Melillo and Johnson explain that there resides a practical use for ‘tuners’ as ‘calibrators’. In calibrating an instrument, less work is necessary when TUNING begins, a phenomenon not at all suited for ‘tuners’ but rather Music-making. For Beth Sokolowski, a middle school band director in the North Penn School District, “The use of PAD Bass in tuning, intoning and performing engages students in the thoughtful and cognitive process of making music. The PAD Bass provides these growing musicians with a foundation; a consistent fundamental from which the ensemble can learn, own and understand to tune horizontally and intone vertically. As students move from the application of recognizing fingering patterns in regard to notes on a piece of paper to the synthesis of producing sonorous beat-less sound in relation to the ensemble, the transfor- mation and evolution of these student musicians is inspiring. Students immersed in ensembles employing PAD Bass are now performing some of the most beauti- ful, exciting and re- warding music of their instrumental journey.”


Figure 2. Utilization of physical space in a symphonic ensemble setting


As a music education major at The Catholic University of America, Wal- ter Avellaneda discusses his first experience in performing in an ensemble utilizing PAD Bass. “As a bass trombone player by blood, I have always leaned to the tubas to line up and intone chords as any bass trombone player would. But, in one giant sweep, in this one ensem- ble, the musicians were freed. The tuba player no longer played pseudo-string bass parts and was ac- tually playing a part that utilized the skills he at- tained and honed in his private lessons; there were no more whole notes. Below him was the PAD bass, at the true fundamental octave. Having that stabil- ity, by the end of the concert we were tuning over- tones... And a bass trombone player was unleashed!”


years in the composing and thirty years in the refinement of instrumental placing by means of recording experimentation in union with advances in technology have led to this culminating work entitled LAST WORLD STANDING. No longer are restraints a consideration in the Musical out- pouring. A True Romanticism has been achieved by means of Science.”


For Ralph Ford, the impact of his experiences rehearsing and recording Melillo's Music, with the composer's almost obsessive call for proper in- strument spacing and the logistics-simple infusion of electronic media into the symphonic band setting, have so transformed his methods of teaching and composing, that as an exclusive writer for the Belwin Division of Al- fred Publications, he has now adopted that model into his own writing. “As the traditional wind band evolves, incorporation of electronic media is being recognized by editors who are able to see this hybrid future, for it is now the present.”


Ford’s editor, George Megaw, supports the use of electronics to enhance the timbral palette for orchestration purposes. Ford’s latest four-movement work for Symphonic Band, Suite: SEA TO SKY, is scored for synth-harp, synth-choir, and PAD Bass. (The standard STORMWORKS synthesized additions.) Employing new instruments into ensembles has been met with resistance throughout history, but as technology advances, innovative tools that support traditional ensembles will be seen as fundamental components of the total ensemble, enhancing the spectrum of color available to com- posers, ultimately benefiting teachers and student musicians.


Figure 3. Tri-Decca Recording System


With the utilization of Function Chorales, PAD Bass, and new seating po- sitions established as essential components of the Troy University Sym- phony Band, the collaboration to record with Melillo began. The first recording project so impacted the ensemble that the students requested making a STORMWORKS CD part of the curriculum at Troy. In the spring of 2007 Melillo returned to record STORMWORKS Chapter 13: Whispers on the Wind. Numerous adjustments and improvements were made as a result of the first recording session. Further enhanced changes in physical seating space (see Fig. 2), a carefully researched miking con- figuration with a Tri-Decca System typically utilized in the days of Stereo- phonic High Fidelity (see Fig. 3), enhancement of natural reverberation by the use of 2 additional rear-hall mikes, employment of direct box lines for each synthesizer, and the use of a new Roland synthesizer deriving one voice as a choir were some of the adaptations made. These factors, in con- junction with Melillo’s orchestration and the musical advancement of the Troy ensemble, converged to produce what Melillo envisions as “Music rendered by a Symphonic Band of the 3rd millennium.”


Technology for technology’s sake? Hardly. Consider this excerpt from the score notes to LAST WORLD STANDING, recently premiered by Karl Geroldinger in Austria’s Brucknerhaus. “Thirty years in the making, thirty


46


If our focus as music educators is to provide our students with the opportunity to grow as learners and musicians, then it is incumbent upon us to search for innovation, new technologies that sup- port our curricular and educational goals. We live in a technology-driven time with an abundance of resources available. It is our duty to bring to classrooms, ensembles, and students the true meaning of making beautiful music. This vision can become a reality in the 21st Century by uti- lizing third millennium applications for timeless Music.


Elizabeth Sokolowski is the Learning Coordinator for K-12 Music and Art Programs in the North Penn School District (Lansdale, PA). sokolwe@npenn.org Ralph Ford is Director of Bands and Coordinator of Winds and Percussion at Troy University (Troy, AL). rford@troy.edu


Contributors:


Walter Avellaneda graduated from The Catholic University of America in May 2007 and has accepted a position as Director of Instrumental Music at John F. Kennedy High School (Bellmore, NY) wally@wfamusic.com


Tom Davis is K-12 Curriculum Area Lead Teacher for the Canandaigua City School District (Canandaigua, NY) www.tomdavismusic.com


Dr. William V. Johnson is Director of Bands at The California Polytech- nic State University (San Luis Obispo, CA) wjohnson@calpoly.edu and www.windorchestra.calpoly.edu


Stephen Melillo www.stormworld.com ALA BREVE


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