IMEA Pro=
gram
1/14/06
2:30 p.m.
Sagamore Ballroom 6 & 7
I.&n=
bsp; =
;
Le Fue=
ret
II.&=
nbsp; &nbs=
p;
The La=
urel
Grove
III.=
&nb=
sp;
King
Dagobert
Rob Parton - trumpet &=
amp;
Eric Wurzelbacher - alto saxophone
Ancient Voices &=
nbsp; &nbs=
p; &=
nbsp; Michael
Sweeney =
Hal
Leonard =
; 1994 &=
nbsp; 2 &=
nbsp; &=
nbsp; 3:35 &=
nbsp; $40
Ghost Dance &=
nbsp; &nbs=
p; &=
nbsp; Brant
Karrick =
Commission &=
nbsp; 2005 &=
nbsp; 3 &=
nbsp; &=
nbsp; 3:30 &=
nbsp; $50
Brandenburg Concerto n=
o. 2 J.S. Bach/ Freytag =
Rowloff &=
nbsp; &nbs=
p; 1996 &=
nbsp; 4 &=
nbsp; &=
nbsp; 2:36 &=
nbsp; $60
Dr. Jeffrey
Doebler/Conductor
Mr. Ralenkotter is in his 18th year of teac= hing and his 15th year as director of bands at Sunman-Dearborn Middle School in St. Leon, Indiana. He began his career in 1988 teaching in Cobb County, Georgia where he taught at McCleskey Middle School. In 1991 he began his career at S-D= MS with 140 students. Within four years the program had grown to 445 students = in grades six through eight. The Advanced, Concert, Discovery and Jazz bands at S-DMS have consistently received superior ratings at the Indiana State Scho= ol Music Association festival and at other local festivals. The Advanced Band = has also been awarded a Superior With Distinction in Indiana. Only 39 of 749 perfor= ming ensembles in the state received this distinction in 2003. Mr. Ralenkotter is active as a cli= nician and adjudicator in the region and is a founder of the St. Leon All Star Ban= d. In December of 2005 Mr. Ralenkotter was invited to present at the Midwest B= and and Orchestra Clinic covering recruiting. This January the S-DMS Advanced B= and has been selected to perform at the Indiana Music Educators Conference in Indianapolis. He has taught two seasons at the Stephen Collins Foster summer music camp at Eastern Kentucky University and has been featured twice as Sc= hool Band and Orchestra’s 50 directors who make a difference.
Mr. Ralenkotter is a native of Florence, Kentucky. He
attended the University of Kentucky where he studied trumpet under Vincent
DiMartino. Mr. Ralenkotter completed his student teaching with Dr. J. Steven
Moore the then director of bands at Lafayette High School in Lexington,
Kentucky. He completed a Master of Music in Music Education degree at the
University of Kentucky in 2003. He has a wife Amy and two sons Andrew and
Matthew. Mr. Ralenkotter enjoys distance running and triathlon. He is a mem=
ber
of IMEA, NEA, Phi Mu Alpha, and USAT.
Mr.
Webb is a graduate of Morehead State University (Bachelor of Music Educatio=
n)
and Indiana Wesleyan University (Master of Education/Curriculum &
Instruction). Mr. Webb is in =
his 10th
year of teaching, having taught in Texas, Kentucky, and Indiana at all grade
levels. Currently he is direc=
tor of
bands and music at Sunman Dearborn Intermediate School in West Harrison,
Indiana. The band program boa=
sts
200 6th graders alone (over 66% of the 6th grade clas=
s).
In his spare time, Mr. Webb is Vice President of the Board of Directors for=
the
world famous Bluecoats Drum & Bugle Corps from Canton, Ohio. He also serves as Chairman of the
Bluecoats Alumni Association.
Charles Alfrey= - Director of Bands East Central High School
Mr. Alfrey gradua= ted from Ball State University in 1988 with a B.S. in Music Education. While at Ball State he was a member of the Marching Band, Wind Ensemble, Jazz Ensemble I = and II, and numerous Jazz Combos. After graduation he began his teaching career= at Blue River Valley Jr/Sr High School. Mr. Alfrey has since been the Director= of Bands at Lebanon HS, Monroe Central Jr/Sr HS, and Pendleton Heights HS in Indiana and the Director of Bands and Department Head at Booker HS Visual a= nd Performing Arts Center in Sarasota Florida as well as the Director of Bands= at Sarasota High School. He is currently the director of Bands at East Central High School in St. Leon Indiana. Mr. Alfrey earned his Master of Arts degree from Ball State University in 1998. He has performed with such jazz greats = as Ray Brown, James Moody, Conte Condoli, Bill Watrous, Slide Hampton, and John Faddis.
