Clinician Info
Mike Steinel
Mike Steinel is an Associate Professor in the Jazz Studies Division of the College of Music at the University of North Texas. He teaches Jazz Improvisation, Pedagogy of Improvisation, and Jazz Trumpet Masterclass. He directs the UNT Jazz Combo Workshop and the UNT Jazz Trumpet Workshop. He has published numerous compositions for jazz ensembles. He is the author of Building A Jazz Vocabulary, Essential Elements for Jazz Ensemble, and Essential Standards for Jazz Ensemble. He is a trumpeter, pianist and composer and has numerous recordings to his credit. Mike Steinel holds a BME degree from Emporia State University and a MME degree from the University of North Texas. An experienced jazz trumpeter, pianist, composer and arranger, Mr. Steinel was jazz artist in residence at Bethel College and was on the faculty of Northern Illinois University before coming to North Texas. He has served on the faculties of the Clark Terry Jazz Camp, the Jamey Aebersold Improvisation Camps, the Saskatchewan Summer Jazz Camp and the University of Missouri Summer Jazz Residency. Mike has performed as soloist at the MENC and IAJE national conventions and at the Midwest Band and Orchestra Clinic. His playing experience includes work with Clark Terry, Don Ellis, Bill Evans, Jerry Bergonzi and recordings with the Chicago Jazz Quintet and the Frank Mantooth Big Band. Honors received include an Illinois Arts Council Chairman’s Grant (1985) and a jazz fellowship grant from the National Endowment for the Arts (1987).
Chris Vadala
One of the country’s foremost woodwind artists, Chris Vadala is in demand as a jazz/classical performer and educator. He has appeared on more than 100 recordings to date, as well as innumerable jingle sessions, film and TV scores, performing on all the saxophones, flutes, and clarinets. A native of Poughkeepsie, N.Y., he graduated from the Eastman School of Music, earning the honor of the Performer’s Certificate in saxophone as well as a B.M. in Music Education, received an M.A. in clarinet from Connecticut College, and pursued postgraduate study in woodwinds at Eastman.
Professor Vadala, Director of Jazz Studies and Saxophone Professor, is a Distinguished Scholar-Teacher at the University of Maryland. Previous academic appointments include teaching studio woodwinds and conducting jazz ensembles at Connecticut College, Montgomery College, Hampton University, Prince George’s Community College and Mount Vernon College, as well as Visiting Professor of Saxophone at the Eastman School of Music, 1995 and 2001.
Mr. Vadala’s performing career has been highlighted by a long tenure as standout woodwind artist with the Internationally recognized Chuck Mangione Quartet, which included performances in all 50 states, Canada, Australia, Japan, Phillipines, China, Brazil, Mexico, Argentina, Bermuda, Puerto Rico, Virgin Islands, Dominican Republic, England, Italy, France, Germany, Austria, Netherlands, Poland, Belgium, and Switzerland, and performing credits on five gold and two platinum albums, plus two Grammy, one Emmy, one Georgie (AGVA) and one Golden Globe Award. In addition, he has performed and/or recorded with such greats as Dizzy Gillespie, Quincy Jones, B.B. King, Chick Corea, Ella Fitzgerald, Aretha Franklin, Placido Domingo, Sarah Vaughn, Natalie Cole, Herbie Hancock, Ray Charles, Stevie Wonder, Henry Mancini, Doc Severinsen, Joe Lovano, and many others. As of 2009, he became a regular member of the Award-Winning Smithsonian Jazz Masterworks Orchestra, and has been the first call saxophonist with National Symphony Orchestra for many years.
As one of the Selmer Company’s most requested Artist in Residence clinicians, Mr. Vadala travels worldwide, performing with and conducting student and professional jazz ensembles, symphonic bands, and orchestras. He has appeared with countless musical ensembles across the nation and Canada, and has conducted 46 All-State, 1 All-Eastern, as well as numerous All-County and All-District Jazz Ensembles. Mr. Vadala served three terms as President of the Maryland Unit of the International Association for Jazz Education, was a permanent member of its MD Executive Board (College Faculty Representative), and a Woodwind Representative to the International Resource Team. In 2009, he became a member of the Award-Winning Smithsonian Jazz Masterworks Orchestra saxophone section.
