Clinic and Conference Presentation Topics
"Tony can explain sophisticated
concepts simply. He has the talent to demonstrate for students how things
should be done and makes learning a pleasure. His performing and writing
skills are superior, and he sets a wonderful role model for students.
He's one of the most respected educators in the field today."
"You will be very pleased
to know that I have just reviewed a wonderfully comprehensive final report
on Antonio García's residency at Evanston Township High School.
Reviewing the student responses, the many performance programs, and the
students' musical scores which include notes from the composer to the
student, I can say with confidence that this residency was one of the
most successful from last year. I'm pleased to read that the presence
of a composer at the school brought about improvement in the students'
own self-disciplinary abilities in addition to expanding their musical
creativity. I am also impressed with the dedication of all involved and
the variety of performances which resulted from this dedication."
Mr. García is a
world-class composer, performer, and educator.... During the 'composer-in-residence'
process, Mr. García visited HPHS numerous times, listening to the
concerns of students and teachers while creating the pieces. For our students,
this was truly an amazing process, largely due to Mr. García's
total commitment to the success of this project."
Sample Clinic/Conference Topics
Level I = beginning, II = intermediate, III = advanced.
|Ensemble Style Coaching||...on their music (vocal or instrumental)||I-III||any|
"Thank you for coming down to be our Jazz Honor Band Clinician. The concert went wonderfully, and I believe that the kids learned much and enjoyed the experience of being under your direction."
Glenn Scheurmann, President, Louisiana Music Educators Association District VI
"Thank you so very much for taking time from your busy schedule to be a part of our Combo Workshop. Your clinic presentations were wonderful. Students and teachers alike were completely impressed, and all agreed that your clinic was the most informative and practical session that had ever attended.... My students met me back at school on Saturday evening to help unload equipment; and I had to turn the lights off in the band room to get them to leave: they would not stop talking about your clinic and performance. You made a difference for a lot of people this weekend! Thank you!"
Gary Brandes, Director, IAJEMissouri Unit Jazz Workshop
"Use Illinois resources...right here in our state we have a variety of vocal jazz educators the likes of Tony García."
IMEA Illinois Music Educator
"Adam Weinstein, a drummer and senior, said García helped the jazz band students master a Latin song they were working on. 'We were playing it as written and were having trouble expressing the feelings,' he said. 'He told us some of the rhythms Latin players use, and we brought it into the piece and definitely got the Latin feeling we needed for the song.'"
New Jersey Star-Ledger
|Keeping Combo Tunes Fresh||ways to spontaneously (or nearly so) vary a "lead-sheet" performance of a tune so that it doesn't become boring||II-III||50-80 mins|
|Improv Coaching||...on their music (vocal or instrumental): group or private||I-III||any|
together high schoolers and middle schoolers who play the same instruments,
García helped the students develop ideas for jazz solos and overcome
their fear of improvising their own musical thoughts."
|Making Wrong Notes Right||ways to exploit, enjoy, even seek out "wrong" notes||I-II||50-80 mins|
"Tony's approach to 'Making Wrong Notes Right' gave a new insight and projected fun into the possibilities of improvisationand the courage to take a risk. His technique of leading the students through the vocal learning of a Miles Davis solo was appreciated by them. Most had probably never even heard of Miles before; yet in about 15 minutes they had learned more about the unique characteristics of Davis' music than any written text could ever impart to them."
Susan McLean, Arts Coordinator, Euroa Secondary College, Victoria, Australia
|Cutting the Changes: Improv via Key Centers||reducing tunes of often 35 chord changes into 2-4 keys so as to focus on improvising melodically||I-II||50-80 mins|
"Several students made the comment that you are one of the best educators they had ever had the opportunity to work with. Your ability to explain musical concepts in an interesting manner is truly unique. Thank you for sharing your expertise with us!"
