Halftime Magazine September/October 2010 by Halftime Magazine

September/October 2010

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Volume 4, Issue 5 www.halftimemag.com $4.95

2010 DCI Champions The Blue Devils Win Back to Back

Musicians as Athletes DRUMLine Live $4.95 U.S.

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ISSN 1939-6171

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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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Volume 4, Issue 5 September/October 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

Editorial Assistant Elizabeth Geli

COVER PHOTO Ken Martinson/Marching.com

Contributing Writers Catina Anderson, Lane Armey, Mary Karen Clardy, Haley Greenwald-Gonella, Bobby Hullett, Matt Jones, Chase Sanborn, Christy Walker

Contributing Photographers Victor R. Gaines, Ken Martinson/Marching.com

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

imes are changing in the marching world. Music for All (MFA), celebrating its 35th anniversary this season, recently announced a leadership change with long-time CEO and president Scott McCormick resigning his position. And at Drum Corps International (DCI), talks have been underway between the DCI organization and a coalition of the top seven drum corps, known as G7, to alter the summer tour schedule and perhaps the future direction of the activity. Members of the G7 and DCI would not comment about the current negotiations although they seem confident that a compromise will be reached. While change is inevitable, especially in a down economy, one thing remains the same: It’s all about the students. Everyone involved in the marching activity wants to do what they feel is best for its members. We all know that students involved in the marching arts learn more than just music; they learn teamwork, leadership, discipline, respect, sacrifice and other life lessons. After receiving many student-submitted essays through the years—including this

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summer’s “Drum Corps Diary” series written by members of the Pacific Crest (see HalftimeMag.com’s “Web Exclusives” section)—we have realized, now more than ever, that the lessons that young adults receive in the marching arts stay with them for the rest of their lives. Therefore, we are starting an exciting new project: a book with a compilation of personal essays about “life in band” and the lessons learned along the way. Consider it “Chicken Soup for the Soul” meets “Drumline.” We are seeking submissions from students, directors, parents and alumni. Remember that the best stories show a specific experience that helped you grow or change your outlook. Email your essays to christine@halftimemag.com with the subject line, “Life in Band Book.” Submissions have no word limit and are due by November 15. We believe that every band and every person has a story, and Halftime Magazine is here to help you share yours. Keep on Marching, Christine Ngeo Katzman Publisher and Editor-in-Chief

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Features “DRUMLine Live”. . . . . . . . . . . . . . . . . 14 Combining the popularity of the movie “Drumline” and the theatrical production “Blast!,” the new stage show “DRUMLine Live” is engaging audiences around the world with its energetic HBCU-style performance. By Elizabeth Geli

2010 DCI Champions .. . . . . . . . . . . . . 16 Despite some controversies both on and off the field at this year’s Drum Corps International World Championships, one thing was certain: The Blue Devils organization achieved a new level of excellence with back-to-back gold medals in both classes while other corps realized their personal bests. Take a look at this year’s gold and silver medalists as well as other notable accomplishments. By Elizabeth Geli

Musicians as Athletes. . . . . . . . . . . 22 Marching musicians face many of the same physical demands as top-notch athletes, often with the same potential for injury but without medical oversight. Researchers, doctors and schools team up to improve conditioning and safety for marching students. By Haley Greenwald-Gonella

Web Exclusives

Departments

2010 Drum Corps Diary from Pacific Crest • Getting on Top of Podiums Dr. William P. Foster, Former FAMU Director, Dies at 91; Rock Band Kansas Performs With College Groups; Major News From Music for • Shoe Anatomy 101 All; The Disney All-American College Band Celebrates 40 Years Sectionals. . . . . . . . . . . . . . . . . . . . . . 8 • Interview with Rock Group Kansas Starting the Day; Harness Your Air; Achieving Sound Quality for Percussion; On the Move for Guard • And More ... these stories and more exclusively at Gear Up. . . . . . . . . . . . . . . . . . . . . . . . 10 Read www.halftimemag.com/articles/web-exclusives/index.html Publisher’s Letter. . . . . . . . . . . . . . . 2 Noteworthy. . . . . . . . . . . . . . . . . . . . 6

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CenterPitch Tuner from OnBoard Research Corp.; StroboClip from Peterson Strobe Tuners; Yamaha HD-200 Harmony Director

Regionals. . . . . . . . . . . . . . . . . . . . . . 12 Calendar of events organized by region

Direct From. . . . . . . . . . . . . . . . . . . . 26 Carmel H.S. Marching Greyhounds

Behind the Baton. . . . . . . . . . . . . . . 28 Coming Home: Star of Indiana Alumni Corps

Fitness to the Max. . . . . . . . . . . . . 30 Hand in Hand

For Fun. . . . . . . . . . . . . . . . . . . . . . . . 32 Play Ball!

Next Issue • Music for All’s 35th Anniversary • Being in the Pit • Starting a Band From Scratch • And More ...

By Elizabeth Geli

Dr. William P. Foster, Former FAMU Director, Dies at 91

Photo by Victor R. Gaines.

By Christy Walker from The 5th Quarter, www.the5thquarter.com

Rock Band Kansas Performs With College Groups

The marching band community mourns the loss of Dr. William P. Foster, director emeritus of Florida A&M University (FAMU). Foster’s numerous achievements influenced bands at Historically Black Colleges and Universities (HBCU) as well as high school and college bands worldwide. Foster took the reins of the FAMU Band in 1946 with only 16 members. The band became known as The Marching 100 in 1950 when membership increased to 110 members. The group has grown to march more than 400 musicians. Foster introduced the playing of R&B/ Top 40 songs while infusing intricate choreography during halftime shows. This combination of musicality and showmanship has become the standard for HBCU bands. Foster also authored “Band Pageantry: A Guide for the Marching Band.” Under Foster’s leadership, FAMU won the Sudler Trophy in 1985. And in 1989, the band was chosen by France to represent America during the bicentennial of the French Revolution. The Marching 100 has also performed in presidential inauguration parades and Super Bowl halftime shows. Foster received numerous additional awards and retired in 1998 after 52 years at the helm. Foster, 91, died on Aug. 28. 6

Famed rock group Kansas will play a series of concerts with collegiate symphonies to make sure music education doesn’t become dust in the wind. For its 35th anniversary live DVD release, “There’s Know Place Like Home,” Kansas played with the Washburn University Orchestra. The success of that collaboration inspired them to try playing with more university groups. “It’s a very new idea,” says Phil Ehart, drummer and original member of Kansas. “I don’t know of any bands that have gone in and done something like this.” The group started by cold-calling schools to see if they would be interested and soon discovered that most could not afford to put on the concerts, and that many had very few facilities or resources. “Music education and music itself is disappearing in our society,” Ehart says. “As a band that’s built their career on musicality, we’d like to see other people enjoy what we’ve gotten out of playing in a band.” D’Addario & Company, Inc., manufacturer of instrument strings and provider of Rico Reeds and Evans Drumheads, is the presenting sponsor. As such, the company will also provide scholarships to each school’s music department. Currently the Kansas Collegiate Symphony Tour includes eight concerts at six stops: the University of Alabama, University of Texas, Wichita State University (Kansas), Oklahoma State University, Hardin-Simmons University (Texas) and Truman State University (Texas). “We respect [the college students] and enjoy being around them,” Ehart says. “They know we have good music and can play our instruments, and we know they can do the same.” The concerts will include Kansas’ many hits including “Carry on Wayward Son,” “Dust in the Wind” and “Point of Know Return.” Since announcing the tour, more than 30 universities have expressed interest in future collaborations. Ehart says that Kansas has considered collaborating with marching groups in the future. “We’ve been asked, but right now we’re heading towards the symphony direction,” Ehart says. “We talked about it as a band, about how cool it would be to have some of our songs played with a marching band. It’s definitely a possibility, but we just haven’t gotten there yet.” Read the full interview with Ehart at the HalftimeMag.com “Web Exclusives.”

