Halftime Magazine May/June 2010 by Halftime Magazine

May/June 2010

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Volume 4, Issue 3 www.halftimemag.com $4.95

2010 WGI Winners Band Camp

Strategies Saving Music Education

$4.95 U.S.

$5.95 Canada

ISSN 1939-6171

PHANTOM REGIMENT

CAMPS 2010

DRUM CAMP (Snare & Quads) - June 11-13 Rockford College Rockford, Illinois $250 ($295 after May 29) DRUM MAJOR CAMP - June 15-18 Rockford College Rockford, Illinois $350 ($395 after May 29) DRUM MAJOR CAMP - July 5-8 Frostburg State University Frostburg, Maryland $350 ($395 after June 15) DRUM MAJOR CAMP - July 7-10 The University of Akron Akron, Ohio $365 ($410 after May 29)

Includes Show Ticket

- Each camp includes interactive sessions with the Phantom Regiment Drum & Bugle Corps - Dormitory housing and meals included

For More Information: www.regiment.org/camps facebook.com/regiment

Saving Music Education. . . . . . . . . . . . . . 12 Forced to cut budgets, many public schools look first at trimming or eliminating the arts. Luckily, large corporations in and out of the music industry have partnered with major not-for-profit organizations to help avoid this scenario. By Elizabeth Geli

2010 WGI Winners.. . . . . . . . . . . . . . . . . . . 16 Congratulations to the 2010 WGI World Champions. This year, many of the groups achieved their first gold medal, making it a year to remember. Enjoy our third annual photo spread, depicting each of the winning guard and marching percussion performances. Photos by Dan Scafidi and Sid and Linda Unser Courtesy of WGI Sport of the Arts

Art for Music: Disney animation artists have painted one-of-a-kind basses to raise money for music education.

Features

Band Camp Strategies. . . . . . . . . . . . . . . . 22 Start in June or August? Go away or stay on campus? Work all day and night or plan for play? Although schools structure their band camps in different ways, all strive for an atmosphere that builds the right habits and team bonding to set the tone for the rest of the season. Three top programs share their methods of getting the band started off on the right foot. By Sabrina Lochner Photo of West Orange (N.J.) High School by Lee Papayanopoulos.

22 12

Departments

Publisher’s Letter. . . . . . . . . . . . . . . . . . 2 Readers’ Letters. . . . . . . . . . . . . . . . . . . . 3 Noteworthy. . . . . . . . . . . . . . . . . . . . . . . 4 Marching.com Celebrates 15 Season; Guards Merge to Become th

Zydeco Open; Messiest Band Contest; USSBA Indoor Recap; In Times of Need

Sectionals. . . . . . . . . . . . . . . . . . . . . . . . . 6 The Skinny on Reeds for Winds; Key Fluency; GE Demystified; Aim for 100 in Guard

Gear Up. . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 RocknRoller Multi-Cart 8-in-1 Equipment Transporter; AIRlift Stadium Hardware; New Sticks from Vic Firth

Regionals. . . . . . . . . . . . . . . . . . . . . . . . . . 11 Calendar of events organized by region Direct From. . . . . . . . . . . . . . . . . . . . . . . 26 Center Grove High School Behind the Baton. . . . . . . . . . . . . . . . . . . 28 A Second Chance Fitness to the Max. . . . . . . . . . . . . . . . 30 Well-Balanced Exercise For Fun. . . . . . . . . . . . . . . . . . . . . . . . . . . 32 Crossword: Winners at WGI

Web Exclusives

• Guest Performer on “Glee” • An Ode to the “Minnesota Rouser” • Center

Grove Arts Assistance Fund • And More ... Read these stories and more exclusively at www.halftimemag.com/articles/web-exclusives/index.html

Next Issue • Legendary Drum Corps Shows • Marching Bands in Pop Music • History of Uniforms • And More ...

Volume 4, Issue 3 May/June 2010 ISSN 1939-6171 ®

Publisher & Editor-in-Chief Christine Ngeo Katzman christine@halftimemag.com

Advertising Account Executive Erich Steinert erich@halftimemag.com (310) 577-6104

Art Director Jana Rade, impact studios

COVER PHOTO Sid and Linda Unser

Editorial Assistant Elizabeth Geli

Editorial Intern Sabrina Lochner

Marketing Associate Edward F. Gobbel

Accounting/Admin Assistant Guido Jimenez

Contributing Writers Catina Anderson, Tom Dombrosky, Dennis DeLucia, Haley Greenwald-Gonella, Matt Jones, Chase Sanborn, James Snyder

Contributing Photographers Catina Anderson, Doris Casey, Kurt Heinecke, Virginia Kraft, Charity Musielak, Lee Papayanopoulos, Dan Scafidi, Sid and Linda Unser

Web Developers Mike McCullen and Jeff Grant Integrated Communications

Advisory Board Dr. Arthur C. Bartner, University of Southern California Trojan Marching Band Tony Fox, University of Southern California Trojan Marching Band Anthony L. White, Los Angeles Unified School District Charles F. Whitaker, Northwestern University Medill School of Journalism Peter G. Riherd, Entertainment Weekly Steve Goldberg, University of Southern California Marshall School of Business

Chief Technology Officer Joshua Katzman

Logo Designer Timothy Watters, Teruo Artistry Halftime Magazine is published by Muse Media, LLC, P.O. Box 428738, Cincinnati, OH 45242 Phone: 310-594-0050 Fax: 310-390-5351 Website: www.halftimemag.com

Subscriptions: Halftime Magazine is published six times per year. In the United States, individual subscription price is $14.95 per year, and group subscription price is $9.95 with a minimum of 10 copies. Cover price is $4.95. Printed by Royle Printing Company in Sun Prairie, Wis. 2

ll of us have known someone, some company or some organization affected by these difficult economic times. Maybe your spouse or parent has lost a job, your school’s budget was cut or you had to decrease your competition schedule. Or maybe your issues are even more personal in nature. We’ve all experienced the down sides of life. In times of trouble, how do you stay strong? How do you have hope? Better yet, how do you turn things around? In 1986, Peter Gabriel released a duet titled “Don’t Give Up” about a man hurt by the economy with “no fight left” and his female companion who urges him, “Don’t give up ’cause you have friends.” This year, the Center Grove High School indoor percussion ensemble from Greenwood, Ind., chose this song for its program. In the end, though, the song had even more meaning as it became a rallying cry in the fight to save the arts curriculum at the school. Read about the Center Grove band on page 26. Throughout this issue, we celebrate those who have gone beyond positive thinking to make a positive impact. “Saving Music Education,” page 12, tells how several leading corporations such as Disney, Best Buy and Farmers Insurance Group are using their unique resources to help music programs. But you don’t need to make billions of dollars or give a lot of money to make a difference. Gator Cases is sponsoring the “Nation’s Messiest Band Contest,” page 4, to provide free instrument cases to one lucky band. And in times of need, marching bands have been known to come together. When Matt Hodge, a senior quad player at Page High School in Franklin, Tenn., had a near-fatal car accident, his own band as well as “competitor” Tarpon An Official Media Partner of

A Grand Nationals Media Partner of

Springs (Fla.) High School raised funds to help the family with medical expenses. See the story on page 5 to find out more about Matt and how you can help his recovery. Even for personal defeats, don’t dwell too long on the negatives. One drum major had to learn that lesson the hard way as he persevered and took advantage of “A Second Chance,” page 28. As part of our mission, Halftime Magazine aims to educate, entertain and inspire. We hope that these stories provide you with inspiration to see you through these potentially difficult times. Even in your darkest hour, to borrow the words of Peter Gabriel, “Don’t give up. You’re not beaten yet. Don’t give up. I know you can make it good.” Look within and look to each other. Musically Yours, Christine Ngeo Katzman Publisher and Editor-in-Chief An Official Media Partner of

An Official Media Partner of

A WISH COME TRUE

Halftime Magazine exists to serve you, and we look forward to more of your comments. Send your letters to christine@ halftimemag.com.

Exceeding your expectations, but never your budget. Explore the endless possibilites of ‘A Wish.’

