-
EISENHOWER HIGH SCHOOL ADMINISTRATION
Mrs. Nanette Chesney, Principal Mr. Robert Enne, Assistant
Principal Mr. Ken Marnon, Assistant Principal Mr. Scott May,
Assistant Principal
INSTRUMENTAL MUSIC BOOSTER EXECUTIVE BOARD
Flory Morisette, President Jennifer Sachs, Vice President
Kathy Lang, Treasurer Sue Swartz, , Secretary Liz Stark,
Fundraising
Lawanda Parker, Instrumental Music Director Christopher M.
Traskal, Instrumental Music Director
UPCOMING INSTRUMENTAL MUSIC EVENTS
5/28/15 — Spring Instrumental Music Banquet (6:30PM) 06/02/15 —
Instrumental Booster Meeting (7:00PM, ECC) 6/6/15 — Eisenhower
Graduation (10:00AM The Palace)
6/12/15 — New Marcher Orientation (11:30AM Band Room) 6/15/15 —
MB Home Camp (9:00AM Band Room)
6/16/15 — MB Home Camp/March-a-thon (9:00AM Band Room)
8/9-8/15/15 — Marching Band Camp (Camp Walden)
8/15/15 — MB Home Show (Est. 4PM Ike Field) 8/19/15 — MB
Rehearsal (6:00PM Band Room) 8/25/15 — MB Rehearsal (6:00PM Band
Room)
8/27/15 — MB Home Football (7:00PM Swinehart) 9/1/15 — MB
Rehearsal (6:00PM Band Room)
9/3/15 — MB Home Football (7:00PM Swinehart)
WWW.IKEBANDS.COM
The Eisenhower High School
Instrumental Music Program
proudly presents the
Concert Band
Symphonic band
Wind Ensemble
and the
Jazz Ensemble
SPRING CONCERT
7:00 P.M.
Thursday, May 14, 2015
Eisenhower Performing Arts Center
Lawanda Parker, Assistant Director
Christopher M. Traskal, Director
-
CONCERT ETIQUETTE
A performer's intense concentration can be interrupted by little
things that may seem trivial to audience members. The following
suggestions will help audience members show respect to the
performers on stage as well as other members of the audience. This
will help the performers to do their best. When To Applaud -
Performers always appreciate applause, but there are appropriate
moments to applaud. In a multi-movement work, applaud after all
movements are completed. This allows the continuity of the piece to
flow from one movement to the next. “Hooting and hollering” is not
appropriate in the concert setting. Arrival Time - Leave early and
allow enough time for parking and traffic. If you do arrive late,
wait by the doors until the first piece (not just a movement) is
finished, then discreetly take the nearest seat available. Entering
and Exiting the Auditorium - Never enter or exit the auditorium
during a performance. If you must enter or exit, please wait until
the performance on stage has been completed. The most appropriate
times to move about are during audience applause or set changes.
Talking - Talking should not be tolerated. It is not only
distracting to the performer, but to every person in the audience.
It is just plain rude to talk (even whispering can be heard) during
a musical performance. If someone around you is talking, ask them
nicely to please stop. Other Noises - Avoid rustling your program,
tapping your foot, bouncing your legs, etc. Pagers and cell phones
should be turned off. Watches set to beep on the hour should also
be turned off. These high-pitched beeps are distracting to the
performers and audience members. Coughing - It is hard to avoid a
spontaneous cough. Be prepared with some type of cough drops or
candies. Avoid cellophane wrappers. Many come with a soft wax-paper
wrapping that will be much less noisy. Taking Pictures - Refrain
from taking any photographs during a performance. The click of a
camera and especially the flash are very distracting. Pictures
should be taken after the performance. Children - Children need
exposure to good music and live performances. If your young child
begins to get restless in the middle of a performance, it may be
best that you exit the auditorium until calmer times prevail. By
following basic edicts of respect and consideration, performers and
the audience will have a more pleasurable and meaningful experience
as they perform and attend live concerts. Because they have worked
so hard for their performance, the students on stage deserve to be
treated with respect.
