The Advocate
Newsletter for The Music Education Community of Western PA
Johnstonbaugh's Trip to The PMEA In-Service Conference & All-State Music Festival
Last month, Johnstonbaugh's Music Centers attended the PMEA In-Service Conference and All-State Festival as a corporate sponsor. Johnstonbaugh's booth featured a curated selection of performance and professional-level instruments and hosted an interactive music game using the Hal Leonard web app that accompanies their Play-Along series books. Johnstonbaugh's was represented by Alex Ayers, Joe Weinzierl, Dennis Emert, and Bob Johnstonbaugh.
The conference featured displays from instrument and accessory manufacturers and educational fundraising vendors, as well as numerous seminars on music education's current affairs. The conference also included exceptional students from all over the State in Vocal Jazz, Jazz Ensemble, Chorus, Wind Ensemble, Concert Band, and Orchestra performances as well as a performance by The U.S. Army Band “Pershing's Own" with former JMC employee Jacob Wiggins, and the U.S. Army Chorus. The conference culminated with performances by the All-State musicians.
Johnstonbaugh’s Music Centers’ yearly attendance at the conference and PMEA sponsorship provides an excellent opportunity to connect with so many music educators and young performers who are eager to learn. Johnstonbaugh's is grateful to be a sponsor for the event and to be able to attend.
Below are some pictures from the event. For more information about PMEA, visit their website at www.pmea.net.
Scott Sheehan, President of NAfME, hosting a seminar
Bass Clarinet solo from Staff Sergeant Davis Hampton during The U.S. Army Concert Band's performance
Dennis Emert and Staff Sergeant Jacob Wiggins
The All-State Wind Ensemble getting ready to perform
The All-State Orchestra getting ready to perform
The All-State Chorus
Matt Rees provides insight on balancing everyday life as a student, performer, and educator
Matt Rees is an educator, student, and performer in Pittsburgh. He attended Slippery Rock University of Pennsylvania as a music education major and graduated summa cum laude in 2022.
While at Slippery Rock, Matt was principal trumpet for three years in the Slippery Rock University Wind Ensemble and lead trumpet in Slippery Rock University’s Jazz Ensemble for two years. He played in the SRU Brass Ensemble (Eb soprano cornet) and the SRU Marching Pride. Matt plays with the Musicians Concert Band of Butler, PA, and Murphys Big Band of Leechburg, PA. He also performs occasionally with his local church, Christ Church of Grove Farm, in Sewickley, PA.
As an educator, he student taught grades 9-12 band and K-5 general music at the North Hills School District and has been the trumpet graduate assistant for both North Hills and North Allegheny marching bands—also, Matt co-led beginning band camps at PYCO School of Music and Slippery Rock Area School District.
Matt is attending Carnegie Mellon University for a master's degree in trumpet performance and will graduate in 2024.
Musical Rests and Respites
by Matt Rees
As a musician, your days are probably consumed with music, whether it be teaching, learning, rehearsing, performing, or all four. While submerging yourself in your trade can often make you an expert in your field, it also can hinder you from becoming a better, well-rounded, happy, healthy individual. I believe the best musicians are those who can achieve a healthy balance between their passion for music and their zest for life, not to mention the advantages such a balance has on your physical and mental health. Below are some simple strategies to help you balance a heavy workload and make a positive impact on your physical and mental well-being.
For students:
1. Write your schedules down and intentionally build in breaks throughout your day. Dedicate specific times to eat. Block off time to exercise. Schedule time to join a social group apart from music.
2. Venture into other passions or interests you may have. For me, this means getting involved in intramural sports with friends. It distracts from the stressors that may be happening around you with music — and it’s a great way to keep in good physical shape while having fun and meeting new people!
3. Keep a daily organizer to help balance the workload throughout the day. A planner or online calendar is especially useful to differentiate different events that are happening and can be used as a reminder for upcoming commitments.
For educators:
1. Consider keeping your work computer at school. I’ve known a few educators who kept their work life completely separate from their personal life. Strive to utilize the time outside of work to recharge your batteries, enjoy your family and friends, or pursue other hobbies and interests. If that requires staying after school for a little longer than usual to finish work, that’s a better option than taking things home.
2. Perform in ensembles or start gigging. We became music educators because we love music! Often, we get wrapped up in teaching ensembles and don’t have the time to reinforce our love of music through performance. Find a local ensemble, like a community band, church group, or choir. Form your own combo group. Performing helps us continually rejuvenate our love for music and appreciate its beauty.