Readers’ letters I am very proud that my daughter chose Bethune-Cookman to further her education and to be a part of the Marching Wildcats. She learned about the legacy of Mary McCleod Bethune [one of the school’s founders] in school, and she loved her story. But when she saw Bethune-Cookman in “Drumline,” that was it for her. She watched that movie so much to see Bethune perform, that it was driving me crazy. She said, “Momma, I just love them.” She was in her own high school band, so she had a love for band already. Then her high school band director invited BethuneCookman to her high school Palmetto Classic, and that was it for her seeing them in person. She said when she graduated, she would be happy at Bethune-Cookman and be a part of the Marching Wildcats. She has shown me how she’s grown and is happy there and meeting a lot of new friends and the traveling opportunities. This college has come a long way, and I’m very proud to visit Bethune-Cookman all the time. My dream is that more people will support this college financially. The band is bringing recognition to the university, and that hopefully can bless the university more. — Sherrilan Mckinney

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Awesome article, Brittany!! Describes marching band to a “t”! — Samantha Bowen I hope all is going well with Halftime Magazine. I sure enjoy getting the issues, and the students love reading them. It is a huge thing in my office; they can’t wait to take a break and tackle the crossword puzzle. Even our Dean at the music department gets in on it. We ask him the hard music ones. — Maria E. Allan, Program Support Supervisor Arts/Humanities and PE/Health Ed Divisions Columbia Basin College

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call 800.755.2248 fax 800.755.9360 email wishweb@awishcometrue.com

The article “Don’t Scare the Freshmen” (March/April 2010) is hilarious. I’ve been passing around the magazine in class, and the students are enjoying it. — Daniel P. Fyffe Director of Bands Franklin Central HS Note from the Editor: Thank you, and congratulations to you on being one of the individuals inducted into this year’s WGI Hall of Fame.

www.awishcometrue.com

May/June 2010 3

By Elizabeth Geli

Marching.com Celebrates 15th Season Marching.com has reached a major milestone as 2010 marks its 15th season as an authoritative online destination for marchingrelated information. Growth has continued steadily since the site launched in March 1996. It made a huge leap in 2006 when the site was expanded and redesigned to its current look and format. In 2009 Marching.com served more than 600,000 unique visitors— directors, students and fans of the marching arts. Content on the site now includes events, links, resources, news and photos. Coverage encompasses marching activities around the world. “A big thrill is seeing how Marching.com makes connections,” says founder Ken Martinson. “Whether it’s a band finding an event, a director finding an arranger or a student discovering something new, we provide information to enable all of that.” Marching.com is a frequent contributor to Halftime Magazine and has worked directly with leading organizations including WGI Sport of the Arts, Music for All, Drum Corps International, Disney, Macy’s Thanksgiving Day Parade, Fiesta Bowl and the Tournament of Roses. The site also recently joined the SupportMusic Coalition. “We recognize the role marching bands play in developing life skills and adding excitement to life,” Martinson says. “This milestone re-energizes our commitment for Marching.com to be a positive voice and one-stop resource for the marching activity.”

Messiest Band Contest Are you in the messiest band in America? You might not want to admit it, but you could reap the benefits by entering the Gator Cases “Nation’s Messiest Band Contest.” Gator Cases is giving away a full set of new instrument cases to the band that sends in the best story and photo of its messy band room—showcasing how bad its case situation is and the equipment it needs new cases for. The top 50 photos submitted will be placed on the Gator Cases website for voting to determine the final winner. “We’ll take the messiest band and completely give them a case makeover,” says Brian Larsen, product specialist and web marketing manager at Gator Cases. “We’ll award them for their sloppiness with an entire outfit of Gator Cases for their equipment.” Last year Gator ran a similar promotion where customers sent in photos of themselves with their Gator Cases, and the staff selected a winner to receive a free case. The contest got a great response, so the company decided to expand the program. “We wanted to up the ante this time and pull from the reality TV craze—finding essentially the messiest band in the nation,” Larsen says. “Kind of along the lines of “Extreme Makeover.’” The photo submission deadline has been extended to the end of May and voting will take place in June. For full details, visit www.gatorcases.com/contest. “It is a competition; be creative and try to make yourself stand out as much as possible,” Larsen says.

Guards Merge to Become Zydeco Open After a one-year hiatus in 2010, Zydeco Colorguard will return in 2011 with a new guard—Consortio Colorguard—folding into its organization, now know as “Zydeco Open.” In its first year, Consortio took 4th place in the Independent A Class at the 2010 WGI World Championships. Zydeco had started as an A guard in 2007 and self-promoted to Open Class, winning the silver medal. The next year Zydeco moved up to World Class and took 7th place in 2008 and 2009. “[The merger] seemed very natural because I knew the people and seen what they had done in one season,” says Byron Valentine, executive director of Zydeco. “It was like I was seeing what happened to Zydeco in 2007 happen to another organization.” During the 2010 season, several Zydeco staff members and performers joined Consortio. “What’s great about Consortio and Zydeco and the two of them merging, we both have the same ideas about how this activity should be approached,” Valentine says. “We will always approach a season with the attitude that we want to be the best that we will possibly be that season, and whatever happens, happens.” When the Cincinnati-based Consortio learned it would be moving up to Open Class for 2011, it approached Valentine about combining with the Dayton-based Zydeco. Valentine and Consortio director Patricia Simmons will both stay on staff. For more information on the Zydeco Colorguard organization, its summer clinic series and auditions, visit the soon-to-beredone website at www.zydecocolorguard.com.

In Times of Need

Photo by Charity Musielak.

The new U.S. Scholastic Band Association Indoor circuit completed its first season with a championship event in Sun National Bank Center in Trenton, N.J., on April 17, 2010. Nearly 50 dance, color guard and percussion groups participated in the event. In the color guard AAA division, West Orange (N.J.) High School took first place with a score of 95.650, and in the AA division, North Penn High School from Lansdale, Pa., scored 96.050 for the gold. In marching percussion, Old Bridge High School from Matawan, N.J., won first place with a score of 96.650 in the AAA division, accompanied by Pennsauken (N.J.) High School in the AA division with a score of 93.900. “We were extremely pleased at the turnout for our first season,” says Sean King, USSBA director. “Entering into a realm of the marching activity that we’ve not serviced in the past, there were a lot of unknowns.” The event and season earned good reviews from the participating students and directors. “Our philosophy is to use the winter as a training ground for new students interested in building their skills for the outdoor,” says Larry Markiewicz, director at Bridgewater-Raritan (N.J.) High School. “However, I think the USSBA winter program thing has peaked our students’ interest for a more global awareness of what excellence can be.” In the future, King plans to expand the schedule of USSBA Indoor events in the New England and Mid-Atlantic regions and to recruit and train more adjudicators. King is particularly proud that 20 percent of participating groups were competing for the first time. “We’re proud to have put together a program these new groups felt comfortable enough with to join with us from their very beginning,” King says. “We look forward to growing alongside them in the years to come.” Visit www.ussbaindoor.org for more information.

In times of great need, the marching band family comes together. Matt Hodge, a senior quad player at Page High School in Franklin, Tenn., was driving home one evening in August when his car was struck by an oncoming train. That night he was given less than a 1 percent chance of living—but he pulled through. Matt has been in a coma ever since. “That night the waiting room at the hospital was overflowed with kids and band parents,” says Kurt Heinecke, a band parent and friend of the Hodge family. “It’s been an emotional challenge and difficulty, but it’s been neat to see how the band and the school have come together around him.” Over the past eight months, his parents and friends are constantly engaging him—reading, talking to him, and showing him videos of the band. He occasionally shows small signs of awareness but has yet to wake up. The band has organized fundraisers and gift card donation drives for the Hodge family. An unexpected form of help came from the Tarpon Springs (Fla.) High School Marching Band, one of Page’s competitors in the Bands of America Super Regionals. When the members there learned about Matt’s situation, they raised $2,000. A small group of students and parents drove to Tennessee to present the Hodge family with the money and a video, spend the day with the band and see Matt. Other local bands and organizations have contributed fundraisers and notes as well. “It’s been amazing; it’s really lifted their spirits,” Heinecke says. “It hasn’t been easy on them obviously—but they’ve really appreciated the support that they’ve gotten, emotionally and spiritually.” A “Matt Hodge Family Fund” has been set up to help offset the hundreds of thousands of dollars in expenses accumulating for his care. Visit the “Official Matt Hodge Support Page” on Facebook. Photo of Matt Hodge by Kurt Heinecke.

USSBA Indoor Recap

May/June 2010 5

Myth Busters

The Skinny on Reeds By James Snyder Reeds. Some of you are already screaming in horror. Volumes have been written on selecting, adjusting and caring for reeds. There are volumes written on making your own. Let’s do away with some misinformation and provide a few quick tips.

Myth #1: “The better you get, the harder the reed you’ll play!” Nope. I’ve been blowing into the end of a clarinet for 45 years, and I’ve worked my way down in strength from a 4-1/2 to a 2-1/2. It all depends on the mouthpiece, the sound you desire and your own musculature. Myth #2: “The pros pick out all the good reeds at the factory, and they box up the rest for us!” Hardly. Think about it: If a company doesn’t supply you with the best product they can, they won’t be in business for very long. MYTH #3: “The cane just isn’t as good as it used to be!” Actually, I find that reeds are better and more consistent than ever. Advances in the precision machines that cut the cane and the packaging that resists warpage have improved. I find I can use most of the reeds in a box. Tipsters. Here are some quick tips to remember when purchasing and maintaining reeds: 1. Buy the Whole Box. The first time you open a new box of reeds, sit down and play each reed for a few minutes, then place them in a reed holder to allow them to dry flat. 2. Rotate Them. Use three or four reeds during each practice or rehearsal. This’ll allow you to have options when it comes time for a performance or audition. Also, new reeds can become waterlogged if played too long at one time and lose their responsiveness. If you play on that “one good reed” until it’s dead, the next one will seem too stiff. 3. Keep ’Em Clean. Don’t wipe off the reed with your thumb when you take it out of your mouth. Rinse them off periodically in water or hydrogen peroxide, and dry them on a flat surface.

About the Author Jim Snyder has been the busiest jazz clarinetist of the last 30 years, performing in clubs, concert halls and jazz festivals in the United States and abroad. Jim played for many years in New Orleans, where he was also a member of trumpet virtuoso Al Hirt’s band. He is regularly featured as a guest artist in concerts and recordings and is a staff musician for the Walt Disney Company. His solo CD, “Coliseum Square,” was released on the Apple Jazz label. For more information about Jim, visit www.theclarinetguy.com.

brass

winds

Leading instructors provide practical tips for each section of the band.

