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Becoming a Master DJ for Young Orchestras

Angelica Kalasz-Chandler | April May 2021

 
    We all do it – sit in front of a computer and aimlessly scroll through the music library spreadsheet, hoping that a piece will jump out and demand to be picked. This fruitless scrolling often leads to seeking out pieces from a favorite vendor for new music. Even then, it is easy to get lost in the vast catalog of middle school orchestra literature. As the DJ of the orchestra program, you have certain responsibilities to your audience. This audience includes not only the listeners (parents/administrators/
colleagues) but also the performers. Both groups should feel excited about the program, so consider several factors:
    ●    Which pieces align with your curriculum?
    ●    Are the pieces you are choosing seasonally appropriate?
    ●    Which pieces will students like and feel motivated to practice?
    ●    Which pieces will you feel happy teaching for three months?

Some people may say the last question is irrelevant, but teachers must also be motivated and excited to succeed.

Logistics
    When you begin creating your mix of music, it is easy to get carried away. First, decide how many pieces per ensemble is practical given the timeline leading up to a concert. My 8th graders play an annual fall concert with the high school orchestra. With our schedule, I can realistically program two pieces to be played by the ensemble alone and one piece they will play combined with the high school orchestra. If the ensemble is working towards playing grade 3 music by the December concert, I program one grade 2 piece that I know we can make sound amazing and a fun and friendly grade 3 work, usually Halloween-themed to motivate practice. This sets an attainable goal for the fall concert without sacrificing the development of fundamental skills through concert music. By working on just a few pieces, I can fit in scale, rhythm, and technique practices into each class.
    In the case of a state festival (called assessment in Virginia), the number of pieces is set. In Virginia, we get two options for assessment: one warm-up, two adjudicated pieces, and sightreading, or one warm-up and three adjudicated pieces. In deciding which option to take, I think about trends I see in student practice and how many rehearsals I will have. Unexpected conflicts such as snow days often become an obstacle in my state during assessment prep season. You may also feel more constricted by the lists provided by your state for adjudicated pieces. However, remember that you still have the responsibility to spin a killer mix with contrasting works.

Creating a Set List
    Speaking of contrasts, audiences do not want to hear three or four pieces in the same key or tempo or a program of overly difficult music that does not sound polished. The following are important considerations for creating a formula for a great concert.

For Regular Concerts:
    ●    Fast/Fun opener that grabs audience attention and is at a medium level for the ensemble.
    ●    An easy piece in a contrasting key or tempo that has significantly simpler rhythms and notes to push students to focus on musicality.
    ●    A tougher song that stretches the group’s abilities.
    ●    Optional: A memorable closer. In December this may be a holiday tune. In the spring this could be a pop tune or movie music. Again, if this is realistic for your time frame and group, go for it. If not, you will still have sufficient variety for your students and audience.

For Assessment/State Festival Concerts:
    ●    Easy warm-up that may be something that has already been performed in a previous concert.
    ●    A Classical Arrangement.
    ●    A Non-classical piece in a contrasting style.

    Going deeper into genre, think about giving the audience and students not only what they want to hear and learn, but what they need. One thing they need is appropriate classical music or arrangements. Classical music helps check the boxes of the curriculum and also provides for many teachable moments, letting you expand the musical repertoire of both students and audience. When using the formula above, a classical piece often fits into the challenge piece or contrasting style category. Programming at least one or two classical pieces on a program ensures that you can follow your program of studies while exposing students to styles and time periods that we cannot reach with contemporary pieces.
    Contemporary pieces (by such composers as Balmages, Newbold, and Greisinger) are also great resources. Many are written with teaching standards in mind, and give tangible opportunities to tackle shifting, 68  time, and unfamiliar key signatures. Additionally, contemporary pieces can be used in all in non-festival settings as the fun/fast piece, the challenge, or the memorable closer. The ultimate DJ mix will provide the students and audience with a taste of both genres.


photo by Kirby Fong

December Program Examples:
7th Grade Beginner Orchestra
Intensity by Sean O’Loughlin (Carl Fischer)
La Cavaleria de Napoles by Gaspar Sanz, arr. Deborah Baker Monday
A Celtic Christmas Fantasy, arr. Brian Balmages (FJH)


* * *


Two Chorales by Gregory Kerkorian (Lake State)
First Scale March by Mark Williams (Alfred)
Yuletide Cheer, Traditional, arr. by Edmund Siennicki (Alfred)


* * *


Woodsplitter Fanfare by Brian Balmages (FJH)
Huron Carol, Traditional, arr. by Deborah Baker Monday (FJH)
March of the Meistersingers by Richard Wagner, arr. by Sandra Dackow (Tempo Press)


* * *


Two Joyous Chorales arr. by Anne McGinty (Queenwood Publications)
Wexford Circle by Elliot Del Borgo (Kendor)
Storm by Soon Hee Newbold (FJH)

8th Grade Advanced Orchestra
Eine Kleine Nachtmusik by Wolfgang Amadeus Mozart, arr. by Merle J. Issac (Alfred)
Ventus by Todd Parrish (Wingert-Jones)
The Hanukkah Song, Traditional, arr. by Lloyd Conley (Hal Leonard)
The Yuletide Rag by Richard Meyer (Alfred)