8/27/15 Home Football Game v. Plymouth 9/3/15 Home Football Game
v. Stevenson
9/25/15 Home Football Game v. Dakota (Homecoming) 10/4/15
Band-a-Rama
10/13 or 10/14/15 MSBOA Marching Band Festival 10/16/15 Home
Football Game v. Warren Mott (Junior High Night)
10/23/15 Home Football Game v. Romeo (Senior Night) 12/3/15
Winter Band Concert
Winter Jazz Concert: TBD 1/30/16 MSBOA District 16 HS
Solo/Ensemble Festival
2/2/16 Elementary Cluster Concert 2/8/16 Pre-Festival
Concert
3/10-3/12/16 MSBOA District 16 HS Band Festival 3/19/16 MSBOA
State Solo/Ensemble Festival
3/21/16 Junior High Band Clinic Concert 3/28-4/15/16 MSBOA State
Band Festival
5/12/16 Spring Band Concert
IKE BANDS PERFORMANCE DATES 2015-16
MUSIC IS...a potential in every individual that, like all
potential, should be developed to its fullest.
MUSIC PROVIDES…an outlet for creativity, self-expression, and
individual uniqueness. It enables us to express our noblest
thoughts and feelings.
MUSIC TEACHES…students about unique aspects of their
relationships with other human beings and with the world around
them, in their own and other cultures.
MUSIC IS...one of the most important manifestations of our
cultural heritage. Children need to know about Beethoven, Louis
Armstrong, and the Beatles as well as about Newton and
Einstein.
MUSIC OPENS...avenues of success for students who may have
problems in other areas of the curriculum and opens approaches to
learning that can be applied in other contexts.
MUSIC EXALTS...the human spirit.
MUSIC IS…worth knowing.
A Rationale for Music Education
-
Now you can follow the Ike Bands on Social Media!! Please use
the following sites to get all the latest info on what is going on
in the Eisenhower Instrumental Music Program!
TWITTER: @Ikebands
FACEBOOK: www.facebook.com/ikehsbands
PROGRAM NOTES closing. In subsequent adaptations, it has been
staged as a musical, a light opera, and a comic opera, and even has
been performed in concert, all to varying degrees of success.
Bernstein himself had a hand in most of these reincarnations and
freely made a variety of emendations, additions, deletions, and
substitutions as the particular circumstances and situations
warranted. All these only added to the confusion. If there is a
definitive version of Candide, it is probably the one that
Bernstein himself used when he recorded the work for Deutsche
Grammophon in London less than a year before his death. Candide is
based upon the wickedly joyful satire of the same name by Voltaire,
the premise of which is that "all is for the best in this best of
all possible worlds." It tells of a young man—the illegitimate
cousin of a noble German family—and his efforts to survive
according to this improbable philosophy. Happily racing along
though a series of bizarre disasters, his adventures take him from
Westphalia to Lisbon, Paris, Cadiz, Buenos Aires, a jungle, the
mythical Eldorado, an unidentified desert island, and Venice before
finally returning him to Germany. Along the way, there are timeouts
for, among other things, a war, an earthquake, an auto da fé, a
shipwreck, and several homicides. In the end, Candide and his new
bride agree to settle down and spend their remaining days
peacefully and productively on a small farm—at which point, their
cow suddenly drops dead. RAIDER’S MARCH Ever since its first
appearance in Raiders of the Lost Ark, the Raiders March has been
such a recognizable symbol of Indiana Jones that we associate it
with the character as much as we do his trademark bullwhip and
fedora. And like other John Williams themes, it’s not just that the
theme represents the character, but that it does so in such an
appropriate way that it would be hard to imagine something
different working this well. In large part, this is because of
Williams’ remarkable ability to coordinate many different
parameters of the music with various facets of the thing it
represents, in this case, Indy himself. The march is divided into a
large three-part form, of which the first part is Indy’s theme, the
second Marion’s theme, and the third an abbreviated return to
Indy’s theme. Since we’re talking about Williams’ depiction of the
Indy character here (and since the third part largely repeats the
first), my film music analysis will focus mainly on the first part.