Major News From Music For All Music for All (MFA) has recently announced exciting news and major changes. President and CEO since 1984, Scott McCormick announced his resignation on Aug. 20, 2010, and posted the following message to his Facebook page the next day: “… it is with guarded feelings that I share with you effective yesterday, I have resigned my position as Pres. & CEO, and board member, of Music for All effective immediately. For those of you who know me well, this has been very far from an easy decision. I wish the organization, that I built, along with a very capable and talented group of associates through the years, all the best. And to all of you who have made me who I am today, I say thank you and look forward to our paths crossing very soon. I wish the young people and teachers who I have had the honor and privilege to serve over the years, the very best and hope you will stay in touch.” McCormick would not comment on the reasons for his resignation but said regarding his future: “I absolutely want to stay in the music industry and would love to stay in music education, and I’m just investigating my options right now.” Eric L. Martin, who has worked with MFA for the last 14 years as chief operating officer and associate executive director, has been named the new president and CEO. Martin says he is fully dedicated to MFA’s mission: “to create, provide and expand positively life-changing experiences through music for all.” “We will truly focus on the biggest goal for this organization: that Music for All will be more than an organization, it will be an institution,” Martin says. “People will come and go, including me, but the mission itself must survive, and it must grow and thrive regardless of the leadership.” MFA also announced that its annual Summer Symposium, a summer camp for instrumental music students and teachers, will relocate to Ball State University in Muncie, Ind., after being at Illinois State University since 1992. This move brings the symposium closer to MFA’s headquarters in Indianapolis; MFA had moved from Chicago in 2003. And great news for all bands competing in MFA’s Bands of America (BOA) Grand Nationals. Starting with the 2010 champion for the 2012 parade, the Grand Nationals winner will receive an automatic invitation to march in the Tournament of Roses Parade. “We will get one of the top bands in the U.S. in our parade without doing much other than being there to give them the invitation,” says Richard Jackson, president-elect of the 2012 Tournament of Roses Parade. “This is the first time we’ve done anything like this on a national scale.” BOA/MFA and the Tournament of Roses have previously worked together to bring the BOA Honor Band to the parade. This partnership also helps the Tournament of Roses with its new initiative to incorporate bands that do more than just march in traditional parade formats. “We’re asking our bands to be more entertaining while still staying traditional,” Jackson says. “We have the concept of a moving box, but the band itself can countermarch and do other things as long as their overall box is moving down the parade route. We think the bands of today can rise to the challenge of creating state-of-the-art 20th century entertainment.”

The Disney All-American College Band Celebrates 40 Years The Disney All-American College Band (AACB) celebrated its 40th anniversary with a reunion and performances in Disneyland Park on July 17, 2010. The 140-member mass band consisted of alumni from all over the world and ranging from the very first AACB to the current 2010 group. The band performed a standstill concert in front of Sleeping Beauty’s Castle and marched down Main Street U.S.A. “It was a crazy day, but it was a beautiful day of sharing,” says Dr. Ron McCurdy, director of the AACB and a jazz instructor at the University of Southern California’s Thornton School of Music. “We rehearsed for a couple hours, told stories, just had fellowship and had a good time.” The AACB is an 11-week paid internship program for college student musicians. The performers play in the park all summer and participate in workshops and clinics to help them in their future careers. “It becomes more than just performing in the park,” says McCurdy, himself an alum of the program. “The kids are learning how to shape their careers, life skills that you would not necessarily learn at your respective university.”

The reunion included appearances from the group’s previous directors, alumni band dancers (the group no longer has dancers), and esteemed alumni including woodwind player Sal Lozano, who has played music for hit TV shows such as “Dancing with the Stars” and is a member of Gordon Goodwin’s (also an AACB alum) Big Phat Band. This reunion is only the second one ever assembled and fell on the same day as Disneyland’s 55th birthday. The first reunion was in 2005 when longtime director Dr. Arthur C. Bartner retired from the position. McCurdy hopes to have one every five years.

September/October 2010 7

Starting the Day By Mary Karen Clardy

Every day is a new start for a flutist, and I begin the day with exercises to prepare for a great tone, technique and phrasing. Simple stretching and breathing exercises are essential because the flute needs energy, flexibility and air support in order to perform well in all conditions. Remember that facial muscles responsible for controlling and directing the air column into the flute relax and return to a natural position while the body sleeps. Because the flute has no resistance, it’s important to wake up the face and body before playing the first notes of the day. Try these exercises first thing in the morning to develop flexibility and confidence during the busy school year. Stretch. Breathe deeply, stretching arms, hands [read “Hand in Hand” on page 30] and facial muscles to wake up the body before playing the first notes of the day. Repeat the exercises at least 10 times to develop strength and flexibility. Whistle. Sing and/or whistle your favorite tune to prepare for musical phrasing, tone and breath control. Remember that notes on the page only represent pitches, so be sure to use your internal ear at all times in order to develop phrasing, musical direction and breath control. Warm Up. Set your alarm 10 minutes early each day, and use the extra time to warm up. Early practice is often the most productive before the daily schedule, so concentrate on difficult techniques or challenging practice routines. Reflect. Use a mirror in practice to focus embouchure, maintain good posture and monitor hand position to increase self-awareness and encourage good habits. The mirror is your best friend because it always tells the truth. Try this new practice routine for better concentration, an improved tone, increased embouchure flexibility and more energy throughout the day.

About the Author Mary Karen Clardy, professor of flute at the University of North Texas in Denton, appears as a soloist, chamber artist and teacher throughout the United States, Canada, Mexico, Europe, Asia and South America. A renowned author, Mary has published more than 10 books from European American Music, Leduc, Schott and Universal Edition. Her students are consistent prizewinners in international competitions and occupy prominent orchestral and faculty positions throughout the world. Visit www.mkclardy.com.

brass

winds

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

Harness Your Air By Chase Sanborn

Notes on a brass instrument are produced by a combination of air compression and lip compression. The balance can be shifted: The more work your air does, the less your lips have to do and vice versa. A quick look at the musculature surrounding the lungs compared to the musculature of the face tells you that the lungs are an area of strength that you should utilize. Breathe Deep. The first and most important step is to take full deep breaths. The more air you have in you, the easier it is to push it out, and the more relaxed you will feel. When away from the horn, practice deep breathing to remind yourself what it feels like to fill up completely. Sit Straight. Posture is critically important. Stand or sit up, elbows away from the body, chin lifted so there is no throat constriction. Legs should not be crossed, and your feet should be firmly planted. When sitting, feel as if you are ready to stand at a moment’s notice. A Fluid Motion. As air enters your lungs, fill the bottom section first, eventually expanding up into your chest. Your shoulders will rise as your chest cavity swells, but don’t lift them consciously at the start of the breath—this will lead to a shallower breath. The inhalation and exhalation are one fluid and connected movement, just like the backswing of a tennis racket. Relate your inhalation to the tempo and intensity of the entrance, just as the upstroke of the conductor’s baton relates to the music to follow. I typically breathe precisely on beat four of a one- or two-bar count off. This timing is usually enough to get a full breath but not enough to get “stuck” at the top of the breath, which can create a stuttering attack. Timed breathing helps to coordinate all the muscles involved with the start of a note. When you hear a great brass player, there is terrific breath control at work. It may not always be visually obvious, but the sound reveals the effort.

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 Lane Armey What does great sound quality mean? Play clean! As a marching percussionist, you hear that all the time, but that’s only half the story. No matter how good your chops, if you don’t play with good sound quality, you will

not achieve your goals. Sound quality is very hard to explain, but essentially it’s the difference between lightly tapping your drum and playing with strength “through the head.” A consistent, strong quality of sound—even at low volume levels—is critical to your growth. Why? If you are auditioning for your high school or college drum line or are interested in marching drum corps, you should concentrate on your quality of sound. It’s harder to teach than complex rudiments, and it’s harder to achieve than building endurance. So when I audition someone, I’m looking for great sound quality because I know I can teach the other stuff. Great sound quality will improve every aspect of your drum line’s musical performance. At low volumes you will hear tone from the drum, not just top head “scratches.” And the best-kept secret of all: Your drum line will be cleaner if you all play with a strong sound. Your ear perceives dirty drumming when two players have a different intensity of stroke even if they are both playing their music in time and together. How? Good sound quality is not synonymous with playing loud or pounding the drum. It’s about approaching the drum with intensity on each and every stroke, regardless of volume or height. I recommend lots of accent/tap exercises on one hand, like “bucks.” Start slow and increase the tempo. Ensure that each and every inner beat is PLACED, not dropped in. It takes a lot of energy to play with a consistently strong sound. Really go after it, and even with mezzo piano or piano passages, attack the drum as if the head is two inches lower then it actually is. And really seek out feedback. One-on-one time with your instructor is much more vital to improving sound quality than rehearsing with your drum line.

About the Author Lane Armey is the battery percussion coordinator for Homestead High School in Cupertino, Calif. Over the past 10 years, he has worked with various groups including Northwestern University, Marian Catholic High School and the Bluecoats Drum and Bugle Corps where he was percussion caption head in 2003 and 2004.

guard

percussion

Achieving Sound Quality

On the Move By Catina Anderson Proper marching is a critical element of clean, crisp routines. A strong core, sideline awareness and staying in step all add to cleanliness of routines across the ensemble.