Clint = Hott - Assistant Director = of Bands East Central High School
Mr. Clint Hott – Clint Hott received his B.M. in= Music Education from Morehead State University in 1998. He is in his sixth year of teaching and his first year at East Central High School where he teaches concert band, music theory, marching band, middle school and high school concert percussion ensemble, and marching percussion. As a student at Moreh= ead State, Clint studied with Professor Frank Oddis, Dr. Larry Blocher, and Dr. Richard Miles. Clint performed with the Morehead State Indoor Drumline (1995 PASIC National Championship), concert band, wind ensemble, marching band, a= nd percussion ensemble. Clint is also a former member of the Dutch Boy and Bluecoat Drum and Bugle Corps. Clint has been a part of clinic presentation= s at the Percussive Arts Society International Convention and the Indiana Music Education Convention. His professional associations include the Percussive = Arts Society, Indiana Music Education Association, MENC, Phi Mu Alpha and the National Education Association.
Jeffrey Scott Doebler - =
Director
of Bands Valparaiso State University
is director of music education and bands at Valparaiso
University. His previous experience includes public school teaching in
Emmetsburg, Iowa, and Shakopee, Minnesota, as well as graduate teaching
assistantships at Valparaiso University and the University of Minnesota. Dr.
Doebler holds music education degrees from Luther College (B.A.), Valparaiso
University (M.M.), and the University of Minnesota (Ph.D.). Dr. Doebler is =
Past
President and 2004 Convention Chair of the Indiana Music Educators Associat=
ion
(IMEA). Professor Doebler is active throughout the year as a guest conducto=
r,
consultant, and clinician. As a high school teacher, Dr. Doebler earned a
reputation for leading the transformation of struggling bands into model
programs. He was also active in site-based management and district-wide
strategic planning. At the university level, his interpretations, repertoire
selection, conducting, leadership, and concert band recordings have been hi=
ghly
praised.
He has b= een nominated twice for the VU Alumni Association Distinguished Teacher Award. = He was included in the 2000 edition of Who's Who Among America's Teachers. In = 2001 he received the Orpheus Award "for significant and lasting contributio= ns to the cause of music in America," by the Valparaiso University Chapte= r of Phi Mu Alpha Sinfonia. It is believed that this was the first Orpheus Award bestowed by the VU Chapter in its 40-year history.
Brant Karrick -Director of Bands Northern
Kentucky University /Composer of Ghost Dance
Dr. Brant Karrick joined the faculty of Northern Kentu=
cky
University in the fall of 2003 as Director of Bands. His prior teaching
experience includes nine years at the University of Toledo and seven years =
of
public school teaching in Kentucky. At NKU, he administrates the entire band
program including the Symphonic Winds, the Concert Band and the Basketball =
Pep
Band. He also teaches classes in conducting, music education, marching band
techniques, and assists with student teacher supervision.
In addition to his responsibilities at NKU, Dr. Karrick is active as a guest
conductor, adjudicator, clinician, composer, and music arranger. His band
compositions have been performed around the country, in Europe, and in
Australia. In the fall of 1991 Karrick entered the Ph. D. program in Music
Education at Louisiana State University, completing the degree in 1994. His
prior education includes a Bachelor of Music Education from the University =
of
Louisville which he completed in 1982, and a Master of Arts in Education fr=
om
Western Kentucky University, completed in 1984. Dr. Karrick's musical life =
has
been influenced by many individuals. He studied trumpet with Leon Rapier, m=
usic
education with Cornelia Yarborough, and conducting with Frank Wickes. His p=
rimary
composition teachers were David Livingston, Steve Beck, and Cecil Karrick. =
His
professional affiliations include: Music Educators National Conference, the
Ohio Music Educators Association, and the College Band Directors National
Association..
Rob =
Parton-Director of Jazz Studies
Roosevelt University
Rob Parton, one of Chicago’s most active and ver= satile trumpet players, is well known and highly regarded as a studio/theatre musician, performer-educator and bandleader. As a studio musician, Parton h= as played on hundreds of both local and national radio and television commerci= als and many local CD projects not only as lead trumpet, also as conductor. Par= ton has performed with the Chicago Symphony, Milwaukee Symphony, Doc Severinson, Tony Bennett, Frank Sinatra Jr., Mel Torme, Christopher Cross, Sheena Easto= n, Peabo Bryson, Celine Dion, Nick Carter, Yolanda Adams, Josh Groban, Enrique Eglasius, Natalie Cole and Maynard Ferguson to name a few. Parton has appea= red at the Umbria Jazz Festival in Perugia Italy as well as many other European Jazz Festivals.