Key Fluency By Chase Sanborn

If you are like most reasonably accomplished students (and some professionals), you have seven to eight key signatures that you are reasonably comfortable with and four to five that are murky. Developing key fluency will do wonders for your musical confidence and competence. It’s not as hard as you think! Simply devoting a few minutes a day to the task will lead to significant progress over the course of a year. Start Simple. Pick a very simple phrase and play it on each starting note. For example: the first three notes of a major scale. From any note this sequence will be two consecutive whole steps. When this is easy, add the fourth note (a half step above the third). Eventually work up the entire scale, following the pattern of intervals: Whole-Whole-Half-Whole-Whole-Whole-Half. Next, try transposing simple tunes like nursery rhymes by assigning scale degrees to the notes. For example, the first line of “Twinkle Twinkle Little Star” in any key is 1-1-5-5-6-6-5, 4-43-3-2-2-1. Start with the “hard keys” and work toward the “easier” ones. There really are no harder keys, just ones that we use less often. From None to All. Here are a few tips to help you remember the “hard” key signatures: • The key of C has no sharps or flats. • The key of C# has all sharps (seven). • The key of Cb has all flats (seven) • The key of seven sharps (C#) is the same as five flats (Db). Five of one = seven of the other. • The key of seven flats (Cb) is the same as five sharps (B). Seven of one = five of the other. • The key of six sharps (F#) is the same as the key of six flats (Gb). Six of one = six of the other. Now you can remember the keys of 5, 6 and 7 sharps or flats. All that’s left to learn are the keys of 1, 2, 3 and 4 sharps and flats. There are only 12 distinct keys (15 if you count enharmonic keys such as Db major and C# major). Developing the ability to play equally well in all keys is not an overnight job but neither is it a lifetime pursuit.

About the Author Chase Sanborn is a jazz trumpet player based in Canada and the author of “Brass Tactics,” “Jazz Tactics,” “Tuning Tactics” and “Music Business Tactics.” He teaches at the University of Toronto and is a Yamaha Artist. Chase has just released his fifth CD, titled “Double Double.” Visit him on the web at www.chasesanborn.com.

By Dennis DeLucia

The scores have been tallied and winners announced for WGI Indoor Percussion. But what were some of the key factors that determined those outcomes? The WGI Percussion General Effect (GE) sheet considers “communication” and “entertainment.” What do they mean in the context of competition? Communication Is Key. The dictionary defines “communication” as “a process by which information is exchanged between/among individuals through a common system of signs, symbols or behaviors.” As a verb, it means “to transmit information, thought or feeling, so that it is satisfactorily received or understood.” The WGI General Effect sheet instructs the judge to “credit the successful communication of the ensemble’s identity and message through the tasteful blend of creativity and performance.” Under Music Effect is written, “Communication is the [result of] performances that connect with the audience; the ability of the performers to draw the audience into what they are doing musically; the exchange of musical information from performer to audience.” The Overall Effect caption adds that, “Inherent here are aspects of identity, personality, style and character.” To me, groups that communicate well make their audience believe in what they are doing. The designers have written material that enables the performers to immerse themselves in their show and to convey their passion to the crowd. That’s Entertainment. The dictionary defines “entertainment as “something engaging.” As a verb, it means “to keep, hold or maintain in the mind.” Connotatively, something that is entertaining is also pleasing, amusing, attractive and compelling; it creates a “buzz” among fans and elicits an enthusiastic response. WGI rules say, “Entertainment is the result of a stronglycommunicated performance of a creative and imaginative program. It is that quality which engages and captivates, offering intellectual intrigue, emotional response and aesthetic appeal.” To me, “entertainment” simply means a product that takes the audience and the judges on a journey that is both captivating and artistic, that has a profound, fulfilling, enjoyable conclusion and that whets our appetites to see and hear it again.

About the Author Dennis DeLucia is a percussion teacher, arranger, clinician and judge. A former member of the West Point Band, he is best known for his successes with championship corps and bands. He has been inducted into three of the major Halls of Fame: Drum Corps International, WGI Sport of the Arts and the World Drum Corps Hall of Fame.

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GE Demystified

Aim for 100 By Catina Anderson Picking up rifle for the first time? Here are some tips for getting started. Right and Left Hand Spins (also called “Butt Spins” or “Slap Spins”) are difficult. You may struggle for what feels like weeks to get more than a few consecutives, but one day it

will just “click.” Aim for 100 spins a day to start. You may only be able to do one or two in a row but pick that rifle back up and keep counting from where you left off. Technique. To help with control, keep the upper part of the arm loosely connected to your side. Don’t let the elbow lift as you start each spin. And remember last month’s “In the Toaster” column? Those tips apply to rifle flourishes as well. … Find a wall and work on your flourishes a little each day until your wrists are loose enough to keep them in the toaster. Balance. When you get to 100 on the right hand, switch to the left and go to 100 again. Almost every basic skill you learn on the right hand should also be rehearsed on the left. Don’t ignore the left side just because it feels more awkward. Strength and Flexibility. Flourish exercises increase wrist flexibility while strengthening the forearm. Tiring for sure but so important. Start doing push-ups daily to build those upper arm muscles. Gloves. A fingerless weightlifting style of glove with a padded palm can help protect from stinging and bruising. They can be purchased from color guard supply companies in tan, which almost disappear in the distance between the field and stands in marching band. If you wear gloves for performance, you must wear them at all rehearsals because your skills will feel different when wearing gloves. Purchase an extra pair or two in case of loss or wear and tear. No matter what, work on those consecutives! And be patient. They don’t come fast, … but sooner than you know it, you’ll feel like an expert!

About the Author Catina Anderson has been involved in the color guard activity, first as a performer and then as an instructor, for the past 20 years. She is a consultant at Broad Run High School in Ashburn, Va. She is also the founder/editor of www.colorguardeducators.com, a website for color guard coaches. She earned a bachelor’s degree at Towson University and a master’s degree in education from Marymount University.

May/June 2010 7

RocknRoller Multi-Cart 8-in-1 Equipment Transporter

By Elizabeth Geli

Check out the following cool products before your next practice, show or competition.

arching bands accumulate a lot of gear and don’t have a lot of time or manpower to move it around. With the RocknRoller Multi-Cart 8-in-1 Equipment Transporter by Ace Products Group, bands can carry more in fewer trips. “Most average-size bands can usually put most of what you need on the cart and take it to the field in one trip,” says John Maher, marketing director. The RocknRoller folds and expands into eight different configurations including a desk (with purchase of optional shelf) and a two-wheeled dolly. Large air-filled tires prevent scraping or sinking into grass or dirt. “Unlike metal wheels that will sink into moist grass, the nice big fat tires skim over the top of all that nonsense,” Maher says. When not in use, the RocknRoller can be folded to fit into a small car or, in the case of the smaller model, a suitcase. The cart comes in five different models that vary in size. “We’ve never gotten negative feedback about this cart,” Maher says. “There are musicians that will say, ‘The most valuable piece of equipment I own is my RocknRoller cart.’” To find out more or to make a purchase, visit www.rocknrollercart.com.

New Sticks from Vic Firth

Airlift Stadium Hardware

amaha and Randall May International have teamed up to make life easier for tuba and sousaphone players. The new AIRlift Stadium Hardware stands offer stability and safety for the large instruments. “The new stands from Randall May International are a game changer,” says Jonathan Goldman, product specialist at Yamaha Winds in a press release. “Educators and performers alike can now focus more on better playing technique rather than holding up the instrument. The simplicity and ease of use of the stands will greatly reduce the chance of damage from both stadium use and music room storage.” The tuba hardware allows the instrument to be played in the stands. The sousaphone stand caters to marching bands that need to put them down while not playing—it can be adjusted to stand up specifically in bleachers. A series of clamps hold in the instrument without scratching it, and the telescoping tubes feature an air suspension system for easy adjustment. To help bands purchase more low brass instruments, Yamaha announced the Quality is Affordable campaign, lowering prices on three of the most popular euphonium models and one tuba model. “It’s Yamaha’s way to help out economically as much as we can,” Goldman says. “We know there’s a big crunch with school budgets right now.” For more information on the AIRlift Stadium Hardware stands and Quality is Affordable program, visit www.yamaha.com/band.

rumstick manufacturer Vic Firth recently released a slew of new products including the Bill Bachman “Billy Club” Signature Tenor Stick and the Andrew Markworth Corpsmaster Signature Keyboard Mallets. Clinician and road drummer Bachman helped create the “Billy Club” because he felt unsatisfied with the existing options. “I have long played with tenor mallets and sticks and felt that I was missing out on something with both,” Bachman says in a press release. “I liked the big beefy sound and maneuverability of the mallets. I liked the quickness and great rimshot sounds you get from sticks. I never felt I could achieve both together with a single product. With my new stick, now I can.”

According to Vic Firth, the stick creates a focused sound that blends well with the bass and snare drums, the short length allows for easier maneuvering across the tenor drums, and the added weight creates a good rebound. The keyboard mallets were designed with percussion instructor, designer, arranger and composer Markworth. “My goal with this mallet series was to create maximum sound projection while maintaining a dark tone quality,” says Markworth in a press release. “We now have a series that creates a big, natural sound from the front ensemble that will carry all the way to the press box.” Markworth tested and tweaked the design with the 2009 Drum Corps International silver medalist Carolina Crown front ensemble. The set includes six different mallet types, three for marimba and three for vibraphone. For more information, visit www.vicfirth.com.