Steady & Smooth.

Whether your color guard does a jazz step or a roll/ glide step, the hours spent working on marching technique count! Without lower body control and core support, the movement of the feet will project upwards through the equipment. Developing strong core muscles will also help to separate the motion of the arms from the legs, allowing your equipment to spin free of the bumps your feet experience on the ground. Sideline Awareness. Your shoulders should be parallel to the front sideline unless indicated by your choreographer. If performers face even slightly in the direction of their movement, the varying angles will make cleaning routines impossible. Practice simple skills such as drop spins or flourishes while traveling right and left with your upper body turned to the sidelines. If you are struggling, look for a long stretch of wall. Stand a few feet away from the wall and try rehearsing the same skills. If you hit the wall, you know you need to turn those shoulders just a bit more. Daily stretching to increase flexibility in the torso will also help. Putting It Together. Maybe the most challenging step for a new performer is layering the routine over the drill while staying in step. Start by marking time under your routine. Then add in direction changes and upper body shifts (remember that sideline!). For particularly difficult sections, you may need to break it down slowly to match up the proper foot to the move that coincides with it. Don’t be afraid to really exaggerate it, deliberately placing the foot down and repeating it until your muscles memorize how the arms and legs work together. Then slowly work your way back to full speed. While most of us really love the choreography and equipment side of our activity, it’s so important that your individual marching skills are perfected, so that those awesome routines can shine through.

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.

September/October 2010 9

StroboClip from Peterson Strobe Tuners

CenterPitch Tuner from OnBoard Research Corp.

By Elizabeth Geli

Check out the following cool new products. This issue we focus on tuners.

tay in tune and in time—all the time, with the CenterPitch Intonation Tool with built-in metronome from OnBoard Research Corp. The newly released improved models display a pitch reference at all times that can be transposed for different instruments. CenterPitch comes in both clip-on and traditional designs. The clip-on is ideal for individuals, particularly in noisy

rehearsals, because it only responds to the vibrations of the attached instrument. The traditional version can allow a director to tune a roomful of instruments. The arm of the clip-on allows for adjustment to any angle, so that players can use it without compromising their line of sight or proper playing position. The tuners come with a lifetime warranty and can be calibrated up to 440Hz and 450Hz. Halftime Magazine columnist and professional trumpet player Chase Sanborn has created a book of techniques that works effectively with the CenterPitch tuners called “Tuning Tactics.” The book contains exercises and information to help players better understand the subtleties of intonation and sharpen their technique. It also comes with a CD of demonstrations and play-along tracks. For more information, visit www.tuners.com.

The display on the StroboClip has been redesigned to allow easy viewing in all lighting situations. The tuner itself is encased in brushed aluminum to withstand road situations and comes with a metal carrying case. The clip-on part uses soft rubber pads to protect the instrument. Within a month, Peterson will also debut the BodyBeat Sync, a wireless pulsating metronome that can be synced up to allow a director to control the metronomes of an entire band. For more information on the StroboClip and other Peterson products, visit www.petersontuners.com.

eterson Strobe Tuners has packaged the unique features from its other popular products into a clip-on tuner called the StroboClip, available to suit different instruments. “It’s the most accurate form of electronic tuning,” says John Norris, Peterson sales manager. “Using your eye is the best way to assist your ear when you can’t use it—in a situation where you can’t hear yourself, such as a band. It reacts the instant you play.” The StroboClip includes specific “Sweeteners,” or temperaments to suit many different instruments, allowing instruments to be tuned to the 1/10 percent accuracy boasted by all Peterson tuners. “The one thing that really disqualifies any band is when they play out of tune,” Norris says. “This tuner is very affordable and just as accurate as our bigger tuners. The band would be tightened up considerably if you have instruments tuned to that kind of accuracy.”

Yamaha HD-200 Harmony Director

apan’s best-kept secret is now available for American bands. The Yamaha HD-200 Harmony Director is an ear-training device designed to help students understand how their individual notes fit into the chord, and as a result, they play more in tune. “It’s extremely popular in Japan,” says Jonathan Goldman, product marketing specialist at Yamaha Corporation of America. “It’s the reason Japanese ensembles play so well in tune. The rhetoric is that it teaches you through example rather than words.” The keyboard allows directors to demonstrate chords and isolate individual notes—each can be adjusted separately for volume and pitch. The device also contains a tuner and a built-in advanced metronome. “What it does is

it demonstrates to the students,” Goldman says. “They can tune individual notes, but it shows students the difference in equal and pure temperaments. It shows the student how their individual note fits into a complete chord.” The Harmony Director is also available in a HD-200 LS kit, which comes with a portable PA system, speaker stands and a rolling case. For more information, visit www.yamaha.com/band.

Major Events by Region West Bands of America Oct 23—Hemet, CA—West Valley H.S. Stadium Nov 6—St. George, UT—Dixie State College

Miscellaneous Sep 11—Costa Mesa, CA—Southern California School Band and Orchestra Association Fall Conference Nov 20—Fresno, CA—Western Band Association Championships Nov 20—Huntington Beach, CA—California State Band Championships Nov 26—Honolulu, HI—Waikiki Holiday Parade

Midwest Bands of America Oct 2—Kettering, OH—Kettering Fairmont H.S. Stadium Oct 9—Pontiac, MI—Silverdome Oct 15-16—St. Louis, MO—Super Regional— Edward Jones Dome Oct 16—Akron, OH—University of Akron Nov 6—Indianapolis, IN—Lucas Oil Stadium Nov 10-13—Indianapolis, IN—Grand National Championships—Lucas Oil Stadium

Miscellaneous Sep 18—Waseca, MN—Waseca Marching Classic Sep 25—Luverne, MN—Tri-State Band Festival Oct 2—Sioux Falls, SD—Festival of Bands USA Oct 9—Vermillion, SD—USD Quad State Marching Competition Oct 16—Ankeny, IA—Mid-Iowa Band Championship Oct 23—Minneapolis, MN—Youth in Music Championships Oct 30—Edmond, OK—Oklahoma Band Association 6A Championship Oct 30—Indianapolis, IN—Indiana State School Music Association Marching Band State Finals Nov 6—Detroit, MI—Michigan Competing Band Association Championship Contests Nov 6—Various Locations—Mid-States Band Association Championships

Northeast Bands of America Sep 25—North Huntingdon, PA—Norwin H.S. Stadium 12

Tournament of Bands Championships Oct 23—Various Locations—Chapter 3, 4, 6, 8 and 11 Oct 24—Various Locations—Chapter 1, 2, 7 and 10 Oct 31 and Nov 7—Hershey, PA—Atlantic Coast Championships

USSBA (major shows) Oct 2—E. Rutherford, NJ—Yamaha Cup Oct 2—Allentown, PA—USSBA Eastern PA Regional Oct 10—Allentown area, PA—USSBA Lehigh Valley Band Day Oct 16—Piscataway, NJ—DeMoulin Challenge Oct 17—Ewing, NJ—USSBA Central New Jersey Regional Oct 23—Hershey, PA—USSBA Pennsylvania State Championships and Band Day Oct 23—Bridgeport, CT—USSBA New England State Championships Oct 24—Various Locations, NJ—USSBA New Jersey State Championships Oct 24—Uniondale, NY—USSBA New York State Championships Oct 30-31, Nov 6-7 and Nov 13-14—Allentown, PA—USSBA Northern States Championships

Miscellaneous Oct 30—Erie, PA—Lakeshore Marching Band Association Championships Oct 30—Reading, MA—The New England Marching Band Championships Nov 13-14—Hershey, PA—Cavalcade of Bands Championship Nov 13—Bridgeport, CT—Musical Arts Conference Championships Nov 25—New York, NY—Macy’s Thanksgiving Day Parade

South Bands of America Sep 25—Louisville, KY—Papa John’s Cardinal Stadium Oct 2—Arlington, TX—University of Texas at Arlington Oct 9—Jacksonville, AL—Jacksonville State University Oct 9—The Woodlands, TX—Woodforest Bank Stadium Oct 23—Towson, MD—Towson University Oct 29-30—Atlanta, GA—Super Regional— Georgia Dome Oct 29-30—San Antonio, TX—Super Regional— Alamodome

