SATB vocal jazz writing uses a concept called “four-way close” writing. This means that the harmony is conceived from the melody note down, with all chord notes (including upper-structure notes) in play. What this means is that the vocalists will often be singing much more dense and challenging harmonies than found in their traditional choral repertoire. The Sopranos almost always sing the melody, which is usually the easiest part. The Altos may have some challenging harmony notes, but more often then not they are still singing in a comfortable relationship with the Soprano part. The Tenors and Basses usually have the most challenging parts, so it is safe to say that your vocal jazz ensemble will only be as solid as the men that sing in the ensemble. Your male vocalists will need extra attention to develop their ears for this type of challenging harmony. In addition to traditional warm-ups, give your men some warm-ups that develop their jazz harmony senses: hearing and singing tri-tone 7ths and 3rds between the two parts, singing major and minor 2nds between parts, and singing major and minor 7ths between parts. These are just a few ideas that reflect the types of harmonic relationships found in vocal jazz writing.

Even though the Alto, Tenor, and Bass parts are often less melodic, they are just as important as the Soprano part. So, encourage the lower voices to think of their parts not only as harmonic support, but as melodic entities unto themselves. In New York Voices, we often talk about thinking in two planes at once: the vertical plane involves tuning, matching vowels and tone, and dynamics, while the horizontal plane involves the melodic direction of all four parts.

Vibrato or no vibrato? As I mentioned earlier, vocal jazz is a direct off-shoot of instrumental jazz. Since the Bebop era and beyond, instrumental jazz has used vibrato sparingly, more as a color or device than as a natural part of the sound. This developed both for stylistic and harmonic reasons. By the nature of jazz writing, straight tone often is required to allow the harmonies to resonate properly, whether being played by a big band, or sung by a choir. With that said, there is room for some vibrato at times. Some songs may incorporate a looser style or gospel influences where vibrato is more appropriate. You also may find that longer chords may allow for vibrato to be added once the harmony has been established. Also, the larger your ensemble, the less room there is for vibrato.

A couple of closing thoughts:

• Listen, listen, and then listen some more. The more jazz your students listen to, the more comfortable they will become with the idiom.
• When picking repertoire, be realistic about the reach and abilities of your ensemble. We would all love to sing Gene Puerling arrangements, Take Six repertoire, or the entire New York Voices songbook, but most groups are not ready for that level of harmonic and rhythmic complexity. Explore easier and medium level repertoire to find music that will challenge you and your ensemble, without overwhelming them.
• Lastly, if you have an instrumental jazz program in your school, try to connect with the instrumental jazz faculty and students. Your instrumental jazz instructor might be able to add valuable input, and you also might find a few instrumental students that would like to sing in your ensemble. Who knows, you might have a budding young singer sitting in the sax section of your school’s big band. Come to think of it, that’s how I got my start in all of this vocal jazz craziness!”

Choral Cache Thursdays, the series, will post to www.pendersbuzz.com a couple of times a month, with information from our staff, our publisher partners, guest bloggers and more. Come back to this site, or access it from our main Home Page, to find out the latest buzz!

(Article provided by Alfred Publishing, Co.)

Beethoven Bear, Sally Albrecht & TMEA, oh my!

It’s Monday — Elementary Music Monday @ Pender’s Music Co.! As we begin 2011, we also begin a new initiative — The Pender’s Buzz — an added way in bringing content, resources, teaching tidbits & strategies, social media and more to our loyal customers. And since our home base is in Texas, early 2011 is filled with preparations in getting ready for TMEA. So it’s quite fitting that our inaugural post begins with just that! So, here we go…

Don’t miss all of the great Alfred clinicians at the upcoming TMEA convention, February 9-11! Elementary sessions will feature Sally K. Albrecht who will help you discover amazing new resources for your classroom. For instance, check out The Cuckoo, a Mexican folktale for unison voices!

Plus, certified mediator and life coach, Peggy Bennett will give examples of how we hurt each other in our professional lives and how to mend the conflict. Be sure and check out Alfred’s full TMEA clinic schedule when you get a chance!

Did you realize that the popular piano course, Music for Little Mozarts, is also an innovative Classroom Course?

This series, which features Beethoven Bear and Mozart Mouse is especially for young learners, ages 4-6. And now Alfred has taken its accessibility to Classroom Teachers one step further, with the introduction of a Music for Little Mozarts website, that is full of free downloadable marketing materials, video demonstrations (check out the video for Music for Little Mozarts, Music Discovery Book 1) and more!

Elementary Music Mondays, the series, will post to www.pendersbuzz.com a couple of times a month, with information from our staff, our publisher partners, guest bloggers and more. Come back to this site, or access it from our main Home Page, to find out the latest buzz!