3. Spend time with other teachers at your school outside of the work space. Go out together for pizza after an Open House event or during an in-service day or school break. Building strong relationships with colleagues outside the classroom can help foster collaboration and cooperation inside the classroom. When a team of teachers are also friends, it’s a lot easier to ask for their help during school concerts, spring musicals, etc, which can take a huge burden off your shoulders and make your life a little easier.
For performers:
1. Plan events ahead of time. Everyone has a busy schedule. Planning events a week in advance keeps you in check not only to know what events are coming up, but it also helps to remind you how many commitments are on the horizon.
2. Create a routine for yourself. Changing the way you operate each day can be exhausting and unpredictable. Lots of energy can be lost without a routine. When it comes to practicing, know what time of the day you are most productive. Dedicate time for your routine depending on what music you have to play later in the day. If it’s a heavy rep rehearsal in the afternoon, do light work with fundamentals in the morning. If it’s light rep rehearsal in the evening, do heavy work with fundamentals in the morning.
3. It is not always a bad thing to turn down a gig or performance. Considering the amount of payment, I’ve learned that if the site of the performance is more than an hour away, it is best to refer someone else, who is just as responsible and dedicated as you are, for that performance. Also, don’t be afraid to say no if you already have a full plate. Prioritize your most important commitments instead of adding to an already packed schedule.
The Five Things You Need to Know to Become a Better Trumpet Player (Part III)
By Kevin Eisensmith, DMA
Part I of this series presented the Physical Considerations of trumpet players, while Part II focused on Breathing. We now turn our attention to the Equipment a trumpet player uses, specifically the trumpet and the mouthpiece.
III. Equipment
All trumpet players must have “the right tool for the job.” There are three “levels” of trumpet that manufacturers build: the beginner model, the intermediate model, and the professional model. The differences between the three are primarily cost and bore size (I touched on this in an earlier article). The cost of a trumpet is determined by the materials used to make it, and the number of man-hours needed to construct it. Beginner model trumpets have tubing with thick walls to help protect against damage. The resulting bore size is smaller, which is more appropriate for young students with smaller lung capacity. Intermediate and professional model trumpets have a larger bore size and consequently, thinner walls of tubing. This makes them more susceptible to denting. However, thinner tubing allows for greater freedom of vibration, which creates a warmer, “darker” sound. Advancing students need to develop a better sound. This will be possible only with an instrument that has thinner walls.
When should a student purchase a professional model trumpet? This depends on the student. An instrument that is “too small” for a student will result in intonation problems (pitch will be sharp when the student plays loud, but flat when the student plays soft). Check the position of their tuning slide. If it is extended more than 2 inches, then that student has “outgrown” their trumpet! Conversely, an instrument that is “too large” for a student will result in endurance problems, a lack of range development, and poor flexibility. Therefore, a beginner should never use a relative’s “old professional-line trumpet.” Based on average physical development, a student should move to an intermediate model trumpet by the time they reach 8th grade, and a student should be playing on a professional model trumpet by the time they reach 11th grade, especially if they plan to continue in music after high school. Another approach is to not buy an intermediate model trumpet at all and instead, move from the beginner model right to the professional model around 10th grade. Buy the trumpet that “helps you get the sound that you have in your head.” A trumpet will “help” you get the sound that you want to make, or it will “fight” with you. Buy the one that helps you get the sound that you want! The name on the bell or the “color” of the trumpet matters less than the sound you get when you play it.
Beginning trumpet players most often play a Bach 7C (https://www.bachbrass.com/instruments/mouthpieces) mouthpiece (or the equivalent sized mouthpiece by a different manufacturer). Different manufacturers have different ways of describing their mouthpieces. For a mouthpiece comparison chart, go to https://mouthpieceexpress.com/catalog/fox-charts.php. The 7C is the appropriate beginner mouthpiece. It is neither too big nor too small. However, as the student grows, so do their lips. As a result, students in 7th or 8th grade should consider moving to a Bach 5C or 3C (or the equivalent), while high school students might consider moving to a Bach 3C, or 1-1/2C (or the equivalent). As stated above, to a degree, larger mouthpieces create better sound and intonation by involving greater lip surface and creating a more complete vibration.