Tournament of Bands Championships Oct 23—Various Locations—Chapter 5, 9, 12, 13

USSBA (major shows) Sep 25—Herndon, VA—USSBA Northern Virginia Regional Sep 25—Red Oak, TX—USSBA North Texas Preview Sep 25—Pflugerville, TX—USSBA Central Texas Preview Sep 25—New Braunfels, TX—USSBA San Antonio Preview Oct 2—Chattanooga, TN—DeMoulin Challenge Oct 2—Annapolis, MD—Marine Corps Invitational Oct 2—Burleson, TX—USSBA North Texas Regional Oct 2—Wylie, TX—USSBA North Texas Showcase Oct 2—Schertz, TX—USSBA San Antonio Regional Oct 2—Odem, TX—USSBA Bay Area Showcase Oct 2—Groesbeck, TX—USSBA Heart of Texas Oct 9—Orlando, FL—USSBA Florida Regional Oct 9—Kyle, TX—USSBA Central Texas Regional Oct 9—Spring, TX—USSBA Houston Regional Oct 9—Laredo, TX—USSBA Southwest TX Regional Oct 9—TBA—USSBA South Texas Regional Oct 16—Towson, MD—USSBA Maryland and Delaware State Championships Oct 16—Virginia Beach, VA—USSBA Southeastern Virginia Regional Oct 16—Sterling, VA—USSBA Northern Virginia Showcase Oct 23—Lynchburg, VA—USSBA Central Virginia Regional Oct 30—The Woodlands, TX—USSBA Texas State Championships Oct 30—Jefferson City, TN—USSBA Tennessee State Championships Oct 30—Glen Allen, VA—USSBA Virginia State Championships Nov 5-7—Annapolis, MD—USSBA National Championships Nov 6—Chattanooga, TN—USSBA Southern States Championships

Miscellaneous Sep 25—Kingsport, TN—Tennessee Valley Showcase Oct 30 and Nov 6—Columbia, SC—South Carolina State Championships Oct 30—Louisville, KY—Kentucky State Marching Band Championships Nov 20—St. Petersburg, FL—Florida Marching Band Coalition State Finals

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AUDITION CLINICS Brass Audition Clinics

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By Elizabeth Geli

ight years after its release, the 2002 movie “Drumline” still remains as one of the most prominent film portrayals of a marching band as well as one of the few representations of Historically Black College and University (HBCU) bands in popular culture. Now, elements of the film and the HBCU culture come to life on stage in a musical revue called “DRUMLine Live.” Similar to other music-based theatrical productions such as “STOMP” or “Blast!,” the show consists entirely of musical numbers without a plot or specific characters. “After the success of the movie, we realized that this wasn’t just regional; it was an interest nationally—in marching bands and in HBCU style,” says Reggie Brayon, CEO and producer. “We started looking at it and contemplating how we could take this to the masses. We thought about

putting HBCU style on stage, which was the most economical way we could do it.” Brayon worked with Don P. Roberts, chief marching band consultant for the movie “Drumline,” to create “DRUMLine Live.” In 2007, their original stage production performed several dates. The success of that show led to a partnership with Columbia Artists Management, Inc., and in 2008 to 2009, a full-scale tour of “DRUMLine Live” launched in the United States and Japan. This season the tour began in Tokyo, Japan, and then traveled to Seoul, Korea. In October, the group will return to the United States with confirmed show dates through February 2011. “People think marching band is just what you do at a game,” Brayon says. “But we try to do various types of music: big band, gospel, singing, greek stepping

is a part of the show, percussion ensemble, Ray Charles, hip-hop.”

Audience Involvement “DRUMLine Live” innovates by putting a heavy focus on audience participation. “We do a gospel scene where we sing the song ‘Amen’ along with the audience,” says cast member Eddy Falcon. “And there’s a part during the intermission where all the drummers go out into the audience and teach them.” The audience involvement is a highlight for the performers. “My favorite element is interacting with the audience and getting into the crowd and getting them on stage and playing some drums with them,” says cast member Jason Price. “I like to get them excited and pull them into the show; it’s more their show than our show really.”

Combining the popularity of the movie “Drumline” and the theatrical production “Blast!,” the new stage show “DRUMLine Live” is engaging audiences around the world with its energetic HBCU-style performance. Casting Call The 39 performers were selected for “DRUMLine Live” through open casting calls. According to Brayon, 85 percent of the cast are HBCU alumni. Price played at Florida A&M University and performed as the drum double for Nick Cannon in the movie “Drumline.” “I’m used to auditioning, but it was a little different because I’m not used to auditioning in front of all the other people,” Price says. “You have to play, act and sing, so that was different; it was my first time singing.” Falcon is one of the few cast members who did not attend an HBCU but has a drum corps background, previously performing in several Drum Corps Associates groups as well as The Cadets. His show band experience comes from the Brooklyn Steppers during his high school years. In 2008 he toured with “Blast!” “‘Blast!’ is more regimented and precise to the point,” Falcon says. “‘DRUMLine’ is more about your energy; it’s like one big party on the stage almost. In ‘Blast!’ you’re more into character and portraying different emotions and colors whereas for this, you’re trying to bring the energy and interact with the crowd.” The cast members live and work together while on tour, which leads to a familylike atmosphere. For Falcon, spending time with fellow cast members has educated him on the HBCU experience. “I feel like I went to every single HBCU that everyone in the cast went to because everyone had such a great experience,” Falcon says. “You sit down with someone, and they tell you what they did, and another person had a completely different experience—it’s all the same, but it’s all unique at the same time.”

From Musician to Celebrity The show itself requires a high level of physicality from the cast members. “I’m in every scene, so I’ll be singing, dancing, playing, marching, laughing and joking,” Price says. “At this point I’m an actor and not just a percussionist.”

Costume changes and hot stage lights also add to the stress of the performers. “We have about eight or nine costume changes, and a couple of them are layered on,” Price says. “You could pass out on stage if you’re not in shape or fit.” Stateside the first tour sold out 70 percent of its shows with the rest selling at least 50 percent of the seats. Brayon is hopeful that the production will continue to find success and someday have several different entities similar to the “Blast!” or “Cirque du Soleil” business models. “Our first tour we were just so overwhelmed with the great response that we got,” Brayon says. “It’s a lot of family fun in the theater; we’re a show where everybody can have fun, for kids and adults.” Audiences in Japan have an even stronger reaction that surprised the show’s producers and performers. “People were running to us and grabbing us and wanting autographs and taking photos, and they were more into it than the States and the Americans. That’s what got me geared up and took me to a better level of performing like: ‘They’re really into it; I need to put out!’” According to Falcon, educating new audiences about the HBCU marching bands is one of the greatest rewards. “I want them to feel what the real HBCU experience is like: the history of the music and how it’s influenced the entire world, this entire world,” he says. Price agrees. “I want them to be totally shocked and blown away, seeing something they’ve never had a chance to see before, know a culture they’ve never seen,” he says. “I want them to understand more about this marching band and HBCU culture, wondering how they can be a part or get involved.” Check www.drumlinelive.com for a show near you.

Yamaha Sponsors “DRUMLine Live” Yamaha is the official provider of instruments for the 2010 “DRUMLine Live” tour. “I’m so proud to be playing on Yamaha equipment that I don’t know what to do with myself,” says cast member Jason Price. “The band sounds so much better than last year; you don’t have to worry about stuff breaking down.” For the last tour, the instruments came from varied sources and companies, and this year’s cast has noticed a significant difference now that they are all playing on instruments from the same manufacturer. “The Yamaha instruments we have now really made it a lot easier; before it was a lot different between the sections with different brand drums and horns,” says cast member Eddy Falcon. “Yamaha really went out of their way to take care of us.” In the past, Yamaha has provided instruments for other theatrical productions, such as “Blast!” “We are honored to be a part of ‘DRUMLine Live’s’ continuing growth,” said Roger Eaton, Yamaha’s director of marketing, in a press release. “We look forward to an exciting, successful tour that supports our mutual interests of promoting musical experiences both on the concert stage as well as in schools.”

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 University of Southern California Trojan Marching Band, where she is currently a teaching assistant. She has a bachelor’s degree in print journalism and a Master’s in Specialized Journalism (The Arts) from USC. September/October 2010 15

By Elizabeth Geli

Photos by Ken Martinson/Marching.com

Despite some controversies both on and off the field at this year’s Drum Corps International World Championships, one thing was certain: The Blue Devils organization achieved a new level of excellence with back-to-back gold medals in both classes while other corps realized their personal bests. Take a look at this year’s gold and silver medalists as well as other notable accomplishments.

