ANCHOR BAY HIGH SCHOOL ADMINISTRATION

Ms. Judy Stefanac, Principal Mr. Hank Anderson, Assistant Principal

Mr. Vic Balaj, Assistant Principal Mrs. Sherry Kenwood, Assistant Principal

WWW.ANCHORBAYBANDS.ORGWWW.ANCHORBAYBANDS.ORGWWW.ANCHORBAYBANDS.ORGWWW.ANCHORBAYBANDS.ORG

UPCOMING INSTRUMENTAL MUSIC EVENTS

5/11/09—Band Booster Meeting 5/13/09 - 5/17/09 — Florida Trip

5/21/09 — New Marcher Orientation 5/25/09—New Baltimore Memorial Day Parade

5/28/09 — Instrumental Music Banquet (Salt River) 5/31/09 — Graduation (McMorran Auditorium, Port Huron)

6/2/09 —Texas Roadhouse Restaurant of the Month (4pm-10pm) 6/9/09 — 6/11/09 Pre-Marching Band Camp (‘09 - ‘10 MB)

6/28/09 — Bay Rama Parade (‘09- ‘10 MB) 7/7/09 — Hamlin Pub Restaurant of the Month (4pm-10pm)

7/27/09-8/1/09 — Marching Band Camp

ANCHOR BAY BAND BOOSTER EXECUTIVE BOARD

Lynnette O’Brien, President Chris Worton, Vice President - Fundraising

Debbie Esser, Vice President - Special Event Fundraising Heidi Gnesda, Treasurer

Ron Reed, Financial Secretary Julie Foote, Secretary

Molly J. Dee, Instrumental Music Director P. David Visnaw II, Instrumental Music Director

The Anchor Bay High SchoolThe Anchor Bay High SchoolThe Anchor Bay High SchoolThe Anchor Bay High School Instrumental Music DepartmentInstrumental Music DepartmentInstrumental Music DepartmentInstrumental Music Department

proudly presents theproudly presents theproudly presents theproudly presents the

9th GRADE CADET BAND9th GRADE CADET BAND9th GRADE CADET BAND9th GRADE CADET BAND CONCERT BANDCONCERT BANDCONCERT BANDCONCERT BAND

and theand theand theand the

9th GRADE SYMPHONIC BAND9th GRADE SYMPHONIC BAND9th GRADE SYMPHONIC BAND9th GRADE SYMPHONIC BAND

inininin a a a a

SPRING CONCERTSPRING CONCERTSPRING CONCERTSPRING CONCERT

Wednesday, May 6, 2009Wednesday, May 6, 2009Wednesday, May 6, 2009Wednesday, May 6, 2009

7:30 P.M.7:30 P.M.7:30 P.M.7:30 P.M.

Anchor Bay High School Auditorium Anchor Bay High School Auditorium Anchor Bay High School Auditorium Anchor Bay High School Auditorium

Molly J. Dee, Instrumental Music DirectorMolly J. Dee, Instrumental Music DirectorMolly J. Dee, Instrumental Music DirectorMolly J. Dee, Instrumental Music Director

P. David Visnaw II, Instrumental Music DirectorP. David Visnaw II, Instrumental Music DirectorP. David Visnaw II, Instrumental Music DirectorP. David Visnaw II, Instrumental Music Director

9th GRADE CADET BAND9th GRADE CADET BAND9th GRADE CADET BAND9th GRADE CADET BAND Heartland Overture...……………….…....………William Himes The Great Locomotive Chase…...…………...Robert W. Smith

CONCERT BANDCONCERT BANDCONCERT BANDCONCERT BAND Tribal Quest…………………...…….……..……Sean O’Loughlin Dinosaurs………………...…...……….……..…..Daniel Bukvich

9th GRADE SYMPHONIC BAND9th GRADE SYMPHONIC BAND9th GRADE SYMPHONIC BAND9th GRADE SYMPHONIC BAND Simple Gifts: Four Shaker Songs.………………..Frank Tichili II - Dance I - In Yonder Valley IV - Simple Gifts Beauty and the Beast………………...……….…arr. John Moss

PROGRAMPROGRAMPROGRAMPROGRAM

Immediately following tonight’s concert, please join us in Immediately following tonight’s concert, please join us in Immediately following tonight’s concert, please join us in Immediately following tonight’s concert, please join us in the cafeteria for an afterglow .the cafeteria for an afterglow .the cafeteria for an afterglow .the cafeteria for an afterglow .