This first section itself breaks down into a three-part ABA form,
the A and B sections using different but related melodic ideas.
Williams had initially composed the melodies of both as
possibilities for the opening of Indy’s theme. When he approached
Steven Spielberg (director of Raiders of the Lost Ark) with the
themes, asking which one he would prefer, Spielberg loved them so
much that he said “well, can’t you use both?” And so Williams did,
one in the A section, the other in the B section (or “bridge”).
CONCERT BAND At Morning’s First Light ...…………..….…… David
Gillingham Music from “Pocahontas” …………….. A. Menken/ arr. Moss
SYMPHONIC BAND Second Suite in F ……………….……….………… Gustav Holst 1.
March 2. Song Without Words 3 Song of the Blacksmith 4. Fantasia on
the Dargason Beauty and the Beast ………………….. A. Menken/ arr.
Moss
WIND ENSEMBLE The Klaxon (March) ……………………….……..Henry Fillmore
Overture to Candide …….…..L. Bernstein/ trans. Grundman Raider’s
March ……...…..……… J. Williams/ trans. Lavender
Immediately following tonight’s concert, please join us in the
PAC Lobby for an after-
glow featuring the music of the
Eisenhower Jazz Ensemble!
PROGRAM
Thanks for attending tonight's performance and supporting the
Eisenhower Instrumental Music Program!!!
-
Thanks to all that have been using the Kroger Community Rewards
Program to benefit the Eisenhower Instrumental Music Boosters. This
program benefits the students of the Eisenhower HS Bands by
allowing our organization to receive 5% of your total purchases at
Kroger Stores. EVERYONE MUST RE-ENROLL EACH APRIL in order for our
organization to keep receiving funds from Kroger.
Kroger has assigned the Eisenhower Instrumental Music Boosters a
NPO number of 83249 (you will need this number to register your
Kroger Plus Card). There are basically two steps to registering.
Follow the directions below to get enrolled and start benefiting
the Eisenhower Instrumental Music Boosters!!
STEP 1:
Have your Kroger Plus Card handy and register online at
www.krogercommunityrewards.com.
If you do not yet have a Kroger Plus card, they are available at
the customer service desk at any Kroger. You can get one there.
Click on Sign In/Register
Most participants are new online customers, so they must click
on SIGN UP TODAY in the "New Customer?" box.
Sign up for a Kroger Rewards Account by entering zip code,
clicking on your favorite store, entering your email address and
creating a password, agreeing to the terms and conditions
You will then get a message to check your email inbox and click
on the link within the body of the email.
STEP 2:
After clicking on the link in the email, click on My Account and
use your email address and password to proceed to the next
step.
Click on Edit Kroger Community Rewards Information (on the right
of the page) and input your Kroger Plus Card number.
Update or confirm your information if needed.
Enter NPO number of 83249 (or name of organization) and select
the Eisenhower Instrumental Music from list that pops up and click
on confirm.