The Blue Devils Struck Back-to-Back Gold Show: “Through A Glass, Darkly” Score: 1st place (98.90) Director: David Gibbs Music: B ob Graettinger’s “City of Glass” written for the Stan Kenton Orchestra Trivia: T he show’s title comes from the Bible, 1 Corinthians 13:12.

he Blue Devils made history repeat itself in 2010, riding through the summer undefeated and claiming the gold medal, just as it did in 2009. The corps won its 14th gold medal definitively, with a score of 98.900—more than a full point above the silver medalist, The Cavaliers—and winning all captions except percussion performance, which went to 6th place Phantom Regiment. “I’m so proud of the staff, the kids’ progression, the fight and the effort, for them to be able to put so much on the line,” says David Gibbs, executive director. “To do this show in this kind of environment with The Blue Devils is a huge risk. We make no bones about it; we want to be the best pageantry organization in the world.”

Gaining Clarity “Through A Glass, Darkly,” The Blue Devil’s 2010 program, is adapted from the avant-garde jazz piece “City of Glass,” written by Bob Graettinger for the Stan Kenton Orchestra. “When you’re using the term ‘through a glass, darkly,’ it’s all about trying to see something more clearly and trying to get clarity on a situation,” says Scott Chandler, program coordinator and choreographer. “Ultimately it comes down to drum corps,

trying to see and get a real clarity on how drum corps can be performed and how it’s evolved and what it’s been like in the past.” The show took awhile to set in for the performers and audiences but was ultimately well-received. “Just trying to figure out the identity of the corps was really difficult—most of the season it felt that we were scrambling to find our identity among this monster of a show,” says Amy Martz, a first-year mellophone player. “But just seeing the show transform throughout the season into this machine that was unstoppable was amazing.”

Best of the Best Being in the A corps and winning the gold medal was a dream come true for Martz, who has been with The Blue Devils organization since 2003, previously marching in the B and C corps. “When they made the announcement, I was just in shock; I couldn’t even cry or anything; I’ve been waiting for this moment for 10 years,” Martz says. “To be recognized as a person who is the best in the world at something is pretty rare.” The Blue Devils staff and performers recognized that not every show appeals to everyone and that no matter who wins the medals, there will always be critics. “I think there’s been obviously a pretty large debate about The Blue Devils this year—about what we were trying to do and designing shows for one reason or another,” Gibbs says. “We really want to be able to give our members and the audience a fulfilled 11.5 minutes of an emotional, challenging, fun, intricate rollercoaster ride.”

World Class Scores 1. The Blue Devils 2. The Cavaliers 3. Bluecoats 4. Carolina Crown 5. The Cadets 6. Phantom Regiment 7. Santa Clara Vanguard 8. Blue Stars 9. Boston Crusaders 10. Madison Scouts 11. Blue Knights 12. Glassmen

98.900 97.750 96.400 95.950 95.100 93.150 92.000 91.900 89.350 88.950 87.100 85.800

Open Class Scores 1. Blue Devils B 2. Oregon Crusaders 3. Spartans 4. Revolution 5. Raiders 6. Music City 7. 7th Regiment 8. Legends 9. Genesis 10. Forte 11. Colt Cadets 12. Velvet Knights

97.550 94.000 93.600 92.200 89.150 88.500 86.900 86.200 84.000 82.900 82.300 76.150

September/October 2010 17

The Cavaliers Showed Strength in a “Mad World” T

he Cavaliers and its 2010 show, “Mad World,” spent the season climbing up in the scores. At finals “The Green Machine” fended off the Bluecoats for 2nd place with a score of 97.75. “There’s more than one meaning to the word ‘mad,’ and that’s where we were pushing everything off from,” says Adolph DeGrauwe, director and president. “Anger doesn’t always have to reflect being mad—what about our show made you mad? What about it when you walked away made you not mad anymore? What does mad mean to you, and what does it mean to us?” The all-male corps performed a very masculine show, complete with pushups and a crowd-rousing feature that had the entire color guard and horn line spinning rifles. The group even recited part of the Marine Corps’ “Rifleman’s Creed.” “We all loved the rifle feature; it was a blast,” says Dan Flynn, a mellophone player in his age-out year. “Hearing people start cheering just because we were doing pushups; people were almost beside themselves when we would do it.”

New Leadership In September 2009, former corps director Bruno Zuccala (now with The Cadets) resigned, along with members of the color guard, percussion and brass staff. “It felt that we were possibly going in the wrong direction; some of them disagreed with my philosophy, and they moved on,” says DeGrauwe, who at the time was president of The Cavaliers organization and a former director. “It

Awards and Recognitions Directors of the Year (Dr. Bernard Baggs Leadership Award): Dann Petersen of Madison Scouts and Rick Odello of Blue Devils B Jim Jones Leadership Award: John Lee of Madison Scouts and Eddie Pineda of Blue Devils B DCI Fan Network Fan Favorite: Carolina Crown and Blue Devils B Most Improved: Les Stentors

was fine; we were able to put an awesome staff together. The members were curious about the new staff, and it was harder for the older guys, but when they talked to our brass people, they understood and accepted the new philosophy.” One of the most important elements in the new philosophy involved practice styles. “It wasn’t that we were going to practice harder or longer; we were going to practice better,” DeGrauwe says. “We had more of the staff having control and making the decisions about who’s on the field and who’s not on the field. Our turnaround came on our Texas run in the middle of the season. That’s when everything started to kick in place.” As an older member, Flynn set an example for the rookies. “There were a lot of staff changes, but it didn’t seem as drastic as it may have on the outside,” Flynn says. “Coming in and learning new personalities and new teachers, I understood that as a leader, I had to buy into it myself and get everyone else to as well.”

More than an Activity Flynn has been watching drum corps since he was in his mother’s belly during the 1988 DCI World Championship. His father is a former Cavaliers drum major, and his brother also performed in the corps this year playing synthesizer. “The Cavaliers are one of the greatest experiences I’ve ever had,” Flynn says. “It’s more than just an activity; it’s a family. I aged out, but I’m definitely going to be back if nothing else to just sell T-shirts. There’s no way I’ll leave this organization.”

Show: “Mad World” Score: 2nd place (97.75) Director: Adolph DeGrauwe Music: “Mad World” by Roland Orzabal, “Harrison’s Dream” by Peter Graham, “Dismantling Utopia” by Pat Metheny, “Smile” by Charlie Chaplin Trivia: The Cavaliers recited part of the “Rifleman’s Creed,” which is memorized and internalized by all U.S. Marine Corps members.

Blue Devils B: Encore Win

or the second year in a row, Blue Devils B (BDB) took home the gold. It received a score of 97.55—more than three points higher than the second place Oregon Crusaders— and received six out of eight caption awards. Third place Spartans received first in Visual Ensemble and Visual Color Guard. BDB’s show, “Space,” explored outer space and other definitions of the word. “I think the inspiration was ‘The Interstellar Suite’; we came up with the concept of space, which took a lot of discussion as to what space meant,” Odello says.

“We wanted to encompass more than just outer space but also an inner space, the void between notes and visual design and how it can be filled or left open.” The show challenged and excited the members, some who were returning after last year’s winning season, but many who were new. “This year’s show was very demanding even compared to last year’s,” says Eddie Pineda, drum major. “It really pushed the members musically and physically, and it took all season up until finals to have the final product on the field. It was a beautiful thing.”

Blue Devils B took home even more awards, including the DCI Fan Network Fan Favorite. “That award means a great deal to us because it means that the performance is understood by the masses and that we’re not just performing for the judges,” Odello says. “The audience appreciates the show also— and that we’re entertaining.” Odello also was named Director of the Year in Open Class. “It means a great deal to me because that award is voted on by the other corps directors,” Odello says. “That’s a humbling experience that I take great pride in.”

A Season of Accolades

Consistency in Excellence

Pineda won the Jim Jones Leadership Award, given to an outstanding drum major in each class. “The biggest challenge for me was transitioning from being an assistant drum major to a head drum major, two very different jobs.” Pineda says. “It took me a little while in the beginning, but I got the hang of things.”

The sweep of both World and Open Class, two years in a row, is a feat not accomplished by any other organization. “I think there’s a sense of accomplishment that again there’s a strong consistency throughout the entire organization for excellence,” Odello says. “There is a similarity and consistency of approach to all of The Blue Devil programs.”

Oregon Crusaders on Fire I

t was a historic year for the Oregon Crusaders as the group earned its highest score (94.000) and placement in its history and won the silver medal. “One of our goals was to put together one of the best corps in our history,” says director Mike Quillen. “We had very strong returning member participation, and so we wanted to take that to the next level in terms of our competitive standing and score. We also wanted to be as entertaining as possible, and I think we certainly accomplished that on those fronts.”