There are numerous manufacturers of mouthpieces, too many to mention here. When dealing with students who are uncomfortable using Bach mouthpieces, I recommend Schilke mouthpieces (https://www.schilkemusic.com/products/mouthpieces/). The biggest difference between the two is the rim contour. Bach mouthpieces tend to be higher on the inside of the rim, while Schilke mouthpieces tend to be higher on the outside of the rim:
Different players may feel more comfortable on one or the other and will feel that the other type of mouthpiece “cuts” their lip. One mouthpiece is not better than the other! It simply means that players must find the rim contour that best suits them. I will not discuss the numbering systems for either mouthpiece here. Instead, visit the websites listed above for more detailed information on both mouthpieces.
Having the appropriate trumpet and mouthpiece are vitally important to the growth of the trumpet student. Once you have the right equipment, it must be cleaned and maintained on a regular basis! Your trumpet is a machine, a “tool.” Take care of your instrument and it will take care of you. Well-maintained instruments can last for many years. I clean my trumpet every 2-3 months. I completely disassemble the trumpet and soak all the parts, except for the valves, in warm water with a little dishwashing detergent, which serves as a grease cutter. I use hot water only when cleaning my mouthpiece and the valves (only the parts that are oiled!). I use a snake (https://www.johnstonbaughs.com/product/3031/hwp-trumpet-brass-saver) to clean all of the tubing. I then rinse the tubing with warm, clear water. After drying thoroughly, I oil the valves and grease the slides, and reassemble. I clean my mouthpiece once a week, using a mouthpiece brush (https://www.johnstonbaughs.com/product/422/custom-silver-trumpet-care-kit). After I clean the mouthpiece, I inspect the rim and the stem for damage. If the rim is scuffed or the finish worn off, I must buy a new mouthpiece. Bacteria can live on raw brass and can cause a trumpet player to develop nasty sores on their lips! If a stem is dented, it can be opened with a “trueing tool” or mouthpiece shank repair tool (https://instrumentinnovations.com/mouthpiece-shank-repair-tool/). DO NOT oil the valves from the bottom holes! All excess grime and sludge collect in the bottom valve caps. When you turn your trumpet upside down and drip clean oil into the valve casings, you flush the old dirt up into the valve along with the new oil. DO NOT use “spit balls” or other things that you are supposed to “blow through” your trumpet to clean it. They don’t work and may even get caught somewhere in the tubing! DO NOT use lye or harsh chemical cleaners when cleaning your instrument! Warm water and a mild dishwashing cleanser are sufficient.
Trumpet players need the right equipment – trumpet and mouthpiece – for their age and size and need to maintain that equipment for the best results.
New Faces at Johnstonbaugh's Music Centers
Kyle Harris
Johnstonbaugh's Music Centers is proud to have Kyle Harris as a Woodwind Repair Apprentice. Kyle received a Bachelor of Music Education degree from Baldwin Wallace and a Master of Arts in Music Education from the Eastman School of Music. Kyle also taught elementary and middle school band for eight years.
Kyle decided to pursue instrument repair through his passion for hands-on mechanical projects in conjunction with his love for music. With this, Kyle finds great satisfaction in an instrument's improved sound after being serviced.
Some helpful tips from Kyle are to take the time to examine the keys that are close to each other on woodwind instruments, as this is usually where the problem is with the instrument. He also advises that students set their instruments in a safe place and bring the instrument in for routine maintenance periodically.
Johnstonbaugh's is pleased to have someone with Kyle’s music education experience as a repair technician and is looking forward to having Kyle further develop his repair skills.
On Saturday, May 13, Johnstonbaugh's Music Centers will host a music lessons open house to meet some of our instructors. Private lessons are one of the best ways to improve one's skill with an instrument.
JMC will be offering trial lessons in percussion and guitar at Johnstonbaugh's Allison Park store and flute, percussion, and trumpet lessons at Johnstonbaugh's Golden Mile store. Instructors will also be performing for the event.
If you are considering lessons for yourself, or someone else, this is an excellent opportunity to get a feel for what lessons will be like and to meet an instructor. Now is the time to give it a try!
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JMC North - Allison Park
Email: info@johnstonbaughs.com
Website: johnstonbaughs.com
Location: 4842 William Flinn Highway, Allison Park, PA, USA
Phone: 724-444-5660
Facebook: facebook.com/JohnstonbaughsMusic
Twitter: @Johnstonbaughs
JMC East - Golden Mile
Email: info@johnstonbaughs.com
Website: johnstonbaughs.com
Location: 140 Sandune Drive, Pittsburgh, PA, USA
Phone: 724-519-2114
Facebook: facebook.com/JohnstonbaughsMusic
Twitter: @Johnstonbaughs
Issued May 2023
Newsletter by Joe Weinzierl and Dennis Emert