Peter Madsen, then-Jazz Division Teaching Assistant, University of Illinois
|Imitating Transcribed Solos: Stealing from the Masters||vocal and instrumental imitation of solos learned by all during the clinic||I-III||50-110 mins|
|It's About Time: Improve Your Groove||practice tips demonstrated by all||I-III||50-80 mins|
"Antonio García did a rhythm workshop at The Midwest Clinic last year, and it was terrific." IMEA Illinois Music Educator
"'Everybody learned from his clinics. The string orchestra is used to being more confined,' said its West Orange High School director, Margo Sokolow. 'His focus on groove and feel was different for the kids and worthwhile.'.... García has a reputation beyond borders in the jazz world."
West Orange (New Jersey) Chronicle
|Jazz Trombone Techniques||practice tips for jazz trombonists: group or private||I-III||50-80 mins|
performance on trombone at the IMEA All-State Convention was superb....
Thank you also for conducting the brass workshop for students and teachers....
For years now, your name continues to lead our state in the area of jazz
|Jazz Theory Clinic||...on topics requested||I-III||50-80 mins|
|Foreign-Bass Chords||contemporary sounds via non-normative progressions with dissonant bass tones||III||50-80 mins|
|Arranging Critiques||...on their student arrangements: group or private (w/o tape or live performance is possible but not as helpful)||I-III||50-80 mins|
|Creative Arranging||exploring options that allow writers to place their special "mark" on a tune: group or private||II-III||50-80 mins up to a series of meetings|
idea of melodic contour was a wonderful and effective door letting students
overcome the awkwardness of their age and differences of language and
actually do some composing. For them to perform your professional-level
handling of their ideas brought it full circle and exemplified what our
Education Program is about."
|Re-harmonization||methods of substituting chords voiced with a given melody (tune, sax soli, shout section, etc.)||II-III||50-110 mins up to a series of meetings|
|Voicing Techniques||methods to score the instruments and/or voices chosen||II-III||80-110 mins up to a series of meetings|
"The simplicity of several processes, especially voicing and harmonization, was quite surprising. Studying with him really helped to demystify the process: gathering, organizing, and producing material is more clear. The task of composing seems less daunting. Seeing the sketchwork for his compositions provided insight into the steps of revision necessary to effective composing."
Geoff Hamilton, private jazz composition student at Evanston Township High School via García's residency
through a grant from The Commission Project, quoted in the IAJE Jazz Educators Journal
|Jazz History||choice of focal points||I-II||50-80 mins up to a series of meetings|
|Improv Pedagogy||specific issues/arguments re: how best to teach improv||III1||110 mins up to a series of meetings|
|Jazz Pedagogy||issues/arguments as to the ideal jazz curriculum||III1||110 mins up to a series of meetings|
that he gave to the music educators participating in our jazz clinics
was pedagogically sound and delivered in a supportive and positive manner,
and our students really learned a lot from him. He is an excellent clinician
and clearly has the best interests of jazz at heart."
|Jazz Ensemble Direction||issues/arguments as to the best ways to direct/coach jazz groups of various sizes (vocal or instrumental)||III1||110 mins up to a series of meetings|
"I found Tony to be a wonderful clinician and guest artist at our festivalfull of energy, sound information, and sincerity unlike I've come to find. I whole-heartedly recommend Tony to anyone thinking about hiring a guest artist: his performing, work ethic, and concern and effectiveness for education warrant this."
Dr. Scott Garlock, Director of Bands, Knox College
|De-mystifying the Rhythm Section||rhythm section tips for younger players or future teachers||III1||50-110 mins, or a series of meetings|
|Intro to Latin Jazz||hands-on Latin percussion/rhythm workshop, with listening examples and reference lists||II-III||50-110 mins|
I Ensemble had practiced and had been performing the Afro-Cuban rhythms
based on Western-European musical groupings of four beats. When Tony demonstrated
the complexity of the syncopation and chained together the different rhythm
parts to create a two-bar grouping of interactive rhythms rather than
a one-measure grouping of non-interactive rhythms, the difference in the
feel of the music was quite overwhelming.... Tony received rave reviews
as a presenter, with positive citations for his pacing, respect for others,
inspiration, knowledge, enthusiasm, and support for people who are trying
to learn something new."
|Musical Self-Defense: Justifying Your Music Program||music ed advocacy, especially in jazz; ties between creativity in music and in business||III1||110 mins up to a series of meetings|
|Freelance Performance Musicianship||ways to get/keep jobs in a freelance music career||II-III||50-80 mins|
|Job Search Seminar||ways to get/keep a more "institutional" job (teaching, management, etc.)||II-III||50-80 mins|
"Thank you for participating on the Higher Education Panel. Your candid disclosures were very inspiring. Let me also thank you for your support throughout Hispanic Heritage Month."