Mr. Vadala’s column on woodwind doubling appeared regularly in the Saxophone Journal for over 10 years, and he has authored articles for many other magazines. A Downbeat magazine poll finalist in four categories and the recipient of a National Endowment for the Arts Jazz Study grant, he has published a number of original compositions and arrangements (Medici Music & Cimarron Music Press). His book, Improve Your Doubling (Dorn Productions) is acclaimed as a valuable addition to woodwind literature. In addition to his debut solo CD, Out of the Shadows (Amazon.com), (Art of Life Records), recent recording/publications include Jazz/Rock in the USA, Jazz Solos, Nothin’ But Jazz, Jazz Adventures, Modern Jazz-Rock and R & B, and Fusion Solos (6 books with play-a-long CDs by dehaske/Curnow), as well as a contributions to Warner Brother’s Approaching the Standards play-a-long improvisation series and Jazz Pedagogy (The Jazz Educator’s Handbook and Resource Guide). He also has the honor of being included in a new publication, “The History of the Top 40 Sax Solos (1955-1998).”
Visit his www.chrisvadala.com website for additional information on discography, bio info, publications, calendar of performances, booking request form, CD purchases, sound bytes and more!
Jazz Ensemble Roster
The SCBDA 2011 All-State Jazz Ensembles are two
bands of equal strength, named for their clinicians.
| 2011 ALL-STATE JAZZ ENSEMBLE – Mike Steinel, Clinician | ||
| INSTRUMENT | NAME | SCHOOL |
| Alto 1 | Joseph Herbst | D.W. Daniel High School |
| Alto 2 | John Zeringue | Wando High School |
| Tenor 1 | Ryan Berberian | Wando High School |
| Tenor 2 | Gregg Heyward | Charleston School of the Arts |
| Bari Sax | Joe Booth | Northwestern High School |
| Trumpet 1 Split Lead |
Michael Farmer | Governors School for the Arts and Humanities |
| Ian Jones | Charleston School of the Arts | |
| Trumpet 2 | Phillip Howe | Northwestern High School |
| Trumpet 3 | Ryan Mosley | D.W. Daniel High School |
| Trumpet 4 | Ty Tanner | Charleston School of the Arts |
| Trombone 1 | Matthew Droghini | Aiken High School |
| Trombone 2 | Devon Sherrell | Westside High School |
| Trombone 3 | Jonathan Lee | Spring Valley High School |
| Bass Trombone | Jerry Wiles | T.L. Hanna High School |
| Guitar | Holbrook Platts | Charleston School of the Arts |
| Piano | Fletcher Williams | Wando High School |
| Bass | Brent Hubbard | Charleston School of the Arts |
| Drum Set | Ben Lewson | Spartanburg Day school |
| Aux. Perc. | Chrishawn Darby | Edisto High School |
| 2011 ALL-STATE JAZZ ENSEMBLE – Chris Vadala, Clinician | ||
| INSTRUMENT | NAME | SCHOOL |
| Alto 1 | Clark Keagy | Wando High School |
| Alto 2 | Caaman Burchfield | Northwestern High School |
| Tenor 1 | Gabriel Bertolini | T.L. Hanna High School |
| Tenor 2 | Dillon Ashby | Ridge View HS |
| Bari Sax | Levin Ostapeck | Charleston School of the Arts |
| Trumpet 1 Split Lead |
JP Taylor | Socastee High School |
| Kevin Clary | Gaffney High School | |
| Trumpet 2 | Ryan Van Buren | Wando High School |
| Trumpet 3 | Kadeem Sabari | Governors School for the Arts and Humanities |
| Trumpet 4 | Trey Simpson | Charleston School of the Arts |
| Trombone 1 | Alex Gex | Wando High School |
| Trombone 2 | Luke Glymph | Westside High School |
| Trombone 3 | Garret Visser | Wando High School |
| Bass Trombone | Jason Brantingham | Wando High School |
| Guitar | Sam Barker | Spartanburg Day school |
| Piano | Jonathan Lovett | Northwestern High School |
| Bass | Carissa Leischner | Aiken High School |
| Drum Set | Nicholas Bolchoz | Stratford High School |
| Aux. Perc. | Matthew Kilby | Wando High School |
Audition Resources
1. Diatonic Scales (60 second time limit):
All major diatonic scales should be memorized. Students will be asked to play five
chromatically adjacent scales in their audition. If a scale is played incorrectly, it may be
attempted at the end of the sequence, if there is time remaining in the 60 second time limit. If there is time left, the judge will announce those scales for which full credit has not been given.