STEPHANIE DOPPKE for her help in providing lights, sound, and video footage for Channel 6.

SUE SCHMEISL for organizing the afterglows at both Spring Concerts.

LYNNETTE O'BRIEN and the BAND BOOSTER EXECUTIVE BOARD for the time dedication and volunteer service to the students of the Anchor Bay HS Instrumental Music Program!.

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 EducationA Rationale for Music EducationA Rationale for Music EducationA Rationale for Music Education

CONCERT BANDCONCERT BANDCONCERT BANDCONCERT BAND

9th GRADE CADET BAND9th GRADE CADET BAND9th GRADE CADET BAND9th GRADE CADET BAND

* Denotes Section Leader

FLUTE Courtney Bunnell Olivia Debus

Stephanie Kindle Amanda Lumley Shelby Tatar*

CLARINET Carly Glesen Melissa Harvey Lindsey Hetzel Kasandra Hunt Jeremy Kirtley* Jeff Oldani

Megan Stephens

BASS CLARINET Cassie Bastian Darren Kingsley

FRENCH HORN Myles Cleverly

TROMBONE

Michael Kiernan* Aaron Mahoney Bradley Robinson

PERCUSSION Jason Martin

Dionte McBride* Jacob Miller

ALTO SAXOPHONE Katlynn Derosia* Dusan Nikic

Connor Saldana Nick Saurini

TENOR SAXOPHONE Edward Komph, Jr.

Baritone Saxophone Brenton Shoulders

TRUMPET

Taylor Blanchette* David Boble

Nathan DeBusscher Jason Kammerer Preslie Jeans Joseph Sieg

BASS CLARINET Rymski, Zachary

ALTO SAX

Andonoff, Brandon Blanchette, Sarah* Brown, Deundr’e Domanski, Kyle Kirtley, David

TENOR SAX Hicks, Kristina*

BARITONE SAX Logsdon, Becca*

FLUTE Carroll, Meghan Dewolf, Antoinette Domagalski, Samantha Giordano, Breanne*

Mize, Brook Rowley, Tricia Smith, Christina Watson, Kristina Wrobel, Katie

CLARINET

Boutin, Jessica Elya, Amy Karns, Jen

Merrick, Genna Rafferty, Shannon Schwager, Vicki* Taylor, Jessica

FRENCH HORN Grashik, Zack*

Roach, Stephanie Wirick, Jacquie

TRUMPET

Gouin, Jessica Kirtley, Brandon Kuenner, Doug Motloch, Kaitlyn* Puglia, Chelsie Sullivan, William Worton, Micheal

TROMBONE

Gregoire, Kasey Semaan, Kristopher Sintebin, Michael Swisher, Nathan*

EUPHONIUM Hromek, Sean* Parker, Tony Strange, Joey

TUBA

Burnette, Sammie* Christ, Rachelyn O’Bryan, Kevin

PERCUSSION Brazer, Adam

Hannawi, Jacob* Hannawi, Melinda* Mackay, Benjamin Pakulski, Mike Shirley, Nicki

CONCERT ETIQUITTECONCERT ETIQUITTECONCERT ETIQUITTECONCERT ETIQUITTE

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.

Thanks to all that have been using the Kroger Community Rewards Program to benefit the Anchor Bay Band Boosters. This program benefits the students of the Anchor Bay Bands by allowing our organization to receive 5% of your total purchases at Kroger Stores.

Kroger has recently changed how their program works. The change eliminates having to use/charge the "gift card," but does require all participants to register their "Kroger Plus Card" online. Kroger has assigned the Anchor Bay Band Boosters a new NPO number of 82352 (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 Anchor Bay Band 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 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 82352 (or name of organization) and select the

Anchor Bay Band Boosters from list that pops up and click on confirm.

• To verify you are enrolled correctly, you will see your organization's

name on the right side of your information page.