Kaleigh Hull, the show truly came together during an indoor rehearsal due to a thunderstorm. “It was a show or two before quarterfinals, and there was a massive thunderstorm and lightning that came absolutely out of nowhere,” Hull says. “We were in this tiny little room where everyone was sleeping, so we pushed all our luggage and sleeping bags out of the way, and we arced it up, and we just played. We were so in tune, and everyone started to dig in to the music, and everything just clicked.”

Set Ablaze

Thunderstorms weren’t the only extreme weather the corps dealt with this summer. Bass drummer Andrew Wallner recalled one particularly hot and humid day: “It was 98 degrees with 100 percent humidity, and it was the sweatiest I had ever been in my life—the sweat was dripping off my elbows down to my feet, and there was a puddle,” Wallner says. “At end of the day, I had all these black marks on me that were bugs who had

The show, “Dance of the Flames,” explored the different moods created by fire. “Some of those can be aesthetically beautiful or more aggressive about dancing with fire, smoke and the mood created when you’re entranced by fire, and the joy of people being together around a fire,” says Travis Modisson, brass caption head and music arranger. According to first-year drum major 20

Hot, Hot, Hot tried to drink my sweat and drowned; it was so gross.” Overcoming those obstacles paid off for the Oregon Crusaders, whose members say they will never forget the feeling of winning that silver medal. “We were just standing there on the 50 yard-line with our hearts pounding out of our chest, and everyone just lit up because they knew it was the highest score we’ve ever gotten,” Wallner says.

By Haley Greenwald-Gonella

Marching musicians face many of the same physical demands as top-notch athletes, often with the same potential for injury but without medical oversight. Researchers, doctors and schools team up to improve conditioning and safety for marching students.

n its Aug. 10, 1987 issue, Sports Illustrated (SI) magazine quoted college basketball coach Bobby Knight in an article regarding, of all topics, drum corps. “If a basketball team trained as hard as these kids do,” says Knight, “it would be unbelievable. I like to take my players [to watch drum corps] to show them what they can accomplish with hard work and teamwork. Besides, once they see them practice 12 hours a day, my players think I’m a helluva lot easier.” The same SI article called Drum Corps International World Championships “one of the biggest sporting events of the summer.” And that’s not the only time that SI has covered the marching world. Like basketball players, members of marching bands and drum corps are athletes, due to the physical demands under 22

which they operate. Marching in sync, into formation after formation, while playing an instrument or spinning a rifle or flag takes physical strength, agility and stamina. “The physical demands of marching band members and drum corps are most similar to track athletes; additionally, so are their injuries,” says Dr. Craig Bales, who has worked with several drum corps.

Heart of an Athlete A 2005 ESPN2 broadcast also demonstrated the athletic demands of a drum corps member. Dr. Jeff Edwards, then department chair of physical education and athletic training at Indiana State University, hooked up Jordan Thomas, who played tenor drums with The Cavaliers. “We put a device on him that allowed

us to measure how hard he’s working, his metabolic rate,” Edwards explained. “What it actually measures is his oxygen consumption, his carbon dioxide production, the amount of air he breathes and his heart rate.” Thomas’ heart rate shot up to 180 beats per minute while merely watching from the sidelines. Essentially, this evidence points to the idea that being in performance mode creates an “adrenaline rush” similar to when athletes hear the gun go off. Thomas’ heart rate was more than 200 beats per minute, and his oxygen intake was 13 to 14 times higher than his resting metabolic rate while performing the drill on the field. “The oxygen consumption is generally about what it would be during the middle of a marathon for a well-trained runner,”

said Edwards in the broadcast. “If you look at the heart rate, though, you would think that you were looking at someone who was running a 400- or 800-meter dash maximally. So he’s working very hard out there.” Even high school bands have the heart— and the strain—of an athlete. In 2009, Dr. Gary Granata of PerformWell surveyed marching band students from Avon (Ind.) High School, the reigning Bands of America Grand Nationals champions, about their physical wellness and injuries as related to band. He presented his findings at the American College of Sports Medicine’s annual conference. More than 95 percent of students polled reported sore or stiff muscles after practice, and more than 38 percent said they had suffered injuries on the field. A multitude of students also experienced tiredness, nausea, faintness and heat-related illness.

Like at many top-notch bands, Avon runs a rigorous program. Conditioning begins one week after school lets out in June and includes half-mile runs, which later turn into two-mile runs, according to Jay Webb, director of bands. Band camp also includes push-ups and 10- to 12-hour rehearsal days. This fall, Avon’s members will be able to count marching band for physical education credit. Avon is only one of many schools that recognize band as physical education. “Thirty-two states permit districts or schools to allow students to substitute other activities for P.E., such as JROTC, marching band, interscholastic sports, and cheerleading,” reported Erik Robelen in Education Week’s “Curriculum Matters” blog. Similarly, rehearsals at the James Bowie High School Outdoor Performing Ensemble in Austin include jumping jacks, lunges, push-ups, sit-ups and a lot of stretches, says Bruce Dinkins, director of bands. Members are also encouraged to “run or walk a lap around the field at the beginning of each rehearsal, so that their bodies get limbered up,” Dinkins says. Dinkins says that he puts great emphasis

Tips for Pre-Season Conditioning Because marching musicians act like athletes, they should be trained with as much care. Here are a few things to keep in mind. 1. Jog. Before marching season even begins, go for short jogs outside in order to get used to the heat and to start cardio conditioning. Increase the length and distance of your jogs as it gets closer to marching season. 2. Hydrate. Don’t just drink water when you are thirsty—drink it before you are thirsty. In addition to water, drink something to replace electrolytes. Carbonated drinks dehydrate the body. 3. Fuel Up. Think about eating for energy. A lot of energy is needed during rehearsals, so eating carbohydrates is a necessity. 4. Sleep. It is important to make sure that you are getting adequate sleep, especially during band camp. on his students’ health and safety, providing plenty of breaks. “Kids don’t know when they’re overworking themselves,” he says. “We spend a lot of money on fruit. We spent $2,000 this year on fruit—oranges, apples and a lot of bananas for potassium. The kids get two to three fruit breaks, and we use about four or five [containers with] eight to 10 gallons of Gatorade per rehearsal.”

Conditioning With sports often comes the risk of injuries. When asked about frequency of injuries in his marching band, Dinkins remarks: “One girl has a knee problem. Sometimes the kids will get shin splints, but that’s rare.” But other marching members don’t get off so easily. Just recently, Carolina Crown’s mellophone player Ryan Brannan fractured his left tibia during Drum Corps International finals competition. According to Bales, most of the marching injuries “start with the foot. However, these injuries can also be evidenced in the back, knees and ankles in addition to the feet.” Furthermore, it can be “difficult to analyze what is actually causing the injury because the drill is continually changing,” Bales points out. Bales believes that there is a longstanding philosophy among professional musicians that is a leading cause of bad habits. This philosophy dictates that a musician must simply “put up with and

work through the pain,” says Bales. This philosophy seems to be a common misconception among artists, such as dancers and gymnasts, and athletes alike. This philosophy of “putting up with the pain” is further fueled by a short, timeconsuming marching season—one that involves a high degree of repetition, which can itself cause stress-related injuries. This idea also compounds the fact that too often marching musicians “become conditioned by going through the season,” as opposed to actually going through a conditioning program, states Bales. Granata believes that most high school marching bands are being “reckless” with their members’ health, especially with regard to heat-related injuries, which can be a cause of cardiac arrhythmia. After Granata’s study at Avon, he educated the parents and band staff regarding injury prevention. Webb says that he and his staff “gained a lot” from what Granata had to say about properly fueling and hydrating the members of the band because, as Webb says, they have “seen a lot of injuries—not necessarily all bandrelated”—within their band members. These include injuries involving the knee, ankle, and those that are heat-related. Whereas most athletic teams are equipped with some sort of medical staff, the majority of high school marching bands is not outfitted with such personnel. At Avon, the band “receives a great deal of support from the school and even has access to the school’s athletic trainer,” Webb says. September/October 2010 23

And Dinkins overcomes lack of medical personnel by bringing in a trainer to discuss injury prevention. “The trainer talks to the kids about wearing light-fitting clothes and hydration,” Dinkins says. Additionally, Dinkins and staff send out emails in the middle of July, encouraging his band members to go outside and “get used to the heat.” Even more remarkable, at the beginning of the season, Dinkins sets up voluntary cardiomyopathy screening for his band members.