As an educator, Parton is the Chairman of Jazz Studies= at the Chicago College of Performing Arts of Roosevelt University. As leader of this growing program, his duties include teaching trumpet, directing the aw= ard winning CCPA Jazz Ensembles, coordinating sixteen adjunct faculty members a= nd administering the entire Jazz Department. The CCPA Jazz program has released numerous compact discs featuring the Jazz ensemble and vocal jazz groups. A= ll of the CD’s have been well received both nationally and international= ly in the jazz education world. When Parton is not working in Chicago you will often find him directing an All-State jazz band or acting as a guest artist with many high school and college jazz programs. He has presented concerts = or clinics at the Midwest Clinic in Chicago, International Association of Jazz educators convention and many other music educators conventions. Mr. Parton= is the director of The JAZZTECH Big Band. He is an artist/clinician for CG Conn and is very active as a clinician, performer, and adjudicator. Rob has been very active in working with CG Conn in the development of the new "Vin= tage One" trumpets and flugelhorns.
Karl King always seemed to enjoy playing and composing galops. He usually directed his galops in one beat per measure at about a quarter note=3D240. He commented that he wrote his galops as a matter of necessity. Many times the snare drummer would not play after-beats, but ins= tead played straight eighth notes throughout. An interesting point about galops:= Mr. King said that in his circus bands he did not use French horns for galops as they could not speak fast enough. He used E flat alto horns instead. Even t= hen, it was difficult for them to play the after-beats at such a rapid tempo.
Karl L. King<= /b> (21 February 1891–31 March 1971) was a native of Paintersville, Ohio. He = grew up as a self-taught musician with very little schooling of any kind. At eighteen, he began a career playing in and directing circus bands, including those of Barnum and Bailey, Robinson Famous Shows, the Sells-Floto Circus, = and Buffalo Bill's Wild West Show. King settled down in Fort Dodge, Iowa in 1920 and for the next fifty-one years conducted the city's municipal band. King = the composer published more than 300 works: galops, waltzes, overtures, serenad= es, rags, and 188 marches and screamers. His name appeared on the sheet music as Karl King, K. L. King, or sometimes Carl Lawrence.
Cakewalk was originally written for solo piano in 1909= under the title Le Petit Negre. Its syncopated rhythms and colorful harmonies are characteristic of much of the popular dance music of the 20th century.
Claude Achille De= bussy, (1862-1918). Born in Paris, France, was one of the original exponents of musical Impressionism. He employed the whole-tone scale to create nuances of mood and expression, exploring unusual harmonies and dissonances. He is best known for the tone poem Prelude to the Afternoon of a Faun (1894), inspired by a poem of Stéphane Mallarmé (1842-1898). Other orchestral works include Nocturnes (1899) and La Mer (190= 5). His piano works include Suite Bergamasque (1905), which includes t= he well-known "Clair de lune", Estampes (1903), and a numbe= r of preludes, and études, and art songs.
John O'Reilly=
is
one of the most-performed composers of band music in the world today. A
recipient of numerous ASCAP awards, he has studied composition with Robert
Washburn, Arthur Frackenpohl, Charles Walton and Donald Hunsberger. Mr.
O'Reilly graduated from the Crane School of Music, State University of New =
York
at Potsdam. In addition, he is the recipient of a Master of Arts in Composi=
tion
and Theory degree from Columbia University. His years of teaching experienc=
e at
elementary through college levels has provided him with insights and
sensitivities to the needs of both student and educators. As co-author of Accent on Achievement, the Yamaha Band Student and Strictly Strings, Mr. O'Reilly has=
made
a major impact on contemporary instrumental music education.
Originally titled Trois Chansons Populaires, In the Forest of the King is a three-movement suite of contrasting movements based on traditional French folksongs.
Le Fueret is an old childrens’ song that can be = used in a circle game. A ring on a string is passed around while a child in the middle tries to guess where it= is. The ring might be the ferret as the children sing:
&nbs= p; &= nbsp; &nbs= p; He runs, he runs,
&nbs= p; &= nbsp; &nbs= p; the forest ferret, my ladies
&nbs= p; &= nbsp; &nbs= p; He runs, he runs,
&nbs= p; &= nbsp; &nbs= p; The ferret of the pretty woods.
The Laurel Grove known as Nous n’irons plus au Bois has
existed in many variants for hundreds of years and has appealed to both
children and adults, but at different levels of understanding and
interpretation. The tnue in this version was very popular during the 18
King Dagobert may have been a medieval troubadour’s d= itty poking fun at royalty:
&nbs= p; &= nbsp; &nbs= p; The good Kinig Dagobert has his trousers on backwards.