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Music that inspires the country Service that protects it

Music Enlistment Option Program..There are few truly great career options; serving as a Marine Corps Musician is one of them. If you have what it takes to become both a Marine and a Marine musician, you will play at some of the worldâ&#x20AC;&#x2122;s most honored events. Precision, discipline, and honor will be represented in every note you play. And as a Marine, you will distinguish yourself from the rest. To schedule an audition, call 1 800 MARINES or visit MARINES.COM.

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May/June 2010 9

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June 20—Pleasant Hill, CA—Family Day Preview June 22—Rio Rancho, NM—Drums Along the Sandias June 23—Mesa, AZ—Southwest Corps Connection I June 25—Clovis, CA—Mid Cal Tour of Champions June 26—Stanford, CA—DCI West June 27—Stockton, CA—31st Annual Moonlight Classic June 27—Atascadero, CA—Brass Along the Central Coast June 30—Medford, OR July 2—San Diego, CA—Corps at the Crest-Vista July 2—Salem, OR—Drums of Fire July 3—Walnut, CA—Corps at the Crest July 3—Hillsboro, OR—Portland Summer Music Games July 4—Pasadena, CA—DCI at Americafest 2010 July 5—Riverside, CA—Western Corps Connection July 5—Tri Cities, WA—Drums Along the Columbia July 6—Boise, ID—2010 Boise Summer Music Games July 7—Ogden, UT—Corps Encore July 9—Loveland, CO—Drums Along the Rockies-Loveland July 10—Denver, CO—Drums Along the Rockies July 10—Fremont, CA—California State Open July 11—Dublin, CA—Loudest Show on Earth July 16—Corona, CA—Dream Invitational July 17—Paramount, CA—So-Cal Classic July 18—Mesa, AZ—Southwest Corps Connection II

Midwest Drum Corps International June 24—Toledo, OH—Glassmen All Star Review June 25—Normal, IL—DCI Central Illinois June 26—Madison, WI—Drums on Parade June 27—Stillwater, MN—Drum Beauty June 28—Mankato, MN—The Thunder of Drums June 30—Dubuque, IA—Music on the March July 1—Oswego, IL—Festival of Brass July 2—Cedarburg, WI—Rotary Music Festival July 3—Michigan City, IN—Pageant of Drums July 6—Boise, ID—2010 Boise Summer Music Games July 6—Metamora, IL—River City Rhapsody-Metamora July 7—Dublin, OH—Emerald City Artistry in Motion July 9—Akron, OH—Innovations in Brass July 10—Kalamazoo, MI—DCI Kalamazoo July 11—Naperville, IL—Cavalcade of Brass July 12—Fairfield, OH—Summer Music Games in Cincinnati July 13—Hutchinson, KS—Allstate Starlite Drum-O-Rama July 13—Carmel, IN July 14—TBA Northern, IL July 14—Omaha, NE—Drums Across Nebraska July 15—Sioux Falls, SD—Sioux Empire Spectacular July 16—La Crosse, WI—River City Rhapsody-La Crosse July 17—Minneapolis, MN—DCI Minnesota July 18—Rockford, IL—Show of Shows July 18—West Des Moines, IA—Summer Showdown July 19—Wichita, KS—Drums Across Kansas July 19—Kansas City, MO July 31—DeKalb, IL

Miscellaneous June 21-26—Normal, IL—Music for All Summer Symposium June 27—Alexandria, MN—Vikingland Band Festival

June 18—Allentown, PA—Music in Motion June 29—Ewing, NJ June 30—Ft. Edward/Glens Falls, NY—Adirondack Drums July 2—Bristol, RI—Summer Music Preview July 3—Lynn, MA—The Beanpot Invitational July 5—Bridgeport, CT—Bridgeport Drums July 6—Chambersburg, PA—Music in Motion July 8—Pittsburgh, PA—Three Rivers Summer Music Games July 16—Brockton, MA—Saturday Night Lights July 17—Groton, CT—Drum Corps on the Thames July 18—Manchester, NH—Fiesta De Musica

Miscellaneous May 20-21—Orono, ME—Maine Music Educators Association

South Drum Corps International June 19—Chesapeake, VA—Tidewater Summer Music Games June 20—Ft. Mill, SC—FirstBEAT June 21—Charleston, WV—Drums Across the Tri-State June 22—Louisville, KY—DCI Louisville June 26—Arlington, VA—DCI Salutes America July 19—TBA Western, TX July 20—Edmond, OK—DCI Central Oklahoma July 20—Van Buren, AR—Battle on the Border VI July 21—Broken Arrow, OK—Drums of Summer July 21—Abilene, TX July 22-23—Dallas, TX—DCI Dallas Presented by North Texas Festival of Drums and Bugles July 22-23—Houston, TX—DCI Houston Presented by THE exSIGHTment of SOUND July 24-25—San Antonio, TX—DCI Southwestern July 24—Warrenton, VA—Drums Corps in Northern Virginia July 26—Lafayette, LA—Drums Across Cajun Field July 26—Denton, TX—Red River Thunder July 27—Ocean Springs, MS—Mississippi Sound Spectacular July 28—Hattiesburg, MS—DCI Southern Mississippi July 29—Gadsden, AL—DCI Gadsden Presented by Alabama Battle of the Brass July 29—TBA, KY July 29—Milton, FL—Sounds of the South July 30—Murfreesboro, TN—Pearl Presents The Masters of the Summer Music Games July 31—Atlanta, GA—DCI Atlanta Southeastern Championship Presented by Lake Oconee and Greene County, GA

Miscellaneous June 3-5—Louisville, KY—CBDNA National Collegiate Marching and Athletic Band Symposium July 18-20—Nashville, TN—Summer NAMM July 25-28—San Antonio, TX—Texas Bandmasters Association Convention/Clinic

Save Money With Great Prices On Like New Instruments!

Art for Music: To commemorate the 25th anniversary of Disney Magic Music Days, Disney animation artists have painted one-of-a-kind string basses to raise money for music education. Proceeds from auctioning these instruments will go to the GRAMMY Foundation.

t’s no secret that America has fallen on some hard economic times. As a result, school budgets get slashed, and music education programs get cut and sliced. Although no one “knight in shining armor” can fix this nationwide, several corporations have stepped in to try and help music education continue.

Music Education By Elizabeth Geli

The Parade Must Go On Marching in the Rose Parade is one of the greatest honors for a marching band— but what if a school got invited and couldn’t afford to make the trip? Starting in 2009, Farmers Insurance Group became the “Official Supporter of Rose Parade Bands.” “Farmers is here in LA, and we’ve been a participant in the Rose Parade for 50 years,” says Leslie Withoft, community branding manager at Farmers. “We thought it was important to find a way to deepen the relationship. There was no one really supporting the bands.” 12

Forced to cut budgets, many public schools look first at trimming or eliminating the arts. Luckily, large corporations in and out of the music industry have partnered with major not-for-profit organizations to help avoid this scenario. The nationwide network of local Farmers Insurance agents helped individual bands in their communities by making donations of needed items, supporting the band’s fundraisers and leveraging corporate resources to help them.

“The fact that our agents and district managers are involved for an entire year, they build a relationship with these bands and become part of the community,” Withoft says. “The parents are very thankful that we’ve become involved

Foundations

at Work

Other than the GRAMMY Foundation, many other music education non-for-profit groups are out there working with corporations, politicians and anyone who will listen in order to save music education. Check them out to see what they do, how you can help or how your school can benefit.

because it obviously is a daunting task to raise the money, so to have any corporation come in and help is very appreciated.” Several bands got to use the Farmers Insurance “ExtraordinAir” hot air balloon for their fundraisers. The Conroe (Texas) High School Tiger Band used Farmers “Customer Care Vehicles” to transport its instruments. In South Kitsap, Wash., Farmers organized a “Dodge for Roses” dodgeball tournament that raised several thousand dollars for the high school band. “Just the fact that somebody else was willing to step in and organize something and plan it was unbelievable,” says Gary Grams, band director at South Kitsap High School. “We’re not a wealthy community; we’re working class, so any bit of money we could get from anywhere helped out immensely. It was nice to be able to work with people who were passionate about helping at times like this.” If the marching bands weren’t a big enough part of the Rose Parade already, in 2010 Farmers celebrated its new role by leading the parade with a float shaped like a marching band member, followed by the “Farmers Insurance Band” comprised of Riverside Community College students. “We thought it was important to announce our new role,” Withoft says. “Tying in with the theme, having a Farmers band and being the first float in the parade was a significant moment for us.”

• The ASCAP Foundation www.ascapfoundation.org, a part of the American Society of Composers, Authors and Publishers, provides awards, scholarships, grants and workshops for music creators and music education. • Fender Music Foundation www.fendermusicfoundation.org, a program from the guitar manufacturer, provides grants to established music programs. • The Foundation for Music Education www.foundationformusiceducation.org, supports music programs and future music educators through the Music Education Resource Network and “Music Matters,” an educational journal. • MENC, The National Association for Music Education www.menc.org, is billed as “the only association that addresses all aspects of music education.” • Mr. Holland’s Opus Foundation www.mhopus.org, donates new and refurbished instruments to underfunded music programs. • Music for All www.musicforall.org, runs music education research, advocacy, and national awareness campaigns and programs such as Bands of America (BOA) and Orchestra America. • NAMM Foundation www.nammfoundation.org, supports numerous efforts including the Wanna Play? program and fund that encourages participation in music. • Support Music www.supportmusic.com, a joint program of NAMM and MENC, provides materials and resources for community members working to keep music education in their area. • VH1 Save the Music Foundation www.vh1savethemusic.com, works with school districts to reboot dormant music programs and provides new instruments. • Youth Education in the Arts www.yea.org, provides pageantry programs for students such as The Cadets Drum and Bugle Corps, the U.S. Scholastic Band Association and the Urban Arts Center.