Elizabeth Reyes, Coordinator, Northwestern University Hispanic Heritage Month
|Music Business Seminar||career choices, copyright law (US-based), publishing, unions, etc.||II-III||50-80 mins|
|Creative Parallels in Music and Business||for businesses: skills essential to business management demonstrated through music ensembles||I-III||50-110 mins|
"To you we convey heartfelt thanks for preparing and delivering poignant remarks about the application of creativity in music as in business. You captured the essence of the message and added your own creative flair. Your humor and articulation were superb."
Michael Winston, Vice-President and Director of Global Leadership and Organization Development, Motorola, Inc.
"Your presentation to the Adcenter students was one of the best I've seen. You were by far the most entertaining speaker we've had yet. You gave them great advice on how to develop their strengths and to work as hard or harder on the things that don't come as easily. Thank you for encouraging them to embrace failure and find opportunities to learn from it."
Rick Boyko, Managing Director, VCU Adcenter
(now VCU Brandcenter)
|Writing for the IAJE Jazz Education Journal||guidelines to optimize acceptance of a manuscript by teachers or advanced students||III||50 mins|
|Jazz Improvisation: An Expressive Tool in Music Therapy||an experiential session for music therapists demonstrating how jazz improv can assist patients' motor skills and emotional release||I||5-hour CMTE session (NAMT-approved)|
"The Illinois Association for Music Therapy was very fortunate to have Tony García as a presenter at our Spring Meeting. Tony's presentations at the Southwest and Great Lakes Regional Conferences received rave reviews, and his presentation for us was nothing less than excellent."
Kris Urbasek, RMT; President, Illinois Association for Music Therapy
|Studio Recording, Production, & Engineering||overview of the roles of everyone in a studio, how to plan a session, etc.||II-III||50-80 mins|
the past year, García offered the additional perspectives a guest
artist can bring while conducting seminars and workshops with various
jazz ensembles, teaching two electronic music classes (largely populated
by students not trained on traditional musical instruments) and working
in independent-study fashion with four students who show great promise
in composing as well as performing.... 'He helped create a new kind of
musical experience for students who aren't performers,' said Dave Fodor,
a music teacher at ETHS."
|Jazz and Everyday Language||for language students and professionals: a demonstration of the parallels between jazz improvisation and our conversational speech||I-III||50-80 mins|
'Jazz and Language' topic approach was the most clear and engaging I've
seen, reaching out to a non-musician audience in ways that made improvisation
processes accessible. And your instrumental performance and scat-vocalizing
brought musical meaning to the narrative. You've made my association with
IAJE stimulating and rewarding."
|Intro to Film Scoring||overview of some of the basic approaches to scoring films||III||50-110 mins|
|Intro to FINALE||helpful tips/Q&A regarding the most-used notation software||I-III||110 mins up to a series of meetings|
|Jazz: A Bridge to Better Understanding||exploring jazz as a bridge to understanding other subjects including language, history, math, physics, religion, and psychology||I-III||110 mins up to a series
(variable for faculty or students)
"You and your colleagues/fellow artists were THE BEST!!
The work that you doand the way that you do itis so important."
Liz Sheehan, Director, Partners in the Arts, Arts Council of Richmond
|YOUR TOPIC!||Propose another topic of interest to your participants!||I-III||any|
future teachers, clinicians
"Bravo, Bravo, Bravo!!!
You did a SPECTACULAR job as clinician and soloist at this year's Jazz
Night. You are a superb musician and educator, and it was indeed a pleasure
to work with you. We received so many positive comments about your appearance.
You helped make it a very memorable evening for all."
"Your performance and
work in Illinois Music Educators Association and International Association
of Jazz Educators demonstrates that you are a role model for all of us.
Thank you for continuing to be a leader in music education. The Illinois
Music Educators Association applauds you!"
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