AMBASSADOR
NOVEMBER 2014
Upcoming Events Director’s Column Saturday, November 8, 2014 Music of the Masters NFAC 6:00 pm Saturday, November 15, 2014 Marathon, 9 am – noon Sunday, November 16, 2014 Solo Recitals Michelsen Hall, 2:00 and 3:30 pm Saturday, December 13, 2014 Marathon, 9 am – noon Sunday, December 14, 2014 Solo Recitals Michelsen Hall, 2:00 and 3:30 pm Friday and Saturday, January 9‐10, 2015 Collaboration Weekend Saturday, January 17, 2015 Marathon, 9 am – noon Saturday, January 17, 2015 Solo Recitals Michelsen Hall, 2:00 and 3:30 pm Saturday, February 14, 2015 Marathon, 9 am – noon Sunday, February 15, 2015 Solo Recitals Michelsen Hall, 2:00 and 3:30 pm By Pat D’Ercole A few weeks ago, a colleague sent me an article in the Wall Street Journal about how music education could be the ‘fix’ for many of the woes in American Education today. http://online.wsj.com/articles/a‐musical‐fix‐for‐american‐
schools‐1412954652?mod=trending_now_4 The article points to the number of benefits that research has demon‐
strated such as:  Music raises your IQ.  Music training can reduce the academic gap be‐
tween rich and poor districts.  Music training does more than sports, theater or dance to improve key academic skills.  Music can be an inexpensive early screening tool for reading disabilities.  Music literally expands your brain. My first reaction was, “I wonder if our ASC parents know what a magnificent experience they are giving their child.” The author goes on to say, “Yet music programs continue to be viewed as expendable.” She quotes a journal that calcu‐
lated that the average K‐12 school music program in a large suburban district costs $187 per student a year, or just 1.6% of the total education budget. She said, “That seems a rea‐
sonable price to pay for fixing some of the thorniest and most expensive problems facing American education. Music programs shouldn’t have to sing for their supper.” But on November 8th at 6:00 pm, Aber Suzuki Center stu‐
dents will be singing and playing for a “supper”, and ASC alumni and faculty will join them. They won’t be singing for their supper however, but the “supper” for all of those ASC families who just need a financial leg up. We all have expe‐
rienced how valuable a Suzuki music education is and make the necessary financial sacrifices to provide it for our chil‐
dren. We’ve seen the results, the changes in our child’s ability to focus, to problem‐solve, to memorize, to manage time, the ability to be responsible, thoughtful, expressive, and the list could go on and on. If we believe that every child can learn, then we must find ways to make it possible 1
that all of our students can have the chance to continue studying when their families are experiencing financial hardship. It can be a lost job, an unexpected medical or household expense. We can all relate. We’ve all had a bit of bad luck at some time or another. To provide financial assistance during those times though is exactly the purpose of the funds raised by the Music of the Masters Scholarship Fundraiser. Please join us on Saturday, November 8 at 6:00 pm in the Noel Fine Arts Center Courtyard for an evening of musical entertainment, camaraderie, complimentary wine, substantial appetizers and elegant sweet treats. Tickets are $50 ($20 is a donation) and are available online at tickets.uwsp.edu or contact the ASC Office by email Suzu‐
ki.Office@uwsp.edu or call 715‐346‐3033. Change a life. Give music to a child in need. P.S. Watch for scholarship applications coming to your email near the end of the month! everyone in the room to feel connected. Even parents felt energized at the marathons. I have used many of Miss Aber’s ideas in my own teaching with success. Whenever I am teaching a group class or Marathon, I am aware of all the people in the room. If a grandparent comes to a group class, I will somehow get them involved. If the group class has a wide variety of lev‐
els, I will think of a way to get the students involved who are sitting on the floor. She taught me to be mindful of every child and every parent in the teaching environment and to engage them in activities. Mentor: Study Hard and Master Your Craft During our teacher training sessions, Miss Aber would deal with the technical aspects that each piece presents and how previously learned pieces were related to this one. This valuable tool inspired me to do research on the Suzuki repertoire. I decided to make a progressive study of all the pieces in Books 1‐4 of the Suzuki repertoire. I found a huge tablet of graph paper and put the name of a technique at the top and charted its development across the Suzuki vio‐
lin books. This has served me well over the years. I have created charts that deal with bowing styles and patterns for each book and give them to students for review. The charts help students focus on a specific goal in review rather than mindlessly playing all the old pieces. I also use this infor‐