Injury Prevention What else can be done to prevent injuries within marching musicians? Webb says, “Although it is easier to rehearse earlier in the day because it is cooler, [I have] started making rehearsals start later in the day, so that the band members can get the necessary amount of sleep” that a high school student requires. Bales recommends “sufficient rest breaks.” Even a short break can allow the heart rate to decrease because it takes the student out of performance mode. Also, conditioning is key. Instead of being conditioned through hundreds of drill

repetitions, it is better to build stamina prior to the marching season actually beginning. A thoughtful program under the direction of sports medicine personnel, such as the Drum Corps Medical Project under Bales, could be beneficial to most marching bands, especially the top groups. The Drum Corps Medical Project, which was actually started in 1991 but became more active in 2006, is still not yet fully functioning. “Our main focus, at least originally, was to get medical professionals to work with the corps for most of the summer,” Bales says. “Out of that, we hope to get a group of professionals that would see all of

the different corps.” Also, it would provide a network for “drum corps medical personnel to share treatment modalities,” says Bales. Each corps medical professional would design that corps’ specific conditioning program because “each corps is different to some degree—some corps don’t tour all summer,” explains Bales. The physical demands under which most marching bands and drum corps operate seem to necessitate some sort of conditioning and injury prevention. “If I didn’t take care of my amazing kids, I wouldn’t have an amazing program; it is just like training an Olympic athlete,” Dinkins says.

About the Author 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 recently graduated from the University of Southern California with a master’s degree in Specialized Journalism (The Arts).

Photo courtesy of Carmel High School band.

By Elizabeth Geli

With a consistently top-ranked program, Carmel High School’s marching band has a large membership that faces both internal and external pressures. Richard Saucedo, the group’s director, discusses how the group achieves “Excellence as a Lifestyle.”

eing a band director is hard work, but Carmel High School’s Richard Saucedo also manages to be one of the country’s top composers, arrangers and clinicians—all while leading his band to become the 2005 Bands of America Grand Nationals Champion and place in the top 10 every year since. Saucedo used one of his breaks during Carmel’s band camp schedule to speak with Halftime Magazine about his career, Carmel’s success and overcoming a recent hazing incident in the community (not connected to the band).

Halftime: Tell me about your musical background. Saucedo: I fell in love with the whole marching band thing when I was in high school because I had a director, Don Hoffman, who also got me into writing. I went to Indiana University in Bloomington and got a music education degree and started to try and work with the best people I could find. I got some wonderful experience and ended up not only writing and teaching for marching bands but also got a chance to work and write for The Cavaliers Drum and Bugle Corps and also writing for Hal Leonard Publications. From those kinds of activities, I’ve learned a ton from some of the best people in the business, and I’ve been fortunate enough that people have asked me to do clinics. Halftime: What has been your proudest moment? Saucedo: My proudest moment professionally was in the year 2005 when the Carmel Marching Band won the Bands of America Grand Nationals Championship in November, and then the very next month, our Wind Symphony played at the Midwest Clinic in Chicago. We felt we had reached the pinnacle of success in marching and concert band, just four weeks from each other. Halftime: What are the keys to your success? Saucedo: We have amazingly hard-working kids. My best example is this summer, we haven’t had a day under 88 degrees, and our kids have ignored that and done what they always do, working hard and giving everything they have. We have kids that are willing to give way more than is necessary. The other thing is that we have a tremendous staff: Our assistant directors, percussion instructors, color guard instructors are the best in the country. They’re not just great teachers, they’re great motivators, and they care about the kids. The other part is the parents who will do anything for us, and the last part is the administration. Our superintendent came to one of our practices; the principal follows us all year long and actually comes to a competition. Kids, staff, parents and administration are the reason we’ve been so successful. Halftime: How does your band deal with the pressure of being a top program? Saucedo: We just try to focus on excellence. It’s not about who we beat; it’s about being as perfect as we can. We know there’s no such thing as a per-

Carmel H.S. Marching 26

fect practice or performance, but we try to get as close as we can. By approaching it that way, we take the pressure off the kids and the staff for placing where people think we’ll place. … In our band room, one of our drum majors put up on the wall, “Excellence as a Lifestyle,” and we believe that, whether it’s in rehearsal or outside rehearsal. Halftime: The marching arts are very strong in Indiana. How does the location help or hinder your program? Saucedo: It never hurts; it always helps. The Avon directors, Center Grove, Lawrence Central, realize that without competing against Carmel, they wouldn’t be as good, and we feel the same way. … There are times those groups beat us, but it doesn’t matter, because if they’re successful, then we’re successful. Whatever Indiana band is the most successful, we’ll all congratulate each other. Halftime: With approximately 500 students in your programs, how do you maintain personal connections? Saucedo: We have 150 incoming band students this year, so we decided it’s time to divide them into two groups, and we’re

going to use all our directors, so that every kid feels like they’re getting personal attention, so that we can see they’ve improved over the years … When I talk to people about it, they sometimes make fun of me, like, “Oh no, you have too many kids!” It’s a great problem to have, but it’s a problem that we want to take care of. We don’t want anyone leaving feeling that they were just a number. Halftime: What do you want students to take away from marching band? Saucedo: There are a couple of things: The first one is that the world is about how you deal with people. This summer we’ve spent over 20 hours doing leadership training with all of our kids, not just upperclassmen, but everyone including freshmen: how to react when there’s a problem, how to be a good leader, how to stand back sometimes. We want them to deal with life lessons. We really want them to be thinking about excellence in everything they do; if they’re going to be a doctor or a teacher, they should be the best that there is. Halftime: So how has the band dealt with the recent hazing incident in Carmel’s

athletic program to make sure these activities stay out of your band? Saucedo: We’re taking our lead from the school. That’s part of why we had more leadership training this year. We try very hard to never let our kids out of the sight of an adult. We sat our kids down as a whole band; we talked about respecting each other’s spaces and personal belongings, and that’s something that at CHS, we’re making sure the kids really understand. Halftime: What advice do you have for other programs? Saucedo: Don’t do it alone. Go out and find people that can do things better than you can and ask them to come in and work with your kids. Or go watch them and see how they work with kids. There are so many people that are out there willing to help young directors. One of the things we’ve done with Dynamic Marching [a company co-founded by Carmel’s visual designer, Jeff Young] is to help create DVDs for young directors with information I wish I had had when I was a young director. That’s one of the ways we’ve tried to give back.

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Behind the Baton By Bobby Hullett

Coming

Photos by Ken Martinson/Marching.com

eing drum major of the Star of Indiana Drum and Bugle Corps goes far beyond a unique experience. There were only six of us in the nine-year history of the corps. The year 2010 marked the 25th anniversary of Star’s humble beginnings, and the opportunity to perform at Drum Corps International semifinals gave us all the chance to relive our “glory days.”

Shadow Dance In our youth, we drove to Bloomington, Ind., excited for those last few miles on highway 37 just before we pulled into our summer home, the TLB Corps Hall. Now, we are all middle-aged (and yes, that’s painful to say), we have kids of our own, professions in the “real world,” and goals and dreams beyond those of 20plus years ago. When I came to Star, like many rookies, I was fresh out of high school. As the saying goes: I had my diploma in one hand and my car keys in the other, and I headed north. In 1989, I was the assistant conductor, then marched euphonium in 1990. Ashley Tappan was aging out that year, and I wanted the position of drum major more than anything else I had known in my life. I shadowed her duties (closing up the schools, loading the buses, etc.), and during the last two weeks, Ashley gave those duties to me while working with me to ensure they were done correctly. 28

Stars of the Show: Four of Star of Indiana’s past drum majors gather to celebrate their 2010 exhibition performance. From left to right: Becky (Wood) Saddlemire, drum major from 1986 to 1988; Bobby Hullett, 1991 to 1992; Ashley Tappan, 1989 to 1990; and Matt Harloff, 1993.

One of the drum majors from Star of Indiana relives the glory days, back on the podium again at this year’s alumni exhibition.

During the banquet that fall, executive director Jim Mason surprised everyone, including me, by announcing that I was the new drum major of the Star of Indiana. It was one of the best and most memorable moments of my young life.