*Denotes First Part/Section Leader �Denotes East Shore Honors Band

9TH GRADE SYMPHONIC BAND9TH GRADE SYMPHONIC BAND9TH GRADE SYMPHONIC BAND9TH GRADE SYMPHONIC BAND

FLUTE

Marissa Alphonse* � Kelsea Boswell* Olivia Haskin Jessica Jones

Rachel Kempisty Sarah Miller* Clara Zundel

CLARINET Remi Beach

Natashia Brown Carina Cavanaugh

Emilie Cline* Jacob Debrowski* Kelsey Endres Karissa Heino*

Alex Kish Filippo Leone

Angelene Lubarovski Kierstin Putman Jessica Stocker

BASS CLARINET

William Turri� Kristin Tyll

FRENCH HORN Martin Burton

Austin Fillenworth* Jacob Hunter

TROMBONE James Abbey*

Steven Brancaleone Nathan MacDonald Lawton Monroe

EUPHONIUM Douglas Alvis David White

TUBA Paul Kolarik

Jordan Martinez

PERCUSSION Mary Barber

Kameron Hoxey Nick Marr*

Sharla Rudnick Elizabeth Walker Richie Woonton Sterling Morrison*

OBOE Hazel Foster

Ashley Ranilovich

Bassoon Mary Hawes

Gabrijela Konjevod

ALTO SAXOPHONE Brandon Goerlich* Josh Pavlica* Zach Starr Louis Zedan

TENOR SAXOPHONE Matthew Sarti Alyssa Werner

BARITONE SAXOPHONE Ryan Dahl Ian Guir

TRUMPET Kylar Beierlein* Stephen Caren

Adrianna Czostkowski Jonathan Fogarty Zach Jensen Chris LaPorte* Megan Starosta

Beauty and the Beast (cont.) In the 1930s and again in the 1950s, Walt Disney attempted to adapt "Beauty and the Beast" into a feature but could not come up with a suitable treatment, so the project was shelved. It wasn't until The Little Mermaid (1989) became hugely successful that they decided to try it a third time. In 1991 Disney produced an animated film of Beauty and the Beast with screenplay by Linda Woolverton, music by Alan Menken, and lyrics by Howard Ashman. It won Academy Awards for Best Song and Best Original Score and is the only animated feature to be nominated for a Best Picture Oscar. Much of the story has been changed from the original fairy tale as the perfect Belle loves the Beast enough to see past his outer ugliness. Beauty and the Beast is now considered one of the Walt Disney Company's classic animated films. Songs take up twenty-five minutes of the eight-nine minute film and only five minutes were without any musical score at all. Highlights from Beauty and the Beast, arranged by John Moss, features songs from the 1991 Disney animated film including Prologue, Belle, Gaston, Be Our Guest, Beauty and the Beast and the Transformation.

PROGRAM NOTESPROGRAM NOTESPROGRAM NOTESPROGRAM NOTES Simple Gifts: Four Shaker Songs (cont.) The second movement, "Dance," makes use of a tune from an 1830's Shaker manu-script. Dancing was an important part of Shaker worship, and tunes such as this were often sung by a small group of singers while the rest of the congregation danced. One interesting feature occurs near the end of the movement, when the brasses state the tune at one-quarter speed in counterpoint against the woodwinds who state it at normal speed. The third movement is based on a Shaker lullaby, "Here Take This Lovely Flower," found in Dorothy Berliner Commin's extraordinary collection, Lullabies of the World. and in Daniel W. Patterson's monumental collection, The Shaker Spiritual. This song is an example of the phenomenon of the gift song, music received from spirits by Shaker mediums while in trance. Like many Shaker songs, this lullaby embodies the Shakers' ideal of childlike simplicity. The finale is a setting of the Shakers' most famous song, "Simple Gifts," sometimes attributed as having been received from a Negro spirit at Canterbury, New Hampshire, making "Simple Gifts" possibly a visionary gift song. It has been used in hundreds of settings, most notably by Aaron Copland in the brilliant set of variations which conclude his Appalachian Spring. Beauty and the Beast