To verify you are enrolled correctly, you will see your
organization's name on
SECOND SUITE IN F Born in Cheltenham, England, Gustav Holst
served as a model in British composition during the first half of
the twentieth century. He studied with Sir Charles Stanford at the
Royal College of Music, where he met fellow composer Ralph Vaughan
Williams who would become a life-long friend and partner in the
collection of English folk songs. Though he composed a number of
symphonies, ballets, chamber music, solo songs, and choral works,
Holst is most appreciated by wind conductors for his contributions
to the band repertoire. Holst’s works for band, most notably the
Suites for Military Band and Hammersmith: Prelude and Scherzo
provide the cornerstone for original band music. Though composed in
1911, the Second Suite in F did not receive its first public
performance until 1922, when the band of the Royal Military School
of Music played the work in Royal Albert Hall. Although the program
notes for the premiere commented that this suite had been “put
aside and forgotten,” manuscripts indicate that Holst had made a
great number of revisions, including the substitution of folk tunes
and slight alterations in instrumentation. Unlike the First Suite
in E-flat (1909), Holst’s Second Suite in F is based entirely on
material from folk songs and Morris dances. It consists of four
movements, each possessing its own distinct character. The opening
“March” includes a lively dance, lyrical song, and lilting tune,
all set in the formal pattern A-B-C-A-B. The second movement is a
slow and tender setting of “I’ll Love My Love,” a sad song with
text depicting two lovers separated by parental disapproval. The
“Song of the Blacksmith” is rhythmically complex and demonstrates
Holst’s creative scoring, which includes the use of an anvil. The
final movement is based upon an English country-dance and folk song
(Dargason) dating from the sixteenth century. After stating the
melody several times, it is then combined with the familiar
“Greensleeves,” and finally the suite winds down with just the
“Dargason” tune alone. THE KLAXON (MARCH) James Henry Fillmore,
Jr., was the most flamboyant bandsman of his time, an era that
stretched across 50 years. During those years he probably wrote,
arranged, and edited more band music than any other
composer/bandmaster in history. According to his biographer, Paul
Bierly, Fillmore composed over 250 works and arranged over 750
others. To keep his name from flooding the market, he composed
under a total of eight names: Harold Bennett for easy pieces; Al
Hayes and Will Huff for moderately easy music; and Gus Beans, Ray
Hall, Harry Hartley, Henrietta Moore, and his own name for the
rest. By a strange coincidence the pseudonym Will Huff turned out
to be the real name of a composer who lived near Chillicothe, Ohio,
and whose works were published later by the Fillmore Brothers Co.
Henry Fillmore’s background in his family’s publishing house in
Cincinnati led him down a variety of productive paths as a composer
of hymns, popular overtures, fox trots, waltzes, marches, and
particularly lucrative specialty for his own instrument, the
trombone smear.. OVERTURE TO CANDIDE Leonard Bernstein's Candide is
a work that defies specific categorization. In its original form,
it was described as a comic operetta when it opened in New York on
December 1, 1956. A succès d’estime at best, it ran for only
seventy-three performances before
PROGRAM NOTES
http://www.kroger.com/mykroger/Pages/community_rewards.aspx
-
AT MORNINGS FIRST LIGHT David Gillingham’s At Morning’s First
Light is a programmatic work that captures the serenity and beauty
of daybreak. From the opening thin layers of sound, a broad,
sweeping feel emerges, sprinkled with active lines depicting nature
awakening. David R. Gillingham (b. 1947) earned Bachelor and Master
Degrees in Instrumental Music Education from the University of
Wisconsin-Oshkosh and the PhD in Music Theory/Composition from
Michigan State University. Dr. Gillingham has an international
reputation for the works he has written for band and percussion.
Dr. Gillingham is a Professor of Music at Central Michigan
University and the recipient of and Excellence in Teaching Award
(1990), a Summer Fellowship (1991 and a Research Professorship
(1995). He is a member of ASCAP and has been receiving the ASCAP
Standard Award for Composers of Concert Music since 1996. MUSIC
FROM POCAHONTAS/BEAUTY AND THE BEAST Alan Irwin Menken (born July
22, 1949) is an American musical theatre and film composer and
pianist. Menken is best known for his scores for films produced by
Walt Disney Animation Studios. His scores for The Little Mermaid,
Beauty and the Beast, Aladdin, and Pocahontas have each won him two
Academy Awards. He also composed the scores for Little Shop of
Horrors, The Hunchback of Notre Dame, Hercules, Newsies, Home on
the Range, Enchanted, Tangled, The Shaggy Dog, and Mirror Mirror.
