Pauline Riddle, William Jewell College

In an already over-crowded college music curriculum, is there a place for technology in teaching keyboard ensemble literature? What basic equipment would this course of study require? How can technology and keyboard ensemble literature be combined to increase the student's musicianship?

Change is inevitable! Few musicians would admit to having their heads in the sand, yet many are reluctant to branch out and use new tools in teaching music. While there is comfort in the tried and familiar; technological advances in the field of music over the past ten years (such as the computer, music software, and Musical Instrument Digital Interface (MIDI) keyboards) have been phenomenal. Keyboard ensemble repertoire provides an excellent resource for incorporating new technology and innovation into the experience of music. Using technology at William Jewell College (WJC) in Liberty, Missouri, has expanded the music curriculum and injected a new excitement and joy into playing music.

There are a number of ways technology can be incorporated into a music curriculum. One possibility for adding a new course of study is to offer a one hour credit course each semester, meeting one hour a week. Yet another approach to creative music used at WJC is to offer a course during the two-week "Winterim" term between the winter and spring semesters. With either approach students gain an introduction to the computer (we use the Macintosh), MIDI, synthesizers, and modules. In addition, students increase their musicianship and develop deeper insights into the meaningful components of music.

A practical sequencing software program, Performer--by Mark of the Unicorn, is introduced at WJC during the first semester. Using the Performer software, each instrumental part is sequenced on a separate track. Band-in-a-Box, a MIDI-based "music minus one" program, is another very effective program that helps with improvisational practice. Because of its "user friendly" simplicity, this software program is an excellent choice for an abbreviated time such as the Winterim period at WJC.

During the second semester, a notation software program, Music Prose---by Coda Music Technology, is introduced. With Music Prose, three choices of data entry (Simple, Speedy, and Hyperscribe) are available. It is an effective program for printing the score and also for extracting individual parts. This program enables the student to print out improvisations, thus making it possible to analyze their work. Data sequenced with the Performer software can also be saved in a Standard MIDI File and then transferred to Music Prose for printing.

In this course of study, student workstations of basic equipment are needed which consist of the following: Macintosh computer, MIDI interface, MIDI keyboard, amplified speakers, multi-timbral modules, MIDI and audio cables. In addition, compatible printers for various qualities of printing are used. In the Piano Lab at WJC, the Yamaha Clavinova keyboard is used to sequence instrumental parts for keyboard ensemble repertoire. A MIDI interface connects the computer to the Clavinova keyboard, thus allowing data played on the keyboard to be "recorded" on the computer.

The E-Mu Proteus modules 1 and 2, contain sampled sounds which offer a variety of high-quality voices for orchestrating ensemble music. Each individual patch (voice) is designed to play within the range of the emulated acoustic instrument. A separate channel number can be assigned to each sequenced track. The channel number can then be programmed to patch numbers on the sound module. Thus, each track will be playing a separate instrumental part. The multi-timbral Proteus modules can each play up to 16 channels. With a relatively inexpensive MIDI interface like the Opcode MIDI Translator on both the computer modem and printer ports, a total of 32 channels are available.

A workable teaching arrangement is two students at each workstation. In this way, they are able to encourage, motivate, and inspire each other as they learn together. In a recent Music Educator's Journal article, Dr. Robert Pace (1992) states "peer interaction is an important part of the learning process. Students ultimately become their own teachers, more independent and creative."

The class curriculum depends primarily on the keyboard proficiency of the students. "God Rest Ye Merry, Gentlemen" from Celebrate The Season II by Michael Scott is a good beginning sequencing (recording) composition for using the Performer software program. Since the notes in this arrangement alternate between the right hand and left hand, it is best to record everything on one track. A printed instruction assignment sheet, in detailed step form, should be given to each student to assist in completing the project.

Students may practice sequencing notes by using the Performer program and playing in real time or in "step record." In step record; notes, chords, or rests are entered one at a time, specifying their durations. While step recording is easy for less experienced keyboard students, most students prefer recording in real time because it is faster. Recording in real time should be done by playing with a metronome, at a slower tempo. Surprisingly, recording in real time represents a challenging experience for most students.

"Silent Night" from Celebrate The Season by Michael Scott is another good beginning level composition. The right hand keyboard part is first recorded on track 1, and then the left hand keyboard part on track 2. The student may play the piece on the keyboard along with both computer tracks sounding at any desired tempo, or play one part with the computer playing the other part.

After each part is sequenced to track 1 and track 2, a patch from the sound module may be assigned for each track. The WJC Keyboard Lab has two sound modules, the E-Mu Proteus 1 and 2. The sounds are based on actual digital recordings of "real" instruments. A MIDI cable and interface connect the computer and the module. The MIDI cable connects to IN on the Proteus and is controlled by MIDI messages received at the MIDI IN connector. The Proteus, a multi-timbral module can play more than one sound at the same time. Multiple patch sounds may be accessed on different MIDI channels simultaneously. Each of the 16 MIDI channels can be assigned to play a specific patch sound.

Counting in strict rhythm is one of the first lessons students learn in sequencing and playing duets with the computer. Each quarter note equals 480 "ticks" and the eighth note receives 240 "ticks". Rhythm takes on a new meaning as the student can visually see the number of "ticks" that have been sequenced for each note and exactly where the note was rhythmically played. Many musicians play slightly ahead of the beat.