mation to work with diverse groups of students. I know what pieces to play that share similar skills across many books. Twenty years after grad school, I summarized this data in a book called, “Sharpen Your Tools.” This book was the direct result of creating the technical charts. Miss Aber taught me to apply what I learned in the classroom to my day‐to‐day teaching. Dream Big I recently did a lecture for the Learning Is Forever (LIFE) Program at UW‐SP with Professor Pat called, “Margery Aber and Her Impact on Stevens Point and Wisconsin.” I enjoyed doing research on what she did to create the largest Suzuki summer camp in the world outside of Japan. One step was to quit her job of 30 years as a public school teacher in De‐
troit to pursue a career in teaching violin at a university. She applied to many Midwest colleges and universities and accepted the invitation to come to UW‐Stevens Point in 1967. At this same time, she also noticed that a group of Ameri‐
can teachers were traveling to Japan to observe Dr. Shinichi Suzuki’s teaching. In the 1960’s, news of his revolutionary teaching ideas were spreading across North America and she wanted to investigate what this was all about. In her book, Hip! Hip! Hooray! 30 Years with the American Suzuki Institute in Stevens Point, Wisconsin, she said that “I just happened to have the price of the tour, $900, in my pocket when I read the American String Teachers Association ad‐
vertisement and I decided to go.” Lessons I Learned from Margery Aber By Jennifer Burton I remember the first time I met Margery Aber. It was the spring of 1976 and I came to UW‐Stevens Point to watch a Suzuki Marathon in Michelsen Hall. I was mesmerized by her command of everyone in the hall. The stage was packed with students of all ages and they were excited and engaged. Parents were attentive as they observed from the audience. I was amazed that so many students could play music together by memory and how gorgeous the tone was. It was more than playing the same notes at the same time; there was a warmth of sound that occurs when people love what they are doing. I made up my mind that day that I wanted to become a Su‐
zuki teacher. It was the first lesson I learned from Miss Aber: It’s never too late to Twinkle. That fall, I enrolled for graduate school at UW‐Stevens Point to study with her. My life was to be indelibly changed from that day forward. Margery Aber changed my life. Not only did she inspire a new career path for me but she taught me many life lessons. Some lessons I am still learning as I approach my senior years. She was a role model, mentor and a champion for me. Please read on to share my favorite lessons with this Suzuki icon. Role Model: Engage Students and Parents Miss Aber was magical with a group of students. I have never seen a more effective group class teacher in 35 years of studying, attending institutes and observing others. She had a charisma that drew a group of people in immediately. Her pacing of activities was perfect; she would alternate from an energetic exercise to a more sedate activity. And she would always involve the older students with the younger students in an effective way. She knew how to get 2
After returning from three weeks in Japan, she started teaching college students at UWSP and also created a Suzu‐
ki violin program at the UWSP Laboratory School. This pro‐
gram was very popular and grew quickly. Margery was able to apply the knowledge that she had learned directly from Dr. Suzuki in this school and it took off like wild fire. Miss Aber was not content with keeping her ideas within Stevens Point. She contacted Marvin Rabin, a key music educator from Madison, and asked for his help in promot‐
ing Suzuki programs across Wisconsin. He helped her cre‐
ate the American Suzuki Institute to offer short‐term teach‐
er training for teachers who could not afford to go to Japan to study this method. The American Suzuki Institute was the first Suzuki summer camp outside of Japan and it brought thousands of people to Stevens Point from around the world. Margery also convinced UWSP to offer a Mas‐
ter’s Degree in Music Education with Suzuki Emphasis. Her goal was to promote Suzuki Talent Education to families and to offer teacher training so the method could reach many children. The lesson I learned from Miss Aber’s work is to dream big. If I am content with the status quo, I will not blossom to my full potential. Over the years, I have always thought of what I can do to inspire and encourage students, parents and teachers. By following Marge’s example, I have helped create two statewide Suzuki associations and served on the board of directors of the Suzuki Association of the Americas. I am drawn to projects that bring Suzuki folks together on a grand scale, like the Suzuki retreat in Madison. I attribute this passion to Margery Aber. Surround Yourself with Greatness Twice Margery Aber hosted Dr. Suzuki at the American Su‐