May/June 2010 13

Magical Moments On a national scale, the GRAMMY Foundation, the charity branch of The Recording Academy, has recruited many corporate partners in pursuit of its mission to promote the value of music in American culture. Through its GRAMMY in the Schools, GRAMMY Career Day and GRAMMY Camp programs, the foundation not only helps existing music programs but also adds music-related curriculum and gives kids a chance to discover and experience all music-related career opportunities (not just performance). For example, Disney Youth Programs wanted to find a way to give back to music education as part of the 25th anniversary of Disney Magic Music Days, where school groups travel to Disney theme parks to perform and participate in clinics. They enlisted the help of instrument manufacturer Conn-Selmer, which donated five string basses that were then handpainted by animation artists with Disney characters—Aladdin’s Genie, the Princess and the Frog, Rapunzel, the Cheshire Cat and Dumbo. “We are so proud of the millions of students whose lives have been impacted from their experience at Disney Magic Music Days,” says Tim Hill, director of special programs for Disney Youth Programs for Disney Destinations in a press release. “We can’t think of a better way to celebrate 25 years than with giving back to music education.” The basses will be auctioned off by Julien’s Auctions in June, and the proceeds will go to the GRAMMY Foundation. “They wanted to spotlight their program and also find a way to support the groups that feed their program,” says Scott Goldman, vice president of the Grammy Foundation. “We hope to derive some significant revenue. These are truly one-of-a-kind. We’re anxious to see how we do.” Schools helped by the GRAMMY Foundation receive cash and recognition. Ace Martin, instrumental music chairman at the Douglas Anderson School of the Arts in Jacksonville, Fla., says that being the 2010 National Grammy Signature School winner has made a big difference for his program. The monetary donation went to music, equipment and fees for guest artists and clinicians, but Martin considers having the Grammy “stamp of approval” just as valuable. 14

“The GRAMMYs are the highestrecognized award show for music—it’s a sign that you’ve made it,” Martin says. “And the same is true for being a Grammy Signature School. It shows that you’re doing good things for music education. To be recognized by the GRAMMY Foundation makes people think twice before slashing our budgets.”

Mmm Mmm Good Goldman and his staff at the foundation are always reaching out to corporations in hopes that they will be able to contribute. They then will work with the company to determine how they can help in a way that benefits all parties involved. “There isn’t one way that is always right for a corporate sponsor to partner with an organization,” Goldman says. “There are all types of entry points.” When Campbell’s Soup wanted to do something “Mmm Mmm Good” for music education, it linked its alreadyestablished “Labels for Education” program to the GRAMMY Foundation. Kids and families save soup can labels and bring them into the schools, which then redeem them for educational materials ranging from art supplies and musical instruments to computer hardware and software. Any school that signs up gets access to the “Discovery Through Music” curriculum created by the GRAMMY Foundation. This six-week program teaches the basic elements of music and incorporates them into lesson plans for language arts, math, science and technology. Campbell’s pays the GRAMMY Foundation a licensing fee for “Discovery Through Music,” and the foundation gets the chance to reach more than 40,000 schools they otherwise would not have had access to. The GRAMMY Foundation also helps Campbell’s recruit a group of “Artist Ambassadors,” including Trisha Yearwood as the national spokesperson and other popular musicians such as Miranda Lambert, Zac Brown Band, Gavin DeGraw and Dave Koz, to promote the program. These artists appear in

promotional materials for the program and offer free song downloads on the Labels for Education website. Artist recruitment is one of the biggest incentives the GRAMMY Foundation has to offer its corporate partners. Because the GRAMMYs are such an important part of the music industry, and the GRAMMY Foundation is a charity, artists and music professionals are much more likely to want to help than simply endorsing a corporate product.

Be Next Another example of this relationship is the GRAMMY Foundation’s partnership with Best Buy. Taylor Swift served as spokesperson for its “Sound Matters” campaign, which promoted in-ear headphones from several manufacturers in conjunction with the Starkey Hearing Foundation. The program went so well that Best Buy has again decided to partner with the GRAMMY Foundation for the “Be the Next” initiative, which will use its @15 program, where teens earn points online and decide who Best Buy awards grants to. While the exact details have yet to be set, Best Buy has pledged up to $1 million in grants and services. “In the course of [the Sound Matters campaign], Best Buy began to see the length and the breadth of the GRAMMY in the Schools programming and agreed to get more involved,” Goldman says. As the new Best Buy Mobile (standalone mobile phone retailers) stores launch, the GRAMMY Foundation will be identifying high schools close to those locations to receive cash grants in honor of those stores. “This is really about a partnership where the charity can use the leverage and the muscle of a corporate partner to engage a much broader constituency in the pursuit of its programs,” Goldman says. “And the corporations get the reflective glory, and they can leverage our name and brand to their consumers, and that has great value.”

About the Author Elizabeth Geli is an editorial assistant at Halftime Magazine. She has played flute and marched at Valencia High School in Placentia, Calif., and in the USC Trojan Marching Band, where she is now a graduate teaching assistant. She has a bachelor’s degree in print journalism from USC and is currently working on a Master’s in Specialized Journalism (The Arts).

Scholastic A Little Elm (Texas) HS Score of 97.55

Scholastic Open West Johnston HS from Benson, N.C. Score of 97.05

Scholastic World James Logan HS from Union City, Calif. Score of 97.25

Somewhere in Time: The Scholastic A guard at Little Elm High School had a banner year, sweeping all rounds of WGI competition to win its first title with a score of 97.55. It had also won the Dallas regional and the North Texas Colorguard Association championships. Its show, “Somewhere in Time,” depicts a classic love story, complete with the main man lovingly carrying the woman off the floor at the conclusion of the show.

Crossing Over: The West Johnston winter guard took home its first WGI gold medal, scoring 97.05 with its show, “Crossing Over.” As performers made maneuvers on the floor, one member balanced and traversed across a 10-foot-high metal beam that spread across the tarp from corner to corner. One highlight involved her saber toss caught by a performer below.

Undercover: James Logan’s show, “Undercover,” depicting the life of secret agents, surprised audiences with stealthy costume and flag changes behind white coat racks. Its victory, however, did not come as a surprise as its mesmerizing performance swept all captions and reclaimed victory for the group. Last year it placed second after a voluntary year off from championships in 2008, while previously dominating from 1998 to 2007.

Photos by Dan Scafidi and Sid and Linda Unser courtesy of WGI Sport of the Arts

Guard Champions

Congratulations to the 2010 WGI World Champions. This year, many of the groups achieved their first gold medal, making it a year to remember. Enjoy our third annual photo spread, depicting each of the winning guard and marching percussion performances.

Independent A Pacificaires from Surrey, British Columbia, Canada Score of 95.40

Independent Open O2 from Dayton, Ohio Score of 95.05

Independent World Onyx from Dayton, Ohio Score of 97.85

Falling Slowly: Pacificaires rose to the top with a score of 95.40 after years of being a WGI finalist with its show entitled, ironically, “Falling Slowly.” The show’s climax involved a fully synchronized flag feature. Pacificaires is the only 2010 winner from Canada and recently had the documentary “Live to Spin” made about them.

To the End of the Day: Formed in 2003 to be a sister corps to Onyx, O2 has made a big name for itself with this gold medal win in its first year in Open Class; it will already be promoted to World Class next year. “To the End of the Day” used black costumes and flags in contrast to an elegant cross-shaped floor. In the show’s closing, performers utilized umbrellas on extended poles to further differentiate the program.

Sleeping Giant: Onyx stole the night with its show, “Sleeping Giant,” as it jumped two places in the score standings between semifinals and finals to receive its first championship in World Class. The guard members’ choreographed movement, show of physical strength and fast, complicated rifle sequences made a huge impression, especially as they were set against a simple tarp, black costumes and low-key music. May/June 2010 17

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Marching Percussion Scholastic Champions Scholastic A (top left) Timber Creek HS from Erial, N.J. Score of 96.713

Scholastic Open (top right) South Hills HS from West Covina, Calif. Score of 96.450

Scholastic World (bottom) Ayala HS from Chino Hills, Calif. Score of 97.175

CPU: In Timber Creek’s depiction of the workings of a “CPU,” the front ensemble and battery worked together with computer-like precision to win the Scholastic A gold medal with a score of 96.713. Unique sound effects from the front played a big role in the program’s effectiveness. The climax showed the battery turning quickly and smoothly in circles like gears and ending with a system crash.

Mother: The South Hills High School percussion group gave and received an early Mother’s Day present with its show celebrating “Mother.” Its fast pace, powerful playing and emotional appeal all had a role in helping the ensemble clinch the gold medal with a score of 96.450. In its first year in Open Class and its second in WGI competition, the young yet powerful group broke the streak of four-time winner Pacifica High School.