It is possible to align rhythmic inconsistency by quantizing the track. Quantizing moves notes to the nearest beat division selected. This step is necessary when several tracks play simultaneously. Editing capabilities make it possible to delete, change or insert a note on any count. Notes may be programmed to play ahead of the beat if this is desirable for effect.

Programming ritards and tempo changes cause the student to become more conscious of their importance. As students create musical scores, the importance of ritards and tempo changes is magnified. This happens as students learn how music sounds when played in strict rhythm. As a musical score is created, the metronome becomes increasingly important.

Another insight into the student's expanding musicianship is the importance of velocity, the pressure used in playing each key. Velocity is recorded on a scale of one hundred twenty-eight increments. Note velocities can be edited for individual notes or by regions. A simple command can be used for editing the entire track. Usually, students are not aware of or have not stopped to think about the meaning of velocity. Playing has many levels of velocity. Accents may be created by changing the velocity on one note. Crescendos and decrescendos can also be programmed into the score.

Assigning a different composition to students at each workstation provides the class with a variety of literature. The following are several additional examples of compositions used at WJC. "Sugar Cane" by Susan Hill is a 25 measure rhythmic easy composition for one piano, four hands. The four parts can be sequenced on four tracks, thus making it possible to practice the piece in a variety of ways. The student can play two hands along with the sequenced duet. "Bamboo Beat" and "Vanilla Beans" are additional examples of four hand duets that work well.

"Rondino" by Wim Brandse, a more complicated piece with 57 measures, is scored for two pianos, four hands. Part 1 has a section of unison eighth note triplets playing against eighth notes in Part II. The sequenced tracks aid the student in hearing and then playing the correct rhythms.

After a few assignments of sequencing parts and assigning channel and patch numbers to each track, the student can be encouraged to sequence a keyboard composition with instrumental parts. For example; "My Spirit Be Joyful" by J. S. Bach, written for keyboard and two trumpets, has 144 measures with a D.C. al Fine. This piece was selected to be sequenced and then performed on a departmental recital at WJC. All of the parts were sequenced on separate tracks and a bell part, similar to a zimbelstern, was created on one track along with a timpani part on another track. For the recital, a student played the keyboard part on the organ along with the computer interfaced to the Proteus. The bell and timpani tracks provided rhythm that assisted the keyboard performer in playing with the sequenced instrumental parts. The audience was fascinated with the computer screen scrolling the tracks.

A more complicated composition with 122 measures and several meter and tempo changes, "Two Piano Rondo" by Howard Pancoast, was chosen for another departmental recital. "Rhythmically and accented" are the beginning instructions given for playing this piece. The score takes on new meaning as velocity and dynamics, change in time signatures and keys, ritards, and various tempos and patch numbers are programmed into each track. The editing possibilities are virtually endless and can require detailed editing of the tracks. During the performance, all of the tracks were played using the computer interfaced with the Proteus 1 and 2. Since both modules were used, they were connected to the computer printer port and modem port. Students playing two keyboards, an electric guitar and a trumpet created their own parts to play with the tracks. Creative synthesizer patches were selected by the keyboard player.

Many learning opportunities were presented while sequencing "Fanfare, Fugue, and Processional" by Robert Wetzler, scored for organ, three trumpets, horn, trombone, baritone, tuba, snare drum and suspended cymbal. The score has several tempo changes along with ritards and 25 changes in meter.

Another method of presentation for keyboard duets is to record one part on a cassette or Digital Audio Tape (DAT) from the computer and module. This allows a keyboard player to practice and then play along with the tape in performance. This technology also enables a student to sequence the instrumental parts and then practice a concerto along with the simulated orchestra.

This past spring a WJC class ensemble, Nova Musica, performed "Concerto in G Major for Piano" by Robert Vandall on a departmental recital. Two electric guitars and two keyboards played along with the computer and Proteus 1. The keyboard players were highly motivated to spend extra time practicing their parts because they did not want to be embarrassed in front of their peers. In addition, they enjoyed practicing the music. Most students practice very hard to perfect their playing skill for public events and the audience is intrigued with the combination of sounds, both sequenced and improvised.

In a recent article, Sam Holland states "electronic instruments and MIDI remain merely the tools, but the level of excitement over what a single musician or a group can achieve through MIDI is magnetic to students..." (1992). Using technology to perform keyboard ensemble literature at WJC has allowed students to generate a new energy and excitement and discover an inner meaning in music.

Holland, S. (1992). Technology: Motivation and new energy. Soundboard, 5.

Celebrate The Season II Michael Scott CPP/Belwin , Inc.

(God Rest Ye Merry, Gentlemen)

Celebrate The Season Michael Scott CPP/Belwin , Inc.

(Silent Night)

Bamboo Beat Ruth Perdew Myklas Music Press

Vanilla Beans Susan Hill Myklas Music Press

Sugar Cane Susan Hill Myklas Music Press

Black Key Suite Robert D. Vandall Myklas Music Press

(Echo Waltz, Blue Licorice, Fanfare)

Rondino Wim Brandse G. Schirmer, Inc.

My Spirit Be Joyful Bach/Biggs Mercury Music Corp.

Two Piano Rondo Howard Pancoast Myklas Music Press

Fanfare, Fugue, & Processional Robert Wetler Art Masters Studios, Inc.