zuki Institute. I was thrilled to observe him for two weeks in 1976 and followed him around campus like a puppy dog. Many times he would smile and say, “This is my idea,” and he would talk about his latest idea for teaching the violin. I was fortunate to sort through the videotapes that were made during his visit to create teaching videos by topic as part of my graduate degree. I learned a lot from studying from the creator of the Suzuki concepts. These videos were later digitalized by Pat D’Ercole and are in the ASC archives for posterity. By bringing Dr. Suzuki here, Miss Aber surrounded us with greatness. What a joy it was to learn first‐hand from him! He was so insightful, thoughtful, funny and kind. I remem‐
ber watching him work with a small child asking her to play with more tone, more tone, MORE TONE. He demonstrated again and again until she matched his sound. Suddenly, he said, “Yes, this is beautiful tone. Now, practice this 10,000 times.” The whole room roared with laughter and he just smiled. He was really serious. There is no substitute for greatness. I always look for peo‐
ple who inspire me and stretch me to grow. This is one ad‐
vantage of working at the Aber Suzuki Center. We have outstanding teachers who work well together and strive for excellence. Plus, the UWSP music faculty and the Dean of Fine Arts, Jeff Morin, make a wonderful support team. The Suzuki Association of the Americas (SAA) also provides annual conferences where I can work with and learn from my peers. Over the years, I have had the opportunity to attend master classes and lectures given by all of the lead‐
ing Suzuki teachers at the SAA conferences. I am so grateful that the SAA puts a lot of effort into teacher training and on‐going education. Just last year, I completed my SAA Teacher Certification, which is their newest teacher training program. The Suzuki community is rich with teachers who inspire one another to do their best and continue to grow. Margery Aber attended all of the conferences and was a founding member of the Suzuki Association of the Americas. She and the Suzuki pioneers taught me to surround myself with greatness. Don’t Let Stumbling Blocks Stop You In 1974, the State of Wisconsin decided to close all of the Laboratory Schools in the state. This included the one at UWSP that included the Suzuki program. In her customary take‐charge style, Miss Aber and the parents of the lab school students organized the American Suzuki Foundation to raise funds and continue the Suzuki program. This took a LOT of hard work and determination. Their efforts gave birth to the American Suzuki Talent Education Center, the predecessor of the Aber Suzuki Center (ASC). The roots of the ASC go into the past and it has had several bumps in the road. However, due to Marge’s perseverance, the Suzuki program at UWSP has prevailed and thrived. I learned from Marge not to be deterred by stumbling blocks but to press on. This valuable lesson has helped me deal with several hurdles in my life. Put Your Money and Time Where Your Heart is Finally, Miss Aber was generous with her money. She pro‐
vided seed money for teacher training scholarships for graduate and undergraduate students at UWSP and set up a fund for children to receive merit scholarships. She was also a big donor to the Suzuki Association of the Americas to whom she bequeathed funds to expand Suzuki teacher training in Latin America. I have been inspired by her ex‐
ample and I believe that it is important for me to put my money where my heart is. The Music of the Masters annual fund raiser gives all of us the opportunity to give the gift of music to a child in need. Margery Aber taught me many valuable lessons but the most important was to serve others. I recall seeing her at all of the Suzuki conferences and I attended many of her presentations. She was passionate and visionary. I tip my hat to her for making her dreams come true despite some major hurdles. And I thank her for showing me how to keep growing and for inspiring me to give my time and money to 3
promote Suzuki programs here and beyond. This is for you, Marge: “Hip, Hip, HOORAY! Hip, Hip, HOORAY! Hip, Hip, HOORAY!” on the door of NFAC 144. Blank forms are available in the waiting room. All applications must be accompanied by payment in full and returned on or before Friday, Novem‐
ber 7th. Join us for a weekend filled with fun, friends and wonderful music making! I
Aber, Margery V. (2001). Hip! Hip! Hooray! 30 Years with the American Suzuki Institute iin Stevens Point, Wisconsin, p. 10. II