Live to Tell: With a frazzled peace sign on the tarp and music that included both hopeful quotes and gloomy news broadcasts, Ayala High School’s show, “Live to Tell,” depicts mankind’s quest for peace and the militaristic methods used to achieve it . The show, which received a score of 97.175, closed with a backdrop of the Vietnam Memorial. This gold medal is Ayala’s first in Scholastic World. The school’s concert program also received top honors. May/June 2010 19

Marching Percussion Independent Champions Independent A (top left) Dojo Percussion from Omaha, Neb. Score of 93.038

Independent Open (top right) Palmetto Percussion from Columbia, S.C. Score of 93.863

Independent World (bottom) Pulse Percussion from Ontario, Calif. Score of 96.375

New Age of Enlightenment: In its first year of existence, Dojo Percussion ushered in a new era by capturing the gold medal and scoring 93.038 with its show, “New Age of Enlightenment.” The program incorporated a member rolling around a large exercise ball that symbolized an older time period and ended with a golden ball being lifted up to show a brighter future.

The Butterfly Effect: In “The Butterfly Effect,” Palmetto Percussion showed how a single factor—such as wind produced by a butterfly’s wings—could change everything. Using fastpaced movements, cymbal flares and a visual sequence with only the front ensemble carrying the music, Palmetto Percussion’s performance had everyone fluttering with excitement. The group jumped from third in the prelims round, scoring 93.863 and its first gold medal.

Worth the Wait: Founded in 2004, Pulse Percussion has climbed its way to the top of the ranks from fourth place last year with a score of 96.375 for its show, “Worth the Wait.” Fast-paced sequences, unique instrumentation, an original score and a marriage ceremony made this show memorable. According to the Pulse website, “The show uses suspense and anticipation to keep the audience on the edge of their seats.”

By Sabrina Lochner

Start in June or August? Go away or stay on campus? Work all day and night or plan for play? Although schools structure their band camps in different ways, all strive for an atmosphere that builds the right habits and team bonding to set the tone for the rest of the season. Three top programs share their methods of getting the band started off on the right foot.

efore loading the buses for its final competition, the West Orange (N.J.) High School marching band sat in the band room watching a video of the seasonâ&#x20AC;&#x2122;s first run-through. Several students giggled while watching the performance from band camp. They could see how they had improved since August. Senior drum major Andrew Denburg knew that the season would be successful after conducting that first run at camp. While the band strives to complete music and drill during every band camp, this year was memorable. This time, the band performed without Dr. Beat pulsing the tempo. Band camp had

set the tone for the season. West Orange went on to become the 2009 U.S. Scholastic Band Association (USSBA) Northern State Champions in Group 5 Open. While most directors agree that band camp prepares their students for the upcoming season, the recipe for success varies among programs. Some bands spend the entire summer prepping for the new season while others are required by state rules to wait until August. Some groups travel to off-campus facilities while others practice on their home turf. Regardless of how band camp is structured, itâ&#x20AC;&#x2122;s safe to bet that pride, dedication and a bit of sweat are ingredients.

Preparation for West Orange High School’s new season begins in June. The incoming freshmen meet the rest of the band during a reading rehearsal at school. The group plays through the show music and listens to Director Lew Kelly talk about the show. Kelly saves teaching marching fundamentals and how to read drill charts for a two-day mini-camp in August.

Away We Go For band camp, the group travels three-and-a-half hours away to Camp Weequahic. Denburg thinks staying in cabins benefits the band. “It helps the kids bond a little more because when you’re living with these people for five days, you get to know them better,” he says. “And the better the group vibe is, the more we get done and the better we are by the end of camp.” The camp facility also allows the color guard, pit, drum line and winds to have their own practice spaces. While some members run into financial difficulties, the band works with parents to create payment plans. Sometimes the school will even sponsor a student to partake in band camp. “We offer opportunities for students to fundraise and to use those funds to offset the cost of camp,” Kelly says. “Money is not a reason for a kid not to be part of this band.” Kelly’s schedule is planned down to the minute and has served as a basic template over the years. The group begins with breakfast at 7:30 followed by stretches and warm-ups at 8:30. Drill setting fills the time until lunch, and then there is a combo of music and drill work in the afternoon. After dinner everyone is on the field until they can’t see, and then they do music rehearsal. Lights usually go out at 10:45 or 11 p.m. The student leaders are given as much ownership as possible, and Kelly counts on them to run music rehearsals within their sections. The primary focus at band camp is setting all drill charts and chunking them with memorized music.

A Chance to Unwind During meal breaks and before bed, students do find time to toss Frisbees

Photo of West Orange High School by Lee Papayanopoulos.

West Orange High School

and work on traditional skits that they perform at the close of band camp although there are no scheduled team-building activities. Denburg took the stage last year with some friends, and they pretended to be members of Blue Man Group. Band camp ends with the T-shirt unveiling and a dance party.

Marcus High School In Flower Mound, Texas, Marcus High School’s band camp also ends with a band induction and dance, but the camp differs in structure.

An August Start To begin, the co-curricular and extracurricular governing board in Texas prohibits band camp from starting any earlier than Aug. 1. This policy may look like a disadvantage because the band competes nationally with others that don’t have these restrictions, but Director Amanda Drinkwater views the rule positively. “It helps us work smarter and be well organized,” she says. “We are less apt to waste rehearsal time.” Drum major Tim Fitzgerald says that the element of urgency keeps the band improving and helps prevent burnout. To prove the point, Marcus High School placed 4th and took the music caption at the 2009 Bands of America Grand National Championships (BOA).

Photo of Marcus High School by Doris Casey.

Pre-Preparations Although the group cannot host band camp before August, they find other ways to prepare before the prior school year ends. Incoming freshmen attend an afterschool marching clinic in May. The 8thgraders also get standard songs that they can look at during the summer. Drum majors receive conducting tips from the assistant band director. And before the start of band camp, section leaders prep by going to a two-day leadership camp. Drinkwater and staff run the leadership camp in the band room. She talks May/June 2010 23

The music is also passed out during the summer. And on Tuesday nights in July, students come to “Open Band Room” to rehearse in sections, learn a new maneuver each week and to partake in a march-off. By the time the musicians get to band camp, they can play their parts memorized.

Work Schedule

Photo of South Brunswick High School by Virginia Kraft.

about leadership as if section leaders were employers. “If you were managing a small business, what kind of boss would you want to be?” she asks the section leaders.

On Home Turf When the 300-member ensemble meets for the two-week band camp, Drinkwater says rehearsing at the high school is more user-friendly than traveling to a sleepaway camp. Band members don’t have to pay additional travel fees. For Marcus High School, setting the entire show to music is not always the first priority. Drinkwater says they focus on the most challenging element of the show, whether it’s music or drill. It is more important that the band solidify concepts and procedures, she says. Fitzgerald explains that they don’t even begin setting drill until the last couple days of band camp. Rather, the group starts in the parking lot reviewing the position of attention. By the end of band camp, however, students are expected to have mastered certain pieces and must earn their section leader’s approval during music pass-offs.

Spontaneous “Sectionals” Most of the team-building and sectionbonding traditions occur naturally and are not scheduled. For example, the flute section “ding-dong ditches” freshmen’s houses with cookies. And the trumpets bring an artificial Charlie Brown Christmas tree to rehearsals, which they put their trumpets around when instruments aren’t needed. “The section leaders are responsible for making those in their sections feel welcomed,” Fitzgerald says. 24

South Brunswick High School The South Brunswick High School Marching Band from Monmouth Junction, N.J., learns the entire show at band camp, but Director Mark Kraft also schedules team-building activities at night. He has been influenced by the George N. Parks Drum Major Academy. South Brunswick marchers sometimes hold hands and twist into the human knot. They must work together to untangle themselves. They also participate in relays and fall backward into one another’s arms to build trust. In 2009, the group became the first New Jersey band to enter the semifinals round of BOA championship competition.

Open Band Room The band’s preparation begins as far back as June when the drum major screenings are held and band members audition to join the competitive band. (South Brunswick has both a competitive and non-competitive marching band.) The four drum majors then attend the Drum Major Academy to prepare.

In August, the group begins with a 9 a.m. to 3 p.m. two-day camp at the high school. In 2009, the group set at least 50 charts before band camp, says drum major Eric Siegel. On the third day, the band travels to Johnsonburg Camp for the five-day band camp. The group starts at 8 a.m. with 30 minutes of marching fundamentals followed by drill learning. The group works on music in the afternoon and at night students combine the music and drill. “As the season goes on, we refine the show and enhance the show from an artistry standpoint.” Kraft says. “But basically all the drill sets are learned, all the music is learned, all the percussion music is learned and all the color guard learned by the time we come home from band camp.”

Common Bonds But it’s not all work and no play. Sometimes, students have time in the afternoon to go boating or swimming. Kraft says hosting band camp away from the high school also brings the group together. “Bonding moves slower on a daily basis, but if you live together it happens faster,” he says. “You come together and really care about each other. Instead of people just playing for his/her own benefit, they begin to function as a group and want to make each other excellent.” On the last night of band camp, Kraft plays the band’s song, “Greatest Love of All.” Afterward, like West Orange and Marcus High Schools, South Brunswick seniors perform skits, and a dance draws the night to a close. While band camp demands hard work, by mid-October Kraft says, “It’s not uncommon to hear students saying that marching band is ‘the best thing ever.’”

About the Author Sabrina Lochner, a senior at Syracuse University, is an editorial intern for Halftime Magazine. She is majoring in magazine journalism and political science and minoring in architecture. She currently serves the Syracuse University Marching Band as head drum major and has served as the band’s associate drum major for two years. She has played the clarinet since fifth grade and is a sister of Tau Beta Sigma, National Honorary Band Sorority.