In Humble Servitude The position of drum major differs from organization to organization, but I can tell you in one word what it meant to us at Star: servant. We were and are to this day, faithful stewards and servants of our beloved corps. Being drum major was more than conducting the ensemble, retreats or “TV time.” For us it was cleaning up the restrooms when you were the only one in the building, not because you had to, but because you wanted to. It was going to bed an hour after the corps and waking up an hour before to make sure the plan for the day was set in motion. It was being a liaison between the membership and the staff and vice versa. It was pushing the corps to its breaking point and then asking for one more run. It also meant sacrifice. 1991 was one of the hardest summers of my life. The corps was moving the envelope, and the staff wanted more. I became one of the primary fulcrums upon which this was leveraged. I lost nearly every friend I had in the corps that summer. There were many times that I ate, did laundry or even just rested … alone. Then, that final hot summer night in Dallas, Texas, we had just won the World Championship and returned to the buses. We circled up, and I said a few words to the corps, expressing my thanks, and I remember holding the trophy up above my head, reminding the corps of all the hard work and saying: “No matter what you feel at this moment, I hope one day you’ll look back on our time and find it was worth it.” As we all began checking in and checking out, I found myself humbled— when every member of the corps, everyone, over the next two hours came and hugged me and said, “Thank you.” With service to the corps came leadership and responsibility. These might be natural or inherent traits within us, but they must be sharpened and refined. There are mentors from our families, churches, everyday lives, but then there are our teachers. I am the man I am today, due in great part to my experiences and guidance from my mentors in music …

from my band director, Terry Williams, to the administration and staff of Star. And now … I am passing those life lessons on to my young sons.

Star Family The Star Alumni Corps project began a year and half ago, thanks to some very dedicated people. In August of 2009, I stood before the horn line for the first time in 16 years. “Here we go everyone … Praise Ye.” The horns came up, and it was like I was 20 years old again. Standing before an ensemble, engulfed by the power of its energy, there is truly no real way to explain it. All I can say is that it is home. From that moment until we left the field at semis, it was a year of anticipation, fellowship and celebration. From the “drum major” point of view (I was one of three that night), the final week and performances for the DCI Hall of Fame and semifinals audience were experiences of a

lifetime. Climbing the podium in Lucas Oil, waving to my wife and son, and hearing Brandt Crocker’s legendary voice once more say the words, “The Star of Indiana,” was a prelude to the surreal moment that we were once again taking the field. During our final week we were preparing for one of the “last” runs … you know, the “this group will never be together again” run. We pulled the corps in and in that one moment, standing in a public park in Plainfield, Ind., I realized … I was home. Corps Hall wasn’t a building composed of sticks and bricks. To the contrary, I was standing in Corps Hall, among these pillars of people, united by the ties that bind family together. As I looked into the faces of my Star family, I realized and told them that the years may pass, and yes, we will grow old miles and miles away from each other, but in these moments, these special moments, we can always come home.

About the Author Bobby Hullett was a member of the Star of Indiana Drum and Bugle Corps from 1989 to 1992, serving as drum major in 1991 and 1992 before joining the visual staff in 1993. Currently, Bobby stays involved as a visual designer through his company, Sounding Ground, www.soundingground.com, and as an adjudicator in the visual caption. He is pursuing his Ph.D. in public administration and is the director of training and education for Lee Company in Franklin, Tenn. September/October 2010 29

Fitness to the MAx

By Haley Greenwald-Gonella

Hand in Hand I

t is easy to remember to take care of body parts such as your back, legs or feet, but what about your hands? Hands seem to be easily forgotten, even though they bare most of the work when it comes to making music. Here are some stretches to help you take care of your “instrument.”

Musicians use their hands to make music but don’t typically remember to warm them up as they would other body parts before and after exertion. Here are some stretches that will come in handy. 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 recently graduated from the University of Southern California with a 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.

Fingers and Wrists Stretch your right arm straight from your shoulder, out in front of you. Flex your right hand, so that your fingers point up. Press into your right fingers with the fingers on your left hand. You should feel a stretch at the base of your fingers. Hold for three breaths. Repeat on the other hand. Stretch out through the right arm again, this time pointing your fingers down. Press into the top of your right hand with the palm of your left hand. You should feel a stretch through your wrist. Hold for three breaths. Repeat with the other hand. Interlace your fingers with your elbows bent and your palms facing towards you. As you straighten your elbows, press the palms of your hands away from you. Hold for five breaths. Make sure to keep your shoulders away from your ears. After five breaths, inhale and move your hands above your head, keeping your fingers interlaced. Once again, make sure to keep your shoulders down and away from your ears.

Down to Your Toes Get into a comfortable seated position, one in which you can easily grab 30

your foot. Interlace your right fingers through your left toes—it is as though you are holding hands with your foot. You should feel a stretch through the tops of your knuckles, between each of your fingers, and as a side benefit, between each of your toes. Hold for three to five breaths. Repeat with the other hand and foot. Stand with your feet hip distance apart. Roll forward from the crown of your head. Lift your right toes and slide your right hand under your right foot. The palm of your hand should be touching the sole of your foot; the top of your hand will be against the floor. Your fingers should point toward your heels. Do this with the left hand as well. Once both hands are underneath your feet, release the top of your head down toward the floor. This position also creates a hamstring stretch. If it is too difficult for your hamstrings, turn your fingers toward one another. Try to slide just your fingertips under the outsides of your feet. If still too difficult, go as far as you can. Take five to 10 breaths. Think about your body, especially your hands, as being an extension of your instrument. Stretches are like scales for your body.

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Play Ball! 1

8 15

34 38

65 68

Across 1. “Yee-___!” 4. Skip a level, like in Super Mario Bros. 8. Slightly-better-thanaverage grade (2 words) 13. “Te ___” (“I love you,” in Spanish) 14. Figure skater’s jumps 16. Like old fashions that come back in style 17. “The percussionist never used a gong at bat for fear that he would ___” (2 words) 19. Autism Awareness Month 20. Quick snacks 21. Frog relatives 23. Native American pole emblem 24. “Band members had to march straight, or else their formations would create some ___” (2 words) 28. “Star Wars” princess 30. Common Father’s Day gift

42 45

50 53

36 39

43 46

59 63

67 69

31. Sick 32. With 44 Across, “All the marching band members had a knack for baseball since they would ___” (3 words) 36. Actress Vardalos of “My Big Fat Greek Wedding” 37. Drink brewed in bags 38. Body position important in the Alexander Technique 42. Scribble (down) 43. Abbreviation in an apartment ad 44. See 32 Across (2 words) 46. Tarzan’s friend 47. Group that provides towing and road maps (abbrev.) 50. “___ does that starspangled banner yet wave” (2 words) 51. “The band mates had to play ball in tune, otherwise they’d have a ___” (2 words)

54. “The Last of the Mohicans” main character 58. “Spain” jazz pianist Chick ___ 59. “Little Women” author Louisa May ___ 60. Traveler’s overnight stop, maybe 63. “The trombonist was an exciting ballplayer because he would always ___” (2 words) 65. Marching practice session 66. Region high in the Himalayas

67. Mauna ___ (Hawaiian volcano) 68. String quartet instrument 69. Phone bill add-ons 70. Show that featured a marching band (among other things) in a “What Up With That?” sketch Down 1. “It ___ Happened Yet” (William Shatner song) 2. “Are not!” response (2 words) 3. Finishing in dead last 4. Request from a heavy sleeper, perhaps (3 words) 5. Lumberjack’s tools 6. Rock band ___ Speedwagon 7. Former planet that got downgraded in the 2000s 8. Sleeping locale for infants 9. Beverage company that owns Mountain Dew 10. 8 1/2” x 11”, on some copiers (abbrev.) 11. Paranormalist Geller 12. Note after fa 15. Bulky 18. “May ___ you?” (2 words) 22. Boxer Muhammad 24. Trans ___ (cholesterol boosters) 25. Stealthy Japanese martial artist 26. “The Waste Land” poet T. S. ___ 27. Chalkboard 29. First sale of a stock to go public (abbrev.) 32. Material for the first little pig’s house 33. They indicate how fast the music should play 34. Painter’s stand

35. Giants Hall-of-Famer Mel 39. “Whoa, that’s not good” (hyph.) 40. Notes between dos and mis 41. Shoulder decorations for military marching bands 45. Actress Jane of “Glee” 47. “Rocky” opponent ___ Creed 48. You can’t play a horn without it 49. “This is ___ of the Emergency Broadcast System ...” (2 words) 52. Flashlight battery size, often (2 words) 53. Anaheim’s state (abbrev.) 55. Makes dinner 56. “Smiling ___ who are never impressed ...” (lyric in Joe Cocker’s “Change in Louise”) (2 words) 57. Be a burglar 59. “Zip-___-Doo-Dah” (2 words) 60. 1600, in Roman numerals 61. Mineral sample 62. “___ Death” (Brad Garrett sitcom) 64. “How can ___ sure it’s you?” (2 words)

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.

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