Ibid., p. 10. III
D’Ercole, Patricia (2014). “Margery Aber and Her Impact on Stevens Point and Wisconsin,” lecture given by Patricia D’Ercole and Jennifer Burton to the Learning Is Forever Class, University of Wisconsin‐Stevens Point, October 7, 2014. Toshio Takahashi’s Path to Suzuki Flute – Part 1 By Sarah Lange In 1957 a young man, Toshio Takahashi, was studying Eng‐
lish interpretation at Tokyo College of Foreign Languages. During a morning walk to class he heard music that stopped him in his tracks and brought tears to his eyes. He didn't know what the instrument was, who played it or what piece was in the recording. He discovered that the nearby music store was playing Franz Doppler's Hungarian Pastorale Fan‐
tasy performed by iconic flutist, Marcel Moyse. It was at this moment that Takahashi decided he would be a flutist. He arranged to save up for the cheapest flute at this store, which took him six months. The cost was equivalent to ap‐
proximately $170 in today's money. While he saved to purchase a flute, Takahashi listened to Moyse only in his memory. There were no recordings avail‐
able to him at this time. Every day he would hear Moyse's ringing tone. When he purchased his flute, he taught him‐
self the fingerings using an etude book. He practiced scales, etudes, and other flute repertoire acquired at the music store. He could not find the score for the Hungarian Pasto‐
rale Fantasy, so he learned the melody, from his memory of hearing it only once. His practice sessions would last from the time he returned from school to bedtime, and as long as 12 hours on a holiday. In a year Takahashi could play Mo‐
zart's Flute Concerto in G and Doppler's Hungarian Pasto‐
rale Fantasy. After his first year playing the flute, Takahashi met string students from the Tokyo University of Art who invited him to play in their ensemble. He performed all over Japan, mainly Bizet's L'Arlesiene Minuet, Mozart's Concerto in G and Doppler's Hungarian Pastorale Fantasy. Since Takahashi felt music was sacred, he wasn't comfortable taking payment for his performances. He became a private and police detective while he wasn’t performing to earn a living. Five years into his performing career Takahashi wanted to improve his playing and began searching for an instructor. Flute instructors were not prevalent during this time in Japan. Now living in Matsumoto, Takahashi made several requests for Shinchi Suzuki to become his instructor, but Dr. Suzuki declined since he was actually a violin in‐
structor. Finally, Dr. Suzuki agreed to instruct Takahashi on his musical expression and interpretation focusing on into‐
nation, articulation, phrasing, embellishment and form. From 1963‐1966 Takahashi played a wide variety of flute repertoire in his weekly two‐hour lessons. One day, Dr. Su‐
ASC Collaboration Music Weekend January 9‐10, 2015 You are invited to participate in this year’s ABER SUZUKI CENTER COLLABORATION MUSIC WEEKEND, to be held January 9‐10. The program is open to ASC students who are at least 6 years old and in mid‐Book 1 or above and/or their parents. The goal of the weekend is to provide an opportunity to play music with friends or family of like or different instru‐
ments with some instruction from faculty. Students are encouraged to form a chamber ensemble with a friend or friends who play the same or a different instrument. They can be the same age, older or younger. They can even be your parent! The cost of the program is $75 per ensemble. Each ensem‐
ble will receive 3 coachings. Each coaching session will con‐
sist of 30 minutes with the instructor and 30 minutes of practice of the teaching point by the ensemble inde‐
pendently. An optional concert is scheduled for 11:30 on Saturday. You must commit to being in attendance from 7:00 pm to 8:30 pm on Friday, January 9, and from 9:00 am to 11:15 am on Saturday, January 10. Chamber groups can choose to perform in the Collaboration Music Weekend Concert at 11:30 on Saturday. Special guests, the Trio Mid‐
west comprised of young professionals, will give each en‐
semble a special coaching session and share in the 11:30 performance. The festivities will conclude with a pizza par‐
ty after the concert. Each ensemble will need to select a Parent Manager to communicate with the members of the ensemble, and co‐
ordinate the application and payment (one application per ensemble). If your ensemble includes students who are not independent learners, the Parent Manager will also assist the ensemble as they practice the teaching point. If you are interested in taking advantage of this unique opportunity, return the attached application form along with your en‐
semble’s check for $75 (payable to ASC or Aber Suzuki Cen‐