&nbs= p; &= nbsp; &nbs= p; The Grand Saint Eloi said,
&nbs= p; &= nbsp; &nbs= p; “Oh, My King, you are badly dressed.”
&nbs= p; &= nbsp; &nbs= p; “You are right,” said the King.
&nbs= p; &= nbsp; &nbs= p; “I’m going to put them on right.”
Trumpets and drums announce the arrival of King Dagobe= rt and his entourage as they prepare for the hunt.
Latin Sun is the second movement to Daydreams. This sh= ort Latin work exposes the young sax or trumpeter to jazz improvisation and the band to a relaxed Latin style work.
Mr. Jutras was born and raised in Québec and
began his musical studies at age eight. He then graduated in oboe and chamb=
er
music from the Conservatoire de
Musique de Montréal (1979) and went to
l'Université Laval (Québec City) to study composition, analys=
is
and orchestration with François Morel.
Between 1985 and 1991, he held the English Horn posi=
tion
with l'Orchestre symphonique de Québec, while studying conducting wi=
th
Simon Streatfeild
and Gabriel Chmura.
In 1991, he became Staff Conductor with the Calgary
Philharmonic Orchestra, a three-year residency that would lead him to condu=
ct
between 45 to 50 concerts a year and give him the opportunity to study with
Maestro Mario Bernardi and many international guest conductors. Besides
pursuing a "classical" career, he also played saxophone in Jazz b=
ands
for many years and conducted Concert bands, Jazz ensembles and Pops orchest=
ras,
often performing his own arrangements or compositions (published by C. L.
Barnhouse). He is a well-known clinician and adjudicator, giving conducting
workshops and leading musical groups of all levels. In 1992 and 1993, he
received the "Jean-Marie Baudet Award" from the Canada Council for
the Arts as one of Canada's most gifted young conductors. Since April 2000,=
he
holds the position of Music Officer with the
Canada Council for the Arts, dealing with grants to =
professional
orchestras, opera companies, professional choirs and residencies for conduc=
tors
and composers.
Ancient
Voices…………………………=
;…………………………R=
30;………………………..…=
…………………………̷=
0;……....Michael
Sweeney
Ancient voices
Michael Sweeney (b. 1952) is a graduate of Indiana University (Bloomington), where he studied music education. In addition, he studied composition with Bernard Heiden, John Eaton and Donald Erb. Mr. Swe= eney taught five years in the public schools of Ohio and Indiana, where his teac= hing experience included working with successful concert, jazz and marching prog= rams at all levels from elementary to high school.
=
&nb=
sp;
Ghost
Dance…………………………=
…………………………̷=
0;………………………….&#=
8230;……………….…………=
;…………….Brant
Karrick
This is a work loosely ased upon Bartok’s Allegro
Barbaro and some of t=
he
composers original ideas.
Brandenburg Concerto n=
o.
2…………………………R=
30;…………………………&#=
8230;.…………………….…̷=
0;………………….J.S.
Bach/Freytag
Brandenbu=
rg
Concerto No. 2 in F major might be the most popular of the 6 for i=
ts
brilliant scoring. This is an example of a common orchestral genre of the
Baroque known as the concerto
grosso. (The same is true for Brandenburg Concerto No. 5 in D major=
).
A concerto grosso utilizes two ensembles, one large and one small. The large
one is called the ripieno or tutti; this includes the
orchestra. A group of soloists comprise the smaller group, entitled the
This rather unusual march is based on a dialogue betwe= en woodwinds, brass and percussion. While each of the three instrumental famil= ies maintain their own individual character throughout the composition, the interaction between them results in dramatic tension but serves at the same time as a strong unifying force.
Internationally renowned composer Vaclav Nelhybel was = born on September 24, 1919, in Polanka, Czechoslovakia. He studied composition a= nd conducting at the Conservatory of Music in Prague (1938-42) and musicology = at Prague University and the University of Fribourg, Switzerland. After World = War II he was affiliated as composer and conductor with Swiss National Radio an= d became lecturer at the University of Fribourg. In 1950 he became the first musical director of Radio Free Europe in Munich, Germany, a post he held until he immigrated to the United States in 1957. Thereafter, he made his home in America, becoming an American citizen in 1962. After having lived for many years in New York City, he moved to Ridgefield and Newtown, Connecticut, and then, in 1994, to the Scranton area in Pennsylvania. During his long career= in the United States he worked as composer, conductor, teacher, and lecturer throughout the world. At the time of his death on March 22, 1996, he was composer in residence at the University of Scranton.