Menken has collaborated on several occasions with lyricists
including Howard Ashman, Tim Rice, Glenn Slater, Stephen Schwartz,
and David Zippel. With eight Academy Award wins (four each for Best
Original Score and Best Original Song), Menken is the second most
prolific Oscar winner in a music category after Alfred Newman, who
has nine Oscars. John Moss was active nationwide as a composer,
arranger, and orchestrator in a wide variety of musical styles and
formats. As an arranger, he provided music for many live
large-scale musical revues and production shows. John's educational
background included undergraduate study in instrumental music at
Central Michigan University and graduate work in theory and
composition at Michigan State University. He taught at both public
school (band and choir) and university (theory) levels in Michigan.
He also served as arranger for the Disney educational project
"Magic Music Days," where young performing musicians are introduced
to the film scoring/recording process. In 2004, John and three
fellow orchestrators transcribed approximately 90 minutes of
orchestral music by film composer John Williams for a Kennedy
Center concert featuring the United States Marine Band, with Mr.
Williams conducting.
PROGRAM NOTES
DID YOU KNOW… High school music students score higher on SATs in
both verbal and math than their peers. In 2001, SAT takers with
coursework/experience in music performance scored 57 points higher
on the verbal portion of the test and 41 points higher on the math
portion than students with no coursework/experience in the arts.
Source: Profile of SAT and Achievement Test Takers, The College
Board, com-piled by Music Educators National Conference, 2001.
Music is a SCIENCE It is exact, specific; and it demands exact
acoustics. A conductor’s full score is a chart, a graph which
indicates frequencies, intensities, volume changes, melody, and
harmony all at once and with the most exact control of time.
Music is MATHEMATICAL It is rhythmically based on the
subdivisions of time into fractions which must be done, not worked
out on paper.
Music is a FOREIGN LANGUAGE Most of the terms are in Italian,
German, or French; and the notation is certainly not English—but a
highly developed kind of shorthand that uses symbols to represent
ideas. The semantics of music is the most complete and universal
language.
Music is HISTORY Music usually reflects the environment and
times of its creations, often even the country and/or racial
feeling.
Music is PHYSICAL EDUCATION It requires fantastic coordination
of fingers, hands, arms, lip, cheek, and facial muscles, in
addition to extraordinary control of the diaphragm, back, stomach,
and chest muscles, which respond instantly to the sound the ear
hears and the mind interprets. Music is all of these things, but
most of all…
Music is ART It allows a human being to take all these dry,
technical (but difficult) techniques and use them to create
emotion. That is one thing science cannot duplicate—humanism,
feeling, emotion, call it what you will.
OUR BAND BOOSTER PARENTS for organizing the afterglow at the
Spring Concert!
FLORY MORISETTE and the entire INSTRUMENTAL MUSIC BOOSTER
EXECUTIVE BOARD for the time they have spent and all the support
they have provided this year! Your dedication is greatly
appreciated!
CYNDI FARAJI AND THE ENTIRE UNIFORM COMMITTEE for coordinating
and distributing the concert uniforms.
WHAT IS MUSIC?