Beauty and the Beast is a traditional French fairy tale, and the story was first pub-lished in 1740. The best-known written version was published in 1756 by Jeanne-Marie Leprince de Beaumont, and an English translation appeared in 1757. The story in-volves Belle (a girl who is dissatisfied with life in a small, provincial French town, con-stantly trying to fend off the misplaced "affections" of conceited Gaston), and the Beast (a prince who was placed under a spell because he could not love). Prince Adam was cursed to a beast form by an Enchantress who saw no love in his arrogant heart for others. The one way he could break the spell was to learn to love another and earn her love in return before the last petal from his enchanted rose fell, which would bloom until his twenty-first birthday. But who could ever learn to love a beast? Ten years later, Maurice, an inventor from a nearby village, becomes lost in the woods and seeks shelter in the Beast's castle; the Beast imprisons him for trespassing. His daughter, Belle, a bookworm who dreams of life outside her provincial village, finds him trapped in the castle and offers her place in his stead. The Beast accepts with the promise she'll remain in the castle forever. In the beginning Belle views him as nothing more than a monster, he views her as difficult and stubborn. But the two soon taste the bitter-sweetness of finding you can change and learning you were wrong.

PROGRAM NOTESPROGRAM NOTESPROGRAM NOTESPROGRAM NOTES Heartland Overture

William Himes (b. 1949) earned his Bachelor and Master of Music degrees from the University of Michigan. For five years he taught instrumental music in the public schools of Flint, Michigan, where he was also adjunct lecturer in low brass at the University of Michigan-Flint. Mr. Himes continues to be in demand as a conductor, composer, lecturer, clinician, and euphonium soloist, and has appeared throughout the United States, Canada, Australia, New Zealand, Sweden, Denmark, Norway, Jamaica, Argentina and the United Kingdom.

Since 1977, Mr. Himes has been music director of The Salvation Army’s Central Territory, which encompasses the eleven Midwestern states. In this capacity he is also conductor of the Chicago Staff Band, an internationally recognized ensemble whish he has led on successful tours of new Zealand, Chile, Canada, Jamaica, Panama, Mexico, Singapore, the Philippines, Hong Kong, England and Australia.

While the geography of the United States has frequently inspired musical works (“Appalachian Spring,” “Grand Canyon Suite,” and “West Side Story” to name a few), Heartland Overture celebrates the people of the Midwest. Nowhere are the qualities of honestly, pragmatism, hard work, and community spirit more evident than in American’s Heartland.

Appropriately, the work opens with a noble fanfare followed by a succession of warm and expressive melodies. While memories and feelings have an influence on the mood and content, one of the themes was actually the result of a good friend’s phone number transferred from numbers to notes!

The Great Locomotive Chase

Robert W. Smith (b. 1958) is one of the most popular and prolific composers of concert band and orchestral literature in America today. He has over 400 publications receiving a Bachelor of Music Education from Troy State University (AL) and a Master of Music from the University of Miami (FL).

His original works for both the concert band and orchestra have been performed throughout the world. His first two symphonies have captured the imaginations of musicians and audiences throughout North America, Europe, Australia and Asia. As a conductor and clinician, Mr. Smith has performed throughout the United States, Canada, Japan, Australia, Italy, Austria and the United Kingdom. His compositions and arrangement have been used in a variety of situations including major television network broadcasts.

In the early years of the Civil War, Georgia was largely protected from military hostilities, leaving it free to ship arms and munitions, food, and supplies to Confederate troops on the battlefields to the north east. It was the importance of the extensive rail system to the Confederates that prompted James Andrews, a Union spy from Kentucky, to attempt a daring effort to disrupt the 138-mile rail line connecting Atlanta and Chattanooga.

PROGRAM NOTESPROGRAM NOTESPROGRAM NOTESPROGRAM NOTES

The Great Locomotive Chase (cont)

Along with 19 Union soldiers dressed as civilians, Andrews arrived at Marietta April 12, 1863. Here they boarded a northbound train pulled by the General, a wood-burning locomotive built in 1855. At Big Shanty, the train stopped so the passengers and crew could eat breakfast. Andrews used the break to uncouple the engine, wood tender and tree box cars from the passenger cars. They then sped off with the goal of damaging as many W&A tracks and rail bridges as possible. Hearing the General steam out, conductor William Fuller and two W&A employees ran out of the hotel dining room and pursued the stolen train by foot for several miles. Ultimately, Fuller would commandeer the locomotive Texas and, joined by confederate soldiers, finally catch Andrews’ Raiders – a race Joel Chandler Harris later characterized as “the boldest adventure of the war.”