All Saxophones:
2 Octaves Bb, B, C, C#, D, Eb, E, F
1 Octave F#, G, Ab, A
Trumpet:
2 Octaves F#, G, Ab, A, Bb, B, C
1 Octave C#, D, Eb, E, F
Trombone:
2 Octaves E, F, F#, G, Ab, A, Bb
1 Octave B, C, C#, D, Eb
(Students auditioning on Bass Trombone will play the Ab scale (2 octaves) beginning on Pedal Ab)
Piano, Guitar, Bass, and Vibes:
2 Octaves Eb, E, F, F#, G, Ab, A, Bb, B, C,C#, D
2. Chromatic Scale: Each student should play an open-ended chromatic scale (ascending and descending) to show their full playing range. Rhythm is at the discretion of the student, but should be consistent throughout. The Senior All-State chromatic ranges would be the minimum for the winds. Piano, Guitar, Bass, and Vibes should play the full range of their instrument.
3. Prepared Etude: All etudes are selected from the “Jazz Conception” books by Jim Snidero, published by Advance Music. Books come with demo CDs (for study purposes only), and are available for: Alto/Bari Sax, Tenor Sax, Trumpet, Tenor Trombone, Bass Trombone, Piano, Guitar, Bass, and Drums. At the audition, the etudes must be performed without accompaniment at the listed tempo. Students auditioning on Bass Trombone may play their etude from either the Tenor Trombone or Bass Trombone Book.
All-State Jazz Audition ETUDES for 2011
All solos from “Jazz Conception” by Jim Snidero, published by Advance Music. Books with CD’s available for: Eb Alto/Bari Sax, Bb Tenor Sax, Bb Trumpet, Tenor Trombone, Bass Trombone, Guitar/Vibes, Piano, Bass, and Drums.
All Saxes:
Tunisia, pgs. 40-41, track 20, play from the beginning through
measure 31.
Trumpet:
IND Line, pgs. 24-25, track 12. Play ms. 1-37
(Potential lead players play ms. 26-31 8va)
Trombone:
Proxy, pgs. 20-21, track 10. Play ms. 32 to the end (8va is optional)
Bass Trombone:
Proxy, pgs. 20-21, track 10. Play ms. 32 to the end
Guitar/(Vibes):
Proxy, pgs. 20-21, track 10. Play beginning through ms. 31 as written; then play 32 to the end comping using the chords provided with the etude.
Piano:
(Use the Solo Etudes, not the Piano Comping book)
Proxy, pgs. 27-29, track 8. Play beginning through ms. 31 as written; then play 32 to the end comping using the chords provided with the etude.
Bass:
(Use the Solo Etudes, not the Bass Lines book)
Proxy, pgs. 20-21, track 10. Play beginning through ms. 31 as written; then play 33 to the end with a walking bass line using the chords provided with the etude.
Drumset:
Tunisia, pgS. 62-63, track 18, Play beginning through ms 32 AS WRITTEN. Then play from the lead sheet on pg. 24 ms. 33to the end in a swing style with the ensemble hits as notated.
4. Sightreading: Students will sightread in two contrasting styles. One style will be swing and the other will be chosen from ballad, Latin, or rock. Drum set players have a different procedure. Please review the SCBDA Handbook for details.
5. Improvisation: Students will show their improvisational skills by playing along with a CD…Track #8 of “Blues in F” of the Jamey Aebersold Play-A-Long CD-Volume One–“How to Improvise.” This can be ordered from any music dealer or directly from Jamey Aebersold at 1-800-456-1388, or online at www.jazzbooks.com.
6. Additional information for Rhythm Section auditions:
Piano, Guitar, Bass and Vibes should be prepared to sightread chord symbols as well as written parts.
Drum set audition will be as follows
1. Play at least 8 measures of Latin (quarter note = 120-130), Funk (quarter note = 85-100), Rock (quarter note = 130-150) and Ballad (quarter note = 55-70 using brushes) with a “fill” in each style. Drummers may stop in between styles, if they wish, or musically connect each segment.
2. Play the required etude
3. Sightreading in Swing and Ballad styles.
4. Show improvisational skills by “trading fours” with a recording. A practice copy of this recording will be e-mailed to all band directors (with students registered for the drum set audition) at the time the school’s audition schedule is published. (Example: Comp with the rhythm section in a swing style for the first four bars and solo for the next set of four. That pattern will repeat once, totaling sixteen bars. A demonstration / practice CD will be made available to all students registered for the drum set audition.)
*All Band Directors should consult the SCBDA Handbook for further details about any facet of the All-State Jazz Auditions or State Jazz Festival registration and participation requirements.