-
SYMPHONIC BAND
FLUTE
Emily Davies Katie Felker
Emma Rawsky Amy Rozwadowski
Teresa Slanda Karoline Tangen
OBOE
Abbey Lovins
CLARINET Kelly Palmer
Courtney Sikora Tiffany Watson
BASS CLARINET
Joshua Stroven
ALTO SAXOPHONE Joel Avery Jamie Beck Austin Davis
George Feliciano Collin Kasper
TROMBONE
Russell Cucchiara-Besser
Joseph Elliott Kellen Fields Nicholas Hale Sydney Labon
John Medovarsky
EUPHONIUM Alex Grabowski Paul Mattingly
TUBA
Jack Harris Josh Hetak
Austin Mason Luise Svinte
Scott Wellman
STRING BASS Leah Young
TENOR SAXOPHONE
Matthew Holland Brandon Klee
BARITONE SAXOPHONE
Ryan Harrower Jacob Masiarczyk
Colin Zaccheo
TRUMPET Stephen DeLadurantaye
Jack Maniaci Shanley Ryan
William Tschirhart Julianne Wilson
FRENCH HORN
James Lang *Claire Lovins
PERCUSSION Matthew Krim Marisa Pelchat Joseph Satow
CONCERT BAND
PICCOLO
Sara Polanco Amy Salter
FLUTE
Paige Boor Sam Jorgens Sara Polanco Amy Salter
Nicole Yakimovich
OBOE + Emily Wagner
CLARINET
Jenna Harris + Natori Houston Zachary Komondy
Sarah Minca Emma Morisette
FRENCH HORN
Claire Lovins Amelia Viar
TROMBONE
Christina Hayward ^ Stephen Ogden
Gerard Roose Gabriel Williams
EUPHONIUM Kyle Driscoll
TUBA
Montrache’ Young
PERCUSSION Magnus Block Amy Galbreath
Justin Gura Rachel Ruble
BASS CLARINET
Robert Rider
ALTO SAXOPHONE Austin Kulik John Oben Kyle O’Neil
+ Antonio Segura
TENOR SAXOPHONE Lucas Atallah
BARITONE SAXOPHONE
John Novak
TRUMPET Silvia Aluia
Harrison Elie Robert Huck
Daniel Schroeder William Shinsky
^ Denotes Oakland Youth Symphony Member + Denotes MSBOA District
16 Honors Bands
* Denotes Assisting Musician
WIND ENSEMBLE
^ Denotes Oakland Youth Symphony Member + Denotes MSBOA District
16 Honors Bands
# Denotes Michigan Youth Arts Festival (MYAF) Ensemble
Member
SAXOPHONES
Taylor Maley, Alto
Scott Pywell, Alto
Kendra Sachs, Tenor
Sarah Tokarz, Tenor
Alec Pabarue, Bari
TROMBONES
# ++ Paul Mattingly
Megan Stark
Jessica Swartz
*T.J. Nosal (Bass)
TRUMPETS
Sophia Khan
Scott O’Neil
# Angel Phillips
* Daniel Schroeder
Brandon Vagi
RHYTHM SECTION
# Megan Stark, Bass
Leah Young, Bass
Mackenzie Gurne, Piano
# Caitlyn Maniaci, Piano
Brennan Brown, Percussion
Nicholas Krett, Percussion
Brandon Barnett, Guitar
Robert Huck, Guitar
* Denotes Assisting Musicians ++ Denotes MYAF Honorable
Mention
# Denotes MSBOA District 16 Jazz All-Star
JAZZ ENSEMBLE
FLUTE/PICCOLO
Kayla Bareis # + Maddi Fugate
Jacob Saia Amy Salter
^Bronte Spondike
OBOE Kellie Hurst
BASSOON
+ Connor Cummins Catherine Galambush
CLARINET
Adriana Delisi Devon DeWilde Mia Paliewicz
+ Kendra Sachs Sarah Tokarz
BASS CLARINET
Taylor Maley Keith Moore
ALTO SAXOPHONE
Gina Dlugosielski Justin Kur
MacKenzie Olbrys
TENOR SAXOPHONE Genna LaRocca
BARITONE SAXOPHONE
Alec Pabarue
TRUMPET Nick Gjelaj
Connor Masini Scott O’Neil
Angelica Phillips Daniel Schroeder
FRENCH HORN
Aidan Faraji Sophia Khan
Sabrina Pacitto Brandon Vagi
TROMBONE Paul Mattingly
K.C. Rinke
BASS TROMBONE T.J. Nosal
EUPHONIUM Rachel Hinde Liam Ferrand
TUBA
Caitlyn Maniaci + Steven Taormina
STRING BASS + Megan Stark
PERCUSSION
Samantha Brown Michael Evans Matthew Ferrari *Claire Lovins
Ian Uzelac