ter), to the Suzuki Office. Forms/checks may be dropped in the payment box located in the waiting room or in the slot 4
zuki asked if Marcel Moyse was still living. Takahashi hadn’t even considered whether he was still alive, and that lead him on his next quest: seek out and learn from Marcel Moyse. In next month's issue, Part 2 of this article will cover Takahashi's quest for Moyse and then subsequent return to Shinichi Suzuki to develop the Suzuki Flute method. see the viola played, and were purchasing recordings of the viola. The instrument itself, however, had not changed. Tertis ended his career early due to an injury he obtained from playing the large instrument. Nobody was happy about this! It was at that point that Tertis went to his luthi‐
er friend and they got to work. They came‐up with the Ter‐
tis model viola, which is the model that most violas of today are patterned. The new viola enabled him to pick‐up his career and start playing again. We have a lot for which to thank our great grandfather of modern violists. Thank you, Lionel Tertis – the first true champion of the viola! References: Ruth Kasckow, An Interview with Toshio Takahashi, American Su‐
zuki Journal 18, no. 3 (Fall 1990):21. Summer 1979 issue of the American Suzuki Journal, a brief article by Katherine White. Stephanie Jeanne Rea, The Suzuki Flute Method: A History and Description (DM doc., The Florida State University, 1999). Composer of the Month Karl Marie Von Weber Viola Vis! By Ann Marie Novak Franz Anton Weber, a violinist and conductor, wished more than anything, that he could contribute to the world a child who would become a great musician. When his ninth child was born, he gave him a name fit for a prince, in the hope that he would fulfill that dream. Thus the world received a frail and sickly young boy by the name of Karl Maria Frie‐
drich Ernest von Weber. Music lessons commenced early and were carried out with great gusto. Karl became quite proficient both as a violinist and as a pianist. Most of his lessons, however, were learned “on the road”. The family was part of a traveling troupe of performers that left the growing boy with no permanent home, but an enormous amount of musical input and stimulation. His first real positive public exposure (other than the piano concerts arranged by his father for his believed‐to‐be‐
prodigy) was at the Breslau theater. At the tender age of 18, Karl used his musical instincts and his work ethic to bring the opera house and theater back from the brink of collapse. His energies constantly seemed to be split between the theater (conducting, producing, rehearsing) and his own studies and composing. His health played a role in interfer‐
ing with his musical goals in several ways. His hip malfor‐
mation made walking and standing at the conductor’s podi‐
um a challenge. An “accident’ involving his ingesting acid (which he believed to be wine) caused a huge disruption in his life, including the loss of his position at the Breslau. His compositions, while not great in number, cover an in‐
teresting array of instrumental combinations. He was one of few composers at that time to write for the clarinet, for example. His interest in opera also came through in his composing. “Hunter’s Chorus” that appears in Book 2 of the violin, viola and cello books is from his opera Der Freischütz. He wrote chamber music, other string music and, of course, By Merietta Oviatt The Aber Suzuki violas are really bonding via our viola group classes! We had a really great Halloween party at our final group class and are ready to make the world viola‐rific! I believe it is very important to know as much as possible about our instrument and its history. This month I would like to introduce everyone to Lionel Tertis. Lionel Tertis was the first true champion of the viola. Though he began play‐
ing on the violin, and was forced to play the viola in order to be able to join a quartet, he fell in love with the viola. You see, back in the 19th and early 20th centuries most (not all) people would only play the viola if they either could not make it as a violinist or if they were forced to play the viola in a quartet or in orchestra (because you cannot have either ensemble without the viola). This is the primary reason that viola jokes exist – violists did not generally sound very good. Another reason that violists didn’t sound very good was because the instruments at that time were not like our modern violas. The musician could choose: either play on a viola that was small and easy to play but sounded terrible, or play on a giant viola that was way too big for you to play (making intonation issues a guarantee) but had a great sound. Neither were good options. When he first began to play, Lionel Tertis chose the large viola. He also worked and practiced very hard so that he would play as well as any concert violinist or cellist. He began by performing the Mo‐