* * *


A Festival of Lights, Traditional, arr. by Bud Caputo (Alfred)
Chorale and Fanfare by Antonio Vivaldi, arr. by Harry Alshin (Kendor)
Carol of the Bells arr. by Michael Hopkins

Spring Concert Examples:
7th Grade Beginner Orchestra
Canyon Sunset by John Capenegro (Kendor)
Theme from Jurassic Park by John Williams, arr. John Higgins
Zuma Breakers by Doug Spata (Highland/Etling)


* * *


Aspen Glow by Susan H. Day (Grand Mesa)
Fiddlin’ with the Classics by Deborah Baker Monday (FJH)
Heroic Adventure by Kenneth Baird (Hal Leonard)

7th Grade Intermediate Orchestra
Overture for Strings by George Frideric Handel, arr. by Bob Lipton (Grand Mesa)
Midnight Tango by William Pordon
Misty Cavern by James Kazik (Hal Leonard)


* * *


Ash Grove arr. by Michael Hopkins (Kendor)
Shepherd’s Hymn by Ludwig van Beethoven, arr. by Richard Meyer (Alfred)
Critter Crawl by Carol J. Johnson (Alfred)
    
8th Grade Advanced Orchestra
A Quiet Music by Douglas Wagner (Alfred)
Sanseneon by Robert Frost (Kjos)
Assemble the Minions! by Jeffrey S. Bishop (Wingert-Jones)


* * *


Allegro from Concerto Grosso, Opus 6, No.1 by George Frideric Handel, arr. by Sandra Dackow (Tempo Press)
Fantasia on an Original Theme by Joseph Phillips (Alfred)
Plink, Plank, Plunk! by Leroy Anderson (Alfred)


* * *


Brandenburg Concerto No. 3 by J.S. Bach, arr. Merle J. Isaac (Alfred)
Rey’s Theme by John Williams, arr. Robert Longfield (Hal Leonard)
Spring Breezes, arr. Richard Meyer (Alfred)

Assessment or State Festival Programs
7th Grade Beginner Orchestra
Anthem of Triumph by Tyler Arcari (Excelcia)
A Beethoven Lullaby by Brian Balmages (FJH)
Russian Music Box by Soon Hee Newbold (FJH)


* * *


Into the Sky! by Brian Balmages (FJH)
St. Anthony Chorale by Joseph Hadyn, arr. by Sandra Dackow (Tempo Press)
Sahara Crossing by Richard Meyer (Alfred)

7th Grade Intermediate Orchestra
Simple Gifts by Joseph Brackett, arr. Carrie Lane Grueselle (FJH)
Echoes of Bartók by Béla Bartók, arr. by Walter Cummings (Grand Mesa)
Night Shift by Richard Meyer (Alfred)


* * *


British Grenadiers by John Caponegro (Kendor)
Amazing Grace arr. by Edmund Siennicki (Ludwig-Masters)
Orpheus in the Underworld by Jacques Offenbach, arr. by Sandra Dackow (Tempo Press)


* * *


Algadoon by Henry Purcell, arr. by Lennie Niehaus (Kendor)
Belvedere Suite by Merle Isaac (Alfred)
Barocca by Shiri Atwell (Latham)

8th Grade Advanced Orchestra
Dance of the Tumblers by Nicolai Rimsky-Korsakov, arr. by Sandra Dackow (Tempo Press)
Lullaby to the Moon by Brian Balmages (FJH)
Finale, Symphony No. 5 by Ludwig van Beethoven, arr. by Richard Meyer (Wynn)


* * *


The Red Lion by Jeremy Woolstenhulme (Kjos)
Allegretto, Symphony No. 7, by Ludwig van Beethoven, arr. by Don Olah (MSB)
Las Mariposas Exóticas by Doug Spata (Alfred)


* * *


Mythos by Sean O’Loughlin (Carl Fischer)
Allegro in D for Strings (concerto for two trumpets) by Antonio Vivaldi, arr. by Steven Frackenpohl (Alfred)
Relic by Erik Morales (FJH)


* * *


Autumn by AntonioVivaldi, arr. by Douglas E. Wagner (Alfred)
Toccatina by William Holfeldt (Kjos)
Adra’s Dance by Brendan McBrien (Alfred)


* * *


    Now, is this formula foolproof? Absolutely not. Being a great DJ does not guarantee you will have great performances. However in the large world of middle school orchestra literature, this gives a starting point from which to navigate.
    Have I chosen poorly using this formula? Yes, and I probably will again. Using this method does not eliminate the trial and error of selecting programs. It does, however, keep your program balanced and help ensure that you can answer yes to the four initial questions. This same formula could easily apply to music selection for music ensembles outside of middle school orchestra.
    Understanding the logistics of programming and how to balance choices to fit your curriculum and audience are concepts applicable to any performing ensemble. Regardless of what type and level of music you teach, you can create a great setlist. Now get back into that music library, and become the master DJ your students always knew you could be.