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Photos courtesy of the Center Grove Marching Trojan Band

For Center Grove High School, its indoor percussion show, “Don’t Give Up,” became a rallying cry in its struggles to fight for its arts programs as a whole.

n 2009 the Center Grove Marching Trojan Band from Greenwood, Ind., won first place, best music, best general effect and best visual awards in Class AAA as well as 9th overall in the Bands of America Grand National Championships. That same year, the indoor percussion ensemble received the silver medal in WGI’s Scholastic World Class. The group did not fare as well at WGI championships this year, placing 15th for percussion and 11th for guard although those rankings don’t faze its leaders. Being in the band is about the experience, not winning the awards, says Joseph Lapka, assistant director of bands. In fact, despite the ensembles’ past successes, the groups’ awards are not prominently displayed in the band room. At Center Grove, the staff works to create an atmosphere where the students are appreciated and can experience personal victories week-to-week. This philosophy is important, especially considering its recent school budget struggles. Halftime Magazine recently checked in with Lapka to find out how Center Grove operates. 26

Halftime: How did you prepare yourself to become a director at Center Grove? Lapka: The best thing I ever did in my career was that I spent three years after I graduated college watching the directors of Carmel, Avon and Lawrence Central. Seeing those people made me realize: “Wow, this is what high school kids can do.” Halftime: Is Center Grove’s music program threatened by budget cuts? Lapka: Right now, jobs are being eliminated due to budget cuts. … They closed an elementary school. … And in order to save the rest of the teachers, they have decided to do a referendum, a vote from the community … The school has dipped into emergency funds to retain all teachers for next year. If [the referendum] passes, everyone will keep their jobs, but the danger is we already know that next year the governor is going to cut the same amount that they cut this year again. So we’ll be facing the same crisis. But we’re safe for another year, at least. Halftime: What is the story behind this year’s indoor percussion show? Lapka: It really has a dual meaning. It’s just kind of coincidental that the piece “Don’t Give Up” by Peter Gabriel is the one we gravitated toward. There’s a main character who is representing Hope, whose name is actually Hope. So once the budget issues started happening, they just started talking about how there are times in our lives where we need to not give up and always have hope. And the end of the show is interesting because it’s not all warm and fuzzy; it’s kind of eerie and unsettling. It almost lets the audience know that it doesn’t always work out, and there is always uncertainty. So it kind of has a dual meaning in terms of don’t give up, really, on the arts and fighting for the arts. But originally the show was just about, in general, not giving up. Halftime: How do you decide on a show concept? Lapka: Sometimes the shows are really visually based, and sometimes they’re based off the music. ... Once the idea is generated, the director and the music staff find the right music for that, and then we figure out which parts of the music we’re going to use. It’s just a process that keeps going around, around and around. And obviously when we give it to the students, finally, we hope that it’s in its final form even though it will continue to change. We really don’t want the students to do something that we don’t feel is set up in every possible way, whether

that’s pacing, or exposure or effect. When we give them that music or when we give them that drill, we have faith that’s the product we want. Halftime: How do you feel about the group’s placements at WGI? Lapka: Center Grove has been in World Class for six years at least, so they’re used to it. … This year, the group performed very well; the final placement at WGI wasn’t necessarily what they had hoped. But it was kind of a younger group; we’re not graduating many people this year, so the group will be pretty strong next year. We are the type of program, as is many, where we’re going to go in and try something new and not worry too much about how it will end up being judged. They walked away feeling pretty good about their performance at finals, and in the end that’s all we can ask them to do. Halftime: What makes your band unique? Lapka: Center Grove has really based its recognition on pushing the envelope and being on the forefront of the activity and not really worrying about what everyone else is doing but being the ones setting the trends for the rest of the activity. Halftime: How has Center Grove pushed the envelope? Lapka: When you look at Center Grove from 1995 to 2000, … the visual concepts that were being presented at the time were unparalleled in the activity. They really pushed the activity to go and think about different concepts that had not been previously considered or thought even obtainable, whether that’s the tempos that they were going or with simultaneous demands. Certainly the quality of the guard at that point in Center Grove’s history was near the top, if not the top, both in WGI and marching band, so when you have that quality instruction, this allowed the designers to do things that most people can’t. Halftime: What advice do you have for aspiring directors? Lapka: For directors, my advice is to ... become the best musician you can, first and foremost, because when you look at directors from quality programs around the country, they are great musicians.

They have great musical instincts, and the only way you develop musical instincts is by listening to as much music as you can, seeing as many live performances as you can, watching other people rehearse, going to master classes. It’s about gathering as much information as you can to the point of where it becomes instinct for you. … Your first instinct is there, and it’s correct, and it’s productive, and it’s suf-

ficient. And that only comes from doing as much practice as you can. Note from the Editor: Find out how Center Grove alumni are helping to avoid arts cuts in the future. Visit our “Web Exclusives” section of our website at www.halftimemag.com.

Behind the Baton By Tom Dombrosky

Photos by Catina Anderson

What happens when you’ve dreamed for years of being drum major, but that dream doesn’t come true? You try again.

fter the long and grueling audition process had ended, the day had finally come for the next year’s drum major to be announced. All us hopefuls rushed down to the band room to see whose name was posted, and as I looked upon it, my name wasn’t there.

The Aftermath I went home extremely sad. The world had seemed to stop, and all that I could think about was the fact that I wouldn’t 28

be conducting the band next year. For the rest of the week, everyone kept talking about the next marching season, and it was the last thing I wanted to think about. After a couple weeks, though, all was back to normal, and everyone who had tried out accepted the new drum major, my friend Ty. Back when we were freshmen, Ty and I had vowed to be drum majors together. He and I had bunked near each other at band camp, both played saxophone—

alto for him and tenor for me—and were bus buddies throughout the season, so we spent much time together. Now there was just one problem: only one open position. Ty was going to be our new drum major. I was jealous at first because it was a position I had desired greatly, but I realized that he had nothing to do with the decision, and there was no reason to be mad at him. There was still hope for me to join him the following year, so I approached my next year with a positive outlook.

Persevering Soon after the year started, though, I started picking apart every single thing that our drum majors did and felt that I could do better had I been chosen. No matter how hard I tried to ignore the petty mistakes like yelling a wrong command occasionally, conducting random beats every now and then or forgetting a minor crescendo, they irritated me to no end. Getting over not being chosen as drum major is one of the biggest things for anyone who doesn’t receive the honor. What made it possible for me besides the fact that I had another chance was that I could make a difference at my level in the band. There are so many ways to stay involved: help the band raise money, manage the drill on the field, make sure every line is dressed, keep your section in check, be a section leader. Anytime that our director needed help with something, I was there. If there was any band function, I made sure to have a hand in its success. I spent more

time working with the underclassmen in both saxophone sections. These actions allowed me to be productive and not hinder the efforts made by the drum majors.

Round Two Our season came to an even better end than our previous one did, but all I could think about was the next drum major audition. To ensure that I was the best person for the job, I practiced all the necessary conducting patterns, shouted my commands with pride, perfected my roll step and boosted my self-confidence. At the same time, I showed my dedication by working with our previous drum majors and our director to ensure that everything I practiced was correct. Maintaining good self-confidence is extremely important, but it is one of the hardest things to do after a previous defeat. A drum major needs to have the confidence to know that he can start and end the band without a single slip. I also felt concerned that if I got the title, there would be two senior drum majors and thus no one to help the new drum majors the next year. I would also

be leaving only one person on my instrument in the band. Then I reminded myself that Ty and I said we were going to be drum majors together, and I was able to block out all my worries during the audition.

The Verdict I went through the excruciating process all over again and awaited my fate. I rushed down to the band room to see the results when the day came. This time it was my name that appeared. All of my work to prepare for the audition paid off. We had an amazing season because our band won every competition we competed in. In addition Ty and I received first place every time that there was a drum major award. These achievements proved to me that working for the goal was worth it.

About the Author Tom Dombrosky is a senior at Broad Run High School in Ashburn, Va., and plays tenor saxophone. Next year he plans to attend Virginia Tech and play in its marching band.

Fitness to the MAx

By Haley Greenwald-Gonella

Well-Balanced Exercise Cross training during the off-season can help you build endurance, avoid injury, and test your body and mind.

C After dancing since the age of 3, Haley Greenwald-Gonella thought it was time to try a new art. In elementary school, she began playing the flute and was in the marching band in middle school and for the first two years of high school. She also played the bassoon during concert season. Dance drew Haley back while in high school. She graduated from the University of California, Irvine with degrees in dance and English. She is now attending the University of Southern California and is getting her master’s degree in Specialized Journalism (The Arts). Haley is also a certified registered yoga teacher with Yoga Alliance. She draws upon her dance and yoga training when it comes to all things fitness and the arts.

ross training is basically the wellbalanced diet of exercise—different parts and functions of the body need different things at different times. During the off-season it is important to rest, but it is also necessary to attend to your body’s needs that are not getting met during the performance season.

Cardio In order to be performance ready once marching season is back in full force, cardio is key. Cardio helps build endurance and stamina. The American Heart Association/ American College of Sports Medicine recommends that “healthy adults ages 18 to 65 should [get] at least 30 minutes of moderate-intensity activity five days of the week.” While this goal may prove challenging to fit into a busy schedule during fall and winter, summer is the perfect time to put that 30 minutes of heartpumping cardio exercise back into your routine. Some people think that only running is cardio. A quick-paced yoga class, a brisk bike ride and a swim can all be cardio, too.