zart Concertante (the same that was performed at the last CWSO concert) with a violinist friend of his. People were very impressed with his quality of sound and how great the viola sounded and he began to get booked for concerts. The public was sold on the greatness of the viola, but the literature for viola was very limited…one can only play Mo‐
zart and Stamitz so many times. So Tertis found the great composers of the time and got them to start writing for the viola. Some of these composers include Walton, Vaughan Williams, and Bowen – to name a few. Tertis had done it! People were writing for viola, were purchasing tickets to 5
piano pieces. One of his short but delightful pieces, “Cradle Song” resides in the Suzuki Piano Repertoire. Carlos Koehn was the Star of the Week on September 29‐
October 3. He was asked to show a talent and he per‐
formed The Happy Farmer for his class. Yuling Sun was appointed concertmaster of the Philharmo‐
nia on Sunday, October 5. Congratulations to the following students who will be play‐
ing in the Middle School Honors Orchestra: Sophie Koehn, Marco Kurzynski, Hope Mahon, Dinesh Traynor, Roshini Traynor, Frederick Van Tiem and Kate Young. Tom Felt will sing with the Middle School Honors Choir. Kendall, C. W. (1985). ”Stories of Composers for Young Musicians”. Kendall. Randel, D. M. 1996. “The Harvard Biographical Dictionary of Mu‐
sic”. Cambridge and London: Belknap Press of Harvard University Press. Student News ASC students Anthony Van Tiem, Natalie Van Tiem, Lucas Chan and Trenton Seegert were featured as soloists in the SPASH Fall Orchestra Concert on Monday, October 20. Lu‐
cas, Anthony and Trenton performed the ‘Concertato’ parts beautifully in the Concerto Grosso in G Major, Op. 6, No. 1 by G. F. Handel. Natalie was the cello solosist in It takes One To Tango, a fiery and exciting new work by Brian Bal‐
mages. Congratulations to Barrett and Gwen Severson who have practiced 500 days in a row! Thank you to the students who played for the UW System Board of Regents on October 16 at UW‐Stevens Point: So‐
phie Bluma, Tom Felt, Tony Garbacz, Anna Hahn, Supriya Keefe, Annina LeCapitaine, Hope Mahon, Nathaniel Meadows, Bennett Story, Havilah Vang, Frederick Van Ti‐
em, Natalie Van Tiem and Tatiana Van Tiem. Special thanks to Tom Yang, collaborative pianist and to Ann Marie Novak. They were led by Pat D’Ercole. Bravo to the students who performed at the intermission of the CWSO concerts in October: Tuvshin Anderson, Anna Hahn, William Hahn, Annina LeCapitaine, Alexandra Lee, Julia Storch and Jane Story. Thank you to Dave Story, Prin‐
cipal Bassist for the CWSO, who played his bass with the group in the jazz tune, Blueberry Jam. Tim Mutschlecner, Ann Marie Novak, Tom Yang and Mary Hofer led students on Saturday night. Jenny Burton and Merietta Oviatt con‐
ducted the string groups on Sunday. Viola students were Josie Reeve, Michael Reeser, Frederick Van Tiem, Tatiana Van Tiem, and Roshini Traynor. Mr. Tim’s string quartet members were Frederick Van Tiem, Marco Kurzynski, Tom Felt and Dinesh Traynor. The voice students who sang for the CWSO event were: Abby Spaay, Sofia Cerron‐Palomino, Madison Tepp, Melody Tepp, Amelia Beyer, Emma Dor‐
shorst, Ellie Schoenecker, Katherine Schoenecker, Michael Treder, Tom Treder, Dale Steinmetz, Tori Tillotson and Austin Konkol. Ellie Schoenecker sang for the State Convention of the Wis‐
consin Music Teachers Association. Anna Hahn performed in an informal recital at the Ameri‐
can Suzuki Institute. Faculty News Jenny Burton was awarded the Member of the Year by the Stevens Point Area Music Teachers Association at the state convention of the Wisconsin Music Teachers Association on Friday, October 24 at the Stevens Point Holiday Inn. Pat D’Ercole and Jenny Burton presented “Margery Aber and Her Impact on Stevens Point and Wisconsin” to the Learning Is Forever class at UW‐Stevens Point on Tuesday, October 7. Merietta Oviatt performed with the Central Wisconsin Symphony Orchestra on October 11 and 12. October 2014 Graduations Toren Anderson, Piano Book 1 Tuvshin Anderson, Violin Book 2 Logan Bauman, Viola Book 1 Amelia Beyer, Voice Book 2 Bánk Bodor, Violin Book 3 Kobe Carlson, Piano Book 2 David Gui, Piano Book 7 Luisa Marion, Violin Book 5 Nathaniel Meadows, Violin Book 1 Drew Nelson, Piano Book 1 Elizabeth Oakland, Piano Book 1 Jacob Oakland, Piano Book 1 Andrew Schoenecker, Piano Twinkles Ellie Schoenecker, Voice Book 2 Chaeli St. Bernard, Piano Twinkles Bennett Story, Violin Twinkles Victoria Tillotson, Piano Book 3 Havilah Vang, Violin Book 8 Felix Van Tiem, Cello Twinkles Frederick Van Tiem, Viola Book 5 Kristoph Van Tiem, Violin Book 1 Megan Yang, Piano Book 1 Olivia Yang, Piano Book 2 6