Chamber Music and YOUR
Band Program:
The Positive Impact
University of Memphis
Rudi E. Scheidt School of Music
www.memphis.edu/music
Memphis Brass Quintet
“Badinage” from Springsongs
Don Freund
Introduction
• Memphis Brass Quintet
– Kyle Millsap – Trumpet
– Ben Lewis – Trumpet
– Daniel Phillips – Horn
– John Mueller – Trombone
– Kevin Sanders – Tuba
• University of Memphis Bands
– Albert Nguyen – Director of Bands
– Armand Hall – Associate Director of Bands
Why is Chamber Music Crucial?
• Possible Positive Impact On Your Program
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Ensemble Skills
Individual Accountability
Musicianship
Creative Thinking
Leadership Skills
Interpretive Decision Making
Why is Chamber Music Crucial?
• “too little solo and chamber playing.
Students who play solo and chamber works
develop confidence and better rhythmic
skills because they have been exposed to
more music. The demands on a horn player
in a brass quintet, for example, generally
exceed the challenges in a concert band.”
– Donald Hunsberger, Professor Emeritus of Conducting and
Ensembles – Eastman School of Music
Ensemble Skills - Chorales
Individual Accountability
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Musicianship
Responsibility
Assessment
A more individual application of State and
National Content Standards
Student Development in . . .
• Homogenous Ensembles
-Useful in sectional rehearsal setting as supplement to band parts;
can get students ears working, foster blending, intonation, matching of
tone
-Advanced students can play with inexperience student to
promote good sound and other beneficial technical and music habits just
by exposure
-Unique timbres can be a treat to audience and be an outlet
for motivated sections
-Helps establish Esprit d' Corp, especially in non traditional
featured sections
Student Development in . . .
• Mixed Ensembles
-Access to larger library of music for traditional mixed
groups (brass quintet, woodwind quintet, etc…)
-This is a microcosm of the large ensemble. Teaches
students to blend and imitate non-like instruments.
-For young musicians to learn musical traits from nonlike instruments (different timbres, articulations, etc…)
Developing a Chamber Program
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Budget Concerns
Time/Scheduling Constraints
Copyright Law
Arranging
Assessment
Recruiting
Finding Sources
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Finale:
Sibelius:
Classical Archives:
Classical Midi Connection:
International Music Score Library:
Midi File Search Engine:
On Classical:
Watchdog Music
Texas Prescribed Music List
U.S. Copyright Laws
www.finalemusic.com
www.sibelius.com/home/index_flash.html
www.classicalarchives.com
www.classicalmidiconnection.com
imslp.org/wiki/Main_PageIntegrated
www.manythings.org/midi/search.html
www.kunstderfuge.com
www.watchdogmusic.com
www.uiltexas.org/music/pml
www.copyright.gov
Arranging – Handel’s Water Music
Copyright
• Public Domain
– 70 Years beyond the Life of the single Author/
Composer
– 70 Years beyond the life of the last deceased of the
group of composers
– 95 Years beyond the composition date for Companies
Licensing
• Bundle of Rights
– Permission to Arrange
– Syncing License
– Mechanical License
• Agencies
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Harry Fox
Hal Leonard
SESAC
BMI
ASCAP
• Copyright Groups
– Tresona
– CopyCat Music
Popular Music Example
• “After You’ve Gone”
– Creamer and Layton, arr. Jack Gale
Wrap-Up
• Memphis Brass Quintet Website
– http://memphisbrass.org
• QR Code
– Online Resources
• 45th International Horn Symposium
– July 29 – August 3, 2013 – University of Memphis
– Ihs45.org
Wrap-up
• “Chamber music is considered by musicians
to be the highest form of musical
participation. Here the student gets a close
and more intimate glimpse into the music
he is performing. It also represents an
opportunity for the . . . Students to perform
music different periods of musical history
that he would not be able to play [in large
ensembles].” – Frank Battisti, Director Emeritus – New
England Conservatory of Music
Closing
• Spirit Be Joyful (from Cantata #146)
– J.S. Bach, arr. Herforth