This composition for concert band is based upon this fascinating event in American history. It was composed in the fall of 1999 for the Tapp Middle School Concert Band under the direction of Erin Cole. The work is dedicated to the Tapp Middle School Band in commemoration of their performance at the University of Georgia in December of the same year.

Dinosaurs

"Dinosaurs" was written specifically for educational purposes in a realistic setting. It was commissioned by the Moscow Junior High band in Moscow, Idaho. The conductor, Dale Kleinert, requested a piece with rhythmical intensity, using some minimalism, singing, accessory instruments with the same kind of integrity and respect as traditional instruments, and challenging percussion parts. Daniel Bukvich went a step further, visiting the school and taking special note of some of the dilapidated percussion instruments. He utilized the unique timbre produced by the school's broken drums and featured it in the piece. While it is not a requirement for ensembles to break their drums in order to perform this work, a similar effect could be generated by purposely distorting the tuning of the heads and loosening tension rods around the drum.

Daniel Bukvich was born and raised in Montana, U.S.A., and has taught at the University of Idaho since 1976. He travels (reluctantly) throughout the United States and Canada as a guest composer, conductor, and percussionist in concerts with professional, college, high school, and grade school bands, orchestras, choirs, honor and all-state groups and has been known to appear (possibly as a result of physical threat to his person or family) at similar events in Europe and East Asia.

DID YOU KNOW... College bound high school students would be taking courses similar to those in the new standards along with taking band all four years regardless of state requirements. In addition to their primary band class, some students take Jazz Band or an extra concert band as their electives in their Junior and Senior years. With a little planning and consideration to scheduling in 9th grade, every student can take band for four years while still satisfying the graduation requirements. We all know that colleges and employers look highly upon band students in the application process because it shows commitment, discipline and team work.

PROGRAM NOTESPROGRAM NOTESPROGRAM NOTESPROGRAM NOTES

Tribal Quest Tribal Quest is a dramatic work for concert band in the spirit of some of the composer’s favorite film scores. The music is dark and aggressive, yet lush and compassionate at the same time. Rhythmic variety and intensity plays a major role throughout the work. The piece begins with a slow and dramatic presentation of the main melody. It is an ominous sign of things to come. This builds up into the fast section with strong rhythmical figures. This piece utilizes percussion grooves and percussion-like effects in the wind players such as clapping and stomping. After a rich, passionate slower section the percussion groove returns for a compelling ending. Sean O’Loughlin’s music has been performed by the Boston Pops Orchestra, the Hollywood Bowl Orchestra, the Syracuse symphony, Oregon Symphony, the Syracuse Society for New Music, and Boston Brass to name a few. His musical style reflects his great love for the tradition of accessible American composition pioneered by Leonard Bernstein, Aaron Copland, Samuel Barber, and others. Sean’s extensive musical background includes orchestrating, copying, and proofreading scores for television and film in Los Angeles, as well as on-air announcing for a national jazz public radio station. He is a frequent guest conductor at schools and honor groups around the country. An annual ASCAP Special Awards winner, Sean was a composition fellow at the Henry Mancini Institute in Los Angeles, and holds degrees from New England Conservatory and Syracuse University. Carl Fischer is the exclusive publisher of Sean’s compositions. Simple Gifts: Four Shaker Songs The Shakers were known for their architecture, crafts, furniture, and perhaps most notably, their songs. Shaker songs were traditionally sung in unison without instrumental accompaniment. Singing and dancing were vital components of Shaker worship and everyday life. Over 8,000 songs in some 800 songbooks were created, most of them during the 1830's to 1860's in Shaker communities throughout New England. Simple Gifts is built from four Shaker melodies - a nature song, a lively dance tune, a tender lullaby, and most famously, "Simple Gifts," the hymn that celebrates the Shaker's love of simplicity and humility. In setting these songs, the composer sought subtle ways to preserve their simple, straightforward beauty. Melodic freshness and interest were achieved primarily through variations of harmony, of texture, and especially, of orchestration. The first movement is a setting of "In Yonder Valley", generally regarded to be the oldest surviving Shaker song with text. This simple hymn in praise of nature is attributed to Father James Whittaker (1751 - 87), a member of the small group of Shakers who emigrated to America in 1774.