Flexibility Injuries happen—on and off the field. Sometimes a wet field and a bad fall is all it takes to hurt your back, knee or ankle. However, flexibility training can put you in a good position to walk away from a potential injury without so much as an ice pack. Pilates, yoga or a good stretch class at a gym after your cardio routine can help you prevent injuries. Stretching can also ensure

that your muscles do not get too tight or bulky.

Weight Training Flexibility paired with weight training is a truly great combination. Think about the way the body is composed— muscles and tendons wrapped around bone. You need movement and stability to have a healthy body. Even if you play the flute, lifting weights at least once or twice a week is good for you.

Balance Additionally, balance is one of the first things to go as you age. Why not try a few simple yoga poses, such as “tree,” to test and work on better balance. Balance is similar to hand-eye coordination, and it would be difficult to play an instrument without that. Balance also tests the mind. It prepares you for that moment right before you begin to play.

Rest Make sure to also take some time to rest and relax. After all, it is the off-season. Spread out your off days. It might be tempting to do your cardio workout Monday to Friday and take Saturday and Sunday off, but it is better for your body to take a break in between workouts. This same strategy regarding weight training will also help you build muscle faster. Remember to start slow and that changes do not happen overnight. Be consistent. Also consult your doctor before beginning any kind of exercise routine.

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PERCUSSION S

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Winners at WGI 1

17 20

23 25

27 33

43 48

32 35

Across 1. Acoustic guitarist’s lack 4. Young horse 8. Doctor of theology degree (abbrev.) 11. Slimy stuff 12. Take ___ (respond to applause, perhaps) (2 words) 13. Bounced like sound off walls 16. 2008 Color Guard winners in Independent Open (2 words) 18. “That’s OK, take your time” (2 words) 19. Unwavering, like a drumbeat 20. 1984 Color Guard winners in Independent Open 22. Capitol Hill figures (abbrev.) 32

23. Pirates, Raiders and Buccaneers, for instance? 24. 2005 Color Guard winners in Independent Open 28. Raincoat attachment 32. Comb target 33. Got quicker (2 words) 35. With 39-Across, 1994 Color Guard winners in Independent World (2 words) 39. See 35-Across 40. “___ the Universe” (a song by The Beatles) 41. Door frame 42. Hawaiian feast 43. 2007 Color Guard winners in Independent Open (2 words) 48. Muscle twitch 51. Farm measuring unit

52. 2008 Color Guard winners in Independent World 55. Former “Saturday Night Live” actor Chris 57. Option 58. 2009 Color Guard winners in Independent Open 60. Part of the eye 61. Give a hoot 62. Suffix after spat or form 63. Game where one player is “it”

64. Songs that top the charts 65. Number of keycontrolled holes on a standard bassoon Down 1. Tennis star Andre 2. Like really hot lava 3. Extremely strong, like a chemical 4. The Queen of Hearts, for instance 5. Follow the rules 6. Piece of firewood 7. Like adequate hotels, ratings-wise (hyph.) 8. Defeated in a landslide 9. Sixty minutes 10. Office furniture 13. “Orinoco Flow” singer 14. Actor Meaney or Feore 15. Designated hitters (abbrev.) 17. Effortlessness 21. F# minor, for one 25. Greek letters that look like P’s 26. It may get you backstage 27. Stretch the truth 29. Poem full of praise 30. Belonging to you and me 31. Double plays (abbrev) 33. Identical 34. Mr. in the vending machine 35. ESPN X Games host Masekela 36. Prefix before “puncture” 37. Gun advocacy group (abbrev.)

38. Horseback sport seen at Renaissance fairs 39. Totally awesome, 1980s-style 41. Sister in “Little Women” (with a fitting last name for Halftime) (2 words) 43. CBS show set in Vegas 44. Back muscles, for short 45. Recreate on stage (2 words) 46. Baby’s bed 47. From Nairobi, perhaps 49. Walk nervously back and forth 50. Out in the ocean 52. Group that monitors the airwaves (abbrev.) 53. “Cat on ___ Tin Roof” (2 words) 54. Director Ephron of the 2009 movie “Julie & Julia” 55. Mario ___ Wii (racing game) 56. “Planet of the ___” (Charlton Heston movie) 59. “Bali ___” (“South Pacific” song)

Solution For the solution go to Halftime Magazine’s website at www.halftimemag.com. Click on “Current Issue,” then “For Fun.”

About the Author Matt Jones is a 1998 graduate of Willamette University in Salem, Ore., where he majored in music education. Since 1994, he has also written crosswords for venues such as The New York Times, Games Magazine and Stagebill. He currently writes a syndicated weekly puzzle for more than 50 alternative newspapers across the country.

D R U M

1. Allentown, PA • 6/18 2. Chesapeake, VA • 6/19 3. Columbia, SC • 6/20 4. Pleasant Hill, CA • 6/20 5. Charleston, WV • 6/21 6. Louisville, KY • 6/22 7. Rio Rancho, NM • 6/22 8. Glendale, AZ • 6/23 9. Toledo, OH • 6/24 10. Normal, IL • 6/25 11. Clovis, CA • 6/25 12. Madison, WI • 6/26 13. Stanford, CA • 6/26 14. Washington, DC • 6/26 15. Stockton, CA • 6/27 16. Stillwater, MN • 6/27 17. TBA Southern, CA • 6/27 18. Mankato, MN • 6/28 19. Dublin, OH • 6/28 20. TBA Western, MI • 6/29 21. Ewing, NJ • 6/29 22. Dubuque, IA • 6/30 23. Ft. Edward/ Glens Falls, NY • 6/30 24. Medford, OR • 6/30 25. Oswego, IL • 7/1 26. Bristol, RI • 7/2 27. Cedarburg, WI • 7/2 28. San Diego, CA • 7/2 29. Salem, OR • 7/2 30. Walnut, CA • 7/3 31. Michigan City, IN • 7/3 32. Lynn, MA • 7/3 33. Hillsboro, OR • 7/3 34. Pasadena, CA • 7/4 35. Riverside, CA • 7/5 36. Tri Cities, WA • 7/5 37. Bridgeport, CT • 7/5

C O R P S

38. Ontario, OR • 7/6 39. Cumberland, MD • 7/6 40. Metamora, IL • 7/6 41. Columbus, OH • 7/7 42. Ogden, UT • 7/7 43. Pittsburgh, PA • 7/8 44. Loveland, CO • 7/9 45. Akron, OH • 7/9 46. Kalamazoo, MI • 7/10 47. Denver, CO • 7/10 48. San Jose, CA • 7/10 49. Brockton, MA • 7/10 50. Naperville, IL • 7/11 51. Dublin, CA • 7/11 52. Fairfield, OH • 7/12 53. Hutchinson, KS • 7/13 54. TBA Northern, IN • 7/13 55. Woodstock, IL • 7/14 56. Omaha, NE • 7/14 57. Sioux Falls, SD • 7/15 58. Corona, CA • 7/16 59. La Crosse, WI • 7/16 60. Groton, CT • 7/17 61. Paramount, CA • 7/17 62. Minneapolis, MN • 7/17 63. Tempe, AZ • 7/18 64. Rockford, IL • 7/18 65. Central, IA • 7/18 66. Manchester, NH • 7/18 67. Wichita, KS • 7/19

I N T E R N A T I O N A L

68. Kansas City, MO • 7/19 69. El Paso, TX • 7/19 70. Edmond, OK • 7/20 71. TBA Central, TX • 7/20 72. Van Buren, AR • 7/20 73. Broken Arrow, OK • 7/21 74. Dallas, TX • 7/22 75. Houston, TX • 7/22 76. Houston, TX • 7/23 77. Dallas, TX • 7/23 78. San Antonio, TX • 7/24 79. TBA Eastern, PA • 7/24 80. San Antonio, TX • 7/25 81. Lafayette, LA • 7/26 82. Denton, TX • 7/26 83. Ocean Springs, MS • 7/27 84. TBA, LA • 7/27 85. Hattiesburg, MS • 7/28 86. Gadsden, AL • 7/29 87. TBA, KY • 7/29 88. Milton, FL • 7/29 89. Murfreesboro, TN • 7/30

90. Atlanta, GA • 7/31 91. DeKalb, IL • 7/31 92. Rock Hill, SC • 8/1 93. Paw Paw, MI • 8/1 94. Centerville, OH • 8/2 95. Sevierville, TN • 8/2 96. Cedar Rapids, IA • 8/2 97. Salem, VA • 8/3 98. Massillon, OH • 8/3 99. Erie, PA • 8/3 100. Erie, PA • 8/4 101. TBA Northern, VA • 8/4 102. Eau Claire, WI • 8/4 103. South Lyon, MI • 8/5 104. Rome, NY • 8/5 105. West Chester, PA • 8/5 106. Allentown, PA • 8/6 107. Lawrence, MA • 8/6 108. Greendale, WI • 8/6 109. Belding, MI • 8/7 110. Allentown, PA • 8/7 111. Clifton, NJ • 8/8 112. Dubuque, IA • 8/8 113. Buffalo, NY • 8/8 114. Dayton, OH • 8/8 115. Toledo, OH • 8/9

For tickets & additional info, visit www.DCI.org.

The 2010 Drum Corps International Tour

P R E S E N T S

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Open Class Quarterfinals • 8/10

Indianapolis, IN

World Class Quarterfinals • 8/12 Open Class Semifinals • 8/13 World Class Semifinals • 8/13 Open Class Finals • 8/14 World Class Finals • 8/14 DCI Premier Events are highlighted in red. Events and dates subject to change. rev 02/10

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